Exercise. For each of the following topics, create a dialogue in which the protagonist
addresses their partner, changing the dialectical modalities of their lines, while the partner
responds in the same dialectical modality each time, but adjusts
the submodality to match the modality of the protagonist’s previous line. This
is the task for five scenes of your choice.
1. Yerofey, who is in love with Susanna (protagonist), persuades her to come to his home this evening. Susanna has other plans, but she doesn’t
want to argue with Yerofey. Susanna operates in the modality of actualization, but changes the submodality.
2. Yefrosinya – the lover of the big boss Zinovy Kalistratovich – tries to
hint to him that her status doesn’t quite satisfy her, at least not for long.
Zinovy doesn’t want conflict, but he also has no intention of getting married. Zinovy
operates in the modality of dissolution.
3. The warehouse dog Yelizarich describes the advantages of life in
freedom to the lapdog Dunya. However, she has doubts and responds in the modality of actualization.
4. The newlyweds Volodymyr and Anastasia discuss plans for the coming Sunday.
Volodymyr loves animals and nature very much, Anastasia misses her mom and dad, but
doesn’t want to argue with Volodymyr. Anastasia operates in the modality of creation.
5. Yukhym – the owner of the tortoise Khrystofor – tries to find out why he is in a bad
mood and to suggest something for the entertainment of his beloved pet. However,
Khrystofor is a pessimist and operates in the modality of dissolution.
Example. Rating 1.
Y E R O F E Y. (Without preparation) Darling, let’s drop by my place tonight?!
(creation)
S U S A N N A. Well, we usually walk around the city – is something special
happening today? act(creation)
Y E R O F E Y. I think we’ll die of boredom someday in all these cafes and
pubs. (dissolution)
S U S A N N A. We’re still alive, Erik, no need to talk about sad things. act(dissolution)
Y E R O F E Y. (Suddenly, energetically) I so want to see you alone! (creation)
S U S A N N A. Are you paying attention to the people around? Why all of a sudden? act(creation)
…
Soft modal transitions.
A transition (within one exchange) from one pure modality to another
(related) one is often perceived as rough and unmotivated, creating
an impression of a break in logic or style. To avoid this, it’s better
to soften it with an intermediate phrase of complex modality.
There are two main soft formulas for transitioning from one pure modality
(M1) to one related to it (M2):
the “carpet” formula: M1 – M1(M2) – M2
the “cloak” formula: M1 – M2(M1) – M2
For example, a transition from the creative modality to the actualizing modality using the
“carpet” formula looks like this:
– Good day, dear Susanna! (Creation) What a joy that you are with me!
creation(act) Today we, as befits lovers, are going to a concert. (act)
The “creative-actualizing cloak” formula is illustrated by the following
exchange:
– Good day, dear Susanna! (Creation) I’ve been waiting for you so much, and finally you are here!
act(creation) Today we, as befits lovers, are going to a concert. (act)
More examples:
“actualizing-dissolving carpet”:
– I’m not scolding you, Shustryk. (Act) I’m educating you – for your own good.
act(dissolution) A dog is a friend of man! And man is a friend of the dog. (Dissolution)
“Actualizing-dissolving cloak”:
– I’m not scolding you, Shustryk. (act) I am to blame, and I scold myself. dissolution(act) A dog
– is a friend of man! And man is a friend of the dog. (Dissolution).
Exercise. Continue the following lines and create five creative lines of your
choice, using the “creative-actualizing cloak” and
“actualizing-actualizing carpet” formulas.
1. – I’m not scolding you, Venedikte.
2. – Is this the Kisa-Murisa firm?
3. – Hnat, I find you interesting.
4. – Violetta, I miss you.
5. – Khariton Kharitonovich, we have guests!
Exercise. Respond to the following addresses and to five addresses of your
choice using the “creative-actualizing cloak” and
“actualizing-actualizing carpet” formulas.
1. – I don’t trust you, Lazar.
2. – Well then, Anfisa, do you agree?
3. – Apologize, Yakov!
4. – Why, tell me, Beatrice, does an unmarried woman need such a fur coat?
