Intertextualitatea în discursul dramaturgic al lui I. Druță
Intertextuality in I. Druţă’s drama discourse

Summary/Abstract: The intertextuality, as an aesthetic option of the creative personality, renders multi-voices and broad meanings to the artistic discourse. The object of research in this article is the intertextuality in Ion Druţă’s drama discourse, especially that of folk origins, and its role in shaping the text and revealing its certain meanings (aesthetic, philosophical, social, and psychological). At the same time, the modalities, the theatrical techniques of stage achievement of folk-type intertextuality in Druta’s dramas are highlighted. In the narrow sense, the folk quote, especially the traditional lyric song, dance music (perinita, hora, sarba), ballad, etc. are poignantly found among the forms of intertextuality in Ion Druţă’s discourse. Semantic and conceptual consistency, as well as poeticity of these folk genres and species, fall into the Drutian text at the level of theme, motif, leitmotif, character, like in the dramas „Casa mare”, „Doina”. In „Pasarile tineretii noastre”, the traditional song becomes a plea for the national-universal harmony. In the performance, the ideas are also transmitted by the author’s song („Ballad for Violin and Orchestra” by composer E. Doga).

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