Signs of drama as a genre. Characteristic features of drama as a literary family
- ▲ kind of artistic literature. Epic genre. epic. prose artist rozpovid about yaks l. podiyah. proso (# create). fiction. lyrics. drama... Ideographic Dictionary of Russian Movies
This term may have other meanings, div. Drama. Do not stray from Drama (a kind of literature). Drama literary (dramatic), stage and cinematic genre. Nabuv of special breadth in the literature of the XVIII XXI century, ... Wikipedia
In the arts: Drama of literature (order with epics and lyrics); Drama of a kind of stage cinematic action; genre, which includes various subgenres, modifications (like a philistine drama, a drama of absurdity just like that); Toponym(s): ... ... Wikipedia
D. yak poetic rіd Pokhodzhennya D. Skhidna D. Antichna D. Serednyovichna D. D. Renaissance Vіd Revival to classicism Elizabethan D. Spanish D. Classical D. Bourgeoisna D. Ro ... Literary encyclopedia
Epos, lyrics, drama. It is distinguished by different signs: by looking at the methods of inheritance of activity (Aristotle), types of knowledge (F. Schiller, F. Schelling), categories of epistemology (ob'ektivne sub'ektivne by G.W.F. Hegel), formal… Encyclopedic dictionary
Drama (Greek dráma, literally - dіya), 1) one of the three pologіv literature (order z epos and lyric; div. Rіd literaturny). D. to belong to the theater of that literature at once: being the first basis of the vistavi, it immediately joins in ... Great Radianska Encyclopedia
Modern Encyclopedia
Rіd literature- RID LITERARY, one of the three groups of creatives artistic literature epic, lyric, drama. The tradition of generic articulation of literature was founded by Aristotle. Irrespective of the cunning of the cordons between the canopies and the diversity of the intermediate forms (liroepichna… Illustrative encyclopedic dictionary
Epos, lyrics, drama. Vynachaetsya for different signs: from a look of ways of inheriting activity (Aristotle), types of knowledge (F. Schiller, F. Schelling), categories of epistemology (ob'ektivne sub'ektivne in G. Hegel), formal signs. Great Encyclopedic Dictionary
RID, a (y), trans. about (in) birth and (on) birth, pl. s, ov, man. 1. The main community organization of the primary communal way, united by blood dispute. Elder of the family. 2. A number of generations that look like one ancestor, as well as a generation. Tlumachny dictionary of Ozhegov
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- Pushkin, Tinyanov Yury Mikolayovich. Yury Mikolayovich Tinyanov (1894-1943) - a prominent prose writer and literary scholar - the name is similar to Pushkin; Who knows, maybe the similarity itself helped ...
From one side, under an hour of work on the drama, the victorious ones are victorious, like in the arsenal of a writer, ale, from the other, tver can be literary. The author describes it in such a way that a person, like a readable test, could work everything that comes from her mind. For example, the deputy “the stench sat in the bar for a long time” can be written “the stench drank six glasses of beer” too thinly.
In the drama that is being played, it is shown not through inner thoughts, but through outer action. Moreover, all podії vіdbuvayutsya contagiously.
Also, the sings of the exchange are superimposed on the obsyag create, because. it may be presented on the stage at the borders of the established hour (up to a maximum of 3-4 years).
Most dramas, like stage art, impose their own friend on behavior, gestures, words of heroes, which are often hyperbolic. Those who cannot be in life for a few years, they can be born in the drama. For whom the audience does not succumb to cleverness, implausibility, because the whole genre is allowed to sing in the world.
For the hours of an expensive book, the drama (like a public production) that was inaccessible to rich people, became a clear form of artistic creation of life. Proteo with the development of other technologies has sacrificed the first epic genres. Tim is no less, and today the dramatic creations are overwhelmed with requests from the court. The main audience is drama, tse, obviously, theatergoers and film-goers. Moreover, the number of the rest outweighs the number of readers.
Depending on the method of staging, dramatic creations can be in the form of a p'esi that scenario. Mustaches of dramatic creation, recognized as victors from the theatrical stage, are called p'esami (French pi èce). Dramatically create, for which films are known, є scenarios. І p'єsi, і scenarios to replace the author's remarks for naming the hour of that month, vkazіvki on vіk, zvnіshnіy look of the heroes is too thin.
Structure p'єsi chi scenario vіdpovidaє struktі іstorії. Sound, parts of p'esi signify as an act (diya), a manifestation, an episode, a picture.
The main genres of dramatic works:
- drama,
- tragedy,
- comedy,
- tragicomedy,
- farce
- Vaudeville,
- Sketch.
Drama
Drama is a whole literary tvir that depicts a serious conflict between diyovim or between diyovim and suspility. Vіdnosini mizh heroes (heroes and suspіlstvo) the creations of this genre are always in line with drama. Under the hour of the development of the plot, there is a strained struggle between the middle of the characters, and between them.
If the drama has a more serious conflict, the prote can be reversed. The intrigue is explained by the circumstance, the tension of the audience is clear: why should the hero (heroes) get out of the situation or not.
