  Muravjeva_av-vestnik-2021-2-ru.pdf |
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- From absurdisation to subjectification in the play “Terrorism” by the Presnyakov Brothers
- Muraveva A.V. From absurdisation to subjectification in the play “Terrorism” by the Presnyakov Brothers. Vestnik of Kostroma State University, 2021, vol. 27, № 2, pp. 150-155 (In Russ.). https://doi.org/10.34216/1998-0817-2021-27-2-150-155
- DOI: https://doi.org/10.34216/1998-0817-2021-27-2-150-155
- УДК: 821.161.1.09"21"
- Publish date: 2021-05-10
- Annotation: The article is devoted to the functioning of absurdist elements and the ways of their organisation in the play “Terrorismˮ by the Presnyakov brothers, as well as to the illustration of subjectivity as one of the most significant categories for the “new new dramaˮ. The emphasis in the work is on paratextual elements, primarily remarks. At the beginning of the study, the thesis about the belonging of “Terrorismˮ to the “new dramaˮ of the 21st century is confirmed, and therefore, about the specificity of the compositional and plot organisations. The article is based on a textual analysis of the theatre note element, which allows us to trace the formation and forms of existence of absurdist components, as well as the emergence of various forms of subjectivity. In the process of analysis, a list of means and techniques of absurdisation is determined, among which the main ones include the elaboration of the structure of the utterance (violation of logic, slowing down the action by introducing similar or tautological constructions), working with the lexical component (various types of artistic shifts, as well as the frequency introduction of modal components). It is proved that the fictionalisation of the play through the inclusion of the lyrical component in the text violates the way of reading and allows one to partially correlate the drama with the play for reading, which, in turn, increases the interpretativeness of the text and makes it possible to talk about the introduction of the reader's figure into it. The conclusion is made about the correlation of the processes of absurdisation and subjectification in the space of the play. The absurd, in turn, is designated as an element that determines the type of perception; a component that contributes to the multiplication of forms of subjectivity; spatial and textual dominant, demonstrating the relationship of the text of the play with reality.
- Keywords: absurd, note, dramatic paratext, new drama, post-drama, subject, «new sincerity»
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