NEW FUNCTIONAL POWERS OF SYNTACTIC SEPARATION IN THE FRENCH “THEATER OF THE ABSURD” (BASED ON THE MATERIALS OF PLAYS OF S. BECKETT AND E. IONESCO)

Abstract

The article presents a new perspective on syntactic separation in the speech of the heroes of the French “theater of the absurd”. On the material of plays S. Beckett and E. Ionesco showed the problem of syntactic connections at the newest level of research. During the study, it was established that syntactic separation in dramatic works serves as an important means of expressing language destruction. Separated syntactic structures have refinement semantic meaning and characterize the speech of the character as a primitive, unconnected, and logically non-structured. In this use separation indicates the mechanics, communicative incompetence of the heroes. Speech of the characters of the plays is as unconnected, dismembered as their thinking. The scientific exploration shows that in the play “theater of the absurd” separation syntactic structures serve not only affective means of expressing the emotional state of the characters, and the expression of the absurdity of their speech, denial of communication as such and a stylistic feature of playwrights-absurdists. In the course of consideration of the research material we have traced that separation prosodic structure of great importance in the structure of absurd statements. Together with the lingering pauses and the quantum character in the speech of the characters, they are described as vivid means of manifestation of anti-communicative abilities of characters. So, the spread of separation in the syntactic fabric of absurd plays is one of the most powerful means of expressing the key principles of this artistic direction. The research confirmed that separation in the speech of the heroes of the theater of the absurd" is not merely a simulation of oral speech, an effective means of expressing the emotional state of the speakers, but is one of the syntactic means that clearly characterizes the language competences of the participants in the communication. Speaking to a large extent reflects the essence of the artistic image reveals the inside, thus making possible a deeper understanding and perception. We can argue that in French plays “theater of the absurd” separation expands its functional potentials, qualitatively updated, and filled with new qualities and characteristics.