Question: What role did Georgy Burdzhalov play in the play listed by Harold Bloom as Shakespeare's great comedies?

Context articles: Infobase Publishing
Georgy Burdzhalov
School of Resentment
Harold Bloom
The American Religion
Suddenly Last Summer
The Merchant of Venice
The Anxiety of Influence
The Flight to Lucifer
David Bevington

Infobase Publishing is an American publisher of reference book titles and textbooks geared towards the North American library, secondary school, and university-level curriculum markets.
 Infobase operates a number of prominent imprints, including Facts On File, Films for the Humanities & Sciences, Cambridge Educational, Chelsea House (which also serves as the imprint for the special collection series, "Bloom's Literary Criticism" under the direction of literary critic Harold Bloom), and Ferguson Publishing.
Georgy Sergeyevich Burdzhalov (Russian: Георгий Сергеевич Бурджалов , born "Бурджалян", Бурджалян; 14 April 1869, Astrakhan, Russian Empire, — 10 December 1924, Moscow, Soviet Union) was an Armenian Russian stage actor and theatre director, associated with Moscow Art Theatre, where he played, in all, 38 parts, including the acclaimed Mikhaylo Golovin ("Tsar Fyodor Ioannovich", A.K. Tolstoy, 1898), The Wood Demon ("The Sunken Bell", Gerhart Hauptmann, 1898), Launcelot Gobbo ("The Merchant of Venice", William Shakespeare, 1898), Kadushkin ("Men Above the Law", Alexey Pisemsky, 1898), Tatishchev ("The Death of Ivan the Terrible", A.K. Tolstoy, 1899).
School of Resentment is a term coined by critic Harold Bloom to describe related schools of literary criticism which have gained prominence in academia since the 1970s and which Bloom contends are preoccupied with political and social activism at the expense of aesthetic values.
Harold Bloom (born July 11, 1930) is an American literary critic and Sterling Professor of Humanities at Yale University.
 Since the publication of his first book in 1959, Bloom has written more than forty books, including twenty books of literary criticism, several books discussing religion, and a novel.
 He has edited hundreds of anthologies concerning numerous literary and philosophical figures for the Chelsea House publishing firm.
 Bloom's books have been translated into more than 40 languages.
The American Religion: The Emergence of the Post-Christian Nation (1992; second edition 2006) is a book by literary critic Harold Bloom, in which he covers the topic of religion in the United States from a perspective which he calls "religious criticism".
 Religious denominations Bloom discusses include The Church of Jesus Christ of Latter-day Saints, Christian Science, the Seventh-day Adventist Church, Jehovah's Witnesses, and the Southern Baptist Convention.
Suddenly Last Summer is a one-act play by Tennessee Williams.
 It opened off Broadway on January 7, 1958, as part of a double bill with another of Williams' one-acts, "Something Unspoken" (written in 1958).
 The presentation of the two plays was given the overall title "Garden District", but "Suddenly Last Summer" is now more often performed alone.
 Williams said he thought the play "perhaps the most poetic" he had written, and Harold Bloom ranks it among the best examples of the playwright's lyricism.
The Merchant of Venice is a 16th-century play by William Shakespeare in which a merchant in Venice must default on a large loan provided by an abused Jewish moneylender.
 It is believed to have been written between 1596 and 1599.
 Though classified as a comedy in the First Folio and sharing certain aspects with Shakespeare's other romantic comedies, the play is perhaps most remembered for its dramatic scenes, and it is best known for Shylock and the famous "Hath not a Jew eyes?"
 speech.
 Also notable is Portia's speech about "the quality of mercy".
 Critic Harold Bloom listed it among Shakespeare's great comedies.
The Anxiety of Influence: A Theory of Poetry is a 1973 book by Harold Bloom.
 It was the first in a series of books that advanced a new "revisionary" or antithetical approach to literary criticism.
 Bloom's central thesis is that poets are hindered in their creative process by the ambiguous relationship they necessarily maintained with precursor poets.
 While admitting the influence of extraliterary experience on every poet, he argues that "the poet in a poet" is inspired to write by reading another poet's poetry and will tend to produce work that is in danger of being derivative of existing poetry, and, therefore, weak.
 Because poets historically emphasize an original poetic vision in order to guarantee their survival into posterity (i.e., to guarantee that future readers will not allow them to be forgotten), the influence of precursor poets inspires a sense of anxiety in living poets.
 Thus Bloom attempts to work out the process by which the small minority of 'strong' poets manage to create original work in spite of the pressure of influence.
 Such an "agon", Bloom argues, depends on six revisionary ratios, which reflect Freudian and quasi-Freudian defense mechanisms, as well as the tropes of classical rhetoric.
The Flight to Lucifer is a 1979 book by the American literary critic Harold Bloom.
 His only novel, it was composed as a sequel to the David Lindsay 1920 novel "A Voyage to Arcturus", which supplied the concept of a voyage through space to a distant planet created by a demiurge, and a few other incidental features of the book.
 However, most of its content derives fairly directly from Gnosticism, which Bloom had studied.
David Martin Bevington (born May 13, 1931) is an American literary scholar.
 He is Phyllis Fay Horton Distinguished Service Professor Emeritus in the Humanities and in English Language & Literature, Comparative Literature, and the College at the University of Chicago, where he has taught since 1967, as well as chair of Theatre and Performance Studies.
 "One of the most learned and devoted of Shakespeareans," so called by Harold Bloom, he specializes in British drama of the Renaissance, and has edited and introduced the complete works of William Shakespeare in both the 29-volume, Bantam Classics paperback editions and the single-volume Longman edition.
 Bevington remains the only living scholar to have personally edited Shakespeare's complete corpus.