Keywords: script, protagonist, scriptwriter, character, classification


Aim. The aim of the research is to compare Konstantin Levin’s function in the film Anna Karenina(2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Kareninaby Leo Tolstoy and to determine how much his figure was changed in the film adaptation under the influence of the scriptwriter’s and director’s stance.

Methods. The subjects of the study were the film Anna Karenina (2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Karenina by Leo Tolstoy. They are analysed with the use of the theory of script writing, different types of character classifications and the text corpus analysis, taking into account the cultural, historical and economic features of scriptwriting and film production.

Results. The analysis shows that Konstantin Levin’s function of the second protagonist that is characteristic for the novel is further developed in the screenplay but is omitted in the film. The discrepancies with the source book and the screenplay are caused by the influence of the film director during the film production.

Conclusions. Even though the study considers the texts that are closely interrelated, the individual author’s stance influences the text of the screenplay so much that it gives us an opportunity to call Tom Stoppard, the scriptwriter, a writer in the full sense of the word.

Author Biography

EKATERINA Gurina, St. Tikhon Orthodox University, BMSTU, Russia

Senior lecturer at the Moscow State Technical University named after Bauman and a PhD student at the Department of Russian Literature at St.Tikhon Orthodox University in Moscow. Research interests: linguistics, philology, Russian literature, film adaptations, as well as the methodology of teaching English, the theory of translation. 


1. (2012). Anna Karenina. Retrieved June 01, 2018 from https://www.imdb.com/title/tt1781769.
2. (n.d). Anna Karenina. Retrieved June 01, 2018 from http://www.imdb.com/title/tt1781769/reviews.
3. Goscilo, H. (2001). Editors' Introduction. Studies In Slavic Cultures (SISC). University of Pittsburgh. (II, January). Retrieved from http://pitt.edu/~slavic/sisc/.
4. Idlis, Yu. (2006). Kategoria avtora v tekste stzenarnoy adaptatzyi, avtoreferat, [Author's category in the text of the scenario adaptation, synopsis] - the dissertation author's abstract on competition of a scientific degree of the Candi. Phil. Sci., Moscow: Moscow State University.
5. Leitch, Th. (2003). Twelve “Fallacies” in Contemporary Adaptation Theory. Criticism. 45 (2). 149–171.
6. Eckle, G. V. (2011). Storyboarding and Scriptwriting. AD210. (Spring). Retrieved from http://www.theviciouscircus.com/images/pdf/AD210/AD210-ScreenwritingHandout.pdf
7. Efremova, T. (2000). [Explanatory Dictionary of Russian]. what-means.rf / pavaEfremova TF. Explanatory Dictionary of Russian.
8. Levashova, O. (2001). K Voprpsy O Genezise «Strannogo» Geroya F.M. Dostoevskogo I V.M. Shukshina [To the Issue of Genesis of the "Strange" Character of F. Dostoevsky and V. Shukshin] Kul'tura I Tekst. Barnaul: Federal'noye gosudarstvennoye byudzhetnoye obrazovatel'noye uchrezhdeniye vysshego obrazovaniya «Altayskiy gosudarstvennyy pedagogicheskiy universitet». (6). p.p.41-52 cyberleninka. Retrieved June 12, 2018 from http://www. cyberleninka.ru›Грнти›…geroya-f-m-dostoevskogo.
9. Makoveeva, I.(2001). Cinematic Adaptations of Anna Karenina. Studies In Slavic Cultures (SISC). University of Pittsburgh, II/1. Retrieved from www.pitt.edu/~slavic/sisc/.
10. McRum,.R. (2012). Tom Stoppard: ‘Anna Karenina comes to grief because she has fallen in love for the first time. The Guardian, 02/10. Retrieved from http://www.theguardian.com/film/2012/sep/02/tom-stoppard-anna-karenina-tolstoy.
11. Oxford Advanced Learner's Dictionary. 7th edition. (2005). Oxford University Press.
12. Pevear, R., Volokhonsky, L. (2013). Anna Karenina. London. Penguin Classics.
13. Ray, R. (n.d.). Types of Heroes in Literature. StoryboardThat. Retrieved June 01, 2018 from http://www.storyboardthat.com/articles/e/types-of-heroes.
14. Schock, B. (1995). Intelligent Screenplay Development In Filmmaking. Screenwriting. (Jan 19). Retrieved from https://filmmakermagazine.com/58169-intelligent-screenplay-development/.
15. Solov'yev, V.(1990). Literaturnaya kritika...[Literary criticism]. Moscow: Sovremennik.
16. Stoppard, T. (2012). Anna Karenina. Retrieved June 12, 2018 from http://pages.drexel.edu/.../Screenplay-Anna_Karenina.pdf.
17. Tolstaya, S. A.(1978). Dnevniki [Diaries], (1). Moscow: Khudozhestvennaya literatura
18. Tolstoy, L. N. (2014). Anna Karenana. Sankt-Peterburg: Azbuka.
19. Wisehart, D. (2015). 9 Character Types That Will Improve Your Story. Retrieved from http://characterchange.com/9-character-types-that-will-improve-your-story/.
How to Cite
Gurina, E. (2018). “ANNA KARENINA”- T. STOPPARD VS. L. TOLSTOY. Journal of Education Culture and Society, 9(2), 218-225. Retrieved from https://jecs.pl/index.php/jecs/article/view/10.15503jecs20182.218.225