Abstract
The article focuses on one - the key, in the author’s opinion - aspect of the analysis of the modern dramatic work, which allows to demonstrate the peculiarities of the aesthetic function in the works belonging to this literary genus: the consideration of the principles of the organization of the playwright of the compositional and speech zone of the characters. It is this part of the dramaturgic discourse, leading in the content-conceptual plan and prevailing in the spatial relation, that is seen as the most significant for the interpretation of the play as a fact of verbal art with the unconditional consideration of the syncretic character of dramaturgic form. The relevance of this topic is due to the fact that, despite the significant success of modern philology in the study of the specifics of artistic speech, dramatic speech is still the least studied of its sphere. The purpose of research - analysis of dialogical spheres of contemporary plays versus not artistic dialogue and partly as a dialogue in prose, allowing you to set the number of features forming the identity of contemporary dramatic dialogue speech. The material for the observations was the play of the modern author E. Cherlak «Mortgage and Vera, her mother» (2011). In the interpretation of the materials used methods: observation, compositional, contextual and semantic-stylistic analysis. In addition, the conducted observations suggest that the analysis of the manifestations of aesthetic function in the works of drama should be carried out taking into account the textual nature of this compositional and speech sphere, as well as paying special attention to the author’s principles of its system organization, since this approach helps to identify not only the distinctive characteristics of dramatic speech, but also the features of the individual author’s handwriting of the playwright.
Highlights
The material for the observations was the play of the modern author E
The article focuses on one — the key, in the author’s opinion — aspect of the analysis of the modern dramatic work, which allows to demonstrate the peculiarities of the aesthetic function in the works belonging to this literary genus: the consideration of the principles of the organization of the playwright of the compositional and speech zone of the characters
It is this part of the dramaturgic discourse, leading in the content-conceptual plan and prevailing in the spatial relation, that is seen as the most significant for the interpretation of the play as a fact of verbal art with the unconditional consideration of the syncretic character of dramaturgic form
Summary
О своеобразии проявления эстетической функции в современном драматургическом дискурсе[1]. В публикации акцентировано внимание на одном — ключевом, по мнению автора, — аспекте анализа современного драматургического произведения, позволяющего наглядно продемонстрировать особенности реализации эстетической функции в произведениях, принадлежащих к данному литературному роду: рассмотрении принципов организации драматургом композиционно-речевой зоны персонажей. Ведущая в содержательно-концептуальном плане и преобладающая в пространственном отношении, часть драматургического дискурса видится наиболее значимой для интерпретации пьесы как факта словесного искусства при безусловном учете синкретичного характера драматургической формы. Помимо этого полученные результаты позволяют утверждать, что анализ проявлений эстетический функции в произведениях драматургии необходимо проводить с учетом текстового характера этой композиционно-речевой сферы, а также уделяя особое внимание авторским принципам ее системной организации, поскольку именно такой подход способствует выявлению не только отличительных характеристик драматургической речи, но и особенностей индивидуально-авторского почерка драматурга. Ключевые слова: эстетическая функция, художественный диалог, драматургический дискурс, персонаж, композиционно-речевая зона, речевая системность
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