5. – Why so sad, Aglaya?
Exercise. In the following situations and in five situations of your
choice, create addresses using the “creative-actualizing cloak” and
“actualizing-actualizing carpet” formulas.
1. Greeting a recent acquaintance on a walk outside the city.
2. Inviting an unofficial younger brother to clarify the relationship.
3. A major, long-standing complaint, expressed privately to the head of the firm.
4. A significant, indirect, agitated threat addressed to a domestic
animal.
5. A tense persuasion of a loved one in private.
Exercise. Continue the following lines and create five creative lines of your
choice, using the “creative-dissolving cloak” and
“dissolving-dissolving carpet” formulas.
1. – Well, well, Falaley!
2. – Ah! Why, Frol?!
3. – And then the figure of Tigran appeared on my horizon.
4. – Mom, I’m going to get married!
5. – Patrikei, we’re going to have a baby!
Exercise. Respond to the following addresses and to five addresses of your
choice using the “creative-dissolving cloak” and
“dissolving-dissolving carpet” formulas.
1. – I’ll probably die soon, Manefa.
2. – Come visit, Tryphon, and quickly.
3. – Is it hard in the new class, Protas?
4. – Aren’t you cold, Kalynyk?
5. – While we’re at it, I think I’ll have a beer.
Exercise. In the following situations and in five situations of your
choice, create addresses using the “creative-dissolving cloak” and
“dissolving-dissolving carpet” formulas.
1. A joyful greeting to an old enemy.
2. An unlikely promise, forced to make to a close relative.
3. A call to a best friend to change their life position.
4. Informing a partner about the end of a joint business venture.
5. Challenging an opponent to a duel to the death.
Exercise. Continue the following lines and create five lines of
your choice, using the “actualizing-creative cloak” and
“actualizing-creative carpet” formulas.
1. – The sun in the sky is moving towards the solstice.
2. – (Appearing) I was wandering around here.
3. – Today I saw Elvira again.
4. – What moon are we in, Magda?
5. – What is it to you, Lia, my personal affairs?
Exercise. Respond to the following addresses and to five addresses of your
choice using the “actualizing-creative cloak” and
“actualizing-creative carpet” formulas.
1. – What is that pink spot on your cheek, son?
2. – Can I have ice cream?
3. – Don’t swim far, daughter, or mother will worry.
4. – Shustryk, with such behavior I must put you on a leash.
5. – Denys, why don’t you eat my sandwiches at school?
Exercise. Create appropriate responses for the following situations and for five situations of your choice using the formulas “performative-creative mantle” and “performative-instrumental carpet”.
1. Unmotivated private accusation over a trivial matter from a distant relative.
2. Easy, vital public demand addressed to a child.
3. Sincere, deeply felt private apology to your own pet.
4. Large, long-considered private thank-you to a doll.
5. Private, sincere expression of sympathy regarding a moderately compensated loss of a cat.
Exercise. Continue the following statements and five additional statements of your choice using the formulas “performative-dissolving mantle” and “performative-dissolving carpet”.
1. – We’re sailing, Zlato, exactly on course.
2. – I’ll be back quickly; I won’t keep you waiting.
3. – I won’t ask much, I’ll give it for my own price.
4. – I especially love your nose, Avtonom.
5. – I’m not lost, I’m still alive!
Exercise. Respond to the following statements and to five statements of your choice using the formulas “performative-dissolving mantle” and “performative-dissolving carpet”.
1. – How dare you avoid your direct responsibilities, Antipatre?!
2. – Don’t laugh, you’d better think, Kapitolina!
3. – Am I pleasing to you, Boleslav?
4. – Cry, sweetheart, cry until your tears dry up; you won’t have to eat.
5. – Not a bad beginning for a short romance – eh, Fyodora?
Exercise. Create appropriate responses for the following situations and for five situations of your choice using the formulas “performative-dissolving mantle” and “performative-dissolving carpet”.
