Absurdist Drama and Its Academical Reception in Russian and Western Literary Criticism

This paper attempts to identify and systematize the main approaches theater of absurd absurdist drama in Western Russian literary studies. The term t hea er was originally introduced by Martin Esslin. concept has become a common denominator refers dramatic work such famous authors as Samuel Beckett, Eugène Ionesco, Harold Pinter, Arthur Adamov, Jean Genet. Esslin his followers brought several important features into drama, i.e., alogism, disjointed communication, wordplay (Patrice Pavis), etc. They attempted conceptualize part broader typological unit, e.g., Michael Bennett’s parabola. scholars critics have developed range concepts well. see violation basic rules communication (Olga Revzina, Isaac Revzin). Union Real Art (Mikhail Yampolskiy, Dmitry Tokarev) focuses on principle serialized eventfulness. Others concentrate meta-descriptive nature (Evgenyi Kluev) develop absurdity picture world Burenina-Petrova). Both studies, conceptualization follows two opposite poles: can be interpreted either linguistic phenomenon (deconstruction communication), or certain way human existence. During 1980–2000s, post-structuralist philosophy played major role re-thinking absurd, while interaction philosophical determined principles historical aesthetics. As suggested contemporary researchers, discourse following features: deconstruction cultural codes; actualization archaic basis theater; parodying literal theatrical conventions; problematization semiotic linkage (sign its referent); depiction mosaic consciousness unstable cosmos.