THE CONCEPT OF NEW ART IN THE DISCOURSE OF THE TELEVISION PROJECTS “CRASH” (1967) AND “WEAVERS” (1969)

The article considers the Belarusian direct-to-air television theater as one of the prototypical forms of electronic audiovisual communication. The productions «Crash» (1967) and «Weavers» (1969) were first studied using modern methods of cognitive linguistics and discourse analysis, and interpreted in terms of audiovisual grammar. Communicative strategies for implementing the concept of new art (with its inherent intentions of imagery, emotionality, interactivity) are highlighted, such as constructing the interactive subjective position of the addressee (using verbs of cognitive activity), the addressee’s idiosyncrasy (using anataclasis, semantic gap). The intertext of the painting techniques of the Baroque (tenebrism) and Renaissance (chiroscuro), the theater of B. Brecht (zongs, metanarrative dialogue), experiments with the visual technique of bullet-time are established. The semiotic potential of the strategies and resources of the Belarusian television theater, determined by their universal philosophical character, is substantiated