Features of the comic in the stage directions of A. P. Chekhov's plays

This study is dedicated to a comprehensive analysis of the functions and artistic specificities of stage directions in A.P. Chekhov's dramaturgy. The primary focus is on the role of stage directions as a tool for creating comic effects and expressing authorial irony. Drawing on the writer's key plays ("The Seagull," "Uncle Vanya," "The Cherry Orchard"), the research examines how Chekhov uses stage directions to reveal the contradiction between characters' illusions and objective reality. Special emphasis is placed on innovative techniques: the use of perfective past-tense verbs (e.g., "both smiled"), which create an effect of finality and doom; carnivalesque elements that transform tragic situations into comic ones; and non-stage directions addressed to the reader rather than the viewer. The study demonstrates how stage directions serve as a means of covert authorial commentary, combining the objectivity of a playwright with the subjectivity of a writer. The research employs comparative text analysis, an intertextual approach, and contextual examination of stage directions. Methods include detailed analysis of specific examples from the plays, as well as references to critical literature for interpreting authorial techniques. The scientific novelty of the study lies in its comprehensive approach to analyzing stage directions as a key means of expressing authorial irony and the comic in Chekhov's dramaturgy. For the first time, the use of past-tense verbs in stage directions is examined in detail, creating an effect of finality and emphasizing the characters' doomed nature. Additionally, the work reveals the connection between carnivalesque elements and genre definitions, demonstrating how Chekhov blends the comic with profound psychological depth.The conducted analysis confirms that stage directions in Chekhov's plays are not merely technical elements but also crucial tools for expressing the author's perspective. They reveal the author's irony toward the characters, highlighting the gap between their illusions and reality. In "Uncle Vanya," stage directions contribute to the characters' spiritual catharsis, while in "The Cherry Orchard," they enhance the carnivalesque laughter that masks the tragic situation. Thus, Chekhov's stage directions serve as a bridge between epic and dramatic forms, allowing the author to maintain objectivity while simultaneously expressing his attitude toward the characters.