Vadim Levanov’s ironic fantasies on the themes of national history (“Slavyansky Bazaar”, “The Foundation”, “A Fairy Tale about Privy Councillor Vasily Nikitich Tatishchev, Persian Princess and Stenka Razin’s Treasure”)


The article considers three works by Vadim Levanov, their plots are associated with significant events in Russian history: one-act plays “Slavianski Bazaar” and “The Foundation”, as well as a small narrative about Vasily Tatishchev called “a fairy tale” by the author. However, these are not historical works in the strict sense of the word, rather an experience of ironic rethinking of the mythologemes, existing in collective consciousness. The analysis of these works allows us to reveal the originality of the author's methods used in working with historical facts. It was not for the first time that the playwright had turned to historical subjects. The author is widely known for his plays, which constitute a kind of diptych: “The Life of St. Blessed Xenia of St. Petersburg” and “The Most Possible Authentic and Plausible Biography of the Bloody Lady (Krovavaya Barynya), Daria Saltykova, a Moscow Noble Woman”. In these plays, Levanov adheres firmly to fact and is very delicate about using fiction. The situation is different with the three miniatures. The author offers us free variations of well-known historical themes. He does not just rethink the events, but also openly plays with the facts. The sequential analysis of the three texts suggests that we are dealing with a pastiche – a concept inherent in the philosophy of postmodernism. Pastiche is typical of modern literature, the latest drama including. Although Vadim Levanov should not be attributed to postmodernists, he, like many authors of his generation, actively used postmodern practices.

Key words: 

Vadim Levanov, latest drama, mythologemes, pastiche, postmodern practices.

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