The drama of M. Lermontov is the least studied area of his literary heritage. The images of the heroes of Lermontov's dramas have strong existential traits, and consideration of their ideological and artistic identity helps to better understand the ethical and philosophical problems creativity of the author and the peculiarities of their world perception. Thanks to the methods, theoretical and culturological and historical-comparative analysis, as well as biographical and semiotic becomes possible to trace the evolution of Lermontov existential character (this term should be understood not just a collective image of the main characters in the main drama of Lermontov’s works and historical-cultural type of personality, formed in his era and received its development in Russia from the mid-nineteenth century). From the drama to the drama of this image becomes complicated, and together with it become more complex and socio-cultural factors influencing it. From the classic laws of tragedy ‟Spanishˮ about the harsh times of the Middle Ages and romantic sublime image of Fernando, the author moves the action in his usual world of the Russian nobility society in dramas Menschen und Leidenschaften (‟People and passionsˮ) and ‟Strange peopleˮ. The internal conflict of the human person care Lermontov and Eugene Arbenin in ‟Masqueradeˮ already combines two faces Lermontov existential hero, considered separately through the images of Iurii and Aleksandr Radin’s in the drama ‟Two brothersˮ. Psychoanalysis, self-reflection, the internal contradictions inherent in Lermontov’s heroes, they raise questions of interrelations in the system of antithetical: life -death, man - God, good - evil, freedom - permissiveness, trying to determine the meaning of earthly human existence and overcome the fear of the tragedy of finitude of human existence. Filmmakers rarely turn to the drama of Lermontov, with the exception of Masquerade, which can be attributed to their non-conformity to conventional format of the theatrical repertoire. However, today's young people care about the same problems that Lermontov's characters, and the setting of the spectrum-she plays by Lermontov, where the characters are representatives of modern youth, capable of re-stitching the problem.