Drama powerful description of reality everyday life, staging "long" meals of a human butt, deep disclosure of characters, inner world of characters
Viriznyayut such types of drama, like historical, social, philosophical. A variety of drama is melodrama. In nіy developing individuals, it is clearly divided into positive and negative ones.
Dramas are widely known: "Othello" by W. Shakespeare, "In the Days" by M. Gorky, "Kishka na Dakha" by T. Williams.
tragedy
Tragedy (in Greek tragos ode - “goat song”) is a whole literary dramatic tvir, foundations on an irreconcilable life conflict. The tragedy of power is intense struggle of strong characters and passions, as it will end in a catastrophic result for the characters (as a rule, death).
The conflict of the tragedy sounds even deeper, may have a deep human meaning and may be symbolic. head hero, as a rule, deeply suffering (among those without escape), the share of yoga is unfortunate.
The text of the tragedy often sounds pathetic. Rich tragedy written in verses.
The tragedies are widely known: "Prometheus of the Sea" by Eskhil, "Romeo and Juliet" by W. Shakespeare, "Thunderstorm" by A. Ostrovsky.
Comedy
Comedy (Greek: komos ode – “merry song”) is a whole literary dramatic tvir, in which characters, situations and situations are presented comically, with humorous humor and satire. With this, the characters can but do the total chi with the total.
Sound the comedy presenting everything more indulgently and without stupidity, funny and stupidity, vismіyuє hromadski chi butovі vadi.
The comedy is subdivided into the comedy of masks, position, characters. Farce, vaudeville, interlude, sketch are also included in this genre.
Positional comedy (situational comedy, situational comedy) is a dramatic comedy tvir, which has a comedic twirl to put it on.
Comedy of Characters (Comedy of Sounds) is a dramatic comedy tvir, in which the comedy gerelom has the inner essence of characters (zvichaїv), comedy and conducive one-sidedness, hypertrophy of rice or addiction (vice, nedolіk).
A farce is a light comedy, which the vicarist's simple comedy accepts and it is risked for a rude relish. Sound farce vicorists at the circus to the lowland.
Vaudeville is a light comedy from a cirque intrigue, in a yakіy є large number dance numbers that song. In the US, vaudeville is called a musical. In today's Russia, it sounds like a "musical" too, looming on vaudeville.
Intermedia - a small comical scene, which is played between the main performances of the main performance.
Sketch (eng. sketch - “eskіz, little ones, zamalovka”) is a short comedy tvir from two or three characters. Sound up to the presentation of the sketches on the stage and television.
Wide in comedy: "Toads" by Aristophanes, "Inspector" by N. Gogol, "Likho z rozumu" by A. Griboyedov.
Vіdomi tvіzіynі sketch-shows: "Our Russia", "Mіstechko", "Monty Python's Flying Circus".
tragicomedy
Tragicomedy is a whole literary dramatic tvir, which has a tragic plot of images in a comical way, but a heap of tragic and comical elements. In the tragicomedy, serious episodes are combined with comedy, high characters are combined with comical characters. The main method of tragicomedy is the grotesque.
It can be said that “tragicomedy is more funny for the tragic” or, more importantly, “more tragic for the funny”.
Widely reviewed tragicomedies: “Alcestis” by Euripides, “The Tempest” by W. Shakespeare, “ cherry orchard» A. Chekhov, films "Forrest Gump", "The Great Dictator", "The same Munchazen".
More detailed information on this topic can be found in the books of A. Nazaikin
Dramatic creation (іn. gr. dіyu), like epіchnі, vіdvoryuyut podієvі ranks, vchinki people those їх vаєmini. Similar to the author of the epic creation, the playwright under the orders "to the law of action that develops." Ale, burn out the epic-descriptive image in the drama of the day.
Well, the author's language here is complementary and episodic. Such lists of special features, which are sometimes accompanied by short characteristics, are indicated by the hour of that month; a description of the stage situation on the cob of the acts and episodes, as well as comments up to the last replicas of the heroes and introductory remarks on their movements, gestures, facial expressions, intonations (remarks).
Everything is to become a side text of a dramatic creation. The main yoga text is a whole series of characters, their replies and monologues.
Zvіdsi pevna obmezhenіst khudozhnіh opportunities Drama. The writer-dramatist is only partly subject-image-creating, available to the creator of the novel, chi epics, short stories chi povesti. І characters of diyovih osіb are revealed in drama with less freedom and fullness, lower in epic. “I take the drama,” respecting T. Mann, “like a mystical silhouette and I see a person as a voluminous, whole, real and plastic image.”
At whom playwrights, at the sight of the authors of epic works, are embarrassed by this obligatory verbal text, which supports the needs of theatrical art. The hour of the image in the drama of the day may be placed at the strict frame of the stage hour.
And the performance in the forms typical for the new European theater is three, as it seems, no more than three years. I tse will require a detailed analysis of the dramatic text.
The hour played by the playwright under the prolongation of the stage episode does not shrink and does not stretch; the characters of the drama are exchanged with replicas without a hint of commemorative hourly intervals, that yogo speech, as if designating K.S. Stanislavsky, to establish a sustainable, uninterrupted line.