1. Direct, minor private request to an older brother.
2. Sincere public thank-you from a daughter to the father of the family.
3. Serious public accusation directed at an elementary school teacher.
4. Indirect, deep, sincere private apology to a subordinate.
5. Informal farewell at a train station to a close relative departing for a long time.
Exercise. Continue the following statements and five additional “dissolving” statements of your choice using the formulas “dissolving-instrumental mantle” and “dissolving-instrumental carpet”.
1. – Farewell, dear school!
2. – From a philosophical point of view, you, Leonard, are a grain of sand.
3. – Summing up, I’ll say: not enough, madam, we’ve worked.
4. – Valeria is an existential woman.
5. – Yes, indeed, as the saying goes: no matter how much you feed the wolves…
Exercise. Respond to the following statements and to five statements of your choice using the formulas “dissolving-generative mantle” and “dissolving-instrumental carpet”.
1. – Would you like to incarnate on another planet, as a flower or even as a stone?
2. – Rudeness does not become a man, Vassiane.
3. – Please give to the former member of the State Duma…
4. – Got something fresh, Siluyan, huh?
5. – When will we finally go to the zoo, Anastasia?
Exercise. Create appropriate responses for the following situations and for five situations of your choice using the formulas “dissolving-generative mantle” and “dissolving-instrumental carpet”.
1. Indirect, sharp offense requiring an apology directed at an uncle.
2. False, indirect private apology to a nephew.
3. Large, official public thank-you to a high-ranking superior.
4. Direct, significant moral threat to a high school student.
5. Indirect, private, informal physical compliment to a lover.
Exercise. Continue the following statements and five additional “dissolving” statements of your choice using the formulas “dissolving-performative mantle” and “dissolving-performative carpet”.
1. – Don’t cry, my dear!
2. – It takes a long time to reach the truth.
3. – A goose is no companion to a pig.
4. – (in a tired, pleading voice) Forget this phone number.
5. – Well then! In vain there is no trial either.
Exercise. Respond to the following statements and to five statements of your choice using the formulas “dissolving-performative mantle” and “dissolving-performative carpet”.
1. – How much for the tomatoes, sir?
2. – Where did you hear such words, Vilya?
3. – Agnia, it’s too early for you to watch this film.
4. – Mom, why do elderly people watch pornography?
5. – Shustrik, lick the bowl clean.
Exercise. Create appropriate responses for the following situations and for five situations of your choice using the formulas “dissolving-performative mantle” and “dissolving-performative carpet”.
1. Announcing to a brother the end of a long family storyline.
2. Public, direct announcement of a major force majeure.
3. Hopeless, private, indirect request to a close relative.
4. Promise to correct a serious mistake, made publicly to mother.
5. Large, sincere private apology for lying to a son.
Exercise. Respond to the following protagonist’s statements and to five statements of your choice using the “carpet” and “mantle” formulas. The first sentence of your response must be a syntonic transmission of the protagonist’s statement.
1. – Dormidont, do you believe in free love?
2. – And what if, Agnia, I slap you out of old habit?
3. – Dunyasha, who are you talking to through the window?
4. – Vilya, in winter you should wear a coat and a scarf.
5. – Frosenko, kiss me goodbye.
Exercise. Insert into each of the following transmissions, in place of the asterisks, a phrase so that the result becomes a transmission: a) according to the “mantle” formula and b) according to the “carpet” formula.
1. – (upon meeting, joyfully) Cecilia, is that you?! * * * And I’m quickly sinking to the bottom.
2. – There are many reasons for any failure, Evelina. * * * And today I usually go to the theater.
3. – I forgive you, I forgive you from the bottom of my heart. * * * (suddenly, enthusiastically) Let’s start life anew!
4. – There’s a lot of work right now, Yuvenaliy. * * * Then I’ll finish.
5. – Hello, Khariton! * * * Life goes on, whether you like it or not.
6. – (changing the subject) Want to eat? * * * And I’ll go take a nap.
7. – In this case, we’ll negotiate, Yunona. * * * (sadly) And if not, then that’s where we part ways.
8. – All this is nonsense, Porfiri. * * * You go to work and carry out your direct duties.
9. – Well, truly wonders in a sieve! * * * Nothing left at all.
10. – You don’t joke with teachers, Vilya! * * * Go and do your homework.
