This book explores the genre of Russian tragifarce (an extreme form of tragicomedy) that emerged as a phenomenon in nineteenth- and twentieth-century Russian theater and drama, yet still remains an essentially uninvestigated literary and theatrical form in Western dramatic criticism. It traces the development of tragifarce in Russian theater, focusing on dramatic works written by Gogol, Sukhovo-Kobylin, Chekhov, Erdman, Bulgakov, and others, as well as theatrical productions staged by Vakhtangov and Meyerhold. This study emphasizes the dualistic character of this genre that embodies the ambivalent spirit of Russian culture and politics.