Національна Академія Мистецтв України Інститут культурології

The above discussed dramatic opportunities of epic novel can be disclosed in staging and performing a narration, and it gives evidence to the statement that each poetic work is an experiment. We have already seen experiments with lexical compatibility constantly carried out in creating and reproducing proverbs. In a much greater scope the same experimentation is still continued in dramatic work that can only exist as an experiment. The central problem then will be that of the “bilateralness” of artistic experiment as the problem of experimental productivity for creative work where experiment has the meaning both of the creation and of the exploration of created works. The performing form of existence of dramatic play entails the necessity of producing experimental textual versions and putting them under examination. To continue the mentioned case of proverbs, one can again enumerate the triad of alternatives to the taken locution, of the questions that it arouses and of the inferences that necessarily must be made as its antecedents and consequents. To comprehend the simplest scenic cue one must bear in mind all these three concomitant satellites. Any replica must be first of all put to such mental “lie detector” for the examination of the possible deception and therefore display its modality. One can say of the filters for adopted speech as the common property of proverbial enunciation and dramatic replica and their constant concomitant satellites.

Meanwhile in dramatic play as well as in lyrical poem and epic narration it is contextual deixis that entails the dependence of separate locutions’ meaning upon the whole. In difference to proverbs here still one power comes into play, that of contextual references (which are of intertextual nature in the case of proverbs). In particular the mentioned positional functions (initial, medial, terminal) of the situation are to be taken into consideration as the decisive so that textual cohesion provides the priority of contextual conditions. In its turn the decisive role of referential net is not the only peculiarity of dramatic replicas. In difference to epic and lyrical genera and together with proverbs dramatic text has the property of the “condensed state of verbal substance”. The effects of such textual density are to be traced in transformability & derivability evident already in multiple performable opportunities of any character’s role. These effects can be exemplified in particular with the mentioned aha-phenomenon where plain colloquialisms become meaningful locutions as it takes place in the so called scenes of imbroglio (qui pro quo). As well as in the “invitation to invention” attested with the proverbs the dramatic performable opportunities display various forms and approaches to interpretative lections of the taken text that depend upon different admissible comprehensions of the ties between the taken part with the whole. Meanwhile the reason is here not the condensation as such but (in difference to proverbial locutions) the circumstances standing behind. The principal peculiarity of dramatic transformability & derivability consists in their dependence on the invisible possible world of the phantom of action.

There is the ubiquitous phantom of action in drama that makes all utterances of a dramatic play refer to and respectively shift their meanings. Without these references and such ensuing semantic shift the meaning would not be comprehended adequately. Even if an utterance seems to be of a neutral nature it can either impede (for instance as the force of retardation) or accelerate action and therefore bears the reference. This permanent reference to action constantly arouses the problem of the necessity to discern deception from a common circumlocution, therefore to detect the implications concerning action. The ubiquitous presence of the invisible virtual force of action’s phantom determines all meanings of dramatic utterances. No utterance can be comprehended adequately without the reference to action.

Meanwhile this force isn’t given in the textual data immediately. One can’t decide upon the action and imagine it from the written cues of dramatis personae only. Drama demands special efforts of performing efforts to be comprehended adequately (in the case of reading performer coincides with the reader). That is why the comprehension of dramatic text needs special elaboration comparable to that of the work of producers and actors commenting and transforming the original textual data. This routine of transformations in rehearsals presumes the formation of derivative questions & alternatives together with inferences in the same manner as it has taken place with proverbs. Drama appeals to interpretative activity in the same way as proverbs do. This interpretative “pregnancy” (to return to the already used term of the psychology of Gestalt) presupposes the organic incompleteness and insufficiency of dramatic genus.

Therefore dramatic replicas representing explicit and implicit quotations as the designations of the situations are to be taken within the supposed lacunas to be filled and latencies to be disclosed with the aid of referential net of the entire text. There arises a set of “possible worlds” beyond the manifested data of any situation, and it is here that the opportunities for textual expansion are to be found. Still more significant for the scenic life of dramatic text is its variability within the adaptation to the roles’ development. The practice of rehearsals presupposes a wide range of variability of the cues within the process of actor’s work. Therefore the series of indispensable derivations appears produced within adaptational work of rehearsals. It doesn’t even go about the change of words (the selection of one’s own words in the work with the role’s development): it will suffice the shift of stress in different pronunciation of the same cue to disclose different meanings and therefore different presuppositions standing behind the separately taken utterance. Words can remain the same, meanwhile the meanings will differ and the pronunciations will become what can be called scenic homonyms. It is the whole roles performed with different actors that exemplify such homonymy. One could remind Richard III played by D. Harrick as the incarnation of evil and by E. Kin as the sample of unscrupulous man of fortune that gave in reality the extent homonymous texts. he slightest difference in the same phrase’s scenic representations entails the gross difference of its referential nets and therefore the respective conjectures as to the fate of the dramatis persona that utters this phrase.

