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Abstract:

Within the framework of the renowned French philologist G. Genette’s concept of paratext, as developed and expanded upon by Russian scholars S. Zenkin, K. Tolcheeva, and others, this paper examines the structure of literary text and the role of “auxiliary” elements within it. Significant changes in the functioning of paratextual elements occurred in the “new drama” of the late 19th and early 20th centuries. Using plays by contemporary Russian playwrights L. Petrushevskaya, N. Kolyada, V. Sigarev, and E. Grishkovets, the functions of stage directions, subject details, and the title of the work are explored. An analysis of plays across genres reveals that paratextual elements in modern drama acquire semantic significance and become a crucial means of expressing the author’s position. Paratext “includes” the reader / viewer in the creative process of interacting with the dramatic text, activating perception.

Keywords: paratext, monodrama, stage directions, title poetics, author’s position.