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
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.