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The article deals with an aspect of the phenomenon of controlled illusion — manipulating emotional reactions and behaviour through the space of an artificially created reality. The subject of the article is a relevant feature of the process — recursion within a fictitious space. The methods of mass suggestion become more complicated with each step of evolution, borrowing the techniques of the past and multiplying them by the technologies of the present. Today’s technologies create a process of self-repetition of elements — a process within a process: artificially created illusions are embodied and massively repeated as patterns. Nowadays, controlled illusion generates a problem of imbalance between the accumulated practice of control and an individual’s ability for distancing. The urgency of the problem is due to the obvious dominance of the methods of manipulating public conscience over the development of an individual via industries of culture. The aim of this article is to define the role of sensory suggestion capabilities through control spaces in the 21st century. The objective is to consider the features of the effects of radiance, the influence of flickering light, and the imitation of the world by adomed structure. These effects stem from the Baroque era, are passed on in evolution, and carry a suggestive potential through an emotional factor. While borrowing and accumulating the techniques of the past, new tools such as artificial intelligence, communication networks, electronics, and biotechnologies bring new qualities to manipulations, including a multisensory impact. The author proposes to reconsider the traditional view on the role of algorithms in cultural objects: what until recently was negatively described as “inanimate” and programmed is now able to control and reveal the emotional potential of a person. The outcome depends on what the algorithms are trained for, who trains them and why. The social function of illusionism is either commercial and political benefit or the promotion of an inclusive culture and the development of a person and their abilities. This cannot but affect the role of designer and artist, whose activity today is increasingly moving away from the decorative and turning to interaction through scientific approaches, which determines the property that offers a choice of path and goal in illusionism.

The article analyzes the peculiarities of the conflict and the system of characters in contemporary Ukrainian plays with an “irreal” (unreal) chronotope. The works of Ukrainian playwrights from 2000 to 2010 featured a variety of conflicts embodied in them, the combination of different types of conflicts in one work, the flow of one species to another (internal – external conflicts, ideological, social, love, family, moral, religious, existential and no existences; conflicts Character – Character, Character – Group, Character – Environment, Character – Metaphysical notion). The heroes in “irreal” plays are people with extraordinary abilities, bioroboty, fantastic creatures, angels and characters from the other world. Characters are revealed in actions, dialogues and small monologues. In plays by S. Shchuchenko, interpersonal, love conflicts are the main ones. The author shows the type of hero who has killed himself in extreme abilities and kills them in all people who are not like him (“Return”); he persuades readers and viewers that harmony prevails in the world, and all people, animals and plants are connected with each other – so that the world needs to be grateful and positive (“HELP”); The playwright develops the theme of harmonious relationships between men and women (F.ART, Relic). In the works of S. Shchuchenko “Without a Horse”, J. Bezpyatchuk “The Court”, “Truba” and A. Naumov “Forward in the Promised” illustrate the conflicts between man and society. Moral conflicts become the main in the plays of N.L. Miroshnichenko “The Agreement with the Angel” (search for the main character of the meaning of his life), O. Goncharov “Seven Steps to Calvary” (creation of a vivid image of the thief-anti-Messiah Messiah-Japheth), O. Mykolaychuk-Nizovtsya “Take away the waiter from heaven, or Why do we get last year’s snow” (the creation of the static character of the hero – “antimitstsa”). In a psychological play with elements of the symbolism P. Arie “Colors” personified different age periods of Mary’s life in such characters as Woman in Pink, Woman in Orange, Woman in Red, Woman in Purple, and Woman in Black (White). The conflict of this work is exalted, it is closely connected with the main existential conflicts of mankind. In the fabulous plays of S. Shchuchenko, “Snow Queen” and V. Kovalenko, “Mirror” the world of fantastic creatures and common things is projected into problems of human relationships (interpersonal and interpersonal). The conflict of V. Kovalenko’s fairy tales can be considered internal: the results of internal conflicts that occur in the “souls” or “thoughts” of human things, affect the real reality and can change the thoughts and feelings of their masters.

The import of British Gothic novels in post-revolutionary France, from 1797 onwards, triggered French publisher to capitalize on the vogue of supernatural narratives. One of the results was the publication of a number of anthologies, hastily composed by cutting and pasting Old Regime collections, whose first example was the anonymous Le Livre des prodiges (1802). This essay reinstates the supernatural anthologies of 1802-1822 as a powerful link between the British Gothic and later French fantastic literature (particularly Alexandre Dumas), at the same time analysing how the very operation of cutting and pasting pre-revolutionary texts resonates with distinctly post-revolutionary anxieties.

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