Lexemes THEATER and STAGE in verbal forms of the Russian language

Ermolova Karina Andreevna ORCID: 0009-0005-8938-0103 Postgraduate student; Department of Slavic Studies, General Linguistics and Culture of Communication; State University of Enlightenment 129075, Russia, Moscow, Ostankinsky district, Argunovskaya str., 8, sq. 96 car.ermolowa@yandex.ru Other publications by this author

The theater is a non-reflecting mirror,

and the magnifying glass.

(V. V. Mayakovsky)

Introduction

The study of prepositional and case forms in linguistics and lexicology is valuable, as they reflect the systemic nature of the principles of expressing linguistic meanings. The perception of the prepositional case form as a semantic component of a sentence, text, or language is due to the fact that the combination of a preposition with a structurally appropriate noun forms a new nominative unit - a phrase reflecting the norms of semantic and lexical compatibility of the language. The relevance of the study lies in the fact that the semantics of prepositional-case forms of lexemes in combination with verbs requires additional attention, since they are characterized by a multiplicity of meanings expressed, varying degrees of frequency of the components used. Studying the semantic volume of prepositional and case forms using the example of combinations with the lexemes THEATER and STAGE allows us to more accurately determine the features of the lexical and semantic fields "Theater" and "Scene" in the Russian language. The purpose of the study is to analyze the semantic features of the prepositional-case forms of the lexemes THEATER and STAGE in verbal combinations based on the material of the NCRR (main and newspaper subcorps), to determine the degree of their stability (if you do not intend to work with collocations, then this task is not necessary), as well as the expressive potential of prepositional-case the forms of the lexemes are THEATER and STAGE. The objectives of the study include: 1) to characterize the semantic scope of the lexemes THEATER and STAGE, 2) to describe the concept of semantic and lexical compatibility, to characterize verbal combinations, 3) on the basis of the NCR to establish the frequency of use of prepositional forms of the lexemes THEATER and SCENE in verbal combinations in the main and newspaper subcorps, 4) to analyze the semantic groups of verbs forming combinations with prepositionalcase forms of the lexemes THEATER and STAGE, 5) identify and describe expressive and expressive combinations, 6) draw conclusions about the peculiarities of using verbal combinations with prepositional forms of the lexemes THEATER and STAGE. Russian Russian Dictionary (main and newspaper subcorps), explanatory dictionaries of the Russian language, dictionary of the compatibility of words of the Russian language by P.N. Denisov, V.V. Morkovkin. The object of research is verbal combinations with prepositional forms of the lexemes THEATER and STAGE. The subject of the study is the semantic scope of verb combinations with prepositional forms of the lexemes THEATER and STAGE, taking into account their role in the professional and everyday worldviews of native Russian speakers.

Discussion and results

According to the IAU, the lexeme THEATER has the following meanings: "1) A kind of art, an artistic reflection of life through dramatic action performed by actors in front of the audience (to play in the theater). 2) An institution or organization that organizes performances (to stage for the theater). 3) The building where the performances take place, as well as the performance itself (coming to the theater). 4) The place where something is happening, unfolding. (in a figurative sense). 5) The totality of dramatic works (by a writer or a literary school)" ^[7]. The semantic scope of this lexeme takes into account both the connections of the theater with art, as well as the venue of theatrical productions, the organization that provides theatrical productions, and the totality of works by one author or another (or a team of authors). This lexeme is also used figuratively as a means of indicating the place where certain events take place (for example: theater of military operations).

In turn, the STAGE lexeme in MAS is interpreted as follows: "1) A special platform on which theatrical performances are given; theatrical stages (to go on stage). 2) A separate part of an action, an act of a theatrical play (to participate in a scene). 3) A separate episode depicted in a play, literary work, or painting. 4) Quarrel, big conversation, explanation (colloquial). 5) The field of activity, the field (in a figurative sense)" ^[7]. The above shows that the semantic scope of this lexeme covers both the space for performances in the theater and individual elements of the performance. In addition, in colloquial speech, this lexeme means a quarrel, in a figurative sense it means the sphere of human activity.

