DRAMA-SIDEQUEL: FUNCTIONING AND GENRE SPECIFICITY

Abstract

The article discusses genre of sidequel borrowed from cinematography and widespread in modern drama. Its action takes place in the fictional world of the previously created drama and minor characters of the original text become the main. The functioning of the drama-sidequel in plays by T. Stoppard (“Rosencrantz and Guildenstern Are Dead”), N. Yordanov ("Murder of Gonzago"), J. Głowacki Fortinbras is Drunk"), Lee Blessing (“Fortinbras”) created around Shakespeare’s “Hamlet” is analysed. Genre features of sidequel play are defined: plot offshoot of the basic text; decentralization of the main text (consequential, even incidental characters turn into major ones); strong connection with the plotfable organization of it; the sidequel time and space are identical to the original work chronotope; dramasidequel characters include mainly persons operating in the main text with little interspersed with newly created сharacters; genre features of the sidequel are combined with signs of other plot forming genres.