Index retardation as the basis of an epic play (a case study of A. Ostrovsky’s dramaturgy)

Retardation plays a significant role in A. Ostrovsky’s artistic universe, being prevalent in his works and indicating the intermedial nature of the author’s oeuvre. The strengthening of intertextual connections between literature, theatre, painting and music has contributed to the evolution of traditional genres. In terms of genre, Ostrovsky highlighted the importance of capturing static space, referring to his comedies as paintings, scenes and so on. Small dramatic forms are characterized by a substantial conflict, owing to the fact that the playwright’s focus is not on the development of intrigue but rather on the characters. We discuss the fusion of arts, bringing the static quality inherent in literary paintings and scenes closer to the genre painting. Retardation as the emphasis on the lack of significant movement in a play allows the audience to enter the portrayed space from a distant perspective. The purpose of this article is to examine the artistic time and space in Ostrovsky’s paintings and scenes. The study has found that Ostrovsky frequently employs index retardation within the narrative of his characters. Event-based retardation, which builds tension prior to the climax, differs from index-based retardation. In Ostrovsky’s dramaturgy, index-based retardation serves as a means of emphasizing relaxation, introducing characters into the realm of everyday concerns. The playwright slows down the action in the play by incorporating extraneous elements into the plot, such as repetitions, parallels, quotations and reminiscences. Additionally, he employs plot devices such as metaphors representing unreal spaces (both conscious and unconscious dreams), as well as visual cues such as mirrors, maps, imagery of water and so forth. Focusing on the states rather than actions, as the primary category of fine arts, enables us to imbue the intratextual space in Ostrovsky’s dramaturgy with pictorial art characteristics.