Kоммуникативные ресурсы новейшей драматургии русскоязычных авторов

Abstract

The monograph presents an analysis of communicative resources in contemporary and recent drama by Russian-speaking authors, conveyed from several perspectives: 1. The return of the contemporary and latest drama to literary and cultural tradition: dialogue with tradition and overcoming it. 2. The manifestation of the author’s voice, the voice of the characters, and the Voice functioning as a phenomenon in the text of the plays. The correlation of the resounding voices with the intentions of utterance contained in stage directions. 3. The mutual interpretation of iconic and verbal imagery. In contemporary and recent drama, the visualization of the realm of representation is seen as the driving force behind the action. 4. The performatization of the utterance in the contemporary and recent drama. The phenomenon of socio-cultural inclusion in texts and in their stage interpretations. 5. The discursive spheres of language and speech: aspects of thematization of concepts, computer vocabulary, and adolescent jargon. 6. The intermedia connections of the recent drama with opera understood as a cultural and emotional phenomenon and a form of art. The contemporary drama playwrights’ reference to the plots and emotiveness of the opera. The author of the monograph has investigated the poetics of utterance as a means of artistic communication in contemporary and recent drama by Russian-speaking playwrights. The processes of speech and thinking, expressed through various dramatic discourses, formed the object of scientific attention. The analysis of dramas revealed that the processes and forms of utterance become the basis of the action in the texts. The research encompasses the processes of self-identification of subjects of speech who express themselves by means of Voice and Voices. The interest in the grotesque subject allows contemporary playwrights to broaden the spectrum of the character’s personal consciousness, in particular, presenting the relationship Me-The Other in the realm of self-consciousness in particular. The analysis of a number of plays revealed that the description of a photographic image creates a special optics of vision, conferring on the texts internal dynamics that are characteristic of contemporary monodrama. The author of the study has researched the ways of modeling of personal self-consciousness in the process of virtual communication of the characters as well as their transformation on the Internet. The monograph proves that communication technologies (e.g., in the sphere of adolescent parties or socio-cultural inclusion) have become the basis of the plots in numerous contemporary plays about teenagers and intended for teenagers. The analysis also encompasses the role of concepts in creating a picture of the world in the speech of the characters of contemporary and recent drama. The interest in the speech features of the utterance in the plays determined the reference to the performative potential of the texts. The research comprised, in particular, the possibilities of gesticulation perceived as a means of communication between the characters and the reader/viewer. The current book focuses on contemporary and recent drama plays, that retain the reference to opera as a text and a form of art. The research points out that modern playwrights “challenge” both literary and musical tradition and canon. It also states that contemporary playwrights overcome the stereotypes and assessments which have developed in relation to classical works of culture. The monograph investigates some communicative strategies and tactics, as well as various subject-object phenomena in contemporary and recent drama by Russian-speaking authors, which enable the playwrights to present communication as an event of utterance in a play.