The temporospatial features of the artistic world in Elysey Karpenko’s plays.

Abstract

Analysis of temporospatial coordinates of the artistic world in Elysey Karpenko’s dramas by 1920-th helped to find out the features of realization of the modernist concept of “naked man” and its relationship with the surrounding reality. Among the means to achieve the above-mentioned fact it should be noted the approximation and the mythologizing of chronotope, manifested through the author’s reference to base mythologems such as earth, water, air, deep, roads, houses, motive cycling etc. It was found, that with a help of accentuation of specific, unrealistic temporal and spatial categories (motives of double world, illusory reality, symbolic “fullness” of the artistic world with the objects and phenomena) writer holistically and organically presented unique nature of man in an attempt to rebuild itself in the conditions of abnormal reality. It was clarified that limitedness and laconism of object fullness of the temporospatial model of the artist drama are connected with one-act plays genre dominance in symbolism context that makes it possible to accent the plan of the personal existential impulses. Poetics of artist’s dramatic works is so complex and diverse, because it unites different forms of the artistic time (the daily, the seasonal, the calendar-ritual etc.) and the artistic space (the mythological, the unreal, the conditional etc.). Instead it was proved that general artistic world of his drama is entire and organically blends with conception of the modernistic reality. Thus analysis of temporospatial features of one-act artist’s plays, as source of the common entire impression from perception and idea of so-called prolonged time, most likely will be an object of further studies of literature.