EPICISATION OF DRAMA: LINGUISTIC AND STYLISTIC FEATURES

Abstract

The Brechtian epicization of drama is studied from the prospective of seeingthe play as a literary work endowed with enormous intergenerational potential toinfluence the reader's consciousness, and at the same time as the literary basis77of the performance that becomes an intellectual event for the audience. Theresearch focuses on the study of the peculiar speech of the epic drama, theanalysis of dramaturgical texts and the interpretation of the plays "Man EqualsMan" and "The Good Person of Szechwan." The play "Man Equals Man" does notreflect the particular facts of political life in the Weimar Republic, but the form ofthe parable which Brecht used throughout his literary career creates "thealienation effect" (Verfremdungseffekt): apart from the concrete and visual, it alsohas a generalised long-range plan. The play "The Good Person of Szechwan"reveals a multi-coloured gamut of speech disconnection, differentiation, andsynthesizing. The problem of searching for and revealing a "cased" person,finding a die-cast personality is not only one of the facets of the idea of the drama,but also is the main idea, theme, plot and collision, i.e. the basis of all componentsof the content and form of this work. This is embodied in the development ofconventionality, free stage forms that construct the dramaturgical event through asystem of metaphors and associations. Drama to a certain extent becomes a freeauthorial expression, in which traditional elements act as a kind of pillars ofreception and interpretation. Changing "points of view" in a dramaturgical text,that is, changing the author's attitude in relation to the characters, their wordsand actions makes it possible to hear the "second voice", the "author’s comment".The poetics of non-Aristotelian drama contributes to the fusion of genreboundaries and the penetration of epic and lyrical principles into drama andtheatre. Its essence is revealed through motifs, rhythm, intonation, whichcontribute to creation of the melody of the text itself; increased associativity ofwords, gestures, sounds; a verbal theme that can be guessed in many variations.The traditional dramaturgical conflicts are extended to their global forms, thespiritually open to the interlocutor characters appear.