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Manipulácia slovami Textová a autorská performativita Ivana Vyrypajeva

100%
Štorková Maliti R.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2020
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issue 61
17-32
EN
The study deals with the issue of performativity of contemporary Russian drama, the so-called new drama. It works within the examples of selected works, concept and strategy of the Russian playwright, director and performer Ivan Vyrypayev. From the point of view of the meaning of the literary communication model (author — text — reader), theory of performativity, reader-response criticism and literary anthropology, the author primarily monitors authorial and textual performativity and tries to name Vyrypaev’s tools of literary manipulation in the relationship to his recipient-reader-spectator.
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Религиозный дискурс в драматургии Ивана Вырыпаева (Бытие № 2, Кислород, Пьяные)

72%
Wasińczuk K.
Studia Wschodniosłowiańskie
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2019
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vol. 19
263-277
EN
The present article is devoted to Ivan Vyrypayev’s dramaturgy, which raises religious issues and develops the threads of spiritual exploration. The aim of our work is to trace religious motifs and to indicate the manner of presentation of a sacral, spiritual context in works that seem to be far from manifesting the faith. This aim also leads to an attempt to reconstruct the concept of God and man in the dramas of Vyrypayev. The works of the Russian playwright, which are a specific record of cultural, social and religious transformations, provoke a reflection on the way of experiencing transcendence by modern man suspended between atheism and institutionalized religiosity. The tasks of the article are motivated by the presence in the world of numerous religious symbols, references to various spiritual traditions, the use of literary genres and images of biblical provenance, etc. The subject of these analyses are the selected dramas by Ivan Vyrypayev, Genesis No. 2, Oxygen and The Drunk Ones.
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