Specifics of Off-Stage Space in Drama of D. Lipskerov
For the first time, the means of creating off-stage space and its relationship with stage space in the plays of D. Lipskerov is discussed in the article. To study off-stage space in the framework of theatrical discourse, the concepts of narratology ( diegesis, narration, focalization ) and the socio...
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Tsentr nauchnykh i obrazovatelnykh proektov
2020
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oai:doaj.org-article:d80a2147dad6402fa0db6a276b19d6342021-12-02T07:58:10ZSpecifics of Off-Stage Space in Drama of D. Lipskerov2225-756X2227-129510.24224/2227-1295-2020-3-236-249https://doaj.org/article/d80a2147dad6402fa0db6a276b19d6342020-03-01T00:00:00Zhttps://www.nauka-dialog.ru/jour/article/view/17https://doaj.org/toc/2225-756Xhttps://doaj.org/toc/2227-1295For the first time, the means of creating off-stage space and its relationship with stage space in the plays of D. Lipskerov is discussed in the article. To study off-stage space in the framework of theatrical discourse, the concepts of narratology ( diegesis, narration, focalization ) and the sociology of space ( the surrounding world and the conjoint world ) are used. It has been established that the “isolation” of stage space implies its obligatory interaction with off-stage space, and the process of its inclusion in such interaction is considered in two different situations: in the reader’s discourse and theatrical discourse. In the reader’s discourse, off-stage space is introduced both by remarks and according to the internal focalization of the text, in connection with which the playwright emphasizes the act of observation and description of the visible in the textual binding. It is noted in the article that D. Lipskerov, in his plays, as well as in novels, implements “somnambulistic” narratives: through acts of observation. The playwright directs the attention of the reader, due to which his plays are inscribed in the cinematic paradigm and contain elements of literary cinematography (audiovisual images, editing of narration, chronotopic shifts). The author’s playing with space, the combination of stage and non-stage allows D. Lipskerov to create plays that exist in the polysemiotic space of theater and reading discourse.O. Yu. OsmukhinaI. R. KuryaevTsentr nauchnykh i obrazovatelnykh proektovarticle«сомнамбулический» нарративd. lipskerovstage spaceoff-stage spacediegesisdramaturgypolysemiotic form“somnambulistic” narrationfocalizationchronotopeart spaceSlavic languages. Baltic languages. Albanian languagesPG1-9665RUНаучный диалог, Vol 0, Iss 3, Pp 236-249 (2020) |
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DOAJ |
| collection |
DOAJ |
| language |
RU |
| topic |
«сомнамбулический» нарратив d. lipskerov stage space off-stage space diegesis dramaturgy polysemiotic form “somnambulistic” narration focalization chronotope art space Slavic languages. Baltic languages. Albanian languages PG1-9665 |
| spellingShingle |
«сомнамбулический» нарратив d. lipskerov stage space off-stage space diegesis dramaturgy polysemiotic form “somnambulistic” narration focalization chronotope art space Slavic languages. Baltic languages. Albanian languages PG1-9665 O. Yu. Osmukhina I. R. Kuryaev Specifics of Off-Stage Space in Drama of D. Lipskerov |
| description |
For the first time, the means of creating off-stage space and its relationship with stage space in the plays of D. Lipskerov is discussed in the article. To study off-stage space in the framework of theatrical discourse, the concepts of narratology ( diegesis, narration, focalization ) and the sociology of space ( the surrounding world and the conjoint world ) are used. It has been established that the “isolation” of stage space implies its obligatory interaction with off-stage space, and the process of its inclusion in such interaction is considered in two different situations: in the reader’s discourse and theatrical discourse. In the reader’s discourse, off-stage space is introduced both by remarks and according to the internal focalization of the text, in connection with which the playwright emphasizes the act of observation and description of the visible in the textual binding. It is noted in the article that D. Lipskerov, in his plays, as well as in novels, implements “somnambulistic” narratives: through acts of observation. The playwright directs the attention of the reader, due to which his plays are inscribed in the cinematic paradigm and contain elements of literary cinematography (audiovisual images, editing of narration, chronotopic shifts). The author’s playing with space, the combination of stage and non-stage allows D. Lipskerov to create plays that exist in the polysemiotic space of theater and reading discourse. |
| format |
article |
| author |
O. Yu. Osmukhina I. R. Kuryaev |
| author_facet |
O. Yu. Osmukhina I. R. Kuryaev |
| author_sort |
O. Yu. Osmukhina |
| title |
Specifics of Off-Stage Space in Drama of D. Lipskerov |
| title_short |
Specifics of Off-Stage Space in Drama of D. Lipskerov |
| title_full |
Specifics of Off-Stage Space in Drama of D. Lipskerov |
| title_fullStr |
Specifics of Off-Stage Space in Drama of D. Lipskerov |
| title_full_unstemmed |
Specifics of Off-Stage Space in Drama of D. Lipskerov |
| title_sort |
specifics of off-stage space in drama of d. lipskerov |
| publisher |
Tsentr nauchnykh i obrazovatelnykh proektov |
| publishDate |
2020 |
| url |
https://doaj.org/article/d80a2147dad6402fa0db6a276b19d634 |
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AT oyuosmukhina specificsofoffstagespaceindramaofdlipskerov AT irkuryaev specificsofoffstagespaceindramaofdlipskerov |
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