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NADINE NATOV Theatrical Novel NADINE NATOV Theatrical Novel: Bulgakov's Tragicomic Vision of his Theatrical Career Mikhail Bulgakov's life-long attachment to the theater found its ultimate expression on the day of his burial. On 10 March 1940, Bulgakov died at home at the age of forty-nine. On 12 March the coffin containing his body was car- ried to the Moscow Art Theatre and the Bol'shoi Opera-and the actors came out to take leave of the late playwright and their colleague. The body was cre- mated and buried at Novodevichie cemetery in Moscow. The route chosen for the funeral cortege confirmed symbolically Bulgakov's love for the theater, especially for the Moscow Art Theater, and his dedication to the theatrical arts. In 1937, Bulgakov had to leave the Art Theater; but even after his death he remained spiritually and artistically affiliated with this theatre, with his plays and his protagonists. Liubov' E. Belozerskaia, Bulgakov's second wife who witnessed his first theatrical successes as well as the 1929-30 ostracism to which he was subjected by authorities and censors, remarked: "When Glinka used to say 'Music is my soul!' Bulgakov would say 'Theater is my soul!"'1 Indeed, Sergei Maksudov, the protagonist of Bulgakov's penultimate work-his Theatrical Novel, said during his first visit to the Art Theater, when he was immediately captivated by the mystery of theater life: "This world is my own."2 Maksudov aptly ex- pressed the convictions of the playwright Bulgakov, his creator, who entrusted him with some of his own ideas, and emotions, and shared with him his actual experiences. Theatrical Novel was begun in 1936 and put aside in the fall of 1937 when its author decided to concentrate on his major work The Master and Margarita. Compared with the numerous critical reviews and articles dealing with The Master and Margarita and such plays as The Days of the Turbins and Flight, the Theatrical Novel has received, until now, only limited analysis and criti- cism. The opinions of the critics varied-some praised the Theatrical Novel as an extremely witty work, some underestimated its complex meaning and structure, while others tended to minimize the bitter and sarcastic nature of 1. L. E. Belozerskaia-Bulgakova, 0, med vospominanii (Ann Arbor: Ardis, 1979), p. 45. 2. Mikhail Bulgakov, Teatral izyi roman. Izbrannaia proza (Moscow: Khudozhestven- naia literatura, 1966), p. 542. this perplexing work.3 However, this short novel deserves greater attention and a more detailed analysis. This work presents a masterly combination of various narrative elements: a hidden autobiographical confession and a broad picture of theater morals and manners intermingle with the eternally romantic story of a young writer doomed to failure-a story which blended a touch of splendid humor with bitter sarcasm. An analysis of the horizontal and vertical structures of this work helps to reveal the diverse elements of its cultural and historical background, as well as the tragicomic situation of an enthusiastic young playwright-a novice in theatrical life and activities. Through his naive complaints the voice of an experienced and embittered author can be fre- quently detected. In his brief official "Autobiography" written on 20 March 1937, Bulgakov enumerated the most important dates of his twelve-year affiliation with the Moscow Art Theater-from October, 1925 to 15 September 1937.4 It began 3. Vladimir Lakshin praised the novel as "a vivid sketch of literary and artistic Mus- covite morals and customs of the 1920's, an amiable parody and a clever satire." "0 proze Mikhaila Bulgakova i o nem samom," ibid., p. 35. Vasilii Toporkov, the second interpreter or Captain Myshlaevskii in The Days of the Turbins, also praised the novel and revived the image of Bulgakov as he knew him in the Art Theater. He said that with the sharp eye of a satirist, Bulgakov "plucks from the thicket of events all the comedy which always accompanies the contrasts and paradoxes of real life." "0 'Teatral'nom ro- mane' Mikhaila Bulgakova," Novyi mir, No. 8 (1965), p. 68. A. Colin Wright seems to have underestimated the scope and meaning of Bulgakov's brilliant satire: he said that this book "leaves one with a sense of uncertainty about its basic purpose." Mikhail Bulgakov: Life and Interpretation (Toronto-Buffalo-London: Univ. of Toronto Press, 1978), p. 232. Ellendea Proffer emphasized the sarcasm of the Theatrical Novel; while republishing an excerpt from Bulgakov's letter to Pavel S. Popov, she comments: "This letter to Popov indicates clearly the frame of mind Bulgakov was in when he wrote Theatrical Novel, in which Stanislavsky and his method are satirized. The novel was be- gun in 1936; the letter shows that it was not 'smiling' satire." "Mikhail Bulgakov: Docu- ments for a Biography," Russian Literature Triquarterly, No. 7 (Fall 1973), p. 470. Michael Glenny also stressed the sarcastic aspect of the novel: "... with its subject-matter antedated by ten years to his debut as playwright, Black Snow is Bulgakov's revenge on Stanislavsky for the failure of Moliere" and that, for this purpose, "like all great ironists Bulgakov exaggerates and distorts." "About Mikhail Bulgakov, his Novel, the Moscow Art Theater and Stanislavsky," in Mikhail Bulgakov, Black Snow: A Theatrical Novel (Harmondsworth: Penguin Books, 1971), pp. 11-12. Pavel A. Markov, the head of the Art Theater literary section, attributed Bulgakov's sarcastic and hyperbolic description of the Art Theater's organizational defects to the difficult task of being a theater author. Markov stressed that "Bulgakov's romance with the Art Theater was the romance of his life," and said that several times he and his colleagues in the Theater had listened with pleasure to Bulgakov's extremely expressive reading of his Theatrical Novel. P. A. Mar- kov, "Iz vospominanii: vstrechi s dramaturgami," in V Khudozhestvennom Teatre: Kniga zavlita (Moscow: Vserossiiskoe teatral'noe obshchestvo, 1976), pp. 231-32. 4. Mikhail Bulgakov, "Avtobiograffiia," Sovetskie pisateli: Avtobiografii (Moscow: Khudozhestvennaia literatura, 1966), pp. 86-87. .
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