As for the help of roses, the diya seems to be like a past time, then the dialogue of dialogues and monologues at the drama creates the illusion of the present hour. Life here to speak nibi in the light of your own person: at the same time, what is being imaged, and at the reader there is no intermediary-reporter.
The action takes place in the drama with the maximum bezperednistyu. It leaks out in front of the eyes of the reader. “All warning forms,” wrote F. Schiller, “to endure today’s past; all dramatic shy of the past today.
Drama is oriented towards the stage. And the theater is a public, mass art. Vistava imperceptibly pours into rich people, as if they are angry together at the sight of those who are in front of them.
Appointed as a drama, according to Pushkin's words, - work on the faceless, occupy it with a clique" and for the sake of knowing the "truth of passions": The people, like children, will require cicavost, dee. Drama reveals your unimaginable, marvelous surroundings. The people will demand strong voices. Smіh, pity and zhah є three strings of ours will be revealed, with a dramatic mysticism.
With especially tight bonds of binding, the dramatic kind of literature with a sphere of laughter, more than the theater zmіtsnyuvavsya and develops into an indistinct link with mass saints, in an atmosphere of grit and merriment. "The comic genre is universal for antiquity," O. M. Freidenberg respected.
It is right to say the same about the theater and the drama of other countries and eras. Maverick T. Mann, who called the "comedian instinct" "the first basis of any dramatic mastery."
It is not surprising that the drama is heavy to the level of an effective presentation of the image. The figurativeness appears hyperbolic, bright, theatrical bright. “Theater of vimagaє perebіlshennyh broad lines like voices, declamations, and gestures,” wrote M. Boileau. The first purpose of the power of stage art inevitably imposes its own friend on the behavior of the heroes of dramatic works.
“It’s like playing at the theater,” comments Bubnov (“On the Days” by Gorky) to the crazy tirade of the angry Klisch, which resists the intrusions of the Rozmov’s bedroom, giving it a theatrical effect.
Significant (as the characteristics of a dramatic kind of literature) throw Tolstoy at W. Shakespeare for the great number of hyperbole, through which "the possibility of artistic enmity is destroyed." "From the first words, - writing wines about the tragedy" King Lear "- one can see an overflow: an overflow of podias, an overflow of feelings, and an overflow of virazivs."
In the assessment of Shakespeare's work, L. Tolstoy is wrong, but the idea that the great English playwright is pretentious to theatrical hyperbole is absolutely fair. The saying about "King Lear" with no less substantiation can be attributed to ancient comedies and tragedies, dramatic creations classicism, to p'es F. Schiller and V. Hugo just.
In the 19th-20th centuries, as in literature, life's credibility was more important, the power of the drama of intelligence became less obvious, often the stench was reduced to a minimum. Bіlya vytokіv tsgogo yavischa so-called "petty drama" of the XVIII century. Lessing.
Create the greatest Russian playwrights of the 19th century. the beginning of the 20th century - O.M. Ostrovsky, A.P. Chekhov's and M. Gorky's - they are reassured by the authenticity of the life forms that are being created. And yet, when the playwrights were installed, the plausibility of the plot, psychological and modern hyperbole were taken into account.
Theatrical minds gave themselves the nobility to inspire Chekhov's dramaturgy, which showed the maximum between "lifelike". Surprised at the conclusion of the scene "Three Sisters". One young woman, ten or fifteen years ago, parted ways with a kohan people, maybe forever. And five times later she found out about the death of her betrothed. The first axis of the stench, at once with the elder, the third sister, to beat the moral and philosophical podbags of the past, roaming the sounds of the military march about the share of their generation, about the future of humanity.
It is unlikely that you can show what happened to be true. But we don’t commemorate the implausibility of the finale of “Three Sisters”, because they called out that the drama clearly looks at the forms of people’s life.
It is said that A.Z. Pushkin’s judgment is reconsidered from justice (from the same cited article) to the fact that “the very essence of dramatic art includes credibility”; “Reading this, a novel, we can often forget and think, what is true, what is being described, is not a guess, but the truth.
In one, in an elegy, one can think what he sings, imagining his right hand, in real surroundings. Ale de veracity in life, subdivided into two parts, of which one is filled with gazers, as if they were housed.
The most important role in dramatic creations is to lay the mentality of the heroes’ self-revelation, the dialogues and monologues of those, often full of aphorisms and maxims, appear more spacious and effective, lower replicas, like a vision in a similar life camp.
Clever replicas “in bik”, as if they were not used for other characters, which they perebuvayut on the stage, but it’s good for chubby peeps, as well as monologues, which the heroes act on their own, alone with themselves, such monologues were not uncommon in ancient tragedies, and in the dramaturgy of the New Hour).
The playwright, staging his own kind of experiment, showing how a person would hang out, yakby in the words of wine, expressing his mindset with maximum fullness and eloquence. It is not uncommon to know the imitation of a promo artistic and lyrical oratorical speech in a dramatic work: the heroes here hang out like an improviser-sing the chi maistri of the public speeches.
