Авторские жанровые обозначения в татарской драматургии рубежа XX–XXI вв.

Fatyma Kh.  Minnullina

doi:10.25178/nit.2025.3.8

Authors

Fatyma Kh. Minnullina G. Ibragimov Institute of Language, Literature, and Art, Tatarstan Аcademy of Sciences https://orcid.org/0000-0002-8633-5850

DOI:

https://doi.org/10.25178/nit.2025.3.8

Keywords:

Tatar drama; Tatar culture; Tatar theater; authorial genre; intergenre; theatrical experiment

Abstract

This article presents an analysis of authorial genre classifications in Tatar drama at the turn of the 20th–21st centuries. This period was marked by significant transformations in the socio-political and socio-cultural life of Russian society. Tatar drama of this era is distinguished by playwrights’ quest for new literary forms, genres, characters, and plots, as they endeavor to express their authorial concepts.

The primary sources of this research are plays by Tatar playwrights written during the specified time frame. A typology of genre classifications in Tatar drama at the turn of the 20th–21st centuries is offered based on the examined works.

It is concluded that the emergence of new (authorial) genre labels for plays is not coincidental but rather represents a form of expressing the creative worldview and perception of Tatar playwrights. Drama of this period is characterized by an interweaving of styles and directions, a diversity of authorial approaches to perceiving the world, and active experimentation with elements of form and content. Synthesis is considered a key vector in the development of Tatar drama, serving as a transitional stage from traditional to new artistic and aesthetic thought.

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