The article discusses the features of the plot construction of the comedy "The Elder Son" by A.V. Vampilov, reflecting the process of formation of a clan utopia, which is perceived in the play as an ideal human environment. It is noted that in his play, Vampilov does not refer to the Moliere's satirical tradition common for Russian theaters, but to a lesspopular Shakespearean comedy strategy, raising the question of whether it is possible to achieve a true family unity, which can transform into a clan utopia. Using the mythopoetic method and the method of literary hermeneutics, the author establishes that the Sarafanov family world can be compared with the clan-like community, which is initially portrayed as incomplete: it formed around the creative mother element embodied in the image of Sarafanov, but remains devoid of the paternal principle as a stabilizing force that restrains the decay of the genus. Busygin becomes such a force. He crosses the border of the internal space of the family, abandons the position of a reflecting skeptic and shares the ethical values of comprehensive equality and unity cherished by Sarafanov. As a result, the protagonists are united by a family feeling, a supraindividual nature of which allows them to build a clan utopia - an idyllic world, an ideal spiritual organism isolated from an imperfect, conflictogenic external reality. A special role in creating a clan utopia is played by the chronotope of a suburb, a provincial town, which, existing on the border of the worlds of a village and a big city, provides a balance between old and new values, stability and security of the family. It is concluded that in the artistic world of the play, the norm is not associated with strengthening of external social ties, but with the establishment of forms of kinship, which are the key to identifying the substantial content of the subjectivity of the characters.
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