«About the life that will be after us»: Сhekhov genealogy of A. Afinogenov’s play «Distant point»

The paper is devoted to the analysis of the play «Distant point» of A. Afinogenov in the context of Chekhov’s dramaturgy. To understand the degree of the Afinogenov’s «mastering» or overcoming of Chekhov, the author of the study turns to the text of the play «Distant point». At the same time, it is pointed out that earlier in the analysis of the play «Distant point», Afinogenov’s appeal to A. Chekhov’s dramaturgy was not fully taken into account, including the appeal to the play «Three sisters»; it is confirmed by diaries, notebooks and numerous oral presentations. The aim of this research is to fill the existing lacunae in literary criticism for an objective interpretation of both the play «Distant point» and the entire creative heritage of A. Afinogenov. The research consistently proves the idea that the appeal to Chekhov’s personality and Chekhov’s works was due to the creative searches of the writer and his personal artistic method development. The involvement of A. Afinogenov to the official writing structures of the Soviet era did not affect his creative orientations. This research provides the reasons to talk about the creative evolution of the writer from the aesthetic principles of Proletcult and RAPW (Russian Association of the Proletarian Writers) in his early plays to the adherence to the Chekhov’s tradition in the late drama in the mid-1930s. During this period, A. Afinogenov correlates his observations with the thoughts of A. Chekhov, with the plot situations of Chekhov’s works. The artistic principles proposed by A. Chekhov are used in his own work. Thus, the study clearly demonstrates the mastery of the Chekhov’s artistic principles by the playwright. The lessons of A. Chekhov were not limited by the use of Chekhov’s images and motifs or by the literal reminiscences. A. Afinogenov tried to represent life as it is, recreating in his plays a complex combination of lyrical and comic, every day and being, private and universal, using the ensemble principle of the play construction, Chekhov’s subtext, hidden psychology, etc.

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