Dramatic Form Research Articles

Filipinoism, Feminism, and Dalagang Bukid

This study explores how Hermogenes Ilagan's Dalagang Bukid depicts Filipino culture and the role of women to achieve a more accurate representation. This investigates the plot structure, depiction of social class, and the portrayal of women in the 1919 compared to contemporary realities. It reveals the distinct cultural values such as the Filipino affinity for conflict and drama, as well as the importance of resilience and pride. The study also shows how the proud but flawed high-class and the humble, value-oriented low-class are distinguished by class. The portrayal of women in Dalagang Bukid reflects early 20th century ideals of femininity, family-centered, and aspirational, while modern women are characterized by independence and self-determination. The study contributes to the discourse on gender and cultural representation in Philippine literature and encourages further study on the evolving depiction of marginalized groups in traditional forms of drama.

The Status of Language in Howard Barker’s Theatrical World

Howard Barker as postmodern British dramatist pays great attention to the freedom of expression and writing; he defies political and ideological censorship on British theater. Freedom of expression is well reflected in all his plays since the 1980s. He is well-known for his point of view that theater should not be used to deliver any moral, political, or ideological message, it should be left for the audience for interpretation. The composition and style of language are features of Barker’s plays that overflow with richness and diversity This paper discusses the theatrical language of Howard Barker and that his language of theater is poetic. Barker considers and explores language to be at the center of his theatrical profession and makes it better suit the new dramatic form in the British theater. In doing so, he makes language to express the complexity of modern man in a better way. He pays much attention to the style of his theatrical language and the words that come out of his character’s mouth. The ultimate goal of this paper is to show that Barker is deliberate and conscious in his use of the poetic language; he adopts a figurative language and other poetic devices. His language includes diversity of challenging ideas and provides no clarification and simplicity or deceptive of any message. His characters speak freely to the extent that social classes are not distinguished within the scope of his language of theater.

THING AS A CULTURAL MEDIATOR

In cultural history, relationships between people and things are based on ontological interdependence, symbolic exchange and complementarity. The cultural process of human interaction with the objective world appears in the form of social drama and the experience of overcoming, which are accompanied by any kinds of tests, manipulations, reincarnations, losses and achievements. The objective world of culture is as diverse as history itself - in it one can discern symbols, signs, hints, narratives, and events. And this is seen as another cognitive significance of the thing as a kind of material carrier of historical memory, a custodian of social knowledge and an exponent of cultural change. There are other reasons to consider things as important and informative material for cultural studies. Every thing expresses a specific set of human activity capabilities, in other words, it appears in the form of a certain model of culture, tied to a specific creator, place and time. Things act in culture as mediators in the relationship of individual with two worlds - social and natural. The world of objects, due to its originally given functionality, is completely dialogic, that is, it is covered by a dense communicative network that connects material objects with their carriers and creators. In this position, each thing appears as a participant in a conversation about the latest demands of existence, unfolding in culture, since any artifact is created to solve some urgent problem, to fill what is missing and what people need. Items of use become mediators between human being and object, and between other people. The dialogue of the past with the present, person and thing requires a kind of “reboot of forms”, and not blind repetition, copying and imitation. A thing in interaction with people is not so simple and not at all harmless. A one-dimensional person creates one-dimensional things, it is easier, more convenient and understandable for him with them. While a creative person usually creates original objects and tries to surround himself with something unusual, non-standard. The thing is not indifferent and, in turn, clones the qualities of its creator embedded in it. A faceless thing often predisposes to disordered thoughts, a monotonous way of life. A creative person tries to change things, a one-dimensional person becomes its hostage. The meaning of the development of culture is to create a second nature for human being through penetration into it, to domesticate the surrounding world. This is also way to reconcile people with nature, if we speak in mythological language, were once expelled from it. Individual has ceased to be a part of nature, making nature only a part of himself. It is impossible to return human being to nature without culture. The problem is that culture can be both dungeons and doors and even gates to life. Where there is monotony, there is imprisonment. Opening the gates of culture and reconciling it with nature becomes possible only through the diversity of everything that culture creates, including the material world of people. There is nothing further from nature than formlessness and monotony. A thing does not arise by itself - it is the result of purposeful efforts, the product of taming formless physical reality. At the same time, the process of making a thing presupposes three necessary conditions for the successful transformation of matter: mood, construction, and, in fact, structure. Mood is a combination of thought and feeling. Thought sets feelings in motion and encourages creation. Every creation is the construction (construction) of a certain given order (structure). A correctly given order is embodied in the structure (form), i. e., in the thing itself. Consequently, a thing as a result of the objective transformation of matter combines thought, feeling, structure and form. This article describes some aspects of cultural manipulations in the dialogue between individual and thing.

