Abstract
The problem of the theatrical code has been widely studied in Pasternak’s prose, but it has not
received the proper attention from scholars regarding his lyrics. This paper discusses three significant factors having influenced the theatrical code formation. First, the theater is
understood as special topos, different from other types of artistic space. Second, the theater
becomes a specific semiotic sign, deforming the primary linguistic meaning and endowing it
with additional meaning. Third, the theater proves to be a means of creating a universal
metonymic discourse extending to other aspects of the lyrical whole. In the lyrical continuum,
the theater initially exists as a space presupposing a special eventfulness that cannot be
realized
in other spheres. Also, the stage becomes a factory of metamorphosis, creating the contours
of events related to the lyrical hero. Besides using the topos of the stage, Pasternak, in his
lyrics, semiotizes the word, turning it into a vocal gesture. The vocal gesture coming from the
stage and the hum of the auditorium form the most crucial counterpoint of theatrical
performance, developing the lyrical plot and strengthening the role of the opposition to the
stage and life. The focus of this paper is on three types of lyrical plot: 1) the stage play as a
tragic sacrifice related to the death of the hero; 2) the lyrical hero endowed with the features
of
a creator who creates a new world; 3) the hero’s acquisition of the world of freedom, a motive
that is significant in the life and work of Pasternak.
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