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A comedy in two acts.
It is a thematic development rather than an adaptation based on Ukrainian writer Gogol's short stories "The Nose", "The Overcoat" and "The Carriage", which are combined into a single comic play with an erotic touch, in which the fall of the Nose is accompanied by the collapse of the Russian aristocracy during the 1917 revolution, and many Russian figures such as Lenin, Rasputin, Gogol, Pushkin and others are mentioned in the work.
It is called "Moliere's version" because it is the closest, most similar in writing style to Moliere's comedy ever written in the history of the theater. In this play, Bedrettin has twisted Moliere's classical style with the modern, dreamlike and surreal style of American filmmaker David Lynch to create a comedy based on a distorted reality, or in other words, on the nightmarish renditions of reality, which is something very "Lynchian".
It is a thematic development rather than an adaptation based on Ukrainian writer Gogol's short stories "The Nose", "The Overcoat" and "The Carriage", which are combined into a single comic play with an erotic touch, in which the fall of the Nose is accompanied by the collapse of the Russian aristocracy during the 1917 revolution, and many Russian figures such as Lenin, Rasputin, Gogol, Pushkin and others are mentioned in the work.
It is called "Moliere's version" because it is the closest, most similar in writing style to Moliere's comedy ever written in the history of the theater. In this play, Bedrettin has twisted Moliere's classical style with the modern, dreamlike and surreal style of American filmmaker David Lynch to create a comedy based on a distorted reality, or in other words, on the nightmarish renditions of reality, which is something very "Lynchian".
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