Features of the invariant of the Tatar Soviet dramaturgy of the 1930s-1940s

Abstract

The purpose of the article is to determine the features of the invariant of the Tatar Soviet dramaturgy of the 1930s-1940s. The scholarly novelty consists in an attempt to identify the patterns of ideological and aesthetic development of the national stage literature of the studied period through the prism of invariant. To achieve the above goal, the following tasks were solved: a brief overview of the general trends in the development of Tatar drama in the 1930s-1940s was carried out; the main themes, features of the concept of the hero and the construction of the conflict of plays of the period under study were determined; the main ideological and aesthetic features of the Tatar Soviet dramaturgy of the 1930s-1940s are formulated. The results obtained indicate that the 1930s were characterized by the dogmatization of socialist realism as a single creative method, which determines the trends of further development of Tatar Soviet dramaturgy. The Tatar stage literature of the period under study mainly focuses on topics related to the collectivization of agriculture and industrialization of the country, the main idea of the plays is to call for the transformation of the country's life and the construction of a «bright future». Preference is given to the creation of a “new” Soviet hero – an idealized image of a selfless contemporary worker. Despite the complete exclusion of ethnic (national) problems from the field of view of Tatar dramaturgy, there are also very successful attempts of genre and poetic experiments, which were achieved through the authors' appeal to historical, folklore and ethnographic motives. Cultural-historical and hermeneutic methods were used as the main research methods.