페레스트로이카 이후 러시아 현대드라마의 한 경향- М. 고리키 <На дне> 주제의 연속성을 중심으로 -

Russian literature has been experienced the serious changes following to the 80ʹs perestroika and the end of USSR period. Since the 20th century, Russian modern drama tended to look into the traditional themes and works of the previous centuries. This changes of Russian literature was called the back to the past which focused on the ʺeternal themes of Russian literature.ʺ This article investigates two Russian modern plays, one is M. Gorkyʹs work of the 19th century, ʺThe Lower Depths(На дне)“ in terms of the traditional themes of Russian literature, and the other is I. Shprits’ “Na donishke(На донышке)” which has contributed to reinvention and expansion of such traditional themes. The author of this article investigates M. Gʹs work as the realistic theatre including diversity of traditional philosophical elements. The author also looks into the M. G‘s work as the similar work of Chekhov’s work dealing with traditional themes of Russian literature and the characteristics of main actor or actress whose moving are extremely restricted in a play. In 1994, Igor Shprits wrote a remaking play, ʺNa donishkeʺ which is composed as a ʺplay in a play.ʺ The remaking play has been made based on Stanislavskyʹs realism, describing a play like as a real life, and a play without textual scriptures, so called an impromptu play. The synthetic style of such realism and an impromptu play is known as a new style of play, ʺplay in a play.ʺ This type of play became so interested because of the combination of a realism, emphasizing the humanʹs reason and critical point of a real life described as fun, emotional, intrinsic features of human beings. The works of M. G. show the tragic aspects of the object with the type of ʺplay in a playʺ and the tragic aspects of the subject itself, in the form of ʺremaking playʺ. I. Shprits‘s work of ʺNa donishkeʺ shows the bottom line of real lives and the tragedy of the subject which is based on the traditional realistic feature of modern playʹs comic parody. Many other modern Russian playwright write works dealing with such a heavy theme like as the bottom lines of reality (or the lifestyles of extremely poor situations). These authors tend to follow Vampilov‘s works showing the marginality and the absence of real houses as the main theme of their plays. It implies that there are internally slight change of Russian modern literature which will be the research agenda in the near future.