Abstract

I should like to begin with something that has been spoken of more than once in today's discussion: that actually no one in the audience remains indifferent to Dvoretskii's play. When I try to understand the reason for the success of that play, I explain it to myself very roughly, and not at all in terms of scientific principles in the study of literature, by saying that Dvoretskii's play is not a work of illustration but one that tackles a problem and touches upon acute and important questions that many had not thought about previously. Naturally, these problems are not by any means confined to some single factory in Leningrad. They arise everywhere, including in research institutions, about which I am in some position to judge. The arrival of "a man from outside" or of "people from outside" almost always creates a dramatic situation. People are carriers of specific traditions and ideas, and in conflicts among human beings, a genuine creative artist can detect those really existing in contemporary society