I. A. Bunin in contemporary Russian theater

The subject of the study in this article is the process and methods of transforming the prose texts of I. A. Bunin into dramatic works based on modern Russian theatrical productions. The focus is on the ways of adapting Bunin's prose for the stage, as well as the artistic and structural changes that arise when translating epic text into dramatic form. The analysis is carried out using the play by Olga Nikiforova "Dark Alleys. Several Stories About Love," directed by Oleg Rybkin at the Krasnoyarsk Drama Theater named after A. S. Pushkin. The reasons for the selection of material are examined; general patterns of staging prose in contemporary Russian theater, as well as specific dramaturgical and directorial techniques used in this particular production. The methodological basis of the research includes theoretical works by Yu. M. Lotman on the semiotics of theater, the concept of "the text of the performance" as a complex integral structure, as well as historical-typological methods that allow for the examination of the evolution of adaptations in the context of the development of Russian theater. The study employs elements of structural-semiotic and comparative analysis. The scientific novelty of the work lies in the analysis of the mechanisms of transforming Bunin's cycle into a dramaturgical text, based on material that has not previously been the subject of research. The article highlights and systematizes the main techniques used in staging Bunin's stories: the creation of a unified space as a framing structure that unites the plots; the introduction of recurring characters whose dialogue serves a compositional function; the adaptation of the author's narration and internal monologues into stories and dialogues; the use of the mythologeme of the ship to convey themes of exile, loss, and the impossibility of return; as well as the enhancement of theatrical expression (shouts, fights, gunshots) while carefully preserving Bunin's language. During the course of the research, it was found that the theater's interest in Bunin's prose is not due to a deficit of dramatic works, but to the objective processes of the development of stage language, the interaction of theater with literature and visual arts, as well as the search for new expressive means. In this case, the adaptation serves not as a mechanical transfer of the plot, but as a complex translation from the language of literature to the language of theater. The appeal to Bunin's texts remains in demand in contemporary theater due to their internal dramaturgy, psychological depth, and openness to directorial interpretations.