Judicial Approaches to Acknowledged and Unacknowledged AI-Generated Evidence

Between 2014 and 2024, rapid advancements in computer science ushered in a dramatic new form of technology—Generative AI (“GenAI”). It offered seemingly limitless possibilities for creative applications never before imagined. But it also brought with it a darker side—the ability to create synthetic or “fake” text, images, audio, and audiovisual depictions so realistic that it has become nearly impossible—even for computer scientists—to tell authentic from fake content. Along with this new technology, new terms have been introduced, including “hallucinations” and “deepfakes.” The use of GenAI technology has not been limited to computer scientists and IT professionals. It is readily available on the Internet at little or no cost to anyone with a computer and Internet access. It is no exaggeration to say that GenAI has democratized fraud, and that an ever-increasing amount of content on the Internet is now synthetic or AI-generated. Deepfakes have been used for satire and amusement but also to humiliate and destroy the reputations and careers of persons depicted in the fakes, to spread disinformation, to manipulate elections, and to mislead the public. They will most certainly find their way into the resolution of court cases where judges and juries will face real challenges understanding the operations and output of complex AI systems and distinguishing between what is real and what is not. In this Article, we explore the development of GenAI and the deepfake phenomenon and examine their impact on the resolution of cases in courts. We address the ways in which both known-to-be-AI-generated evidence and suspected deepfake evidence may be offered during trials. We review the research literature regarding the ability of deepfakes to mislead and influence juries, and the challenges with detecting deepfakes that judges, lawyers, and juries composed of laypersons will face. We draw an important distinction between two kinds of AI evidence. The first is “acknowledged AI-generated evidence,” about which there is no dispute that the evidence was created by, or is the product of, an AI system. The second is “unacknowledged AI-generated evidence,” or potential deepfake evidence, where one party claims the evidence is an authentic representation of what actually happened, and the opposing party claims the evidence is a GenAI-fabricated deepfake. We discuss the application of existing rules of evidence that govern admissibility of evidence and how they might be flexibly applied—or slightly modified—to better address what is at issue with known AI-generated evidence. With respect to unacknowledged AI-generated evidence, we explain the challenges associated with using the existing rules of evidence to resolve the question of whether such evidence should be admitted, and the possible prejudice if it is allowed to be seen by the jury. We describe two proposed new rules of evidence that we have urged the Advisory Committee on Evidence Rules to consider regarding the evidentiary challenges presented by acknowledged and unacknowledged AI-generated evidence, and the actions proposed by the Committee to date. We finish with practical steps that judges and lawyers can take to be better prepared to face the challenges presented by this unique form of evidence.

The Subversion and Reconstruction of Classical Drama Forms by Postmodern Drama

Postmodern drama, as an important dramatic form of the second half of the 20th century, inherits and transcends the artistic expressions of modernism, marking the development of dramatic art towards a freer, more diverse, and experimental direction. Postmodern drama not only subverts classical dramatic forms in terms of structure, language, and theme but also profoundly reconstructs the cultural significance of traditional drama. This paper explores the origins and core ideas of postmodern drama and its relationship with modernist drama. It analyzes its subversive expressions in classical dramatic forms, such as the deconstruction of traditional narrative structures, the multidimensional portrayal of characters, and the critique of power structures and ideologies. Furthermore, this paper examines the reconstruction of classical dramatic forms and cultural significance in postmodern drama, focusing on the reconfiguration of space and time, the re-examination of traditional culture, and the influence of postmodern drama on contemporary audiences.