That is why Hegel is often maverick, looking at the drama as a synthesis of an epic cob (podіynіst) and lyrical (moving expression).
Drama can have two lives in art: the theatrical and the literary. Putting together the dramatic basis of the whistles, butuyuchi at the warehouse, the dramatic TV is also accepted by the reading public.
Ale, so the bula on the right is not far from the start. The emancipation of drama from the scene was staged step by step - with a stretch of a hundred years and ended in equal measure recently: in the XVIII-XIX centuries. All-worldly significant features of dramaturgy (from antiquity to the 17th century) at the hour of their creation were practically not recognized as create literary: the stench was no more at the warehouse of stage art
Neither W. Shakespeare nor J. B. Molière were accepted by their fellow writers as writers. In the other half of the 18th century, Shakespeare was recognized as a great dramatic poet.
In the nineteenth century (Especially in the first half of the year) literary dramas were often staged more than the stage ones. So, having thought to Goethe, “do not create Shakespeare for the eyes of the body”, and Griboyedov, calling his bazhanya “childish”, feel the verse of “Woe for Rose” from the scene.
Nabula is so called Lesedrama (drama for reading), which is created with the installation of us in front of us in the reading room. Such are Goethe's Faust, Byron's dramatic creations, Pushkin's little tragedies, Turgenev's dramas, which the author mentioned:
Principles of authority between Lesedrama and p'soyu, as oriented by the author to stage production, do not exist. Drami, creating reading, often є potentially scenic. The first theater (among them the modern ones) is upright whispering and for an hour to know the keys to them, which is why - successful productions of Turgeniv's "Moon in the countryside" (we are famous for the pre-revolutionary performance of the Art Theater) and numerous (want far and not far away) stage readings of Pushkin small tragedies in the XX century.
Long-standing truth is overpowered by force: the most important, most recognized drama is the whole scene. “Only in the presence of a stage viconan,” O. M. Ostrovskiy pointed out, “the author’s dramaturgical vigadka takes away the complete form and manages the very moral action that the author has reached by setting himself as a metaphor.”
The creations of the play on the basis of the dramatic creation are connected with the creative ones before the Budovo: the actors create intonation-plastic little roles, the artist decorates the stage space, the director expands the mise-en-scene. In connection with this concept, the concept is sometimes changed (more is given to some sides, less respect is given to others), it is often concretized and improved: the stage production introduces new meanings to the drama.
Which theater has a very important principle of faithful reading of literature. The director and actors called to convey the statements of TV to the viewers as much as possible. The versatility of the stage reading can be there, the director and the actors deeply touch the dramatic tvir of some of the main literary, genre, and stylistic features.
Stage productions (like screenplays) are less right in quiet moods, if it’s a good time (let’s not) a director and an actor with a stake of ideas of a writer-dramatist, if a playful scene is double respectful to the sense of the set creation, to the peculiarities of the yogo genre, rice yogo style of the text .
In the classical aesthetics of the XVIII-XIX centuries, the zokrem in Hegel and Belinsky, the drama (the genre of tragedy is ahead of us) was seen as the best form literary creativity: yak "crown of poetry"
The quality of the low artistic epochs and truth proved to be more important in dramatic art. Eskhil and Sophocles in the period of development of ancient culture, Molière, Racine and Corneille at the time of classicism were not few equal among the authors of epic works.
Goethe's creativity is well known for his plan. For the great German writer, all literary canopies were available, having crowned his life with the mystical creations of the dramatic creation - the immortal "Faust".
In the past century (until the 18th century), the drama was no less successful than the epic, and often became a clear form of artistic expression in the expanse of that hour.
Tse explained by low reasons. First, the majestic role played theatrical art, accessible (to the view of handwritten and handwritten books) to the widest versions of the sspіlstva. In another way, the power of dramatic creations (images of characters with sharply shaped rice, the creation of human passions, gravitating to pathos and grotesque) in the "pre-realistic" era, as a whole, supported the trends of literary and literary art.
I want in the XIX-XX centuries. a socio-psychological novel has hung on the forefront of literature - a genre of an epic kind of literature, dramatic works, like before, deserve a better place.
V.Є. Khalizev Theory of Literature. 1999
Dram dictionary.
Drama(drama /Greek/ - dіyu) - one of the three pologіv literature, entrusted with lyrical and epos, spellings in the dialogic form and applications for theatrical influence. Drama belongs to the theater and literature; being the first basis of the vistavi, it is immediately taken up by the reading. The drama was formed from the evolution of the theatrical manifestation: the presentation of the actors to the first plan, which evoked the pantomime with the imaginary word, marked its vindication as literature. Drama is recognized for collective inspiration, to which the most serious problems are serious, and its basis is socio-historical protirichcha, calm, ignominious human antinomies. The drama is dominated by drama - the power of the human spirit, which is awakened by situations, if the orders of the day in people are filled with unknown things under the threat. Drama, as a rule, was inspired by a single external (or internal) conflict with its twists and turns, connected with a direct or internal confrontation between the heroes. the hour of respite (artistic) hour. Drama has a great significance for the development of characters, as they signify their willful nature and actively self-development of characters. Announcement (introduction of the author's voice into the sentence, acknowledgment of the visniks, narration of the characters about those that happened earlier) is correct, otherwise we call it daily. Vimovlenі dіyovimi personov utvoryuyut words at p'єsі sutsіlnu linіyu, podtverzhenu dіyami. Mova in the drama is bidirectional: the character enters into a dialogue with other characters (dialogue movement) or appeals to gaze (monological movement). Mova in the drama is recognized for the wide expanse of the theatre, invested in the mass effect, vikonana theatricality, tobto. singing kind of intelligence. A.S.Pushkin, for example, having taken into account, from the best half of his creations “the most unbelievable create dramatic”. її staging.
