The article analyzes ways of expression the duplicity conception embodied in four “Gogol” plays by Nikolai Kolyada. The author comes to the conclusion that the main means of creating the doubles in plays by Kolyada are the “pairing” of characters brought to their full identity, their multiple reduplication on the basis of placing them in equal situations and giving the same speeches, the establishment of the intertextual communications uniting intratextual and pretextual images. Following Nikolai Gogol in recognition the irreal and unnatural essence of the duplicity, reflecting generality of spiritual emptiness, Nikolai Kolyada “enlarges coordinates”, emphasizes totality of action of the chaos overturning and destroying the fundamental bases of life. Relying on the synthesis of romantic and postmodern traditions and also on the reconsideration of Gogol’s aesthetic-ideological model, the duplicity in plays by Nikolai Kolyada is beyond an ordinary art practice and becomes an important aspect of manifestation the original literary-philosophical system of the playwright.