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Olega i Władimira Priesniakowów postmodernistyczne gry (z) Biblią

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Tyka A.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2013
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vol. Zeszyt specjalny 2013
211-223
EN
The article presents an attempt to discuss the place and the role of the Bible in Oleg and Vladimir Presnyakov`s oeuvre on the example of Before the Flood. The author places the meaning of the symbols, motives, pictures and Biblical codes in the postmodernist context. The main aim of this measure is to present a multilevel and typical of postmodernist esthetic play (with) cultural text undertaken by the Russian playwrights in their experimental writing. The literary reinterpretation of the Biblical events and figures allows not only for stressing the intertextual character of the discussed literary work but also for demonstrating lack of the basic moral principles and identity dominant in the Brothers` literary world, the progressing relativism of values, alienation and human`s degradation in the surrounding material world as well as unskilfulness terming and defining our own emotional states.
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Powrót do korzeni. Władimira Sorokina język pozarozumowy

88%
Mięsowska L.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2013
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vol. Zeszyt specjalny 2013
185-198
EN
The article is an attempt to show connections of Vladimir Sorokin with OBERIU’s tradition as well as Russian futurism. The dramatist experiments with language creating his own version of postmodern zaum, thanks to that he can be called a real “word manipulator” (D. Tokariev). In this way Sorokin is always situated on the border of two orders: the past and the future one. At the same time he is an inheritor and continuator of Daniil Kharm’s theatre of the Absurd, on the other hand he is also an innovator who introduces dramatic genre into the stage of surprising, aesthetic experiments.
3
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Шекспировские римейки в современной российской драме

63%
Шамина В. Б.
Acta Universitatis Lodziensis. Folia Litteraria Rossica
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2013
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vol. Zeszyt specjalny 2013
115-124
EN
The article addresses postmodern plays by recent Russian playwrights, which use the plot of Shakespeare’s Hamlet, such as L. Petrushevskaya, B. Akunin, V. Korkiya and brothers Presnyakov. It demonstrates different techniques and approaches they use to deconstruct the original text. In the end the author comes to the conclusion that these playwrights in their games with classics to a great extent follow the path that was laid by the Bard himself.
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