The Superplot for a story

The two-volume theatrical history of A.A. Chepurov, a well-known theatre critic, theatre historian, has a very ambitious title – “Theatrical superplot”. This name appeals not only to the well – known concept of a super task introduced into the theatre life by K. S. Stanislavsky, but also to philosophical works, especially to the books by Russian philosophers, who often addressed to one or another theatrical reality in their reflections. Literally in every paragraph of the two-volumed book by A.A. Chepurov, the author’s longing for science is felt, the desire for strictness of definitions, a scientific approach, the author’s willingness and ability to return to the conversations about the theatre in a scientific direction. Chepurov is a chronicler of the Alexandrinsky Theatre, of the acting, when he examines and talks about the “proportions” of performances, about “tiers” and complex and complexly constructed roles. And the author finds this complexity and beauty of the playing in different epochs and in different years of the life of the Alexandrinsky Theatre. A large place in the first part of the book is occupied by a super – plot called “Chekhov’s Revolution in Theatre”, most of which is connected with the famous and legendary plot – the failure of “The Seagull” on the stage of the Alexandrinsky Theatre. Among numerous Chepurov's merits, one of the most important is his long-term work to free from modern and later “layers” and distortions the history of the production, the first performance and the subsequent fate of “The Seagull” at the Alexandrinsky Theatre.