«При помощи вещей»: сюжет как rebus в новейшей драме

Abstract

This paper describes the ways in which images of things are shown in the modern Russian drama. We will consider some aspects only: we’ll raise the question whether it is possible to speak about things as categories of the art world if we apply literary definitions to the latest drama. We’ll note that the thing is inevitably understood as a realism term – a concept which demands a new scientific reflection. Realism as an anthropological category in art, is first of all trust to the world, it is judgment of the world in steady, clear categories. In realism the thing seeks to become an idea. Realism gains other lines when thirst for reality through virtuality which surrounds us is felt. The experience of the new drama authors is interesting, because they are involved in the creation of media products, and in virtuality. They became media characters, and it is difficult to estimate their creativity out of a context of the modern media environment. The question is not in conscious use of a subject, but in the programmed projection of the reader’s consciousness. Only a dramatic definition: thing – is not only involvement of the subject world into the action, but it passes into an independent figurative layer. In this paper there are observations about the poetics of N.Sadur, A.Stroganov, Y.Klavdiev, and other Russian playwrights. It is possible to raise a question of importance of the transformation of fantastic (including fairy tale) and detective elements, cinema visualization as receptions of a handiwork and of possible changes of the drama texts. The detective intrigue and proof- detail are understood as mechanisms of a problematization of semiotics space of the play. Various authors show different strategies of development of an image of thing, its different anthropological measurements: from refined and mannerist dramatic “still lifes” (A.Stroganov), detective plots to fixing of the documentary fact and chronicles (N. Kolyada, V. Levanov). Things become deceptive. They aren’t present or they can be present only theatrically. Theatrical illusion resists media illusion, and theatrical illusion appears more “real”. Many art experiments of modern Russian playwrights in most respects revive naturalism experience (the positivistic theater of life, things and documents, movement of a look on subject and real environment appears in a priority).