Анотация |
The notion of ,,theater
language" itself is a complex concept
and only partly covers the simple analogy with language in the
linguistic meaning. In the theater a text is not a receptacle of
frozen thought but a peculiar generator which produces new
messages, ideas, feelings. In the modern theater this language
possesses definitely complicated lexis and grammar which leads to
complicated "reading" because for it a linguistic community is
needed allowing the theatrical text to acquire beyond-textual or
above-textual meaning. Because part of what is said on the stage is
spoken by: silence, movement, "placing on stage". Sometimes, most
important actions are the ones which are not performed. The stage
is not only a space-and-time constant but also a specific textual,
lexical canvas achieving "selfness" only when establishing contact
with a" literate reader". Moreover, it is not simply a
visual-and-aural localization of the verbal flow but a specific
"space-and-time reservoir" full of forms of different structure and
features or organized in specific grammatical structure of "words".
The sequence of such "words" suggested to the spectator is not
arbitrary but composed of strictly hierarchied elements whose
unique organization supposes programmed result. This peculiar
lexical uniqueness of the theater involves its independence with
respect to the literary prototype as well as with a view to the
specificity of its united but not simple language. It may be
defined only by its inherent means of dynamic and spatial
expression, compared to the expressive means of the dialogical
speech. The conclusion to be made is that the theater language is
an overall complex of lexical and grammatical structures and that
"reading the stage structure" should not depend on eventual
understanding of the literary-verbal prototype.
Key words:
theater, language, reading, understanding, meaning, speech,
gesture, movement.
Orientation: Theatrical art - "The universal
language of the modern stage"
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