The article deals with the relationship between the event and the experiment in the plot structure of the Turgenev’s “studio” named “Knock... knock... knock!”, which has a direct relation to its genre specificity. It is proved that the event and the experiment are duplicated. On the one hand, the occasional knock, due to which the action is tied up, grows into narrator’s experiment on the main hero, on the other — the hero believes in the great event that guides him, and mathematically calculates his life according to the Napoleonic scheme. The function of the event in the “studio” proves to be more complicated than in the story: the random knocking, with which the action begins, is not in fact the main event, but it can reveal in the person the inner springs of his actions. The writer understands such a deed in “Knock... knock... knock!” as typically Russian suicide.