The phenomenon of remake in modern Russian drama. Between innovation and tradition
https://doi.org/10.28995/2686-7249-2025-11-397-405
Abstract
The article deals with the remake as a defining phenomenon in modern Russian drama, facilitating a dialogue between modern literature and the classical canon. It is noted that such a concept, representing a special form of interaction with the canon, does not have a stable terminological status or a generally accepted definition, despite the accumulated factual material, and its genre nature remains a subject of debate. The paper attempts to define the essence of a remake by systematically differentiating it from related forms – parody, stylization, and an intertextual approach. By employing the theories of Yu.N. Tynyanov and M.M. Bakhtin it explicates the dialogic relationship between a remake and its pretext. A critical distinction is made between a remake and a mere staging depending on the degree of originality and andautonomy of the final work.
As with ‘parodic selection’, the concept of ‘remake selection’ is introduced, explaining the principle of choosing texts for ‘reworking’. In conclusion, a connection is drawn between the remake and the mythopoetic strategy of contemporary authors: playwrights who turn to that form are united by a desire to comprehend changes in the world order at a historical turning point.
About the Author
V. V. Dotsenko
Lomonosov Moscow State University
Россия
Россия
Veronika V. Dotsenko, postgraduate student
1, Leninskie Gory, Moscow, 119991
References
1. Bakhtin, M.M. (1986), Estetika slovesnogo tvorchestva [The aesthetics of verbal creative work], Iskusstvo, Moscow, USSR.
2. Breeva, T.N. and Ikhsanova, A.A. (2015), “The strategy of remake in the ‘new drama’ at the turn of the 21st century (‘The Death of Iliya Iliyich’ by M. Ugarov)”, Philology and Culture, vol. 41, no. 3, pp. 191–196.
3. Eсo, U. (1996), “Innovation and repetition. Between modern and postmodern aesthetics”, in Filosofiya postmoderna: Sbornik perevodov i referatov [Postmodern philosophy. Collected translations and abstracts], Krasiko-print, Minsk, Belarus, pp. 48–74.
4. Freudenberg, O.M. (1973), “The origin of parody”, in Trudy po znakovym sistemam [Works on semiotics], vol. 6, Tartu, USSR, pp. 490–497. (Uchenye zapiski Tartuskogo gosudarstvennogo universiteta; iss. 308)
5. Lyubimtseva-Natalukha, L.N. (2020), Dramaturgicheskii remeik v literature XX–XXI vv.: zhanr, tipologiya, poetika [The dramatic remake in 20th – 21st century literature. Genre, typology, poetics], Abstract of D. Sc. Dissertation (Philology), Donetsk, Ukraine.
6. Rudnev, P. (2018), Drama pamyati: Ocherki istorii rossiiskoi dramaturgii: 1950–2010-e [Drama of memory. Essays on the history of Russian drama, 1950–2010s], Novoe literaturnoe obozrenie, Moscow, Russia.
7. Tarazevich, E. (2005), “Remake in modern Russian drama”, in Kaigorodova, V.E., ed., Sovremennaya russkaya literatura: problemy izucheniya i prepodavaniya: materialy mezhdunarodnoi nauchno-prakticheskoi konferentsii [Modern Russian literature. Issues of study and teaching: Proceedings of the International Scientific and Practical Conference], part 1, Permskii gosudarstvennyi pedagogicheskii universitet, Perm’, pp. 318–322.
8. Tynyanov, Yu.N. (1977), Poetika. Istoriya literatury. Kino [Poetics. History of literature. Cinema], Nauka, Moscow, USSR.
9. Zagidullina, M. (2004), “Remakes, or Expansion of classics”, Novoe literaturnoe obozrenie, vol. 69, no. 5, pp. 213–222.
Review
For citations:
Dotsenko V.V. The phenomenon of remake in modern Russian drama. Between innovation and tradition. RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, Series. 2025;(11(2)):397-405. (In Russ.) https://doi.org/10.28995/2686-7249-2025-11-397-405
Views:
9
JATS XML
Email this article 