SPOSÓB FUNKCJONOWANIA KATEGORII RYTMU W DRAMATACH LEONIDA ANDREJEWA
THE WAY OF FUNCTIONING OF THE CATEGORY OF RHYTHM IN THE DRAMATURGY OF LEONID ANDREEV

Summary/Abstract: According to the theories of modernism the essence of the category of rhythm is contained in a large number of meanings between “material” contents of “molecule” and the capacity of those general meanings which are its source. Philosophical and esthetic doubleness of rhythm is realized in the context of the categories interpreted earlier defining for the “internal dramaturgy” of L. Andreev: time and space (shown through the aspects of philosophy such as Nietzsche’s “Dionysianism” and “rotating wheel” of Schopenhauer); tragic grotesque (contained between the classical and Nietzschean version of tragism); symbol-myth and category of game-play. Generally speaking the rhythmic organization of Andreev’s dramas is based on the internal tendency of the form to disintegration. In the basis of the theory of ecstasy (Eisenstein) and philosophy of new music (Adorno) there were made oppositions (temporary-universal; civilization-myth; archaism-modernism) presenting conflicting function of rhythm in the dramatic form of Andreev. On the plane of esthetic realization (the organization of dramatic space, plastic and sound sphere), rhythmic caesura recalls baroque esthetics (mainly archi­tecture called “conflicting style”), risen on the basis of philosophy of eschatology and the idea of martyr. At the end of her paper the author drew a conclusion that the category of rhythm is an integrating element for the immanent structure of artistic text even in case when, as it just happens in Andreev, it is realized as disintegrating moment.

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