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The relevance of the article is based on the fact that over the past decades of the XXI century it has become the urgent need in philology to examine innovative methods, stylistic decisions, new narrative strategies used by the poet, writer, publicist, aesthete and philosopher Andrey Bely (1880–1934) in his last (Soviet) working period. The article considers the issue how in the 30s of the XX century Andrey Bely, being under the great influence of V. Meyerhold’s experimental theater, turned the first and second chapters of the novel “Moscow” (“The Moscow Eccentric” and “Moscow under Siege”) into the drama “Moscow” which wasn’t on the stage. A question is raised about Andrey Bely’s innovation as a playwright and some methods of the stage performance of the play “Moscow” are identified in the article. Special attention is paid to the locus of the house in the novel and drama, the question of transformation is raised: from the closed, protected, inner and personal space to the opened, hostile, unlocked one where hostile and mystic forces invade. The fight between two main antagonists — Korobkin, a scientist, and Mandro, a spy — is given in a wide mythological, christian and antroposophical context. The author of the article presents her many years experience on various approaches to understanding of not fully researched works (novel and play “Moscow”) by Andrey Bely.

The locus of the house and images of the main characters in the play “Moscow” by Andrey Bely: towards a problem statement