SPECIFICITY OF STAGE DIRECTIONS IN YEVGENIY GRISHKOVETS’ PLAY “THE CITY”

Abstract

The article analyzes the specificity of the artistic space in Ivan Vyrypaev's play "Oxygen" (2001) in the context of postmodernist discourse. The author of the article, based on the works of Y.M.Lotman, M.Bakhtin, V.V.Savelyeva and other literary critics, examines the multi-layered spatial organization of the play, highlighting the direct, indirect and subjective Space. Particular attention is paid to the analysis of the topoi of the province and the capital, as well as their influence on the worldview of the characters. The article demonstrates how the artistic space in Oxygen becomes not only a place of action, but also an important means of expressing the author's view of the modern world, its contradictions and the search for spiritual guidelines. The work reveals how Vyrypaev uses spatial images to create a multifaceted picture of existence, where the private life of the characters is inscribed in the general panorama of the world. The author analyzes the features of the author's use of binary oppositions (house-world, capital-province), as well as the role of the metaphor "oxygen" in the context of the subjective space of the characters.  

Keywords

binary opposition, topos, indirect space, layering, subjective space, discourse, chronotope, time, space, local subspace, locus.