The dialogue potential of song and drama (“Do what thou wilt” by Denis Tretyakov and “Thunderstorm” by Alexander Ostrovsky)

The semantic combination of song and drama sometimes takes on completely unexpected configurations. If at the very beginning such coexistence contained a more relevant and natural (historically evolving) artistic potential (as in the dramaturgy of Alexander Sumarokov), now the methods of such interaction are not only heterogeneous a posteriori, but also very numerous (for example, musical poetic (rock/rap) performances “Animal Lyrics”, “TODD”, “Cops on Fire”, “Orpheus & Eurydice”). However, the article focuses no longer on the syncretic, but on the fundamental semantic/semiotic aspect of the mutual influence of domestic classical drama and the close poetics of rock and underground song poetry. The conditional results concerning the artistic communication of the texts indicated in the title of the work can be classified at the level of genre (message), intertextual (lexical and semiotic section), partial-contextual (incorporation of an indirect nature), deep (metaphysical component) semantic solutions. A systematic analysis of the relationship between song and drama will subsequently not only reveal previously untapped experimental reserves in the field of intergeneric literary studies, but will also most likely establish their synergistic activity, opening up yet unexplored meta-paths in the history and theory of literature.