Драматична домінанта авторського мислення в сучасній театральній публіцистиці України
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Date
2019
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Ужгородський національний університет
Abstract
UK: У статті зроблена спроба проаналізувати специфіку авторського мислення в сучасній театральній публіцистиці України крізь призму естетичної категорії «драматичне». Вона органічно відтворює на вербально-аналітичному рівні «запропоновані обставини» в адекватних сценічній дії жанрах рецензії, інтерв’ю, огляду. Метою статті є виявлення драматичної природи авторського мислення в театральній комунікації. У висновках підкреслюється, що аналітично-художнє структурування дійсності в жанрових модифікаціях рецензії, огляду, інтерв’ю виявляє потужний духовний потенціал сучасного театру.
EN: Modern theatrical art in Ukraine is determined by the variety of genres and styles. The fictional vision of being, the dramatic nature of its development as a fundamental category of the performing arts are presented actively in the “proposed circumstances” (K.Stanislavsky’s term) in adequate genres of recension, interview, and review. Insufficient professional analysis of verbal presentation of theatrical art in printed editions by publicistic ideas, images, details determines the relevance of the research of this type of artistic communication. The purpose of the article is to reveal the dramatic nature of the author’s thinking in theatrical communication. The subject of the analysis is the printed periodicals of a specialized profile of theatre studies («Cinema-Theater», «Ukrainian Theatre», «Proscenium»). The objectives of the research are to determine the basic principles of the embodiment of the dramatic paradigm of author’s thinking through images-ideas, concepts of K. Stanislavsky’s theatrical system, rhetorical figures. The article determines that the dramatic nature of the author’s thinking of famous theatrical writers O. Vergelis, O. Sakva, O. Velimchanitsa and others is based on a deep awareness of the nature of dramatic art, which is based on the principles of the philosophical law of unity and the struggle of opposites. In the nonfiction texts of theatrical subject matter it is embodied in the basic concepts: the proposed circumstances, the stage action, the director’s decision, the performance. At the verbal level these principles are confirmed by rhetorical figures of amplification, parcellation, and oxymuronic examples. The authors of the texts build conflict in the analysis of performances by changing the dramatic temporhythm, using an antithesis based on the hyperbolization of events and phenomena of theatrical being. The conclusions emphasize that modern theatrical journalism of Ukraine is a striking dramatic presentation of the stage life of the national theatre. Analytical and artistic structuring of reality in genre modifications of recension, review, interview reveals the powerful spiritual potential of modern theatre, the dramatic comprehension of being as its fundamental characteristic.
EN: Modern theatrical art in Ukraine is determined by the variety of genres and styles. The fictional vision of being, the dramatic nature of its development as a fundamental category of the performing arts are presented actively in the “proposed circumstances” (K.Stanislavsky’s term) in adequate genres of recension, interview, and review. Insufficient professional analysis of verbal presentation of theatrical art in printed editions by publicistic ideas, images, details determines the relevance of the research of this type of artistic communication. The purpose of the article is to reveal the dramatic nature of the author’s thinking in theatrical communication. The subject of the analysis is the printed periodicals of a specialized profile of theatre studies («Cinema-Theater», «Ukrainian Theatre», «Proscenium»). The objectives of the research are to determine the basic principles of the embodiment of the dramatic paradigm of author’s thinking through images-ideas, concepts of K. Stanislavsky’s theatrical system, rhetorical figures. The article determines that the dramatic nature of the author’s thinking of famous theatrical writers O. Vergelis, O. Sakva, O. Velimchanitsa and others is based on a deep awareness of the nature of dramatic art, which is based on the principles of the philosophical law of unity and the struggle of opposites. In the nonfiction texts of theatrical subject matter it is embodied in the basic concepts: the proposed circumstances, the stage action, the director’s decision, the performance. At the verbal level these principles are confirmed by rhetorical figures of amplification, parcellation, and oxymuronic examples. The authors of the texts build conflict in the analysis of performances by changing the dramatic temporhythm, using an antithesis based on the hyperbolization of events and phenomena of theatrical being. The conclusions emphasize that modern theatrical journalism of Ukraine is a striking dramatic presentation of the stage life of the national theatre. Analytical and artistic structuring of reality in genre modifications of recension, review, interview reveals the powerful spiritual potential of modern theatre, the dramatic comprehension of being as its fundamental characteristic.
Description
В. Галацька: ORCID 0000-0002-1712-2712
Keywords
драматичне, естетична категорія, театральна публіцистика, сценічна дія, метафоризація буття, dramatic, aesthetic category, theatrical journalism, antithesis, stage action, metaphorization of being, КФП
Citation
Галацька В. Драматична домінанта авторського мислення в сучасній театральній публіцистиці України. Наук. вісн. Ужгород. ун-ту. Серія: Філологія : зб. наук. пр.. Ужгород, 2019. Вип. 2 (42). С. 176–180. DOI: 10.24144/2663-6840/2019.2(42).176–180.