The cognitive model of new art in the discourse of the Belarusian direct-to-air TV-theater: strategies and resources of representation
Keywords:
direct-to-air TV-theater, television performance, cognitive model, discourse, television art, multimodal text, sensory encoding of information, abstract encoding of information, grammar of televisionAbstract
The article examines the Belarusian direct-to-air TV-theater as one of the prototypical forms of electronic audiovisual communication. The resources and strategies of representation in its discourse of the culturally and historically conditioned cognitive model of new art are revealed. The focus of television subjects on sincerity of communication is shown, realised in the strategies of satire and grotesque, metanarrative (for example, folk theater), dialogised monologue, lexical-stylistic and phonetic characteristics of the character. Abstract-metaphorical, as well as sensory encoding of information, characteristic of the Belarusian direct-to-air TV-theater, is established due to the search for audiovisual explicatures of feelings of love (multimodal macroplan ensemble, double exposure, shadow play), anxiety and shock (wide frontal angle, freeze frame, multidimensional soundscape, sound counterpoint), suffering (pictorial techniques of tenebrism and kyaroscuro), distrust (the general plan in the closed scenery), and audiovisual explicatures of determination (foreshortening plus contrast). The semiotic potential of the strategies and resources of the Belarusian TV-theater, determined by their universal philosophical character, is substantiated.
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