The transition from actors’ theatre to the producer’s one together with the rise of cinema has exerted an impact upon dramatic text in the idiomatic interpretation of cues, and upon the staging of prosaic works in the display of the eidetic properties of a narration. The problem of idioms is gaining actuality due to the opportunities of oblique and periphrastic designations of phenomena together with the reference towards the whole from the indication of particulars (synecdoche). The distanced reference of idioms becomes the force favoring the exposure of textual inner world’s closeness and its multidimensionality while being staged. In particular, the traits of hyperrealism promote the myth-making interpretation of science fiction and daily life prosaic narratives. The scenic demonstration of colloquial speech at one side, and the creation of symbolic theatrical conventions at another side are both tied with the rhetoric devices of textual parcellation and the reconsideration of separate utterances those build up an autonomous semantic net.
Ihor Yudkin-Ripun (Mon,) studied this question.