GENRE CONVERSION IN CONTEMPORARY EUROPEAN DRAMA

The article considers the original and common type of genre transformations in a contemporary drama — genre conversion. Its essence is in the fact that the drama genre is not just transformed from a non-dramatic or extra-literary genre. Concepts that are completely unrelated to the field of genology are becoming genre categories. They are borrowed from the sphere of literary movements and trends. In the genre system of contemporary drama, an absurd drama occupies a prominent place, which is converted from the trend of the same name. The functioning of the absurd drama genre in European dramaturgy (German, Polish, Serbian, Russian, Belarusian, and Ukrainian) of the late 20th and early 21st centuries is analyzed. The dramas of Andrzej Stasyuk, Bilyana Srblyanovich, Larysa Paris, Artem Vishnevskyi, Volodymyr Serdyuk and Vasyl Kozhelyanko are involved in the analysis. The intertextual connections between the drama of the absurd as a genre («Waiting for the Turk» by Stasyuk) with the works of the drama of the absurd as a trend («Waiting for Godot» by Beckett, «Bald Soprano Singer» by Ionesco, «House on the Border» by Mrożek). The genre features of the convertible genre of the absurd drama are defined (abstract, indefinite chronotope, de-individualized characters, the interpenetration of high, pathetic, tragic and low, comic, farcical, the coexistence of the real with the fantastic, the destruction of the traditional constructive elements of the dramatic text; absurd plot situations; verbal nonsense and word creativity).