GENRE CONVERSION IN CONTEMPORARY EUROPEAN DRAMA
DOI:
https://doi.org/10.28925/2412-2475.2019.132Ключові слова:
contemporary drama, absurd drama, genre transformations, conversion, genre conversionАнотація
The article considers the original and common type of genre transformations in a contemporary
drama — genre conversion. Its essence is in the fact that the drama genre is not just transformed from
a non-dramatic or extra-literary genre. Concepts that are completely unrelated to the field of genology
are becoming genre categories. They are borrowed from the sphere of literary movements and trends.
In the genre system of contemporary drama, an absurd drama occupies a prominent place, which is
converted from the trend of the same name. The functioning of the absurd drama genre in European
dramaturgy (German, Polish, Serbian, Russian, Belarusian, and Ukrainian) of the late 20th and early
21st centuries is analyzed. The dramas of Andrzej Stasyuk, Bilyana Srblyanovich, Larysa Paris, Artem
Vishnevskyi, Volodymyr Serdyuk and Vasyl Kozhelyanko are involved in the analysis. The intertextual
connections between the drama of the absurd as a genre («Waiting for the Turk» by Stasyuk) with
the works of the drama of the absurd as a trend («Waiting for Godot» by Beckett, «Bald Soprano Singer»
by Ionesco, «House on the Border» by Mrożek). The genre features of the convertible genre of the absurd
drama are defined (abstract, indefinite chronotope, de-individualized characters, the interpenetration
of high, pathetic, tragic and low, comic, farcical, the coexistence of the real with the fantastic,
the destruction of the traditional constructive elements of the dramatic text; absurd plot situations;
verbal nonsense and word creativity).
DOI: https://doi.org/10.28925/2412-2475.2019.132
Завантаження
Посилання
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