CONCEPT THEATER IN M. PLISETSKAYA’S INDIVIDUAL-AUTHOR’S PICTURE OF THE WORLD

Introduction. At present, the study of the linguistic picture of the world is carried out in various fields of the humanities. Verbalization and reconstruction of an individual picture of the world are one of the most important tasks of modern linguistics, this is carried out on the basis of an analysis of specific concepts. This article discusses the concept of theater in the individual-author’s world picture of M. Plisetskaya.The aim of our study is determining the conceptual, figurative and evaluative components of the concept of theater, which are characteristic of the individual author’s world picture of Maya Plisetskaya (M. P.) in the background of the national picture of the world. Material and methods. The study is based on the book of memoirs of the ballerina Maya Plisetskaya “I, Maya Plisetskaya”, as well as the National Corpus of the Russian Language and lexicographic sources of various types. In this study we use traditional methods and techniques of semasiological research (component, definitional, contextual, discursive analysis), and the results of these analyzes are consistently comprehended from cognitive perspective and, as a result, mental models are built.Results and discussion. Theater in the Russian picture of the world is one of the main concepts, it occupies an important place in the author’s world picture of M. Plisetskaya. Comparison of materials from explanatory and associative dictionaries and analyzes of fragments of texts, which are extracted from the National Corpus of the Russian Language, allow us to identify the conceptual, figurative and evaluative features of the concept in the national picture of the world. In Russian culture and literature, theater not only refers to art, but also affects the moral qualities of people, brings to them aesthetic pleasure, and contributes to the development of individual. We modeled the associative-semantic field of theater in memoir discourse to reconstruct the individual-author’s theater. The field includes 263 lexemes, divided into 6 microfields: dance and music terminology, theater as a building or place, people related to the theater, various types of theatrical activity, attributes of theatrical activity and theater in the system of the Soviet state.Having identified associations and evaluative discourses, which are associated with theater, we found high emotionality and expressiveness, the features of the theater (in most cases the Bolshoi Theater) at the value level can be divided into 4 parts: Bolshoi Theater in the paradigm of Soviet power, backstage of the Bolshoi, theater as heavy and dangerous work, and Bolshoi as the life and fate of M. Plisetskaya.Conclusion. M. P. saw the theater from the inside, this allows us to reveal the features of the concept in her individual author’s picture of the world: at the conceptual level, theater is wider and richer than in the national picture of the world, our associative-semantic field includes lexemes, which are associated with the stage, ballet, music, audience, ideological censorship, etc. At the figurative and value levels, in the author’s view, theater is multifaceted; For the author, in her youth it appears as a source of pleasure and joy in difficult times, then the concept of theater correlates only with the Bolshoi, it becomes emotionally and evaluatively complicated: attitude of M. P. to theater is ambivalent: indignation, contempt for the Bolshoi in the paradigm of Soviet power, on the other hand, for M. P. theater is all her life, When it is about the stage, the public, and the creativity of the ballet, there are often positive emotional assessments. Value signs are expressed by emotional and evaluative vocabulary, linguistic and occasional metaphors, syntactic parallelism and emotional contrast.

individual author’s picture of the world, concept theater, conceptual features, Bolshoi Theater, emotional-evaluative discourse, “I, Maya Plisetskaya”