Drama principles of the Swedish comedy of J. Messenius in Russian plays of 1670s (on the example of the plays of J.G. Gregory and G. Hufner)

The article examines the possibility of Russian-Swedish literary relations in the second half of the 17th century on the example of plays by J. Messenius, J.G. Gregory and J. Hüfner. In the era of the reign of Alexei Mikhailovich, RussianSwedish diplomatic relations are entering in an active phase. Swedish diplomats become witnesses of the first performances in Russia, of which reports we can learn about the formation of the Russian theater. On the example of the literary structure of the plays of leaders from the German Quarter in Moscow, Johann Gottfried Gregory and George Hüfner (Artaxerxes Action in 1672 and Temir-Aksakovo Action in 1675) and the dramatic heritage of the Swedish historian and dramatist of the early 17th century. Johannes Messenius (Disa in 1611, Blanckamäreta in 1614) one can reveal a number of common signs characteristic of Swedish and Russian drama of the 17th century. In plays by Messenius and Russian playwrights of German origin, there is a similar construction of prologues combining traditional appeal to the audience, a brief retelling of the content and an emphasis on the instructive nature of the performance for the viewer. The principle of historicism (historical analogy) allows authors to connect legendary events with modernity. Swedish and Russian drama of the 17th century contains a common understanding of the dramatic form as a comedy or entertaining action, regardless of the genre division of the plays. Consideration of the first Russian plays in the context of Scandinavian dramatic art makes it possible to talk about the Northern European theater of the 17th century and the formation of early Russian drama in the last third of the 17th century