Дискурс театру у французькій драматургії XVII століття

The leading drama conflict in classicism theater field is defined as esthetic-philosophical correlation of two symbols “wise heart” and “passionate mind”, which is demonstrated with the examples of traditional theater characters: a youth, a girl, a youth's father, a youth's rival, a girl's rival, a confidant, a confidante, a king etc.

In classicism drama system, a word, represented in monologues, dialogues, maxims, act as the main artistic means to express the inner value substance of each character of the play and all drama situation as a whole. This distinctive feature of classicism drama word functionally brings it closer to the myth thanks to the symbolic fullness of its content and figurative expressiveness of its form. In that way one of the important intensions of the classicism theater is displayed - inclination to change of mythological paradigm and outdated behavioural stereotypes.

Each of opposition concepts of the given classicism theatre antithesis - “wise heart” and “passionate mind” contains the major ideological dilemma of the XVIIth century, that is the need and at the same time impossibility to choose between the feeling and duty. That situation is creatively solved in various drama models.

1. In Corneille's theater the symbol of “wise heart” is compared with the symbol of “passionate mind” by means of accentuating the moment of the hero's ethic choice.

2. In Rotrou's theater the symbol of “wise heart” is represented as influence of super-conscious transcendental hero's ego on his acts. The author models the situation of hero's search of universal definition of his own existence's content.

3. In Moliere's theater the antithesis of “wise heart and passionate mind” is pragmatically expressed in the form of “life wisdom's concept” calling for harmony of both elements in the Man.

4. In the Racine's theater the conflict between “wise heart and passionate mind” is displayed in the light of passionate mind's impact on heroes' acts. Within the framework of “passionate play of mind” concept, peculiar to Racine's artistic system, the ideal of “wise heart” demonstrates its inaccessibility and at the same time attractiveness, that leads to deepening psychologizm in portraying traditional characters.

The thesis reveled typological peculiarities of classicism drama structure as universal form (Gestalt), represented in the form of baroque triangle (dynamic transcendental) added to the classicism quarter form (realized immanent). At the same time the cruciform scheme of Descartes coordinate system is introduced as a structural archetype of the hero's inner vision of himself as a drama object. Such dramatized vision by the hero of his own thoughts is expressed in O.Potebnya's metaphor “the scene of thoughts”.

In the context of analysis of the XVIIth century drama the spatial and time whole of the drama heroes is differentiated from the point of mirror correlation between the author's ”ego” and that of the audience, placed on different sides of the stage space, where the dramatic play is realized. Such experimental model of symbolistic theater has an octahedral form, whose opposite peaks lie on one horizontal line and represent in-focus positions of the audience and the author, opposite in space. The middle quadrangular intersection of such octahedron is the area of the stage imaginations' projection.

Key words: discourse, philosophical theater, theatricality, classicism drama, quarter pattern, self-modeling system, baroque content, classicism form, universal structure, sign area, theater paradigm, hero's mythologization, image-symbol.

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