Open AccessGENRE CONVERSION IN CONTEMPORARY EUROPEAN DRAMA
Author(s) -
Yevhenii Vasyliev
Publication year - 2019
Publication title -
lìteraturnij proces: metodologìâ, ìmena, tendencìï
Language(s) - English
Resource type - Journals
eISSN - 2412-2475
pISSN - 2311-2433
DOI - 10.28925/2412-2475.2019.132
Subject(s) - drama , absurdism , literature , comics , literary genre , art , tragedy (event) , absurdity , comedy , philosophy , history
The article considers the original and common type of genre transformations in a contemporarydrama — genre conversion. Its essence is in the fact that the drama genre is not just transformed froma non-dramatic or extra-literary genre. Concepts that are completely unrelated to the field of genologyare becoming genre categories. They are borrowed from the sphere of literary movements and trends.In the genre system of contemporary drama, an absurd drama occupies a prominent place, which isconverted from the trend of the same name. The functioning of the absurd drama genre in Europeandramaturgy (German, Polish, Serbian, Russian, Belarusian, and Ukrainian) of the late 20th and early21st centuries is analyzed. The dramas of Andrzej Stasyuk, Bilyana Srblyanovich, Larysa Paris, ArtemVishnevskyi, Volodymyr Serdyuk and Vasyl Kozhelyanko are involved in the analysis. The intertextualconnections between the drama of the absurd as a genre («Waiting for the Turk» by Stasyuk) withthe works of the drama of the absurd as a trend («Waiting for Godot» by Beckett, «Bald Soprano Singer»by Ionesco, «House on the Border» by Mrożek). The genre features of the convertible genre of the absurddrama are defined (abstract, indefinite chronotope, de-individualized characters, the interpenetrationof high, pathetic, tragic and low, comic, farcical, the coexistence of the real with the fantastic,the destruction of the traditional constructive elements of the dramatic text; absurd plot situations;verbal nonsense and word creativity).