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Gogol was one of the first to use the technique of the grotesque[citation needed], in works such as "The Nose", "Viy", "The Overcoat", and "Nevsky Prospekt". These stories, and others such as "Diary of a Madman", have also been noted for their proto-surrealist qualities. According to Viktor Shklovsky, Gogol's strange style of writing resembles the "ostranenie" technique of defamiliarization.[12] His early works, such as Evenings on a Farm Near Dikanka, were influenced by his Ukrainian upbringing, Ukrainian culture and folklore.[13][14] His later writing satirised political corruption in contemporary Russia (The Government Inspector, Dead Souls), although Gogol also enjoyed the patronage of Tsar Nicholas I who liked his work.[15] The novel Taras Bulba (1835), the play Marriage (1842), and the short stories "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich", "The Portrait" and "The Carriage", are also among his best-known works.

Gogol was born in the Ukrainian Cossack town of Sorochyntsi,[18] in the Poltava Governorate of the Russian Empire. His mother was descended from Leonty Kosyarovsky, an officer of the Lubny Regiment in 1710. His father Vasily Gogol-Yanovsky, who died when Gogol was 15 years old, was supposedly a descendant of Ukrainian Cossacks (see Lyzohub family) and belonged to the 'petty gentry'. His father wrote poetry in Ukrainian as well as Russian, and was an amateur playwright in his own theatre. As was typical of the left-bank Ukrainian gentry of the early nineteenth century, the family spoke Ukrainian as well as Russian. As a child, Gogol helped stage plays in his uncle's home theater.[19]

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Between 1832 and 1836, Gogol worked with great energy, and had extensive contact with Pushkin, but he still had not yet decided that his ambitions were to be fulfilled by success in literature. During this time, the Russian critics Stepan Shevyrev and Vissarion Belinsky, contradicting the earlier critics, reclassified Gogol from a Ukrainian to a Russian writer.[19] It was only after the premiere of his comedy The Government Inspector (Revizor) at the Alexandrinsky Theatre in St. Petersburg, on 19 April 1836,[25] that he finally came to believe in his literary vocation. The comedy, a satire of Russian provincial bureaucracy, was staged thanks only to the intervention of the emperor, Nicholas I. The Tsar was personally present at the play's premiere, concluding that "there is nothing sinister in the comedy, as it is only a cheerful mockery of bad provincial officials."[26]

In April 1848, Gogol returned to Russia from a pilgrimage to Jerusalem and passed his last years in restless movement throughout the country. While visiting the capitals, he stayed with friends such as Mikhail Pogodin and Sergey Aksakov. During this period, he also spent much time with his old Ukrainian friends, Maksymovych and Osyp Bodiansky. He intensified his relationship with a starets or spiritual elder, Matvey Konstantinovsky, whom he had known for several years. Konstantinovsky seems to have strengthened in Gogol the fear of perdition (damnation) by insisting on the sinfulness of all his imaginative work. Exaggerated ascetic practices undermined his health and he fell into a state of deep depression. On the night of 24 February 1852, he burned some of his manuscripts, which contained most of the second part of Dead Souls. He explained this as a mistake, a practical joke played on him by the Devil.[citation needed] Soon thereafter, he took to bed, refused all food, and died in great pain nine days later.

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It stunned Gogol when some critics interpreted The Government Inspector as an indictment of Tsarism despite Nicholas I's patronage of the play. Gogol himself, an adherent of the Slavophile movement, believed in a divinely inspired mission for both the House of Romanov and the Russian Orthodox Church. Like Fyodor Dostoyevsky, Gogol sharply disagreed with those Russians who preached constitutional monarchy and the disestablishment of the Orthodox Church. Gogol saw his work as a critique that would change Russia for the better.[42]

Gogol's impact on Russian literature has endured, yet various critics have appreciated his works differently. Belinsky, for instance, berated his horror stories as "moribund, monstrous works", while Andrei Bely counted them among his most stylistically daring creations. Nabokov especially admired Dead Souls, The Government Inspector, and "The Overcoat" as works of genius, proclaiming that "when, as in his immortal 'The Overcoat', Gogol really let himself go and pottered happily on the brink of his private abyss, he became the greatest artist that Russia has yet produced."[47] Critics traditionally interpreted "The Overcoat" as a masterpiece of "humanitarian realism", but Nabokov and some other attentive readers argued that "holes in the language" make the story susceptible to interpretation as a supernatural tale about a ghostly double of a "small man".[48] Of all Gogol's stories, "The Nose" has stubbornly defied all abstruse interpretations: D.S. Mirsky declared it "a piece of sheer play, almost sheer nonsense". In recent years, however, "The Nose" became the subject of several postmodernist and postcolonial interpretations.

This Christmas, 176 years after the story was first published, the Johnson City Community Theatre is producing my big cast version of a Christmas Carol from Thursday, December 5th to Saturday, December 22nd. The production is being directed by Melanie Yodkins and stars Tom Sizemore as Ebenezer Scrooge. I connected with Melanie and Tom early in November to talk with them about the Johnson City Community Theatre and the production of the play.

No pun intended. I literally only have them walking across the stage and they light the lamps in the street scenes. Andrew is definitely not old enough to handle much more than that. My husband and I actually met on that stage six years ago. We met and fell in love. We were doing a Christmas play, and we started dating on December 18th. We were married less than two years later. And just before our third wedding anniversary, Andrew was born and now he gets to perform on the same stage.

Marceau also created several mime-dramas, including Mort avant l'aube (1947) and Le Manteau (1951), based on Gogol, and several pantomimes. His Don Juan was produced at the Théâtre de la Renaissance in Paris (1964) and the ballet Candide at the Hamburg Opera House (1971). Other notable performances included Jardin public (1949), in which he played ten characters. In 1978 he founded the École de Mimodrame de Paris at the Théâtre de la Porte-Saint-Martin, but he remained mostfamous for his solo mimes, of which he sometimes gave three hundred performances a year. His publications include L'Histoire de Bip.

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The Government Inspector, also known as The Inspector General, is a satirical play by the Russian and Ukrainian dramatist and novelist Nikolai Gogol. Based upon an anecdote allegedly recounted to Gogol by Pushkin, the play is a comedy of errors, satirizing human greed, stupidity, and the extensive political corruption of Imperial Russia.

There is not a wrong word or intonation from beginning to end, and the comic tension is of a quality that even Gogol did not always have at his beck and call. The dream-like scenes of the play, often mirroring each other, whirl in the endless vertigo of self-deception around the main character, Khlestakov, who personifies irresponsibility, light-mindedness, absence of measure. He is full of meaningless movement and meaningless fermentation incarnate, on a foundation of placidly ambitious inferiority.