Dia (dramatic)- vchinki characters in that mutual connection, storage of the most important background of the dramatic plot. Lonely dії - tse vyslovlyuvannya, ruhi, tin, mimic acts of characters that express their emotions, bazhannya that namiri. Diya can be familiar, based on ups and downs (for example, in V. Shakespeare or J.-B. Molière), and internally, with any change, they appear in the mentality of the characters in the case of outward bezpodiyanost (for example, in A. Chekhov). Zovnishnya diya manifests itself, as a rule, to the point of major conflicts, standing up to the heroes or their life positions, which they blame, gossip and vibrate within the framework of the images of the subdivisions. Internally, you create conflicts immanently, staunchly, indiscriminately at the borders of one create. Vchinki characters vzaєmoobumovlenі, yak i є єdnіst dії, yak (starting from Aristotle's "Poetics") dosi vvazhaetsya standard of dramatic plot construction.
Conflict(conflictus /lat./ - Zіtknennya) - protirіchchya as the principle of vzaєmovіdnosin between images of artistic creation. Conflict of becoming homemade rice drama and theater. As Hegel wrote: “Dramatic action does not mix with simple and calm achievements of the singing mind; Navpaki, it flows in the situation of conflicts and zіtknen and succumbs to the pressure of the environment, the onslaught of predilections and characteristics, as opposed to you and you rely on it. These conflicts and kolіzії, with their own strength, give rise to diії i, like at the singing moment they call out the need for reconciliation ”(Hegel G.W.F. Aesthetics. M., 1968. T. 1. P. 219). The dramaturgical conflict is caused by the antagonistic forces of the drama. Being the basis of the il і і і І і і ї, the conflict of the main a herd to the plot: the first -time - the exposure, the subject, the conflict of conflіkta, the subgennia, the nobility of the conflict - the Kulminati, yazkova). Most often, the conflict is like a collision (the word is synonymous with the conflict), that is. at the sight of the open opposition between the opposing forces. The conflict is blamed, if the character, trying to resist his own goal (love, power, ideal), to resist another character, sticks with a psychological, moral and fatal shift. The result of the conflict will inevitably be connected with pathos: you can be comical, then. we will reconcile or be tragic, if one of the sides cannot take actions without knowing shkodi (and so far in the fallow due to the aesthetic specifics of pathos). - Supernition of two characters for economic, love, moral, political and other reasons; - The conflict of two light-gazers, two irreconcilable morals; otherwise, between two “camps”, they try to get a hero on their own; - conflict of interests of an individual and a company; The conflict (collection) is most often realized in the form of a verbal duel, in the verbal struggle with arguments and counterarguments, there is also a pre-verbal and monologue for vikladu mirkuvan, which reflects those ideas. The order of the conflict-collision, that is, the ovnishnim conflict, in the XX century. such a phenomenon has arisen, like an internal conflict, like a global eternal, lifeless rozirvannost of a person, against the social and biological, svіdomogo and pіdsvidomogo, nerazvjazne protirіchchya self-sufficient іndivіda z vіdchuhennuyu vіd new reality. Although the outer conflict is so viable within the framework of one creation, then the internal conflict, based on the struggle of a person with himself, or the struggle of universal principles, within the framework of one plot, cannot be virulent and seems to be substantive; here the dialectic is succumbed to the greater world, prompting the most artistic creation, rubbing between the form and the light, the composition and the theme, between the “texture” and the “structure” (L. Vigotsky), the subject of that zmist of artistic expression (div.: theater of the absurd).
Exposure(exposito, expouere /lat./ - to display for show) provide the necessary information to assess the situation and understand it, as it will be presented. Knowing the exposition is especially important for the diary of the entangled intrigue. For classical dramaturgy, exposition is not concentrated on the cob of p'esi and is often localized in the description of one or more characters. If the dramatic structure relaxes, the conflict does not break out, but rather shifts on the cob (for example, existential conflict, intellectual drama, etc.), after which an analysis of the reasons that it was born is followed, then the whole offensive text can become a great exposition, such a understanding is consuming its specific significance. The exposition is significant for the p'esi tim, why put food on it, on how it shows the development of the conflict: Who is the protagonist? What are they rose, what is bringing them closer, what are their goals? Like hostility, viroblene p'soyu? What is the atmosphere and what is the reality of creation? Like the logic of the wise world is permeated by logic real light, What are the rules (of the world of intelligence)? How to understand the psychological, social and love motivations of the characters? What is the idea of the performance, how can you establish a parallel with the real world? Thus, in a wide sense of exposition, there are some ideological, verbal, visual (like there are about the insinuations on the stage) codes in order for the mother to have her own tribute to the vigadanism of the podia, represented by a dramatic creation. The zav'yazka is a chain of events in a dramatic work, which marks the beginning of the development of diї in one and only a few directly, at the same time the destruction of the dramaturgical conflict.