Implementasi Pengembangan Kurikulum Muhammadiyah Dalam Pembelajaran bahasa Arab di Sekolah Dasar

This research discusses the curriculum as a collection of learning materials designed systematically and customised based on all classroom activities and social relationships to achieve academic learning objectives. This type of research is qualitative with a literature study approach. The Al-Islam Muhammadiyah and Arabic curriculum is designed and formulated under the guidance of the Muhammadiyah Regional Leadership. The ISMUBA curriculum, which encompasses Islamic religious education and the Arabic language, is implemented in Muhammadiyah educational institutions. In implementing Arabic language learning, the curriculum is a step to improve foreign language skills, especially Arabic, for students. It includes several stages of learning to become skilled in speaking Arabic, classified into levels: beginner, intermediate, and advanced. For beginner-level Arabic learners, it is a first step to being able to facilitate foreign language speaking skills, encourage students to compose sentences neatly, and provide various enrichment to train students' speaking skills; for intermediate-level learners, honing Arabic language skills through live performances or demonstrations in the form of drama and encouraging active participation from students through discussion activities according to the theme. Finally, for Arabic learners at the advanced level, describing verbally what is understood according to the theme and the topic being reviewed connects with events that enter human life.

Restoration and Representation of Yoruba Culture in the Lion and the Jewel: A Stylistic Study

This study examines the stylistic restoration and representation of Yoruba culture in Wole Soyinka’s The Lion and the Jewel, focusing on how linguistic choices serve as vehicles for cultural preservation and dramatic expression. Through detailed analysis of the play’s language, the study demonstrates how Soyinka creates a sophisticated dramatic idiom that successfully bridges traditional Yoruba cultural expression and modern theatrical conventions. The study identifies and analyses several key linguistic phenomena, including Yorubanised English, character-specific linguistic patterns, ritual language, and gender-linked discourse. The analysis reveals how different characters’ linguistic choices reflect their positions in the cultural conflict between tradition and modernity, with a particular emphasis on Lakunle’s affected modernism, Baroka’s traditional authority, and female characters’ strategic manipulation of linguistic forms. The study demonstrates how Soyinka’s stylistic choices create a “cultural-linguistic palimpsest” where multiple layers of meaning and cultural reference coexist within single utterances. Gender relations are shown to be mediated through sophisticated linguistic strategies. The findings indicate that successful cultural representation in drama requires the use of new dramatic idioms, which accommodate both traditional and modern modes of expression, and maintain artistic coherence. This study contributes to understanding how dramatic language can serve as a vehicle for cultural preservation while creating compelling theatrical experiences, suggesting new approaches to analysing the intersection of language, culture, and dramatic form in postcolonial contexts. Keywords: Culture; Tradition; Language; Gender; Power; Drama; Yoruba

A Historical Analysis of the Genesis of the Television in Saudi Arabia

This research attempts to trace track and highlight the most significant milestones, achieved in history during the initiation and popularity of television in the country. The study adopted a descriptive method and conducted the analysis using secondary resources, published articles, and a thesis. The analysis entailed the role of both the state-owned and private channels, which made significant strides to promote it in the country. It was also revealed that socio-political and economic factors led to an increasing Saudi viewership for translated, dubbed, Mexican, and Turkish dramas as new forms of media or drama which helped to transform its fixed and rigid identity. In light of the study's findings, it is concluded that language and display of other cultures provided a significant exploration to the viewers of Saudi Arabia which engendered a provocative urge to bring change in their decades-old view of lifestyle and society.

