POETHOLOGICAL DOMINANTS OF HEINER MÜLLER’S EXPERIMENTAL TRIPTYCH: “PHILOKTET” (“PHILOKTET”), “HORATIUS” (“DER HORATIER”) AND “MAUSER” (“MAUSER”)

Abstract

The article analyzes features of the dramatic model in the artistic practice of Heiner Müller, who summarizes the evolution of Bertolt Brecht’s learning-plays, the use of which becomes impossible in the changed cultural and historical situation in Germany at the end of the 20th century. In the course of a comprehensive analysis of the experimental triptych Heiner Müller “Philoktet”, “Horatius” and “Mauser”, it is concluded that in Heiner Müller’s drama the concept of dialectics is being revised and an important turn is taking place – the removal of the pedagogical logic of Bertolt Brecht’s learning-plays, which is a practical exercise in dialectics with a moral conclusion in the play’s finale. In conclusion, it is noted that in the analyzed triptych Heiner Müller combines different historical events on one plane, presenting to the audience the concept of non-linear historical time. This allows the playwright to organize the viewer’s intellectual and sensory experience on new terms.