PLAY BEGINNING OF A. CHEKHOV’S VAUDEVILLES AGAINST THE ABSURDIST CONTEXT

Intertextual deconstruction empowers the author of the article to examine the phenomenon of literary play in A. P. Chekhov’s one-act dramatic pieces and its significance for the absurdist tradition. Chekhov’s intertext covers an abundance of national and world culture constituents, leaving the phenomenon of cultural and semantic polyphony responsible for cultural dialogue (including literary). It is parody that has become the writer’s favorite form of literary dialogue with plot inversion (inversion of meanings) being a type of it. The latter genetically relates A. Chekhov’s one-act plays to the absurdist drama of the XX century. The dialogue is built both with the cultural environment elements (for example, with other authors) and with the recipient. If the dialogue with the authors is determined by the countertext, then the one with the reader/viewer represents a semantic game, which is the key means of text absurdization at the intertextual level. The game engages the recipient into the text at the creative level, thereby indirectly breaking the fourth wall through the category of interactivity. A. Chekhov, flirting with the reader, draws the characters into the enchanted circle of the everyday life Chaos, where they experience total confusion and turmoil.