Emotional Regulation and Audience's Emotional Experience in the Psychological Perspective of Theatrical Performance Art — Taking the Pioneering Experimental Drama "The Page That Mother Lost" as an Example

"The Page that Mother Lost" in the form of drama + game drama deduce — pioneer experimental drama, in the context of the present drama, it breaks through the traditional narrative framework, using innovative stage, will explore the "mood", "found" mood ", release" mood " into Chinese education and refused to the deep theme of shame, trigger the audience strong emotional resonance. Taking this play as an example, it can accurately analyze the audience's emotional experience of the audience in the context of pioneer drama and the emotional regulation strategy of artistic works, fill the gap of relevant research in the psychological level of the audience of pioneer drama, and provide new ideas for the diversified development of drama art.

CULTURAL CONTINUITY OF UTTARAKHAND'S RAMLILA

Ram is the center point of the value concept of Indian wisdom" (Ramchand 2024: 169). Ramlila is an integral part of Indian culture and traditions, through which the life and ideals of Ram are presented in a dramatic form. This performance is very important from religious, social and cultural point of view. The tradition of Ramlila holds a special place in Uttarakhand, where it is a symbol of cultural heritage and community participation. The traditional form of Ramlila in Uttarakhand is full of localness, which is celebrated as a cultural festival in open spaces of villages, towns and cities, government land or buildings and the land of the staging committee. About 44 male and 18 female characters play an important role in the staging of Ramlila. The characters for the performance are usually selected from the local community, who display the traditional art of performance. The roles of the characters, traditional costumes, and the use of local musical instruments make this event even more special and picturesque. These performances show the inclusion of religiosity and customs, which gives the audience a unique experience of spirituality and entertainment. Technology and modernity have also influenced the form of Ramlila performance, such as the inclusion of modern sound and light arrangements, digital technology, modern songs and music and contemporary contexts make Ramlila more attractive. These technological changes have played an important role in connecting the young audience. The dramatic inclusion of contemporary problems and issues also makes the performance relevant and entertaining. Ramlila organizing committees consider Ramlila not only a religious event, but also a means of promoting social unity and community spirit. Along with spreading moral and religious values, this event is also helpful in preserving regional traditions. In Uttarakhand, this event is working to keep people connected to their cultural roots from generation to generation. Uttarakhand's Ramlila is known for its historicity, staging style, cultural diversity, and community participation. It is a wonderful example of harmony between tradition and modernity, where a confluence of traditional culture and modern presentation is seen. The study of Uttarakhand's Ramlila provides an opportunity to understand its historicity, staging style, cultural neutrality, community participation (especially in the context of women's participation), and the balance between tradition and modernity. It is not only a religious and cultural heritage, but also a living tradition, which accepts the change of time and maintains its relevance and originality as well as carries out the process of change and continuity.This is a part of the research work done under the ICSSR funded program "Comparative study of the history of Ramlila staging and contemporary styles of presentation in Uttarakhand and social impact assessment of women's participation".

Radio Drama as a Synergy for Social Change

The study investigated radio drama as a synergy for social change. The research design for this study will be a qualitative type of research. The population of the study consisted of all government workers in Ekiti State. The sample size of one hundred fifty (150) respondents was used for the study. The instrument that was used is a self-structured questionnaire for data collection. The data gathered for this study will be analysed using percentage distribution of frequency counts and bar chart to analyse the demographic data of the respondent. It was concluded that radio drama can be very effective in political campaign and political propaganda. Radio drama has positive influence on behavioural change in the society. Since majority of the radio drama programme is focusing mainly on issues affecting the society, hence radio drama influences behavioural change in the society. Radio drama has more effectiveness to social change than other form of drama. It was recommended that drama should be use to educate listeners on important social issues, such as education and civil rights, radio drama has high potency in effective communication hence, it should be adopted where other means of communication fail.

Hearing loss predictive model in fibrodysplasia ossificans progressiva from a national referral center: developing an hearing loss predictive model.

