Stage Direction Role in M. I. Tsvetaeva’s Romantic Plays: Semantic, Functional and Pragmatic Aspects

Evgeniya Leonidovna Pupysheva,Alyona Alexandrovna Ivygina

doi:10.5539/ass.v11n8p225

Abstract

A stage direction as a special kind of paratext gets a special refraction in the plays by Marina Tsvetaeva: it is a kind of the author’s mise en scène direction. The article focuses on semantic, pragmatic and functional analysis of stage directions in the romantic plays “Blizzard” (“Metel”) and “Jack of Hearts” (“Chervonniy Valet”) by Marina Tsvetaeva. The authors draw particular attention to examining the pragmatic function of inter-connective, prepositional and inter-positional remarks in the analyzed plays. The topic relevance is related to the consideration of the discourse of the great poet, who plays a special place in the cultural heritage, both in Russia and abroad, as well as of polysemy and duality of stage direction representation in the romantic paradigm of M. I. Tsvetaeva’s plays.

Highlights

In recent years, in linguistics due to the development of new anthropocentric, cognitive and discursive paradigms and treatment of the text pragmatic component analysis, the study of the particular writer’s or poet’s worldview and identification of idiostyle features of the text through the study of its specific linguistic units is becoming increasingly important
The topic relevance is related to the consideration of the discourse of the great poet, who plays a special place in the cultural heritage, both in Russia and abroad, as well as of polysemy and duality of stage direction representation in the romantic paradigm of M
In this study, while analyzing stage directions in romantic plays we used a set of methods such as description, systematization, interpretation, which suggests a comprehensive approach to the analysis of the text semantics and pragmatics and allows identification of the specificity of stage directions functioning in M

Summary

Introduction

In linguistics due to the development of new anthropocentric, cognitive and discursive paradigms and treatment of the text pragmatic component analysis, the study of the particular writer’s or poet’s worldview and identification of idiostyle features of the text through the study of its specific linguistic units is becoming increasingly important. The attention of scholars studying the phenomenon of Marina Tsvetaeva is focused mainly on the literary analysis of her poetic heritage. Among these works are the research “A Reading of Marina Tsvetaeva’s Fairy-Tale Poem” by Tora Lane, “Patterns of Transcendence. As part of our study on the analysis of the dramatic text by Marina Tsvetaeva, we can highlight the work of M. Even scholars studying Tsvetaeva’s creative work still have many questions that require, in particular, access to a deep study of the internal design of her texts, including drama. Vol 11, No 8; 2015 support uncertainty and ambiguity” At the same time this medium of the author’s voice is a means of the direct impact on the director, the actors and the reader

Methods

Main Part

Results

Inferences