The essay focuses on the comparative analysis of the cinematographic works Tsareubiytsa (The Assassin of the Tsar, 1991) and Palata n. 6 (Ward number 6, 2009), directed from the well-known Russian filmmaker Karen Shakhnazarov (1952). Besides evident differences, the two films also show some affinities connected to the author’s style and vision. They are both inspired by A. P. Chekhov’s (1860-1904) famous tale Palata n. 6 (Ward number 6, 1892), and they may be considered as free contemporary adaptations of it. First of all, will be analyzed the elements that in each cinematographic transposition dialogue in a direct or mediated way with Chekhov’s text (among which screenplays, settings, social protest, role and psychological dimension of the main characters, gradual ambivalence between rationality and mental illness). Secondly, we will deepen on the aspects of Chekhov’s poetics that are re-interpreted in a current key with respect to the specific space-time context of the two films and of Russian culture. Finally, we will highlight some parallelisms and differences between the two works which are thickly linked to the nature of the intersemiotic dialogue with the original tale by Chekhov.
Dal testo allo schermo: Palata n. 6 e alcune sue riletture contemporanee
Ilaria Remonato
2022
Abstract
The essay focuses on the comparative analysis of the cinematographic works Tsareubiytsa (The Assassin of the Tsar, 1991) and Palata n. 6 (Ward number 6, 2009), directed from the well-known Russian filmmaker Karen Shakhnazarov (1952). Besides evident differences, the two films also show some affinities connected to the author’s style and vision. They are both inspired by A. P. Chekhov’s (1860-1904) famous tale Palata n. 6 (Ward number 6, 1892), and they may be considered as free contemporary adaptations of it. First of all, will be analyzed the elements that in each cinematographic transposition dialogue in a direct or mediated way with Chekhov’s text (among which screenplays, settings, social protest, role and psychological dimension of the main characters, gradual ambivalence between rationality and mental illness). Secondly, we will deepen on the aspects of Chekhov’s poetics that are re-interpreted in a current key with respect to the specific space-time context of the two films and of Russian culture. Finally, we will highlight some parallelisms and differences between the two works which are thickly linked to the nature of the intersemiotic dialogue with the original tale by Chekhov.
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