Fibrodysplasia ossificans progressiva (FOP) is the most dramatic form of progressive heterotopic ossification of soft tissues. Hearing impairment in FOP patient is a common feature, reported by about 50% of affected patients. However, wide case series considering audiologic features are lacking. We report the audiologic history of a group of FOP patients in order to define the hearing loss characteristics, genotype association, and possible rehabilitative options. We report audiometric history of 16 FOP patients referred to our Institute from 2014 onwards without ear malformations or other known reason for audiologic impairment. Major involvement of high frequencies in our FOP cohort suggests that the position of the high-frequency receptors within the cochlea, near the oval window, makes them more exposed to damage than the low-frequency receptors located deeper in the cochlea. Furthermore, the reported gender difference may be secondary to a hormonal effect, as known in patients with otosclerosis. Finally, regarding the genotype, we noted that only the non-classic patient carrying the ACVR1 c.619C>G; p.Q207E mutation, presented a mixed hypoacusia with a sensorineural component prevailing on acute frequencies, currently not deserving hearing aids. This evidence suggests a possible novel genotype association to be confirmed in larger cohort. The present analysis shows that a longer disease history is associated with a statistically significant worse hearing loss, mainly involving the high frequencies. The advent of new therapeutic options highlights the relevance of having comparative follow-up data in order to evaluate the effectiveness of these new therapies against all the various clinical manifestations of FOP.

Epic in russian drama of the xixth century (exemplified by A.N. Ostrovsky’s plays)

«Epic in drama» and «epic drama» are two problems, the solution of which in modern literary criticism makes it possible to determine the specifics of Russian literature and indicate its place in the world literary process. The study of the special features of A.N. Ostrovsky’s writing proves that in the XIXth century the process of romanization of drama was active, which led to the destruction of the genre canons developed in European culture. In the plays of the Russian playwright, the laws of unity of dramatic action are violated. The author can work with scenes and parts of acts, mastering the forms of epic drama. But most often he shows an event growing out of an undramatic situation, uses a novel type of perception of action, that is, he masters the elements of epic writing.

Suffering and Greatness: Metaphor, Will and Self-reference in The Flying Dutchman

ABSTRACT Wagner’s early opera The Flying Dutchman has long been recognized as the first of the composer’s works to be written in his own authentic style and idiom, in which the protagonist strongly suggests a metaphorical representation of autobiographical content, complemented by a musical expression of overpowering will that listeners have variously felt to be aggressively domineering or curiously liberating. This paper traces the progressive unfolding of these effects in the course of seeing (and hearing) the work performed, approaching it as a form of drama in which stage action and dialogue are immeasurably enhanced by the Wagnerian musical narrative. As such, it begins with the overture, in which the opera’s central metaphor is already implicit in the figure of the storm, before becoming explicit in the onstage presentation of character contrasts and relationships, a dynamic in which the sympathetic listener is increasingly implicated through a heightened emotional (and even quasi-sexual) involvement in the music. There is, in other words, an implied parallel between the heroine’s redemption of the doomed Dutchman and the aesthetic abandonment to the work itself that is so imperiously demanded of its audience.

Андрей Платонов — пролетарский писатель? К проблеме дефиниции ключевых слов советской эпохи

Can Platonov be considered a proletarian writer, given his background from the working class and his recognition as such? In Soviet literature, there were such terms as “proletarian writer” that had an obvious ideological meaning. However, when we consider them in the context of specific phenomena, this meaning is not always obvious. Platonov’s references to Mayakovsky’s works and his comments in response to proletarian criticism indicate how his artistic style was transformed under the influence of the ideological discussions of the time. His creative vision tends towards dramatic forms, and his works are influenced by emotional involvement in the tragic fate of his fellow workers, who during the first five-year plan were forced to perform impossible tasks. Engineers and professional writers were accused of sabotaging socialism, and Platonov devoted himself to these topics. Platonov saw himself as a writer who speaks through artistic images. His work was not devoid of aesthetic impartiality, but it was shrouded in assessments rather than meanings. The concept of a “proletarian writer,” as it related to Platonov, has changed over time. According to the charter of the VAPP (All-Russian Association of Proletarian Writers), this meant that the writer had to belong to the combat detachments of the working class. However, this definition was challenged during discussions about codification, and a new interpretation appeared in which the proletarian writer was perceived as a craftsman, a master, and a dedicated professional.

