This article discusses the stage presentation of Pushkin's tragedy «Boris Godunov» - both in terms of the director's interpretation and the particularities of acting. The emphasis is made on the episode «The inn on the Lithuanian border» and on some other scenes where the complex diversity of characters created by Pushkin is especially apparent. Almost every actor plays a double or even a triple role, carries one or more masks. The author's observations are supported by the experience of major Russian stage directors. While many directors looked for artistic solutions within the life-like, psychological theatre, «Boris Godunov» is a brilliant example of «conventional realism». The author believes that the best way to express the contradictory nature and the duality of Pushkin’s characters is a combination of the farcical, street theatre and the theatre of masks with the classical theatre.
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