Використання прийому "гра у грі" в сюжетотворчій та часопросторовій організації п'єси Неди Нежданої "Коли повертається дощ"

Abstract

У статті досліджено часопросторову організацію п’єси Неди Нежданої «Коли повертається дощ». Використання прийому «гра у грі» як способу відображення дійсності сприяє складній хронотопній організації твору. Ігрові поля у ньому паралельно співіснують, пересікаються, взаємопроникають, нашаровуються одне на друге, балансують між свідомістю і підсвідомістю або зосереджуються на найнижчих рівнях несвідомого.

The plot-line and space-time structure of the play “When the rain comes back” by Neda Nezhdana is studied in the paper. The use of the literary device “play within a play” as a means of reality reflection is one of the most prominent features of postmodern drama texts. Plotting of the play under consideration according to the “play within a play” principle places special emphasis on its chronotopic structure, allows for combining all space-time levels of the play. The City without a Name arises as an infected space or local chaos. Its core features are everywhere: in the environment (absence of the rainfall), in the life rhythm (absence of the beginning and end of the human life cycle), in physiological processes (female infertility), in consciousness of the city residents (inability to analyze the situation as a critical one). The author lays the locus of the community onto the locus of the city narrowing, therefore, and doubling the chronotope of the play. The inner world of Marko, Andrii and Piero is integrated into the city space. Their lop-sided mental activity is reflected in absurd actions, which imitate life. The next stage of space narrowing is the accent on inner space of each member of the community. Inner space of Marta acts like antithesis of male space. The fields of play coexist here, overlap, interpenetrate, are layered onto one another, teeter between consciousness and subconsciousness or concentrate at the lowest levels of unconsciousness. The well-defined space-and time deconstruct in the play is presented through the format of psychological escape. Spatial confrontation at the “male-female”, “individual-social”, “own-another’s”, “conscientious-unconscientious” levels causes new means of space and time interaction with the emphasis on spacing between them. The use of “play” as the main means of plotting provides the story under consideration with special emotive coloring which combined with structural peculiarities allows the reader to take part in the dramatic process.