У дисертації узагальнено й систематизовано розроблені в українському та зарубіжному літературознавстві підходи до спроб теоретичного означення, опису й систематизації типів ремаркового тексту в композиційній структурі драматургічного твору, окреслено головні змістовні та формальні ознаки ремаркового тексту, запропоновано й обґрунтовано теоретичні критерії для означення його художнього статусу та варіантних моделей його семантичної та структурної типологізації. У роботі вперше в українському літературознавстві розроблено комплексну, системно-цілісну концепцію аналізу художньої парадигми ремаркового тексту драматургічного твору, обґрунтовану на матеріалі дослідження 415-ти творів 168-ми українських та зарубіжних письменників; зазначено й обґрунтовано проблемні питання теоретичних засад вивчення поетики драматургічної ремарки; виокремлено та класифіковано основні структурні типи авторських драматургічних ремарок; систематизовано семантичні різновиди форм їхньої сценічної реалізації; досліджено й схарактеризовано принципи художньої організації та функціональні типи сценічної ремарки; розроблено й класифіковано семантичні моделі парасценічної ремарки драматургічного твору.^UThe thesis research approaches to attempts of the theoretical definition, description and systematization of the types of the stage direction's text in the compositional structure of the dramatic work, which are developed in the Ukrainian and foreign literary studies, are summarized and systematized. The main content and formal features of the remarkable text are defined. Theoretical criteria for the determining its artistic status and variant models of its semantic and structural typology are proposed and substantiated. In this work, for the first time in Ukrainian literature studies a comprehensive, systematic, holistic conception of the analysis of the art paradigm of the stage direction's text of the dramatic work has been developed. It is substantiated on the basis of research of works of 168 Ukrainian and foreign writers. The problematic issues of the theoretical basis for the study of poetics of the dramatic stage direction are defined and substantiated. The main structural types of the author's dramatic stage direction are distinguished and classified. Semantic varieties of the forms of their stage performance are systematized. The principles of the art organization and functional types of the scenic stage design are researched and characterized. The semantic models of the parascentic stage direction of the dramatic work are developed and classified.Types of the stage direction's text on the grounds of its dual – formally-meaningful embodiment in the text of dramatic works are proposed to classify. Formal, the types of the stage directions in the thesis research are distinguished according to the place of their structural and compositional arrangement in the work and the nature of their correlation with the main, replicative-dialogical acting copy. In substantive aspects, the classification criteria for identifying different types of the stage directions is recognized as semantic type, the functions and volume are realized by them in the dramatic work of author's art strategies. So, in the thesis research is proposed to distinguish two main structural types of the stage direction's text –actually the scenic stage directions and parascentic stage directions. In this work, to the scenic stage directions include the stage directions wich are related the details of time-space, interior, landscape circumstances of the stage action, and the characteristics of the actors of the play, and they are located directly in the individual parts of the replicative-dialog component of the text of the dramatic work. It is proposed to distinguish four main types of scenic stage directions, in particular: 1) introductory, 2) intraclassical, 3) intercostal, 4) final. In this work to parascentic stage directions include the stage directions wich are performed art functions of the nominative stage directions (title, subtitle, indication of genre and genre subtitle, epigraph, dedication), decoupage stage directions (author's division of the text of the play into actions, scenes, manifestations, acts, etc.), posters stage directions (the list of actors, accompanied by more or less detailed their author's characteristic), and framing stage directions (in the form of prequels – author's comments to the background of stage action, and sequels – author's epilogues to the content of the texts of plays). It has been established that both scenic and parascentictype of dramatic stage direction can internally be differentiated into corresponding semantic types and structural models.