There is one here, for instance, who is almost completelyĭecomposed, but once every six weeks he suddenly utters one word, quite In consciousness and goes on for two or three months. The body revives, as it were, here, the remains of life areĬoncentrated, but only in consciousness. “ when we were living on the surface we mistakenly thought that death there We are dead and yet we are talking and seem to be moving-and “Tell me first of all how it is we can talk? I've been wondering ever ‘How dare you,’ I say, ‘come in here with holes outĪt your elbows? Get out, you rascal!’ He turned, walked out and never came There, thinking, ‘He’s come to get his own back,' because we’d had an almighty Just buried him and I yelled, absent-mindedly, ‘Filka, my pipe!’ and in he cameĪnd walked straight over to the cabinet where I keep my pipes. Petrovna, his wealthy but querulous wife. In extremely suspicious circumstances: Filka, his manservant, and Marfa Punishment: Svidrigailov, not a man to stint himself, has two. Never forget that there are actual ghosts in Crime and Really want to make music with the children of the night, you can hardly doīetter than reading Dostoevsky: FMD is reliably Gothic and ghastly, if notĪlways ghostly. Vampires (Tolstoy – not the cranky one, but Aleksei Konstantinovich). Into the cobwebby bathhouse with Pushkin’s Tatyana, organize a BYOB barbecueįor the local skeletons (Pushkin again – Belkin Tales), or daringly defy The theatre reveals the contradiction between the actual isolation of a person from others and their need to be understood, loved, and accepted in Dostoevsky’s text.Shortage of spooks – and I don’t mean Stirlitz. Referring to theatrical productions made by the Masterskaya St Petersburg Theatre and the Tovstonogov Bolshoi Drama Theatre, the author shows that the message hidden in the short story at the gesture level is perceived by modern culture in the context of the dialogue problem. The suicide of the Gentle Creature is a gesture that becomes a deed: the heroine chooses a movement that does not bring her closer to the Pawnbroker but takes her farther away from him. Analysis of gestures describing movements of the Pawnbroker and the Gentle Creature towards one another shows that the characters try to get closer in turn, but continuously move away from each other instead. Gestures of looking aside and closing one’s eyes which ones sees in the episode with the revolver show refusal to understand another person’s sufferings. Understanding another person’s truth starts with a glance at the body of a dead woman. Gestures related to viewing reveal the desire to understand the other person. The author of the article concludes that the key kinetic motifs of the short story (moving towards one another and looking at one another) become particularly important in the critical episodes of the narration: walking around the body of a dead wife, the battle of wills in the episode with the revolver, the suicide of the Gentle Creature, etc. portrayal in the artistic world of A Gentle Creature. The purpose of the article is to analyse the characters’ gesture behaviour in the moments of despair and to show how modern theatres staging this short story reflect the importance of the non-verbal layer of human. This article studies the poetics of gesture in Dostoevsky’s short story A Gentle Creature, which has never been a subject of a specific focus in studies dedicated to Dostoevsky.
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