Lexical units in speech are used in accordance with the principles of their compatibility in the language. As I.M. Kobozeva points out, "the compatibility of the word A is information about the requirements that the word A imposes on the word B, syntactically related to the word A" ^{[5, p. 146]}. Yu.D. Apresyan identifies the following types of compatibility in the structure of the language ^{[1, p. 78-83]}: 1) morpho-syntactic compatibility (with the influence of morpho-syntactic constraints on the construction of combinations), for example: performing on stage, going on stage, 2) semantic valence (under the influence of semantic features of the word B, syntactically related to the word A, which has features to replace a certain semantic valence), for example: 3) lexical compatibility (additional restrictions on semantic valence), for example: a theater actor, but not a stage actor. U.S. Zagrebina notes the significant potential of using the methodology of corpus linguistics to study the features of the compatibility of lexical units ^{[4, p. 36]}.

The category of compatibility as such implies attention to the facts of linguistic reality already established in the language, it manifests itself in the context of the paradigmatic nature of linguistic units as a systemic phenomenon ^{[6, p. 35]}. The potential of a lexeme to create combinations lies in its valence, which reflects the paradigmatic nature of the lexical system of a language: "the valence of a word is a property of its substantive side (meaning) that allows it to have a certain set of syntactic positions" ^{[8, p. 66]}. At the same time, lexical compatibility is directly related to syntax, they are in a relationship of juxtaposition and interconnectedness ^{[3, p. 62]}.

Based on the above, special attention should be paid to the peculiarities of prepositional-case combinations as a component of the lexical-syntactic system of the language. Prepositions formalize the subordination of one significant word to another in a phrase or in a sentence and thus express the relationship to each other of those objects and actions, states, signs that these words are called ^{[12, p. 700]}. From a semantic point of view, a preposition has a lexical meaning. There are no semantically “empty” prepositions ^{[12, p. 700]}. Two factors simultaneously play a primary role in determining the meaning of a preposition.: 1) the case form of the name attached by the preposition, 2) the lexical meaning of the words. A preposition with a case or a prepositional case system is an integral unit of meaning: a preposition together with the case form forms a unity that, by its syntactic function in a sentence and the nature of its meaning, does not differ in principle from the prepositional case ^{[5, p. 201]}. Thus, the same preposition can be combined with one or more cases, while changing its meanings.

The compatibility of lexical units is characterized by a significant potential in expressing emotions and assessments ^{[15, p. 170]}, and the formation of author's examples of compatibility is also possible, which have single occurrences in the national corpus – they reflect the specifics of the author's picture of the human world ^{[11, p. 105]}. O.O. Sekiro holds a similar point of view ^[13].

In this case, verbal combinations are combinations of verbs with separate prepositional-case forms ^{[2, p. 153]}. The structural and semantic diversity is determined by the valence of the units with which the prepositional and case forms are combined. The lexemes THEATER and STAGE form numerous prepositional and case forms, for example: go on stage, participate in a play, enter the theater. At the same time, the manifestations of the category of compatibility in this context consist, for example, in the following examples: to put on a play, to go on stage, but not to put on a performance, to go on stage.

First of all, THEATER is considered as a kind of art and an artistic reflection of life through drama, as well as as an action performed by actors in front of the audience. The following structure of the verb combination with the prepositional form is highlighted: The structure "verb + preposition + theater" is used to describe the perception of theater in the public consciousness and the professional community (for example, using such lexemes as relate, argue, speak). For example: At the end of his farewell speech, he said: "... We swear to treat the theater with the deep and sacred sacrifice with which Stanislavsky treated!" [Vladlen Davydov. The Theater of My Dreams (2004)]

The THEATER is also interpreted as an institution that has a team of artists, a room for performances. The structure "verb + preposition + theater" is used to show a person's professional activity in the theater (for example, using such lexemes as in the theater, from the theater, for the theater). For example: For the theater, it is the audience that is the key to a living connection with the origins, with the cultural tradition. [The life-saving relay race of the game // "Screen and stage", 05/04/06].

In addition, the THEATER is interpreted as a room with a stage and an auditorium, intended for performances, as well as the performances themselves. The structure "verb + preposition + theater" denotes actions that are associated with movements relative to the theater building, actions related to the theater (for example, using such lexemes as go to, get to, get out of, drive up to) ^{[14, p. 623]}. For example: It's like a play is over, and you have to leave the theater — but where to go? .. [Dina Rubina. Our Chinese business // "Banner", 1999].

In turn, the SCENE lexeme has the following meanings and associated models of verb combinations with prepositional forms.

First of all, the STAGE is interpreted as a special platform on which a theatrical performance takes place; a theatrical stage. The structure "verb + preposition + scene" is used, which denotes the actions of the actor during the performance, as well as the actions of the viewer (watch, exit, rise, stay, leave). For example: And that was the second reason for me to leave the stage." [Alexey Shcheglov. Faina Ranevskaya: the whole life (2003)].

