Abstract

The problem of studying the evolution of ironical element in literature is crucially important and relevant. This article deals with the ironical style in dramaturgy, owing to the fact that it is founded on the element of game intrinsic to irony. The rhetoric figure of pretension (eironeia), from which the mentioned kind of comical had initiated, conditions the main object for this research — «a theatre within a theatre», or «a stage within a stage». Two-dimensional setting of the action (both in formal and substantial aspects) serves as an impetus for development of an ironic style not only in a play, but also in any possible generic modifications of this structure. In other words, an array of literary works shares the same artistic code, upon being included into the single play. Therefore, the main formal factor in this case is «a rehearsal», on which either an entire play or its part gets based. Actually, the studies of «a stage within a stage» in Ukrainian literature remain relevant nowadays. Regarding the history of national dramatic art, it can be said that there were few «rehearsal plays» and «show plays» in Ukraine for the time being; works like «Spokusy nesviatogo Antona (Temptations of Unholy Anthon)» by Ihor Kostetsky, «Kain (Cain)» by Olha Kyrylova and «Tsyrk zhyttia nashogo (The Circus of Our Life)» by Svitlana Leliukh are the updated epitomes of this genre. On the other hand, it is quite interesting to search for plays with traces of «a stage within a stage», since the functions of this means go far beyond the typical derision of internal theatrical drawbacks and intrigues. Having emerged as a reflection of the theatrical scene, «a stage within a stage» can evolve in any closed and open space. Significantly, this symbolizes the movement towards the event elements of theatrical action itself; however (when it comes to a high-quality artistic work), in case of showing some extraordinary events that set up acute conflicts either to be solved or remain open during the action.

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