Aesthetic specifics of nonverbal components speech in the works of E. Grotovskiy

The article touches upon the activities of the outstanding theatre director is in line with the author’s investigation devoted to the semiotics of non-verbal components of communication. Revealing the essence of E. Grotovsky’s specific approach to the instruments of creating the scenic effect and to the mission of the actor, the author compares the functions of non-verbal communication in the archaic ritual and in Grotovsky’s experimental theatre. The author of the article gives convincing examples from E. Grotovsky’s plays that prove that the catharsis achieved with the help of the spectator’s involvement (immersiveness) is prepared by the use of special breathing technique: exaggerated breath sounds provoke emotional deviant speech. Author draws attention to the special technique of eurhythmic and voice expressiveness aimed at creating «special emotional states» that are different from routine ones. According to the author of the article, the purposeful use of the expressive possibilities of deviant communication, including non-verbal communication, makes it possible to achieve in the theatrical performance the effect of such authenticity and «confessionalism» that was achieved in the archaic ritual.