Кризис трагедии и пути его преодоления во французской литературе 1630‑х гг.: «Последний Великий Сулейман, или Смерть Мустафы» Ж. Мерэ

The plays of Jean Mairet are a vivid illustration of the formation of a new dramatic poetics that overcome the archaic forms of humanistic drama of the 16th century. The purpose of the article is to identify the causes of the crisis of the tragedy genre in France in the first half of the 17th century and, using the example of the play The Death of Mustapha by Mairet, and taking into account the author’s experimental setting, to show one of the ways used by the dramatists of this period (J. de Rotrou, G. de Scudery, P. Corneille) to overcome it. The defining characteristics of the tragedy of the first half of the 17th century are intermittence and heterogeneity. New genre models in the works of its representatives (J. Mairet, J. de Rotrou, G. de Scudery, P. Corneille) are formed in the active interaction of features of different dramatic genres. The article substantiates the expediency of abandoning the traditionally used typological convergence of dramatic works of the period according to the principle of the basic idea, the nature of the conflict, the type of character, etc. within the framework of the conditional concept of classicism, and the productivity of shifting research attention to the technique of dramatic writing observed in each single text. At the level of the dramatic structure of The Death of Mustapha, the article considers the principles of activating the genre potential of tragedy by including elements of tragicomedy, coordinating the historical and love-adventure lines of intrigue, which determines the character and role in the action of the main characters. The revival of dramatic intrigue at the expense of tragicomedy compositional techniques is achieved at the cost of depersonalization and paralysis of Mustafa as an actor. The historical meaning doesn’t extend to the character and in general turns out to be collapsed, so that it can’t form a strong binding basis of the dramatic structure. Despite similar nature of the mechanism of interaction of different-genre structural and semantic elements, in some cases (Mustafa’s Death), there may be obvious contradictions between them, undermining the unity of the political plan.

«Было смешно, но не весело»: драматургические опыты дореволюционных томских литераторов

The paper examines various extant versions of dramatic works created by Tomsk writers during the late 19th and early 20th centuries. These include individual books printed in Tomsk, works featured in periodicals, inclusions within larger collections, and those reprinted from local publications as brochures. The focus is on the plays written by Tomsk authors, performed locally, yet absent from archived and library collections. Analysis of the source materials, namely the dramatic works of pre-revolutionary Tomsk authors, reveals the significant challenges encountered in the regional development of this literary genre. Dramatic literature was not a common pursuit for local writers, though their plays did receive occasional staging in Tomsk. The literary history of Tomsk includes the unique adaptation of a play to the adventurous novel, “Tomsk Slums”. This adaptation facilitated a partial reconstruction of the unsaved text of the pre-revolutionary play, which captivated the Tomsk pre-revolutionary audience. A prominent feature of Tomsk theater criticism involved the strong condemnation of local dramatic innovations, probably accounting for the hesitancy of certain authors to submit their plays for review. Although no major original plays of high artistic merit were found, the discovered material indicates a developing mastery of new dramatic and literary forms in pre-revolutionary Tomsk literature.

