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The article deals with the epigraph as a form of dialogue between the author and the reader that is essential for the realization of narrative strategies in a novel. The implementation of the epigraph helps the reader not only to understand the message of the work, but allows him to join in co-creating.

Stage directions of the first plays of Russian drama in many respects are directed towards the understanding of ritual actions of the court culture. But at the same time they are forming a ramified system of non-verbal actions designation. J.G. Gregory’s plays «The Comedy of Artaxerxes» and «Judith», having absorbed in themselves the originality of national notions about theatricality and principles of European stage performances, demonstrated how swiftly the dramatic art was mastering functional and plot-related opportunities of stage direction descriptiveness.

The article dwells on some questions dedicated to the description of communicative units – grammatically vague utterances that function as responses in a dialogue. The analysis is of the communicative units class containing only syntactic words, that is grammatical idioms, is held. Examples of the lexicographic description of such units are given.

In the article the distinct characteristics of poetic dialogue are highlighted, such as its being synsemantic, its being addressed, etc; such types of dialogue are defined as intratextual and extratextual.

The article researches how additional communicative units function in monologues and dialogues that sound on the Russian and English radio. In the Russian broadcasts those units are used more frequently and in more diverse ways than in the English ones. Dialogical speech is filled with more additional units of various types than monological speech. The differences between the monologue and dialogue are more vividly pronounced in the English language broadcasts.

The article analyzes different aspects of the epistolary interaction in F. M. Grimm’s correspondence with N. P. and S. P. Rumyantsev, the dialogue role in the written communication and the impact of the courteous tradition on the development of the intimate principle in a pri vate correspondence which facilitated the genre evolution at the turn of the XVIII–XIXth centuries.

The lexical and syntactic elements of colloquial speech in the poetic text are singled out as features of the stylization of living speech in the lyrics of A. Akhmatova.

The article is devoted to the study of the play of the modern English playwright M. Frein "Wild Honey", which in turn is a translation-interpretation of Chekhov's "Platonov". The article analyzes approaches, ways Frein uses in working with Chekhov's text, and also tries to understand how organically the classical Russian-language text exists in the space of the theatrical culture of England.

The poem by Okudzhava is comprehended against the background of a number of texts published during the celebration of the 150th anniversary of the Patriotic War. Okudzhava’s unique stand in the situation of the historic celebration is determined, the controversy with Levitansky’s poem The Little Man is traced. It is shown how Andersen’s formula of the ‘persistent tin soldier’ is transformed in Okudzhava’s point of view. The views of Okudzhava and Samoilov on literature about the war are compared.