Climax(culmen /lat./ - peak) - a podia, which marks the naive moment of the development (chi of destruction) of the conflict: the conflict of escalation to the edge, like a rise, and emotionally, far away - less than a rozvyazka.
Rozvyazka- Tse episode of a dramatic creation, which is residually used by conflicts. At the rozv'aztsі conflict, you can virishiti with the help of one of the sides of the superechki chi z'yasuvannya pardon, which served as the core of the conflict; you can take it out after the change of the post-mortem situation, if the opposing sides have risen in the courts of the floor, nothing will appear; there may be representations of a “critical finale” (otherwise, turning to a cob situation on a stake), shards may be allowed at the boundaries of the plot presented. In ancient drama and drama classicism, the deus ex machina (“God from the machine”) was won, if only the divine forces (otherwise known in relation to the plot) invaded the building without respite.
intrigue(intricare /lat./ - to confuse) - a method of organizing a dramatic flow with additional folding ups and downs. The intrigue is closer to the plot line, lower to the plot line, and is connected with a detailed sequence of inconsistent turns of the plot, intertwining and a series of conflicts, shifts and koshtiv, which are victorious by the playful persons for their dressing. Vaughn is describing the outer, visible aspect of the dramatic development, but not the deep inner movement.
vicissitudes(peripeteia /Greek/ - unstoppable change) - unstoppable turn of the situation chi dei, sharp change. According to Aristotle, the vicissitudes begin at an hour, if the hero's share is to rob the turn from happiness to misfortune chi navpaki. For the modern sense, peripetia often means anger and fall, come in, or a less significant episode that follows a strong moment of dii.
Mova dramaturgical(theatrical and dramatic discourse). In the obsession of theatrical discourse, one can see a promotional mise-en-scene and a promotional character, in such a manner, one can talk about stage language (discourse) like a sensual performance, and in a sensual text p'esi, which points to the act of speaking on the stage. The theatrical text (dramatic text, text p'esi) is not a dream of a dream, but mentally written, which represents a dream of a dream. In this way, under the promo, it is worn on the uvazit, which exalts the stage zastosuvannya of the movement activity in the form of a vislovlyuvannya (verbal demeanor) to the nonverbal (visual demise): gestures, mimicry, ruhi, costumes, bodies, props, decorations. The theatrical text is realized as a rule, in dialogical and monologue forms. Rozmov’s between two and more characters is a dramatic dialogue, although within the framework of the dialogue you can see the interplay: between visible and invisible characters, between a human being and God’s primara, between a spiritualized human being and inanimate objects. The main criterion for dialogue is communication and interchangeability. Dialogue is accepted as the main and most showy form of the drama. The monologue, on the other hand, stands as a decorative element that does little to support the principle of credibility. However, in a classic drama, the dialogue can be more of a sequence of monologues, which allows for greater autonomy, less exchange of replicas. I, on the other hand, rich in monologues, not respecting the anger of the text, speaking, nothing else, like the dialogues of the character with a part of himself, with another obvious character, or with the light of the world, we will call on the certificate. Dramatic dialogue is characterized by a high rate of "delivery" of replicas, less than once a verbal duel. Zgidno with an unwritten generic rule, the theater has a dialogue (like and be-like a language character) and act through movement. Zavdyaks of the dialogue of the spectator begin to see the transformation of the entire world of vistavi, the dynamics of diy. Dialogue and language are the only elements of action in p'esi, shards of the same act of movement, voiced phrases and phrases in drama are the only effective action - a word-action.
Monologue, with its own calling, it is recognized as the language of the character, it is not brutal without intermediary to the spirit of the old man, with the method of taking away from the new one. Oskіlky monologue was taken as if it were antidramatic, in realistic and naturalistic drama the monologue was allowed only in vinnyatkovyh situations (unfortunately, at the camp of sleep, as if it were pochuttіv), and the dramaturgy of Shakespeare and romantic drama monologue was even more popular. The monologue is called an internal dialogue, which is formulated by a special “internal mine”, in which I take part, speaking and hearing I. misce), lyric (a monologue that the hero is moving at a moment of strong emotional experience, which helps to open the sphere of feelings), a monologue-thinking or a monologue-accepting a decision (the hero is in a situation moral choice I give my own arguments "for" and "against"). For its literary form, monologues can be: - a monologue, conveying the hero's camp; - a monologue, connected with the dialectic of mirkuvannya, if logical argumentation is presented in a visual sequence of meanings and rhythmic oppositions; – an internal monologue, or “the flow of information”, if the character speaks with a mustache, that you fall into a thought, without worrying about logic, dorechnist and finality of speech; - a monologue, which expresses the author's word directly, if the author without intermediary turns to the public for help, whether it be some kind of plot device, sometimes in a musically-performed form, with a method of being able to look at (confirm your position with Yogo) or provoke Yogo; - a monologue-dialogue on self, a dialogue with a deity who is another off-stage character, a paradoxical dialogue, if one speaks, and the other does not speak. In the drama of the XX century, especially in Brechtivsky and post-brechtivsky - the main point is the succession of promos that move along the way, and not just the characters with their own individuality, in such a rite, the monologue starts to cry So the theatrical and dramatic discourse transforms into a monologue of the main movement (so that it is an instance that replaces the author) or a direct dialogue with the viewer.
