ЛИМИНАЛЬНАЯ НАРРАТОЛОГИЯ ДРАМАТУРГИИ АЛЕКСЕЯ СЛАПОВСКОГО

Abstract

In the dramaturgical work of A. Slapovsky, realistic and unrealistic artistry is synthesized, revealed in a wide representational field of various stadium states and situations. At the same time, the balance between the different semantic and emotional components of the studied poetics is clearly visible. Heterogeneity of motivation and plot, “simultaneity” of characters, recursiveness of chronotope are signs of liminal narratology of A. Slapovsky. All the plays of the book “The Truest Love” are classified by the playwriter himself – “plays for large theaters” and “plays for small theaters” – which is due to their duration. However, it is the ambiguity and a certain illusory nature of what is happening on the stage that seems important. The material for this research is the play “The Poor Millionaire”, characterized by deliberate schematism and determinism. The unity of the “liminal” multicomponence is achieved, among other things, by the introduction of the integrating action of the leading character, which becomes an element of the paratext with the corresponding coordinating functionality and is usually correlated with the figure of the author. The general idea of isomorphism of language, text and the world in the process of analysis suggests the idea of a possible project comparison of representational systems of different, but related, dramatic epochs. Slapovsky’s oeuvre as a phenomenon is characterized by a complex of liminality in its binary, discrete and, at the same time, heterogeneous artistry. This complex correlates with the narratology of the image, with characterology, the study of which leads the author to generalizations of universal significance.