EPIC INCLUSIONS IN THE LANGUAGE OF B. BRECHT'S DRAMATIC TEXT

In the article the author turns to the dramatic discourse of the XX century, namely to the drama of B. Brecht. The author views it as a set of texts in which a system of dramaturgic techniques and principles of theatrical play is described, and directly the texts of "epic" dramas. This understanding is due to the analysis of the text through the prism of autode-scription, which is the main direction within the cognitive-discursive paradigm of knowledge. The author assumes that the text of "epic" drama, as well as the artistic text, is characterized by the presence of an intertextual connection, which is expressed in the form of quoting the words of various authors, as well as in the form of author's inclusions. Such elements in B. Brecht's dramas are the "songs" and recitatives. In addition, the article distinguishes the main distinctive features of a recitative and a "song" by means of comparative analysis. B. Brecht's "song" is characterized as a kind of "text in the text" with a special syntactic structure typical of lyrical works. Within the framework of this issue, the author analyzes their semantic and structural typology. Thanks to the structural analysis, these types of "songs" are distinguished. These are a monologue, a dialogue and a chorus. Analyzing the content of such monologues, the author assumes that the speech, which refers to one actor, is a monologic story that reveals the main themes and problems of the work. The "songs"-dialogs follow the same direction, but the replicas are not a traditional question / answer, but they remind us of a consistent story on a single theme of several acrors. "Song"-chorus is characterized as a "collective" monologue, because it is simultaneously in the speech of several persons, but at the same time does not require a response from the interlocutor. The recitative in the drama text by B. Brecht as opposed to the "songs" does not follow the laws of poetry. They are characterized by a prosaic form of expression and the absence of a title. Their rhythmic pattern is characterized by asymmetry, and the intonation scheme is similar to natural speech. In semantics, the author singles out the elements in the form of didactic instruction and summary information. As a result, the author concludes that the text of the "epic theater" reveals many similarities to the narrative genres, which makes it particularly interesting and relevant for modern linguistic science.

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