Features of the analysis of the world-modeling categories of a dramatic work (based on the example of the play “Fedra” by M.I. Tsvetaeva)

The goal of this article is to identify the features of the analysis of world-modeling categories drawing on the material of a dramatic work and to develop a methodology for analyzing a dramatic work as a whole, which allows us to understand the aesthetic level of any play. The structure of the play as a text prepared for the stage differs significantly from a work of art created solely for reading, since the author considers the time and space of the play both as modeling categories of the artistic world, and as a series of purely staging solutions aimed at quickly immersing the viewer in the work of art and working with the emotional reactions of the viewer, ultimately forming their aesthetic experience. Taking into account these categories and their characteristics in the analysis of a dramatic work should significantly supplement and deepen the results of such an analysis, which traditionally pays more attention to the category of action, as the leading category of drama, and the heroes of the work. As an example, the article analyzed four world-modeling categories (category of time, space, events and subject) of M.I. Tsvetaeva’s play “Fedra” at different levels of the work of art (gnoseological, ethical, and aesthetic) described by M.M. Bakhtin in his “The Problem of Content, Material, and Form in Verbal Artistic Creation”. The common features highlighted at the structural and linguistic levels of the text when analyzing world-modeling categories allowed us to approach the ideological core of the play and the idea of the author of the play, and, therefore, reveal the aesthetic level of the work.