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Being located at the center of the Western canon, as Harold Bloom reminds us, “William Shakespeare” has long become one of its most viable cultural myths. At the turn of the centuries Shakespeare — not solely as a great artist, but also as an active “initiator of discursive practices”, to use Foucault’s diction, — still remains a powerful presence exerting strong impact upon the manner in which Western habits of thought theorize the most fundamental categories of being. In postmodern period disseminated Shakespearean ‘text’, including his scholarly and fictional biographies, plays a visible part in global culture, both in its ‘high’ and ‘low’ varieties. The paper explores strategies deployed by the American dramatist Don Nigro in his “imaginative biography” (L. Edel, I. Schabert) of Shakespeare — the fantasy play “Loves Labours Wonne” (1981/1995) examined within the framework of popular biographic subgenre ‘the author as character’ (P. Franssen, T. Hoenselaars, A. Fokkema, M. McKeon and others). D. Nigro’s Shakespeareana in its totality has at its core the category of theatricality in its broadest meaning — from the stage per se to human life and further — to the Universe, equating artist/dramatist to demiurgic God. It is argued that while the play sets out to deconstruct the traditional myth of Shakespeare as a Poet par excellence inherited from the epoch of Bardolatry, Nigro substitutes in its place his own myth of ambivalent and tortured Creator torn apart, Orpheus-like, between his humanity and divinity.

Де/ремифологизация образа Шекспира как драматического персонажа в биографической фантазии Дона Нигро «Успешные усилия любви»