Thus the already discussed case of adoption & adaptation with proverbs returns now in the larger scope in drama. In difference to proverbs where this circumstance is caused with the semantic condensation the organic incompleteness of dramatic genus is the immediate consequence of the existence of action’s phantom. It is already the inevitable dramatic minimalism ensuing from the attachment to action that determines the conciseness & succinctness of scenic speech. One must keep reticence in utterances as all necessary details can’t be included in the restricted time. Therefore the old rule cum tacent clamant becomes the principal law of scenic utterances’ construction entailing the constant necessity of revealing the reticent connotations. The figures of ellipsis & aposiopesis are constantly present in these utterances and must be deciphered to be comprehended. In its turn they are by no means only figures as they reveal the deeper organic textual qualities of latencies & lacunas. Textual incompleteness & insufficiency of deficit can even get the form of excess of pleonastic “chatterbox’s” enunciations that have the retarding destination. Nevertheless all that takes place on a stage has connection with the action whether accelerating or retarding it.

The deciphering of replicas as the revelations of the action’s progress replenishing the initial textual data presupposes the involvement of functional attributive analysis necessary for adequate comprehension of the staged situations. Respectively the preexistent experience of generalities must be involved to grasp these situations. The initial step will be then to detect and ascribe recognizable & reproducible attributes (resp. categories) in regard to the situation in question that enable correlating this situation with the respective place of a code. In particular the prototype of the situation (as its convenient title) and the abstract attributive invariant are to be disclosed to provide conditions for textual transformations as the covariants encircling this supposed invariant. Such representation of the situation entails the detection of lacunas & latencies beside and behind the manifested data where the space for textual expansion is reserved. The “adaptation of adoptions” becomes both the explorative and interpretative performing device in regard to dramatic play so that the respective preparation belongs to the attributive analysis.

Action’s permanent presence in dramatic textual integration means that this text is based on the non-verbal sources so that there always are transcendental powers taking part in textual integration. It is the general property of poetry as opposed to prose that the transcendentalism prevails as the indispensable reference to non-verbal objects. The term transcendental has been for the first time used by A.A. Reformatskiy in regard to some peculiar types of plot’s disposition used by L.N. Tolstoy. In particular there appear layers of latent contents that are to be conceived as those referring to the categories human existence and moral conduct⁹³⁴. This reasoning concerns epic genus, meanwhile it affords generalization and applicability to dramatic genera. Moreover, the dramatic conditions turn out to be especially demonstrative for displaying transcendental references.

That each element of dramatic text refers to non-verbal action as something transcendental in regard to dramatic tissue entails the necessity to take into account much more than only the words can represent. Such non-verbal objects can carry out the function of mnemonic prompts and be represented with a pictographic or emblematic details as those already discussed in regard to proverbs. The significance of such details in dramatic work is impossible to overestimate. It has constantly been stressed with the attested enunciation of outstanding theatrical producers⁹³⁵. Thus one can always suppose the existence of transcendental objects (as emblems in the case of proverbs) that become the elements of a drama’s integrative foundation. This inherent transcendentalism of dramatic play can be regarded as the ultimate degree of referential net that in its limits passes across the boundaries of language⁹³⁶. One can say that inherent incompleteness of dramatic play entails its transcendentalism. The unity of the properties of limit and completeness as the textual qualities is of special importance for dramatic poetry with its organic reticence. In its turn the substantiation of the formation of transcendental qualities from the ultimate development of referential net comes back to Kantian concept of transcendental deduction. In particular one finds here the inferential procedure of the construction of object on the basis of its mental representation and therefore the substantiation of the interrelationship between the Signifier and the Signified⁹³⁷. In its turn the statements on the interrelationship between categories and objects come to the conclusion about the necessity of the demonstration of existential opportunities of objects and therefore of the possible transition to them from the space of categories⁹³⁸. This procedure of the so called objective deduction builds up the prerequisites for the subjective deduction that coincides with the transcendental deduction in proper sense where the transition from categories to experience (but not to the existing objects!) can be constructed⁹³⁹. The way of such procedure goes through the sphere of possibilities and precludes therefore any immediacy⁹⁴⁰. Such transitions in Kantian sense can be interpreted as the development of referential net that comes from the world of verbal categories to the non-verbal objects. Besides, it is essential that such transcendental non-verbal reality appears first as the irreducible residuum of imaginative integration⁹⁴¹ and therefore correlates with the procedure of phenomenological reduction. This residual origin of transcendental reality enables disclosing it through phraseology.

