Communicative Space of Modern Ukrainian Drama

Abstract

The proposed study, treating dramaturgic text as a result of author's communication, defines dramaturgic discourse as author's modeling system in the text of a play of internal and external communication. In Ukrainian linguistics there are three approaches to dramaturgic text studying (linguocentric, cognitive, communicative). Taking into account achievements of all three approaches we consider analysis of the communicative organization of contemporary dramaturgic discourse to be relevant, given the specifics of Ukrainian drama. The purpose of our work is to study the communicative space of contemporary Ukrainian drama, outline its structural organization and communicative peculiarities. The purpose mentioned above has determined the need to fulfill the following tasks: to establish the communicative structure of contemporary Ukrainian dramaturgic discourse; to outline the main functions of communication in a dramaturgic text; to define the key features of modern drama that influence the communicative space of plays. Dramaturgic discourse is the action of a narrator and narrate fulfilled through text, structurally divided into two levels: external and internal communication. Clear delineation of a playwright's position in the field of paratex which always has a definite position in the text of a play makes it possible to identify author's direct communicative part within the external communication of a playwright with a reader. Personal interaction represents internal communication expressed in dramaturgic forms of speech and reflected in numerous speech acts. The reader in internal communication appears to be "an inactive witness". The macrostructure of dramaturgic discourse is the division of a play into communicative events (the totality of effective communicative actions aimed at achieving a communicative goal that has a clear spatial-temporal restriction and has a stable composition of communicative partners). Further division of communicative drama space is defined as a hierarchical Chapter «philological sciences» chain of units of different levels which include a communicative actiona communicative module-a speech (communicative) move-a speech act. The last component is the smallest entity represented in a statement which is generated and pronounced for a certain purpose and is caused by a certain motive for a practical or foreseeable action done through language. Key features of modern drama influencing the work's communicative space include the following: change of dramaturgic time and space, removal of all sorts of taboos, variety of characters, genre experiment and game element. As a result, there is an increase in the dialogicity of contemporary dramaturgic discourse, structural expansion and stylistic branching of paratext components of a play, the transformation of character's linguistic personality and its communicative activity, the destruction of boundaries between external and internal communication within the context of contemporary Ukrainian play.

The Communicative Strategies of Manipulating and Language Aggression in Neda Nezhdana’s Plays

“…The confrontational strategy of manipulation can be expressed in the tactics of reproach, threat, indignation, refusal, pressure, demand, etc. These tactics are aimed at seizing communicative space in order to impose their interests on the partner (Koroliova, 2016). The manipulation strategy often combines the tactics of indignation and rebuke, for example:…”