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Title of Article

GLIMPSE INTO THE HISTORY OF BORIS SADOVSKY'S PLAYWRIGHTS: THE MELODRAMA «THE MALTESE KNIGHT»


Issue
4
Date
2019

Article type
scientific article
UDC
82
Pages
168-202
Keywords
Б.А. Садовской, «Мальтийский рыцарь», О.Г. Чубарова (Шереметева), И.Е. Репин, Ю.П. Анненков, В.Б. Шкловский, формалисты, B.A. Sadovskoy, «The Maltese Knight», O.G. Chubarova (Sheremeteva), I.E. Repin, Y.P. Annenkov, V.B. Shklovsky, formalists


Authors
Izumrudov Yuriy Aleksandrovich
Natsionalnyy issledovatelskiy Nizhegorodskiy gosudarstvennyy universitet im. N.I. Lobachevskogo


Abstract
The article is devoted to the dramatic composition of B.A. Sadovsky, the least known sphere of his creative life. The scope of Sadovsky's works for the theatre is determined; this is a topical issue, as his plays have never been gathered, nor systematized properly, and the texts of some of them have not yet been found in archives or lost. The genre diversity of Sadovsky's playwright is demonstrated. In his works he tapped into melodrama, comedy, monologue, vaudeville, tragedy, sketches, and even mystery. The importance of purposeful study of Sadovsky's dramaturgical heritage is noted, as it allows to expand our knowledge of the author's role as a writer and gives an opportunity to make a deeper, more organic judgment of his metatex. Sadovsky's fruitful and highly acclaimed cooperation with the miniature theatres that became popular during the Silver Age, and above all with N.F. Baliyev's Bat, is underlined. As for the themes of the plays, their Pushkin aspect is emphasized, the manifestations of which are diverse. The article also features, along with our comments, the first publication of Sadovsky's melodrama «The Maltese Knight», the manuscript of which 200 is kept in RGALI. The article discusses the creative history of the play, in this connection pays special attention to the interpretation of drawings by I.E. Repin and Y.P. Annenkov as responses of contemporaries to reading and stage performance of «The Maltese Knight». The review of the performance at the St. Petersburg Troitsky Theatre, which was never published and is unknown to contemporary researchers, is quoted. The features of the play's poetics are accentuated. Its intertextual and metatex- tual connections are revealed. The study reveals the autobiographical nature of the beginning of the play and shows how aspects of relations between the author and Olga Chubarova (Sheremeteva) are reflected in the play. In the context of Repin's drawing - a portrait of a young student V. B. Shklovsky holding the manuscript of «The Maltese Knight» - the author reviews the theme «B. Sadovsky and formalists (V. Shklovsky, B. Eikhenbaum, Yu. Tynianov). The article also features an unknown autograph by Shklovsky.

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