KOMI FEMALE DRAMA: SOME ASPECTS OF STUDYING THE QUESTION

Abstract

The beginning of the 21st century opened a new page in the development of Komi literature connected with the activity of female authors earlier unprecedented on a dramatic field. In the 2000s Nina Kuratova, Elena Kozlova and Nina Obrezkova addressed dramaturgic genres. By this time they had already been popular writers. Having addressed a dramaturgic genre, new to itself, each writer introduced organic features in a palette of dramaturgic poetics, enriching and updating national culture. We devoted this work to research the specifics of Komi female dramatic art. Gender approach and method of the comparative analysis allowed us to reveal features of Komi female dramatic art. The Komi female dramatic art is not stereotypical and cliched, there is no similarity in the creation of plots and the features of characters in plays by the playwrights. N. Kuratova's, E. Kozlova's and N. Obrezkova's plays differ on the one hand from each other, on the other hand from plays by male Komi playwrights. It is not only about female playwrights reproducing in plays the female character and especially female household reality, but also about reproduction of how women feel and understand the world. In the Komi female drama we see the desire of the woman to live in harmony with the world, to constantly feel safe, to arrange family cosiness, to keep and transfer to the subsequent generations family values, love and respect (Kuratova). Also female drama transmits that pain which is felt by the woman, building relations with men, feeling their pressure and even violence (Kozlova). The female drama reveals changes the woman in modern society experiences, her finding new social roles, finding male features against the background of spiritual weakening of men (Obrezkova). So, the female consciousness gets into Komi dramaturgic space, opening new ways in an artistic judgment of reality, enriching an aesthetic paradigm.