This paper delves into Tom Stoppard's Professional Foul (1978) to probe the extent to which Stage Directions Parentheticals (SDPs) contribute to the pragmatic interpretation of the play, by reflecting the conversational attitudes of discourse participants and delineating different power relations at the character-character level of discourse (micropragmatics); and communicate authorial intentionality, by motivating a cognitive activity on the part of the reader's fictional participation at the author-reader level of discourse (macropragmatics). The paper's main objective is to explore the extent to which SDPs in a play-text pragmatically fulfill the role of theatrical performance. The study is grounded on a pragmatic analysis manifested in two analytical strands: micropragmatically, by drawing on two interpretative apparatus: Spencer-Oatey's (2008) model of rapport management and Culpeper's contributions on impoliteness (1996, 2007, 2011a); and, macropragmatically, by reflecting on van Dijk's (1980) concept of macrostructures of discourse, together with a special focus on Gumperz's (1982) notion of contextualization cues. Findings reveal that SDPs in Stoppard's play extend schematic assumptions on the part of readers that not only demarcate a particular range of appropriate conversational behavior, but also predict further interpretative meanings contributing to the understanding of the whole dramatic text.

本文深入探讨了汤姆斯托帕德的职业犯规（1978 年）通过反映话语参与者的会话态度并在话语的人物角色层面描绘不同的权力关系（微观语用学），探讨舞台方向括号（SDP）对戏剧语用解释的贡献程度；并通过在作者-读者话语层面（宏观语用学）激发读者虚构参与的认知活动来传达作者意图。本文的主要目的是探讨戏剧文本中的 SDP 在多大程度上实用地发挥了戏剧表演的作用。该研究基于体现在两个分析方面的务实分析：微观语用，通过利用两个解释工具：Spencer-Oatey' s (2008) 融洽管理模型和 Culpeper 对不礼貌的贡献 (1996, 2007, 2011a); 并且，在宏观语用学上，通过反思 van Dijk (1980) 的宏观话语结构概念，以及特别关注 Gumperz (1982) 的语境化线索概念。研究结果表明，斯托帕德戏剧中的 SDP 扩展了读者的示意图假设，这些假设不仅界定了特定范围的适当对话行为，而且还预测了有助于理解整个戏剧文本的进一步解释意义。