I began working on this article in the winter of 2022, when Russia's invasion of Ukraine shattered the fragile stability of Europe. Artur Solomonov's tragifarce How We Buried Josef Stalin (2019) speaks directly to this catastrophic time but also to the legacy of Stalinism in Russia. ‘A play about flexibility and immortality’, Solomonov's farce confronts its audience with the dilemma of Stalinism, which Putin's putrid regime continues to mobilize. Using irony, hyperbole and grotesque, it proposes a dramaturgical response to the question of why hostility to the world, isolationism and nationalistic aspirations are deeply ingrained in the collective psyche of Russian society. To Solomonov, the issue rests in the malleability of a Russian psyche that embraces an image of the tyrant and allows it to remain immortal; it also feeds Russian collective nostalgia, which prepared the ground for the rise of what Lev Gudkov called ‘recurring totalitarianism’.

中文翻译：

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“斯大林死了，但没有完全死”：论极权主义灾难的戏剧遗产

我从 2022 年冬天开始写这篇文章，当时俄罗斯入侵乌克兰打破了欧洲脆弱的稳定。阿图尔·索罗门诺夫的悲剧我们如何埋葬约瑟夫·斯大林（2019）直接谈到了这个灾难性的时刻，也谈到了俄罗斯斯大林主义的遗产。“一部关于灵活性和不朽的戏剧”，所罗门诺夫的闹剧让观众面临斯大林主义的困境，而普京腐败的政权继续煽动斯大林主义。它利用讽刺、夸张和怪诞的方式，对为什么对世界的敌意、孤立主义和民族主义愿望在俄罗斯社会的集体心理中根深蒂固这一问题提出了戏剧性的回应。对所罗门诺夫来说，问题在于俄罗斯人心理的可塑性，他们接受暴君的形象并使其永垂不朽。它还助长了俄罗斯的集体怀旧情绪，为列夫·古德科夫所说的“反复出现的极权主义”的崛起奠定了基础。