Next, the SCENE is characterized as a type of activity. The structure "verb + preposition + scene" is used, which indicates the actor's connections with his professional field (verbs are used to play, perform, strive, get in, break up). For example: Louise began to play less and less often on the stage of the Kamenny Theater and other St. Petersburg venues, preferring the Hermitage Palace Theater with a parterre with six rows of seats. [Valery Yarkho. Big Russian tour // "October", 2013].

Finally, the SCENE is considered as a separate episode of a theatrical production. The structure "verb + preposition + scene" denotes the actor's participation in a scene or directing work on a production (using verbs such as, for example, to show, to participate) For example: I realized that the attack had been prepared: according to the plan, neither Kochergin nor I were supposed to participate in the scene. [Vladimir Receptionist. Nostalgia for Japan (2000)] [Dictionary of the compatibility of words of the Russian language, 1983, p. 575].

Further, in order to characterize the compatibility of the lexemes THEATER and STAGE, it is necessary to proceed to an assessment of the prevalence of prepositional forms of the lexemes THEATER and STAGE in the NKRR and the peculiarities of constructing verbal combinations with them. The following algorithm was created for the analysis: 1) determine the degree of frequency of the prepositional-case forms of the lexemes THEATER and STAGE in the main and newspaper subcorps of the NKRR, 2) determine the frequency of use of verb combinations with prepositional-case forms of the lexemes THEATER and STAGE in the main and newspaper subcorps of the NKRR, 3) describe the fields of verbs taking into account the semantics of prepositions in the prepositional-case forms of the lexemes THEATER and THE SCENE, 4) to identify verbal combinations with prepositional forms of the lexemes THEATER and STAGE with the imagery of semantics.

First of all, it is necessary to present the results of the analysis of the prepositional and case forms of the lexeme THEATER in the NKR (Table 1).

Table 1. Frequency characteristics of the prepositional-case forms of the lexeme THEATER in the main and newspaper subcorps of the NCRR

As the analysis shows, the most frequent prepositional-case forms with the lexeme THEATER are "in the theater", "from the theater", "to the theater", "with the theater". They are presented, for example, in the following LSV:

And I'm still acting in the theater, and I still really want to act in movies. [Elena Golovanova. Victory Day of Victoria // "Brownie", 2002.08.04].

I decided that I didn't like it, and I left the theater upset. [Irina Arkhipova. Music of Life (1996)].

But it is known that besides publishing, Suvorin had a special passion for the theater. [The Russian State Library dedicates its exhibition to the anniversary of Alexei Suvorin // RIA Novosti, 09/04/13].

The representation of various semantic aspects of this lexeme is traced: all the highlighted most common prepositional-case forms are characterized by ambiguity.: They designate the THEATER as a building, as a professional activity, and as an institution, depending on the context of their use.

The following verb combinations with prepositional-case forms with the lexeme THEATER were identified in the analysis of the NCRR.

Verb combinations with the prepositional case form "in the theater" are represented using the following verbs: work (77 cases), underestimate (3 cases), play (89 cases), rehearse (14 cases), grow up (5 cases), perform (19 cases), see (22 cases), serve (38 cases), meet (6 cases), happen (8 cases), find (5 cases), expect (3 cases), adore (3 cases), work out (2 cases), do (13 cases), talk (12 cases). They mainly identify aspects of a person's professional activity, but they also characterize the THEATER as a building where the audience comes to watch the production.

Verb combinations with the prepositional case form "from the theater" are represented using the following verbs: demand (3 cases), excommunicate (1 case), wait (17 cases), move away (5 cases), differ (4 cases), break away (4 cases), leave (7 cases), receive (6 cases), go (1 case). The meanings of these prepositional forms imply the interpretation of the semantics of the THEATER lexeme primarily as buildings, but also as areas of human professional activity.

Verb combinations with the prepositional case form "from the theater" are represented using the following verbs: leave (79 cases), run (19 cases), leave (26 cases), move (2 cases), dismiss (9 cases), expel (9 cases), reduce (2 cases), come (5 cases), go (8 cases), fly out (2 cases), return (6 cases), disappear (5 cases), expel (2 cases), remove (3 cases), go (3 cases), throw out (1 case). These forms designate the THEATER as a building, as a professional activity, and as an institution.