replica- The text, which is how the character moves at the beginning of the dialogue at the beginning of the dialogue, or be it else. The replica has less sense in the case of the forward replicas and the advancing replicas: replica / counterreplica, word / counterword, action / reaction. The exchange of replicas creates intonation, grie style, mise-en-scene rhythm. Brecht stating that the staging of replicas is based on the tenisu principle: the sounds vibrating that intonation swaying, as they permeate the whole scene” (Brecht B. Voir Theatrarbeit. Frankfurt, 1961. 385). Reply to keep alive the dialectic of vidpovidey and food that pushes the deya forward.
Aparte(aparte / French /) - the language of the character, as it is addressed not to the speaker, but to himself (and publics). Vaughn reminisces in her monologue with her shortness and inclusion to the dialogue. Aparte is a replica of a character who rushed, “vipadically” listened to by the public, but was also aimed at those who were adopted in the context of the dialogue, who were acting. As a rule, the apartment is made out with a remark - "kill" or the song of the character's misplaced presence on the proscenium. In the apartment, the character is not in any way a breach, the shards do not lie to themselves, and they show the correct names of their own feelings. Moments of inner truth are revealed by their own "downtimes" at the development of diї, under the hour of such a peep-to-mouth they turn their thoughts. Obviously, the apartment can carry an "epic" function. (You can admit that the zongs in Brecht's "epic theater" are nothing else, like apart). The aparthe adds a monologue, shards convey self-reflection, “pіdmorguvannya” to the public, acknowledging, praising the decision, reaching out to the public too thinly.
Sololokvіy(solus / lat. / - one i loqui / lat. / - speak) - mova, beastly to itself, synonymous with a monologue, and more lower monologue, shards create a position, in which the character recounts about his psychological and moral situation, theatrical zavdyaki Cleverness actualizes an internal monologue for a peep-to-mouth. Solilokvіy vіdkrivає vіdkrivає vіdkrivає іn the soul of іnvіdome character іоgo reflection: zvіdsi ііѕ epic significance, lyrical pathos and zdatnіst transform into a fragment, give it an autonomous meaning, like, for example, Hamlet's soloikov about foundation. Solilokvіy vravdanyy dramі tim, scho buti vymovleno at the moment of moral choice, at the moment I joke to myself, tobto. then, if the dilemma can be formulated out loud. Sololokvіy to bring to ruin that theatrical illusion and є theatrical intelligence for establishing direct contact with the public.
The author of the drama(Author of p'esi, playwright) - for a long time the profession of the author of p'esi was not independent. Until the 16th century - Just a post-worker of texts, people of the theater. Just like the epoch of the Reformation, in the epoch of Classicism the playwright becomes special in the suspіlnomu rozumіnі, special, as he plays the most important role in the work of the manifestations. In the course of evolution, the theater can play a disproportionately large role in the role of the director and director (the functions of which were appointed no earlier than the end of the 19th century) and especially in the role of the actor, who, after Hegel’s words, became less of an “instrument, on which the author , sponge, which picks up farbi and transmits them without any change ”(Hegel G.W.F. Aesthetics. M., 1968. T. 1. S. 288). The contemporary theory of the theater may tend to replace the author as a global theme of theatrical discourse by a complete process of development, a deakim equivalent of a narrator (revealing) like the text of a novel. The subject of the author can be caught in stage speeches, remarks, chorus texts of the resonator. The author is concerned with the structure of the plot, the montage of the plot, the important perceptible sequence of perspectives and the semantic contexts of the dialogue characters. Nareshti, if there is a classic text, uniform in form, the authorship is invariably manifested, regardless of the impersonal roles. , as a form of a text for a creative stage scene, an author's play, a specific stage play and a welcome audience.
