ESOPIAN LANGUAGE AS A WAY OF RITUAL DESTRUCTION OF SOVIET IDEOLOGY IN DRAMA IN THE SECOND HALF OF XX CENTURY

Abstract

The article studies Aesopian language as a special model of the speech behavior typical of Soviet intelligentsia of postwar period and founded on the complex ideologically forbidden meanings and senses. It studies essential ways of coding necessary information in dramatic text, reveales the most important features of text actualization, reconstructs the most effective strategies of suggestive worldoutlook. The main purpose of the study is the comprehension of basic rules of transforming Aesopian language from the most important communication register of the above-mentioned time in mean-style of whole generations, and the role, which was played bythe dramatic art in this process. The most signiicant plays of the considered period, created in 1950-1980-s by M. M. Roschin, L. G. Zorin, A. V. Vampilov and etc served the material for the analysis. As the most relevant source of the theoretical comprehension of Soviet postwar drama to this investigation were attracted data of detailed choice, namely notes, essays and diary books of the above-mentioned authors, which were characterized by autometadescriptive features. The article is addressed to students, post-graduate students and teachers of philological faculties interested in the reflection of Soviet ideology in the art of the second half of XX century.