The statement on transcendentalism as the ultimate border of referential net entails important consequences on the nature of idiomatic phraseology in poetical works. The existence of transcendental reference results not only in the development of derivative connotations and latent implications of a phrase taken within respective contextual conditions. It is the transformation of the verbal substance in a kind of non-verbal object that takes place with the plainest locutions. Due to textual entirety the most usual colloquial commonplace acquires transcendental properties and the respective semantic load without becoming a trope or representing latent meanings. It is the immediate direct designation that becomes transcendental object itself with overcoming the boundary between the Signifier and the Signified. This property of verbal substance arising in poetical work is commonly known and described in classical legacy (in particular in A.S. Pushkin’s works)⁹⁴². It becomes observable best of all in prosaic speech due to its pragmatic attachment to practical activity through colloquy. Therefore the relations of manifestation vs. latency displays in prose particular significance different from imaginative world of poetry.

From there one can conclude that within the integrated textual context a speech unit with direct designations and references behaves as a transcendental non-verbal object or a signal for the processes evolving in this non-verbal space. As far as a poetical or prosaic work induces new non-verbal reality it makes the verbal substance involved in its edification to acquire respective transcendental non-verbal properties. Apparently the contextual connections and contacts gain here priority over the intertextual ones because they don’t need nor presuppose the conventional derivative connotations and remain restricted with the boundaries of direct meanings. It is without particular semantic transitions that the direct meanings taken in a work of poetry acquire such radically different qualities. In this respect as the element of such new reality verbal substance becomes transcendental object and behaves as signals or passwords for action in drama. Words don’t only point to the transcendental objects: while being taken within the contextual tissue of poetry they become such objects themselves. The plainest locution acquires transcendental meaningfulness without becoming trope or convention only due to its incorporation in the edifice of a poetical or prosaic work. That is why one has grounds to say of the transfiguration of word where verbal substance becomes the material for new possible worlds arising in a work. In addition to the cited examples one can also take F.M. Dostoyevsky’s works where the plainest prosaic phraseology endures radical transfiguration⁹⁴³. Iy is essential that as the result of such procedure a set of connotations arises that play the decisive role. In other words verbal substance taken as the ingredient of this work doesn’t belong any more to the world of language only. It is incorporated to the imaginary world and developed in conformity to its laws. Apparently this transfiguration converges with the above discussed aha-phenomenon of illumination where a colloquial locution becomes an idiom. Such transformation of colloquialisms into idiomatic enunciations is just the case of “direct designations” becoming transcendental objects. In its turn the transcendental reality disclosed with such transfiguration can be represented with the mentioned cryptotype of implications ensuing from the transcendental reality as the contents beyond the surface of these “direct designations”. In the most observable form a colloquial usual locution becomes a password so that one has nothing to deal with the so called lexical semantic variants that are replaced with this neqlz acquired idiomatic meaning:

It is neither derivative connotations nor implied latent inferences that the meaningfulness of such transfigured locution can be reduced to, not to say of lexical semantic variants chosen for such purpose. Words in poetical work become idioms that are used for the given occasion only and disclosed as the mentioned illumination. It is the creative interpretative efforts where the transcendental cryptotype of image can first be represented⁹⁴⁴. It is not also the concoction of arbitrary conjectures that discloses the richness of images and their inexhaustible semantic load when transcendental reality comes into play⁹⁴⁵. It is not for the sake of informing a reader that on September 15, 1840 there was a cloud of dust at one of embankments as the description shows that G. Flaubert’s “Sentimental Education” is commenced with. All these data are necessary to paint the picture of the life where the next events take place. The famous incipit of A.S. Pushkin’s “The Brazen Horseman” has not the aim of describing the emperor’s visit at a deserted shore: the meaning of such description reaches the fate of the next generation: although «на берегу пустынных волн» (at the shore of deserted waves) gives a very exact toponym of the geographic place at the mouth of the river Neva in the beginning of the 18-th century and can by no means be identified with abstract descriptions of any other deserted place the meaning of the line remains irreducible neither to any description nor to toponym⁹⁴⁶. Thus the paradox arises: due to the simplification and restriction of semantic load of a locution its direct immediate designation becomes a transcendental object applicable to pass through the verbal boundaries in the broader world of imagination. In opposite to derivational and implicational load endowed with connotations it is the unique use of a phrase in the given singular context that enriches its meaning to a much greater degree. Taken in its direct meaning the phrase within a poetical or prosaic work becomes inimitable idiom. Therefore the simplest words become complicated idiomatic representation of another reality⁹⁴⁷. One can say thus of the wonder of the passage to transcendental world. In drama this passage becomes especially observable as it goes about the reference of phraseology to the action that is meant. Each replica of drama becomes a more or less important password for the action that builds up the transcendental reality in regard to textual data.

In its turn, be it visualized or imagined as corporeal movement or in some other form, this transcendental reality corresponds to what has been described as the