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Zhatkin Dmitry N.,
Doctor of Philology, Professor,
Head of the Translation and Translation Studies Department
Penza State Technological University
e-mail: ivb40@yandex.ru
Serdechnaia Vera V.,
Doctor of Philology,
Associate Professor of the Foreign Literature and Comparative Cultural Studies Department
Kuban State University
e-mail: rintra@yandex.ru
The article is devoted to the reception of Shakespeare's works in the artistic work of the writer, theater figure, and translator Pyotr Petrovich Gnedich. Gnedich translated and staged a number of Shakespeare's plays; achieved the first production of Julius Caesar on the Russian stage; introduced Shakespearean dramaturgy on the stages of imperial and private theaters, seeing in it the high examples of romantic, non-everyday art. Being the forerunner of the director’s theater, Gnedich strove to stage Shakespeare’s material as to create a performance that was integral in design and acting. In Gnedich’s plays (mostly of a comedic nature) from modern life and from the history of Russia, Shakespeare’s influence is hardly noticeable; on the contrary, in his prose Shakespeare is constantly mentioned in the speech of the characters, helping the author express his point of view on the shortcomings of society. In the story “Beyond the Footlights” (1893), the attitude towards Shakespeare’s works: misunderstanding, underestimation, is used to characterize the theatrical environment. In two stories, “The Skull” and “The Ghost of Hamlet’s Father” (both 1888), Gnedich turns to the motives of Hamlet: in the first it is used to convey a semi-mystical, semi-clinical atmosphere of madness, in the second — to create a comic effect.
Keywords: Pyotr Petrovich Gnedich, Shakespeare, Shakespeare’s reception, Gnedich’s dramaturgy, Gnedich’s prose, Russian Hamlet, “Beyond the Footlights”, “The Skull”, “The Ghost of Hamlet’s Father”
The study was supported by a grant from the Russian Science Foundation (RNF, project No. 24-18-00040)
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