摘要：Сравниваются пьесы А. Вампилова «Прошлым летом в Чулимске» и У. Шекспира «Ромео и Джульетта», анализируются механизмы изменения сюжетной схемы, функции действующих лиц. В качестве художествен- ной стратегии писателя констатируется отказ от прямого следования логике известного сюжета, использование узнаваемых сюжетных ситуаций, деталей, реплик как исходных для инверсивного развития действия, противо- положной мотивации поведения героев. Это позволяет обосновать внутренние художественные причины воз- никновения второй (окончательной) редакции пьесы – с новым названием и изменением трагичного финала.
其他摘要：A comparative analysis of the following plays: Vampilov’s Last summer in Chulimsk and Shakespeare’s Romeo and Juliette is conducted. The relevance of the paper is defined by revealing of contextual connections of works of the domestic playwright with the world literature. This direction is intensively developing in modern literary criticism; on the one hand, it defines continuity of the creative search, on the other hand, it defines the individual creative manner of the writer and his or her creative tasks. The analysis of the transformation of a Shakespearean plot shows the possibilities of polysemantic interpretation of the play of the modern playwright. The author of the article considers mechanisms of change of the subject scheme about a young couple in love, functions of the characters, typology of images of the characters. Unlike the writers underlining the presence of “another’s plot”, Vampilov creates extremely realistic works. Nevertheless, the system of subject motives (confession of love, compelled parting, an intercepted note, undesirable matchmaking, duel of contenders etc.) allows us to reconstruct an initial Shakespearean plot in Vampilov’s play, to reveal literary implied sense. An art strategy of the writer is the refusal of the direct following to the logic of the known plot, the use of recognised plot situations, details, remarks as initial for inversion development of the action and opposite motivation of heroes’ behaviour. It allows us to prove the internal creative reasons of occurrence of the second (final) edition of the play – the play with the new name and change of the tragic ending.
关键词：отечественная драматургия 1970-х годов;литературный контекст;Шекспир;транс-формация сюжетной схемы
其他关键词：domestic drama of 1970-ies;the literary context;Shakespeare;transformation of the plot