Verb combinations with the prepositional case form "to the theater" are represented using the following verbs: approach (29 cases), drive up (22 cases), approach (23 cases), go (15 cases), move (3 cases), gush (3 cases), cool down (6 cases), return (2 cases), send (3 cases), collapse (6 cases), hobble (1 case), touch (4 cases), relate (8 cases), adjust (2 cases). The highlighted verb forms denote the THEATER as a building, as well as as a sphere of professional realization of a person (for example, to touch).

Verb combinations with the prepositional case form "at the theater" are represented using the following verbs: leave (2 cases), build (4 cases), create (4 cases), number (10 cases), have (2 cases). The predominant seme of this group of verb combinations is ‘the sphere of a person's professional activity'.

Verb combinations with the prepositional case form "at the theater" are represented using the following verbs: stand (31 cases), meet (28 cases), appear (20 cases), stop (5 cases), drop off (4 cases), occur (3 cases), say goodbye (5 cases), take away (1 case). In this group, the prevailing understanding of the THEATER is as a building, an object of urban development.

Verb combinations with the prepositional case form "behind the theater" are represented using the following verbs: collapse (5 cases), follow (6 cases), consolidate (5 cases), stay (2 cases), save (3 cases). In this group of combinations, units with the values of ‘professional field of activity’ and ‘building' are common.

Verb combinations with the prepositional form "with the theater" are represented using the following verbs: meet (5 cases), compare (4 cases), arrive (5 cases), get acquainted (6 cases), contact (4 cases), occur (19 cases), stay (7 cases), leave (6 cases), perform (3 cases), travel (4 cases), encounter (2 cases), cooperate (3 cases), become friends (1 case), tour (7 cases), say goodbye (4 cases), break up (2 cases), get lucky (2 cases). The key role in this group of verb combinations is played by the seme "theater as a sphere of human professional activity".

The above distribution shows which verbs play a key role in each of the considered prepositional-case forms in verbal phrases in the representation of the concept of THEATER.

Table 2 shows the distribution of verb combinations with prepositional forms with the lexeme THEATER by representation in speech.

Table 2. Distribution of verb combinations with prepositional forms with the lexeme THEATER

Based on the results presented in Table 2, it can be said that the most numerous and diverse verbs are in verb combinations with prepositional-case forms with the lexeme THEATER in the speech of theater professionals and in journalistic speech. In the speech of the audience, the smallest number of verb variants can be traced in the formation of phrases with prepositional forms.

It is also necessary to consider figurative, expressive expressions formed by verbal combinations with case-prepositional forms with the lexeme THEATER.

Another reason: I grew up in the Musical Comedy Theater. [Julia Kantor. Vladimir Galuzin, opera singer: "Turandot is the best thing that Puccini did" // Izvestia, 2002.07.25]. This figurative expression is formed on the basis of the metaphorical use of the verb "grow up", it shows that the addressee spent his entire childhood in the theater, and this formed his personality.

Finally, everyone will know that I did not serve in the Operetta Theater for a single day and was not the husband of Tatiana Shmyga. [Fyodor Chehankov: Hate destroys me // "Showcase of reading Russia", 2002.09.13]. The expression "to serve in the theater" is characterized by stability, it denotes the fact of professional employment in the theater.

Then explain to me why he didn't make an attempt to escape from the theater when the commotion started? [Vera Belousova. The Second Shot (2000)]. In this case, the verb "run" is used figuratively and indicates a desire to end a theatrical career.

Having decided to repeat it in the Shuttle, they also brought decorations that could be easily disassembled and could "move" from theater to theater. [Irina Arkhipova. Music of Life (1996)]. The metaphor of this verb combination is the use of the word "move" in a figurative sense, as a tool to indicate a change of troupe.

The crowd surged towards the theater, the usual gathering place. [Andrey Sidorin. Forget Herostratus // "Mirror of the World", 2012]. This example is characterized by imagery due to the metaphorical use of the verb "gushed": it shows that too many people approached the theater.

I have such a strange but distinct feeling that I've lost interest in the theater, you know? [Anna Berseneva. The Age of the Third Love (2005)]. Due to the figurative meaning of the verb "cool down", the emphasis is on the fact that a person has lost interest in the theater.

Next, it is necessary to characterize the results of the analysis of the prepositional and case forms of the lexeme SCENE in the NKRR. The results are presented in Table 3.

Table 3. Frequency characteristics of the prepositional-case forms of the lexeme SCENE in the main and newspaper subcorps of the NKRR

A comparative analysis shows that the most frequent prepositional-case forms with the lexeme SCENE are the following: "on stage", "from the stage", "in the scene", "to the stage".

