Chekhovian Provocations as Prefeeling of Postmodern
The appeal to provocation as one of postmodern forerunners is proved in the article. The nature of Chekhovian dramatic art in terms of his designation of a comedy genre is analyzed. Ways are found for interpreting his works from positions of generalized, expanded art space where time, intensions, intrigue, creativity and love, as a rule, knots gain clarity, importance and go back to that phenomenon which many decades later would respond in art culture as mood and atmosphere of postmodernism. Existing in boundary conditions of a cross-disciplinary approach, being guided by philosophical and esthetic constants, placing action of the analysis into the especially closed and undifferentiated compartment (a warehouse, a box), it is possible to claim that the culture of the philosophical and literary analysis becomes that beacon and that reasonable conceptual beginning where whole knowledge about Chekhov, the analysis of his works from positions of existences and being based on tradition in the field of a critical scientific thought is easily installed. At the same time it seems to be logical to involve such classics of world philosophical and poetic thought as Cicero, critic Belinsky, poet Pushkin, aestheticians Borev and Dzemidok who found general things for understanding the category of the comic concept and its components. The analysis of the writer’s works is based on such an art criticism and literary platform as absurdity, contradiction, absurd, repetition that anyway lead to provocations to which the article is devoted. Their synthetic interconditionality and dependence of one from another allow us to correlate evidential plays by Chekhov with their internal structure, irony space, fable mobility to the new powerful phenomenon which on the way of its statement and universal finding of the importance makes art processing of well-known. Works by the playwright with their difficult peripetias fix in our consciousness and creative memory those levers and signs, codes of time which almost a century later begin «to work» already for new communications and new creative space, successfully gaining a foothold in turns of postmodernism with its eclampsy, false sublimation, entropy and broken links.