Proper names serve different linguistic functions, ranging from basic – cognitive and communicative to affective, identifying, evaluative, password, pragmatic, characterizing, expressive, appellative, iconic, implicative, index, individualizing functions, in which they display their full potential. The functional repertoire of onomastic units is aimed at distinguishing a subject or object from similar ones, to give it a direct or indirect characteristic, to convey some information and evaluate. Proper names, once created by the author of a particular work, are often used in other texts, acting as allusions, thereby expanding the interpretive potential of onyms. The anthroponym represents a hero already created by another author, and for the perception of the novel it is necessary to know the prehistory. In modern culture, we often see a personal name going “beyond its borders” when it “jumps” from the pages of books onto movie screens, store windows, product labels, advertising billboards, etc. The name expands its information potential and the possibility of interpreting its culturally marked and semantic component. Now we see not only the continuation of the storylines or the usage of the name outside the original context, but also the mixing of spaces of different texts in one, within which all characters are allusive and to understand the storyline of such “patchwork” works requires a certain background knowledge of the recipient. In such works, the proper name not only realizes the individualizing, cognitive, communicative and other functions listed above, but also appears in a new representative function. This function is analyzed in the article in the series “Once Upon A Time”.

The aim of the present study is to determine the particular functions that a proper name can perform in the texts of comic opera librettos. Proceeding from the functional approach to the study of proper names, one finds it possible to assume that an onym is capable of performing the function of enhancing the comic effect. This study takes into account the existing theories of verbal humor in order to determine the mechanism according to which humorous onyms function. The novelty of present research lies within its subject, i.e. a proper name in theatrical discourse. So far proper names as a tool to create a comic effect were analysed solely within works of literary fiction. The libretto texts used in musical theater have not yet been studied to a considerable length. The analysis of onyms in the libretto of “Thespis; or Gods Grown Old”, a comic opera by William Gilbert and Arthur Sullivan, revealed that proper names can enhance the comic effect created within a theatrical text when said onyms follow the path of “inconsistency”, which is a key component of theories of verbal humor. In addition, the charactonyms found in the analysed libretto can also create a comic effect when placed in an appropriate context.

The present article aims to reveal the particular features of the way proper names function in an operatic text, in particular in the libretto of the British comic opera “The Sorcerer” created by William Gilbert and Arthur Sullivan. This study is based on the following hypothesis: within the framework of theatrical discourse, one of the main functions of a proper name is an information-accumulative, or cumulative, function. As an integral part of culture, an onym has the ability to store culturally significant information. “Decoding” such onyms in a literary or an operatic text provides the reader or viewer with all the context necessary for an understanding of what is happening according to the plot. For example, in “The Sorcerer” there are anthroponyms that indicate the status that the main characters have in the Anglo-Saxon society. Apart from anthroponyms there are also culturally significant toponyms, which have to be understood in order to grasp the comic effect created by William Gilbert, the author of the libretto. The analysis of the few chosen onyms made it possible to prove that a proper name may play an important role in the construction of the plot and in the creation of characters’ images within the framework of a musical theatre piece.