著者

有田 耕平

出版者

神戸市外国語大学研究会

雑誌

神戸外大論叢 = The Kobe Gaidai Ronso : The Kobe City University Journal

巻号頁・発行日

vol.75, no.1, pp.169-198, 2022-11-30

著者

有⽥ 耕平

出版者

ロシア・東欧学会

雑誌

ロシア・東欧研究 (ISSN:13486497)

巻号頁・発行日

vol.2020, no.49, pp.167-181, 2020 (Released:2021-06-12)

参考文献数

30

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In the 1920s, Mikhail Mikhailovich Zoshchenko wrote about 600 satirical short stories. Many of these satirical works depict the old-fashioned bourgeois culture in pre-revolutionary Russia.One of the aspects of this bourgeois culture, which Zoshchenko picks up and criticizes in his short stories, is theatricality. In this paper, I describe how Zoshchenko defines theatricality and analyze his criticism of theatricality.The theatricality which I elaborate in chapter 1, can be found in Zoshchenko’s storytelling, which is called “skaz”. This is a Russian oral form of narrative. In memoirs, the contemporaries often pointed out how the actors read aloud Zoshchenko’s works with theatrical tone and gesture. A single storyteller, who performs in skaz controls the whole story and plays all characters himself. Therefore, he can reproduce his story with his own theatricality and contrasts it with the excessive pre-revolutionary theatricality of the characters. I discuss the theatrical technique of skaz and Zoshchenko’s critique on the pre-revolutionary theatricality.In the second chapter, I analyze the theatricality of Soviet theater. In 1920s, Russian avant-garde was very influential art movement. Theater-directors abandoned old conventions and expand their artistic world. In this chapter, I examine three works of Zoshchenko that criticized Russian avant-garde, especially, theatricality of Nikolai Evreinov.In the third chapter, I analyze cultural ideology in theater. In Russia, theatrical culture of the 19th century followed a certain etiquette. Zoshchenko’s protagonists always enter the theater without proper costumes and little money. The characters quarrel over theatrical manners and are thrown outside. This conflict reveals the nature of Russian theatricality, which removes uncultured people from the theater and rejects Russians on basis of their social-cultural background.In the fourth chapter, I examine “The Elecrician”, which is Zoshchenko’s most remarkable in terms of dealing with his criticism of theatricality. In this work he succeeds to put all elements of theatricality together and clarify the mechanism of theatricality. Later he revised The Electrician and changed the end of the story in order to avoid his critique on theatricality. From then on he stopped incorporating critique on theatricality in his works.In the fifth chapter, I examine five works of Zoshchenko which deal with electrification in the Soviet Union. By comparing the various editions of these works, including The Elecrician, the high number of revisions that Zoshchenko conducted himself becomes obvious. I addition, I demonstrate that the problems concerning the enlightment of Soviet electification are similar to the problems of theatricality that I elaborated in the second chapter. Zoshchenko tried to unite people with different cultural backgrounds into one collective under the reign of Stalin. Finally, Zoshchenko draws the ideal image of the electrified communal apartment in his work “Last story” In this story, a pre-revolutionary woman changes her mind and transforms into an honorable Soviet citizen. This story shows that Zoshchenko’s criticism of theatricality disappeared because people of different cultural background were united in the electrified communal apartment, which represented the future of the Soviet Union.