Transformation of the Vaudeville Genre in the Screenplay by G. Gorin and E. Ryazanov for "Say a Word for the Poor Hussar"

Abstract

The paper analyzes the screenplay for Say a Word for the Poor Hussar co-written by Grigori Gorin and Eldar Ryazanov. The author examines the peculiarities and synthetic nature of screenplay as genre. The difference between the ending of the film and of the original text is emphasized. The author explains why «play-within-a-play» device becomes central for the screenplay’s structure. The main action develops according to the classical scheme of the XIX century vaudeville plot. The main characters are stock characters, or «types» – the lovers, one of whom is an actress, her father, a leading actor of a travelling theatre, and a villain with a «speaking» name, who is also a satirical character. Special emphasis in the analysis is placed on actor Bubentsov, who, while playing a «rebel», starts to fight for social justice and stops being a stock character, a mask. Social and moral issues, satirical underlying idea, and a tragic ending modify the classical vaudeville genre, but the screenplay does not become a melodrama due to the traditional humorous vaudeville-based plot.