The Influence of Information and Communication Technology on the Natyashastra: A Digital Age Perspective

The Natyashastra is a dramatic art form that includes a variety of elements like music, dance, dialogue, costume, tune, body language, and many more. It was envisioned by Bharata Muni, an ancient Sanskrit poet. The eight rasas are incorporated and have influenced contemporary art forms with integral cultural values. In the digital age, the Natyashastra finds itself in competition with a more communicative and popular mass culture, which includes a variety of new media tools like TV, radio, video, films, OTT platforms, and teleserials. These platforms not only entertain but also provide energetic infotainment by leveraging digital platforms to share experiences. The Natyashastra has influenced changes in audience attitudes and behaviors and enhances affirmative action,performance styles, and artistic amusement. It preserves the history, culture, traditions, and values of heritage in this digital era. Many theatre groups continue to keep dramatic culture alive in this satellite age. Today, all types of actors and audiences depend on various communicative tools to watch and perform the Natyashastra. Multimedia devices like laptops, tablets, smartphones, personal computers, digital cameras, tripods, video projectors, multiple software applications, social media, and more are now used to host live performances directly via several interactive platforms. SEO and other search engines are engaging with both digital and analog technologies.

Man and Challenge in John Millington Synge’s Riders to the Sea

This study deals with Riders to the Sea which examines critically the qualities of Irish life and characters that Synge made attempts to invoke, as well as the distinct qualities that inaugurate this play as one of the most successful Irish play of the 20th Century. However, Synge, whose plays are concentrated on the Irish tales and myths, shows peculiar interest in the life of the Irish peasants who have become characters in his plays. He is one of the playwrights who raise the common Irish idiom to a high dramatic form of expression. Though his plays are essentially set in Irish surroundings, their significance is universal. The concern of the present study is to shed significant lights on the social, economic and political aspects of Ireland. It comes across the peasant community and focuses on challenge to this society. It also presents the romantic elements in Synge’s life and examines his play in which man shows challenge to nature and shows how characters express challenge to authority which is represented by government, law, family and religion. Hence, natural love is much stronger than authority, and however authority stands powerful and strong, it is defied and challenged by people to whom love is everything, even if they are powerless and defenseless. Consequently, characters defy nature, the sea and fate for a chance to improve the economic stability of the family particularly when they are left with sea which is the only means that provides the islanders with the living needs. Hence, the harsh nature, which caused poverty and need did not make the Irishman submit to his circumstances. Synge succeeds in showing the reality of Aran life and the struggle of man with the merciless sea, on one hand and reflecting “joyful” picture of the Irish people on the other hand.

Index retardation as the basis of an epic play (a case study of A. Ostrovsky’s dramaturgy)

Retardation plays a significant role in A. Ostrovsky’s artistic universe, being prevalent in his works and indicating the intermedial nature of the author’s oeuvre. The strengthening of intertextual connections between literature, theatre, painting and music has contributed to the evolution of traditional genres. In terms of genre, Ostrovsky highlighted the importance of capturing static space, referring to his comedies as paintings, scenes and so on. Small dramatic forms are characterized by a substantial conflict, owing to the fact that the playwright’s focus is not on the development of intrigue but rather on the characters. We discuss the fusion of arts, bringing the static quality inherent in literary paintings and scenes closer to the genre painting. Retardation as the emphasis on the lack of significant movement in a play allows the audience to enter the portrayed space from a distant perspective. The purpose of this article is to examine the artistic time and space in Ostrovsky’s paintings and scenes. The study has found that Ostrovsky frequently employs index retardation within the narrative of his characters. Event-based retardation, which builds tension prior to the climax, differs from index-based retardation. In Ostrovsky’s dramaturgy, index-based retardation serves as a means of emphasizing relaxation, introducing characters into the realm of everyday concerns. The playwright slows down the action in the play by incorporating extraneous elements into the plot, such as repetitions, parallels, quotations and reminiscences. Additionally, he employs plot devices such as metaphors representing unreal spaces (both conscious and unconscious dreams), as well as visual cues such as mirrors, maps, imagery of water and so forth. Focusing on the states rather than actions, as the primary category of fine arts, enables us to imbue the intratextual space in Ostrovsky’s dramaturgy with pictorial art characteristics.