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A.M. Gorky Institute
of World Literature
of the Russian Academy of Sciences

IWL RAS Publishing

A.M. Gorky Institute of World Literature
of the Russian Academy of Sciences

 IWL RAS

Povarskaya 25a, 121069 Moscow, Russia

8-495-690-05-61

edition@imli.ru

iwl.ras.publishing@gmail.com

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About the author:

Elena D. Galtsova, DSc in Philology, Leading Research Fellow, Head of Laboratory “Rossica”, A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, Povarskaya 25 a, 121069 Moscow, Russia; Professor, Lomonosov Moscow State University, Leninskie Gory 1/51, GSP-1, 119991 Moscow, Russia; Professor, Russian State University for the Humanities, Misskaja sq. 6, 125993 GSP-3, Moscow, Russia.

ORCID ID: https:////orcid.org/0000-0002-2292-287X

E-mail: This email address is being protected from spambots. You need JavaScript enabled to view it.

Abstract:

The article examines three plays written by famous figures of French culture: theatrical performance Underground Spirit (“L’Esprit souterrain”) by H.-R. Lenormand (1912), a play for radio (“la dramatique”) by G. Bataille and M.-L. Bataille (1946) and the play Roulette and Underground (“La Roulette et le Souterrain”) by G. Neveux (1967). In the case of Lenormand’s play, which served as the world’s first theatrical production of Notes from Underground, we deal with a transposition adapted to a particular theater genre. Bataille writes a work based on his own creativity. The story serves as a pretext for the theatrical experiments of the avant-garde playwright by Neveux, who creates a synthesis of Notes from the Underground, The Gambler and the Letters of F.M. Dostoevsky.

  • Keywords: F. Dostoevsky, Notes from Underground, French drama, H.-R. Lenormand, G. Bataille, G. Neveux, theater, the radio play.

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