They are presented, for example, in the following LSV:

Nobody is interested in what happened on the stage, what happened in the audience. [Northern fairy tale // "Screen and stage", 05/04/06]; I can fly to the city and in a couple of hours already stand on the stage. [Svetlana Tkacheva. Tamara Gverdtsiteli: "I don't know how to learn from other people's mistakes" // "100% health", 2003.01.15]

The imperial principle of the opacity of power is clearly shown in the scene when the City Council creates its invisible anti-crisis headquarters to combat the funnel in the first apartment of typified ordinary suckers. [A.V. Tsvetkov. After reading destroy (2009)].

And that's why it feels like your voice has been playing from the stage for many, many years.… [Svetlana Tkacheva. Tamara Gverdtsiteli: "I don't know how to learn from other people's mistakes" // "100% health", 2003.01.15]; The list of tissue samples presented by the Rogozhins at the exhibition can be recited even from the stage — there is so much inexplicable charm in it. [M. B. Baru. Lyubov Alexandrovna's second dream // "Volga", 2015]

In the evening, I went to the theater to try on the stage, where the next day I had to dance "The Sick Rose" at the Fernand Leger memorial evening. [Vasily Katanyan. Touching Idols (1998)].

The semantic scope of the highlighted most common combinations shows that the units "on stage", "from the stage", "to the stage" denote the STAGE as the platform on which the performance is held, while in the unit "in the scene" the SCENE is considered as an episode of a work, a play that is staged in the theater.

Next, it is necessary to characterize the features of the formation of verb combinations with the prepositional forms of the lexeme SCENE.

Verb combinations with the prepositional form "on stage" are represented using the following verbs: to occur (78 cases), to play (55 cases), to do (6 cases), to see (7 cases), to be (12 cases), to exist (9 cases), to look (5 cases), to see (6 cases), check in (2 cases), stand (6 cases), take place (21 cases), appear (15 cases), walk (19 cases), pose (24 cases), cry (2 cases), flash (5 cases), fool around (4 cases), rage (1 case), perform (42 cases), work out (6 cases), work (12 cases), look (8 cases), rehearse (3 cases), fuss (2 cases), grind (1 case), live (7 cases), prove (7 cases), grimace (5 cases), spin (4 cases), sing (6 cases), depict (5 cases). In these combinations, the STAGE is considered as a platform on which a theatrical performance is held.

Verb combinations with the prepositional form "in the scene" are represented using the following verbs: to be (10 cases), to look (5 cases), to indicate (2 cases), to shine (2 cases), to be present (3 cases), to cry (7 cases), to show (8 cases), to see (3 cases), reflect (2 cases), manifest (1 case), rise (1 case). In this group of verb combinations, a SCENE has the meaning of an episode of a play.

Verb combinations with the prepositional form "off the stage" are represented using the following verbs: get off (92 cases), leave (16 cases), pronounce (17 cases), (do not) go off (16 cases), hide (2 cases), say (20 cases), show (8 cases), sound (15 cases), sound (12 cases), address (5 cases), be heard (4 cases), push out (2 cases), disappear (6 cases), collapse (4 cases), reach (3 cases), recite (4 cases), read (6 cases), banish (1 case), remove (2 cases), perform (10 cases), perform (7 cases), see (4 cases), speak (6 cases). This group of verb combinations designates a stage as a venue for theatrical performances.

Verb combinations with the prepositional case form "from the scene" are represented using the following verbs: refuse (3 cases), separate (3 cases), turn away (1 case), go (1 case), distract (1 case), retreat (2 cases), shy away (1 case), move away (2 cases), get tired (2 cases), depend (2 cases), leave (2 cases), cut off (2 cases). In the semantics of these verb combinations, a STAGE is described as a playground where actors play in a theater.

Verb combinations with the prepositional form "from the scene" are represented using the following verbs: withdraw (2 cases), grow up (1 case), be born (1 case), borrow (2 cases). In this group of verb combinations, a SCENE has the meaning of an episode of a play.

Verb combinations with the prepositional form "to the stage" are presented using the following verbs: approach (24 examples), descend (6 cases), rush (5 cases), jump out (4 cases), lie down (3 cases), go (8 cases), jump (2 cases), turn around (3 cases), return (2 cases), flock (3 cases), turn around (2 cases), exit (3 cases), drag (1 case), march (2 cases), make your way (2 cases), retreat (1 case), approach (2 cases), try on (2 cases), push through (1 case), head (3 cases), run (1 case), rush (2 cases), stretch (2 cases). This group of verb combinations is characterized by the fact that in them the STAGE is considered as part of the theater, as a platform for performing in the theater.

