Abstract
The most important aesthetic realities of the theatrical process in the second half of the 20th century were comprehended in the context of directors’ readings of Dostoevsky’s prose. Thus, in 1960s, the discussions on the issues of contemporary manner of acting usually focused on I. Smoktunovsky’s performance of the role of Prince Myshkin in «The Idiot» staged by the Leningrad Theater named after Gorky (directed by G. Tovstonogov, 1957).The performances signifi cant for the theater of the 70s’, such as «Petersburg Dreams» in the Theater of the Moscow City Council (1969) and «Brother Alyosha» in the Theater on Malaya Bronnaya (1972), staged by directors Y. Zavadsky and A. Efros, based on «Crime and Punishment» and «The Karamazov Brothers» were «read» by the critics in the context of M. Bakhtin’s study of «Problems of Dostoevsky’s Poetics».
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