INTERPRETATION OF A.P. CHEKHOV’S STORIES IN THE ANIMATION OF THE END OF ХХ - BEGINNING OF ХXI CENTURIES

Abstract

The problem of interaction of literature and animation is the central problem for the given article. On the example of screen versions of A.P. Chekhov’s stories, the author of research shows the processes typical for culture of postmodernism. The illustrative model of animation, typical for the Soviet period, is replaced by an interpretation model at the turn of the XX and XXI centuries. Modern animation is focused not so much on the transmission of Chekhov's storytelling plot, as on the comprehension of the author's intentions hidden in the text. The subject of a detailed analysis is cartoons by Natalia Orlova (“To Whom Shall I Tell My Sorrow”, “Kashtanka”), Sergei Seregin (“Whitebrow”), Alexei Demin (“Ochumelov”), Natalia Malgina (“Lawlessness”). In each of these cartoon films there is a deviation from the plot and a search for fundamentally new graphic solutions. Chekhov's eccentric is adequately embodied in animation, the language of which was originally focused on the "shift of meaning". The article also concludes that the destruction of communication, which defines Chekhov's creative method, is compensated by the ability of the camera to see through what has been said and to overcome the logocentric attitude of Russian culture after the writer.