Meninės erdvės konstruktai Vydūno dramoje "Pasaulio gaisras"

LTMeninė erdvė - tekstą formuojanti ir jo sugestyvumą lemianti struktūra, kurios ribotumas pasireiškia atsiribojimu nuo nemeninio teksto. Erdves segmentai ir jos opoziciškų plotmių koreliacija turi tiesioginį ryšį su laiko dimensijų kaita ir suponuoja nevienaverčių erdvės ženklų susiformavimą. Erdviškumo ir laikiškumo sąveikos svarba itin pabrėžiama mitinėje sąmonėje ir mitopoetinę erdvę tiriančiuose diskursuose. Diskursyvinis dramos lygmuo komponuojamas opozicijos šiapus / anapus pagrindu. Subjekto ir vertės objekto konjunkcija transformuoja pradinę teksto situaciją, t.y. lemia dviejų nesusisiekiančių erdvių sintezę. Pagrindinių konfigūracijų pastanga pasiekti konjunkcijos santykį - tai atlikėjų kelionė laike per helerotopinę, topinę ir utopinę erdves. Vydūnui itin svarbi vizualioji veiksmo vieta - ji lemia veikėjų nuotaiką, elgesio motyvus, veikimo būdą, atsiranda tam tikrų erdvinių struktūrų priklausomybė skirtingiems pasauliams. Esminiai dramos erdvės konstruktai - pasaulis, kaip centrinė, globianti erdvė, savyje talpinanti daugybę mažesnių mikrouniversumų. [Iš leidinio]Reikšminiai žodžiai: Antierdvė; Drama; Dramos erdvė; Erdvė; Konstruktas; Laikas; Laiko ir erdvės ryšys; Meninė erdvė; Mirtis; Semiotika; Simbolinė drama; Vydūnas (Wilhelm Storost; Vilhelmas Storostas, Storosta); XX a. pr. lietuvių dramaturgija; Antispace; Artistic space; Connection between time and space; Construct; Death; Drama; Lithuanian drama of the XXth century. pr.turgy; Semiotics; Space; Space in drama; Symbolic drama; Time; Vydūnas.

ENArtistic space is a structure which forms a text and predetermines its suggestiveness. Its restriction manifests itself through the dissociation from a nonartistic text. Its constructs are not only the elements of interceptive world. Spatial figures acquires a same of sensitivity and they are recognized trough the sensational experience. The world of words is treated as a closed artistic universe. The opposition between spaces can be perceived from the perspective of the subject or other octants. Typically, the corresponding characters appear in the same space only, and they cannot move to another world, for in this way space as well defined closed universe with its rigid structure would be distorted. The space enables the objects to belong to somebody and to each other at a time. Spatial segments and the correlation between its oppositional planes are directly related to the change of the dimension of time. They predetermine the formation of nonequivalent spatial signs. The scolars of semiotics single out the following essential aspects of time: time is particularly underlined in the mythical conscience and the discourses exploring mythopoetic space. In the archaic world these dimensions constitute a continuum, the notional units of which are coherently related to each other. The disperse of spatial figures in Vydūnas' play “Pasaulio gaisras” The discoursal level of “Pasaulio gaisras” is based on the opposition between here/there. The conjunction of the subjects and the object of value transforms the initial textual situation, i.e. it predetermines the synthesis of two isolated spaces. The efforts of the main configuration are manifested through the characters' journey in heterotopian, topian and utopian spaces.Magė is the main character of the play. She performs the main act antic role. Other characters are merely spatial bodies surrounding her. They can be either ads or adversaries in her way of achieving the object of value. The visual place of the action is particularly important to Vydūnas. It predetermines the characters' moods, motivation of behavior, the way of acting, some spatial structures belong to different worlds, the essential constructs of the play are the world, the central covering space, consisting of numerous smaller microunivers, and home, a sacred (speaking in M.Eliade's terms, religious), defending and defensible space. Through their realistic and also metaphysic perception the model of spatial discourse is constructed, the essential spatial oppositions are distinguished (vertical/horizontal, up/down, here/there). The play “Pasaulio gaisras” is dispersed into several oppositional planes of space and time which predetermine original structuring of the text and its meanings. The sense of three dimensions, a common same of space and time, appears to be particularly obvious in the text. From the perspective of time, the following oppositions can be distinguished in the play: specific, well defined time (the tragedy, consisting of 5 acts) vs abstract perception of this dimension (the introduction and the ending). Manifold treatment of time influences the formation of essential spatial structures, the relation between immanent and transcendent univeresuums. The universal model of the world is constructed - moving out of under filled past, through terrifying reality, into hopeful and peaceful future. [Text from author]