"ЧУДАК" НА СЦЕНЕ И ДРАМАТУРГ В ЖИЗНИ: СОЦИОКУЛЬТУРНЫЙ КОНТЕКСТ РОЖДАЮЩЕГОСЯ СТАЛИНИЗМА

Abstract

The article deals with Afinogenov’s play “Weirdo” in the context of the emerging Stalinism, which at the moment of its formation demanded not revolutionary enthusiasm, which was much spoken and written about, but direct submission to the orders of the party apparatus – that is how the conflict appears in the play, and in the Soviet society. Afinogenov himself experienced the difficult moods of a transitional time, when the liberal era of the NEP was gone and the era of civil war was returning. The playwright portrayed the enthusiastic Boris Volgin, whom he saw as his friend Boris Igritsky, and simultaneously wrote to him about the state of complete political uncertainty, in which perspective and faith in the future are lost. As a playwright of the “general line” Afinogenov suppressed his critical mood in an attempt to correspond to the new times, which, in turn, demanded not a romantic hero, but a class struggle with any “exit” beyond the full and unconditional subordination to the decisions of the Party