The analysis of the first underestimated play of Alexander Vampilov «Farewell in June»
(1964) reveals various transformations of motives of temptation, test, a contract of a person with
the devil, and other complexes of motives. The path of the researcher’s understanding of the contemporary
characters is defined by the known models of behaviour. A variety of degrees
and forms of such models allows one to think about some relative independence of different
plotlines and polyphonic non-linear structure of a dramatic action. In such organisation of an action,
one can see the increasing importance of semantic correlation in perceiving consciousness
at metalevel of separate components, situations, vital behaviour along with relationships of cause
and effect (among the family, professional ones). An emotional perception with a catharsis at the
end of a classical drama succumbs in the case of «Farewell in June» to the comprehension
of a sufficiently complex system of action, the search for variants of interpretation of each character
separately and of the play as a whole. The found strategies of the organisation of action allowed
us to draw a conclusion that the first play of Vampilov as an author’s model of drama was an example of the nonclassical art paradigm. In the literary practice, such paradigm was expressed
through an epic drama long before it was comprehended.
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