Verb combinations with the prepositional form "at the scene" are represented using the following verbs: to be present (10 cases), to cry (2 cases), to laugh (2 cases). In these verb combinations, the SCENE is considered as part of a theatrical performance.

Verb combinations with the prepositional form "under the stage" are represented using the following verbs: stand (5 cases), sit (3 cases), find (2 cases), rustle (1 case), place (1 case). In the semantics of these verb combinations, a STAGE is described as a playground where actors play in a theater.

Verb combinations with the prepositional form "through the scene" are represented using the following verbs: run (4 cases), say (5 cases), go (4 cases), go (3 cases), rush (2 cases), pass (10 cases), fly (1 case). This group of verb combinations designates a stage as a venue for theatrical performances.

Verb combinations with the prepositional form "at the stage" are represented using the following verbs: appear (2 cases), linger (2 cases), stand (11 cases), occur (4 cases), crowd (3 cases), appear (2 cases), line up (1 case), dance (4 cases), shout (2 cases), jump (2 cases), gather (4 cases). These verb combinations are united by the fact that the STAGE in them designates a venue for a theatrical performance.

Table 4 shows the ratio of verb combinations with prepositional forms of the lexeme SCENE in terms of representation in speech.

Table 4. Distribution of verb combinations with prepositional forms with the lexeme SCENE

Based on the results of the study presented in Table 4, a pattern can be traced, which consists in the greatest variety of verbs in the formation of verb phrases with prepositional forms. This reflects the features of the everyday and professional worldview.

Next, it is necessary to characterize expressive-expressive verb combinations with prepositional-case forms of the lexeme SCENE.

Six men and women running amok on stage to Stravinsky's music keep the audience in suspense for the entire 45 minutes of the performance. [Elmar Huseynov. Balalaika and underpants. Parisian theater premieres: a new reading of Russian classics // Izvestia, 2001.12.24]. The verb "to rage" is characterized by expressiveness and emotionality, it forms a vivid and expressive image describing the features of the author's theatrical production.

The dashing entertainers with medical degrees Livshits and Livenbuck, who had disappeared into oblivion, once hammered out Chukovsky's verse "Fly-Tsokotukha" on stage...[Anatoly Salutsky. Silent alarm // "Moscow", 2019]. The verb "thresh" is characterized by imagery, it is formed through a metaphorical transfer from threshing to describe an expressive and deliberately precise performance of a theatrical scene.

And it turned out well! He could make faces on stage. It worked too. [Arkady Matsanov. The Master and the Apprentice (2016) // "Ark", 2015]. The verb "to make faces" is characterized by the expressiveness of its meaning, it is used as a means of describing acting with negative connotations in a journalistic text.

On the one hand, history shows that the emperor was doomed: the only question was under what circumstances our autocrat would step down from the stage — and, to his credit, Nicholas did it most worthily. [Vera Krasnova, Pavel Kuzenkov. The Romanovs: Empire of the Faithful // "Expert", 2014]. The verb combination "get off the stage" is characterized by a figurative metaphorical meaning, it denotes the end of the term of office of a politician (in the example given, the emperor).

Thus, the features of the formation of verb combinations with prepositional forms of the lexemes THEATER and STAGE were considered. In the course of the work, it was found that in the NCRE, the most frequent prepositional-case forms with the lexeme THEATER are "to the theater" (with the meanings "venue of productions", "troupe"), "from the theater" (with the meanings "venue of productions", "troupe"), "to the theater" (with the meaning "venue of productions"), "with the theater" (with the meaning "troupe"), with the lexeme STAGE – constructions "on stage" (with the meanings "stage as a venue for a theatrical production", "stage as a theater"), "from the stage" (with the meaning "stage as a place conducting a theatrical production", in a metaphorical sense), "in the scene" (meaning "the scene as part of a theatrical production"), "to the stage" (meaning "the stage as a venue for a theatrical production", "the stage as a theater"). In addition, differences in the lexical compatibility of verb combinations with prepositional forms with the lexemes THEATER and STAGE were revealed, depending on the addressee (theater professional, spectator, publicist/ writer), which reflects the peculiarities of the representation of meanings related to theater and stage in communication, and also shows the distinctive features of professional and everyday paintings. the world.