Luchinsky Yu. V., Strelnikova L. Yu.

Theatricality and its Pivotal Role in V. V. Nabokov’s Modernist Literary Works      P. 119- 128.

UDC 821.161.1-3.09«19»

DOI: 10.37724/RSU.2022.75.2.012

Abstract. The article focuses on theatricality in V. V. Nabokov’s modernist prose as a means of creating innovative forms of literature. The hypothesis of the research is that theatricality is a typological feature of modernist literature, which rejects the classical canon and encourages the writer to perceive the
world as a creative space. In modernism, artistic solutions are based on the synthesis of arts, including dramatic arts, which endows a writer with expanded opportunities, enabling them to create hybrid texts, which are epic and spectacular. Theatricality is a pivotal element of Nabokov’s writing. Nabokov’s theatricality
is based on irony and humour bordering on absurdity and undermining the solemnity of classical literature. Promoting modernist literature, Nabokov participates in the development of theatrical theories together with V. E. Meyerhold, N. N. Yevreinov, A. Arto and others. Nabokov’s revolution in modernist literature is closely connected with theatricality of art in general. Nabokov’s early prose is characterised by elaborate theatricality, his characters play the roles assigned by the author. The theatricality of Nabokov’s prose is analyzed through the prism of modernist ideas about dramatic arts, it discards mimesis and is associated with intrepid experimenting. The authors conclude that the theatricality of Nabokov’s prose is an innovative factor which promotes visual appeal rather than realism.

 

Keywords: dehumanization of art, carnivalesque, carnivalization of culture, modernism, Nabokov, theatre of cruelty, theatricality of prose, theatrical conventionality.

 

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