Didascalia(didascalia /Greek/ - povchannya, navchannya) - at the ancient Greek theater, the protocols and productions of such dramatic sights. There were inscriptions on marmur slabs, names of playwrights and protagonists, names of the staged p's and the results of the magic. Deyakі pipis z didaskaliy, zdіysnenі Aristotle i vcheni epokhi ellіnіzmu, dіyshli in manuscripts of tragedies and comedies, vіdіvі to okremy p'єs. At the modern rozumіnnі - poovchannya, given by the author to his vykonavtsy how to interpret the text of the letter, similar to the understanding of the stage introductions (remarks).
remark(remarque / French / - note, mark), stage introductions - the author's note of the reader, director and actor in the text p'єsi, scho to avenge a short description of the atmosphere of the diї, zvnіshnostі, manners of the wimov and the behavior of the characters. In such a rank, be it a text that does not act as actors and appointments for facilitating the presentation of manners. ISNUNVANNA of the scenaries of the same substantial, the theater has been the last theater, it was cleaned by the same time in the antique theater, їkhno -nama, the drama of the melodrama is a natural drama. The text does not require stage introductions, if in the new place all the necessary information about the acting environment and the environment that excites them. Ale naprikintsi ХІХ century. the one in the XX century. the author of the pragmatic yakomoga more precisely and more subtly defines the space-hour coordinates, the inner light of the characters in that atmosphere of the stage - here the voice of an acknowledgment is needed, in such a rite the theater approaches the novel form. Similar stage performances can turn into a long internal monologue that describes speeches on stage, or a pantomime, that a dialogue is prepared, etc. The stage introductions, or the remarks are presented as part of the whole: the text of the paragraph + the introductions = metatext, which expresses the dialogues and the whole production as a whole. As a result, the “correctness” of the author is trimmed, the performances are trimmed, the interpretation is ordered. So, the stage performances are similar to the performances of the director, the remark to the vistavi.
Subtext(sub-text /eng./) - in the sense of the word, it denotes the attachment of an implicit sense, which runs with a direct sense; subtext to lay down according to the meaning and expressiveness, according to the peculiarities of the current situation. The subtext vinikaє as zasіb zamovchuvannya, posterior thoughts and bring irony. And here “the direct lexical meanings of the words cease to formulate and signify the inner meaning of the promotion” (Vinogradov U. Nutrition of the Mind. 1955. No. 1. P. 79). Vuzhche understands the “subtext” blames the “new drama” at the turn of the 19th-20th centuries. and all the further drama of the XX century. Subtext, or “dialogue of a different order” (M. Maeterlinck), or “underwater flow” (Vl. Nemirovich-Danchenko) closely adjoins to internal action and can express a complex of thoughts and feelings, which are hidden in the text, which are played by characters, but not Stilki rozkrivaєtsya in words, but in pauses, in internal, voiceless monologues. In this order, the subtext is everything that is not explicitly stated in the text, but it is obvious how the text is interpreted by the actor. The subtext becomes a kind of commentary, which is given to the role of the actor and to the whole production, which helps to look at the necessary internal knowledge for the correct that most recent sprinyattya vistavi. The point of understanding is theoretically explained by K. Stanislavsky, for which the subtext is a psychological tool that informs about the inner state of the character, that establishes a distance between them, which is said in the text, and that is shown on the stage, that subtext can be called that psychological and psychoanalyst , which actor is left on the image of his character in the process.
Overtext(by analogy with the subtext) blamed in dramatic creations for a borderline intelligent plot, for functional characters, who do not appear out of their social determinism, but rather subtle psychological experiences, but it’s up to the will of the author, illustrating the author’s mind In such dramatic creations, the plot is simple, it is primitive and recedes into the background, it is important for the author of the first appeal to the already familiar (navit zagalnovidomogo) in light culture material, which is for the help of stylization, rhetoric, scenery. Vіn vikoristovuє for comprehension of the current moral, psychological and political situation. The supertext creates the plot of a p'esi-parable (as it is a decipherment, so it is an encryption), the structure of a dramaturgical parabola.
Intertext– based on the theory of Roland Brat about intertextuality, there was a statement about those that the text of the minds of the minds of the functioning of the front texts, as if transforming into a new one. Dramatic and theatrical (visual) text can be placed in the middle of dramatic compositions and stage receptions. The director can include third-party texts in the fabric, tying them thematically, parodic or creating roses to explain yoga at a lower dawn. Intertext transforms the text to the original, “drives” the linear plot and theatrical illusion, setting two, often protracted, rhythms, type of writing, hot text to the original. Intertextuality is essential and similar, if in the same scenery, with the participation of the actors themselves, the director sets two texts, which will inevitably intersect among themselves.
Extend that hour of dramaturgy – artistic hour i expanse (chronotope) є the most important characteristics artistic image, which ensures the integrity of the artistic activity and the organization of the composition of the creation. The art of the word belongs to a group of dynamic, temporal mysticisms, to which the artistic image, roaring at the hour (succession of the text), with its own light creates a space-hour picture of the world, before that it has a symbolic-ideological, valuable aspect. The problem of the chronotope is broken up in the art of science about literature, nasampered, like an epos. For one's own part, through the syncretic nature of dramas, it is possible to speak about the space-hour characterization of not only a dramatic, but a theatrical text.
Hour- one of the important elements of the dramatic text of any stage image. Due to the dual nature of the hour, it is necessary to designate an hour, to which the staring person (a.k.a. the stage hour), is the hour that the author reconstructs using an additional sign system (a.k.a. the off-stage hour). The stage hour is an hour, the life of a spectator, a certificate of a theatrical performance (that is the hour, the end of the vistavi). The stage hour is inspired by time and space signs of this performance: view of objects, scenes of action, thunder of lighting, exits and entrances of actors from the scene, moving thinly. The skin system of such signs has rhythm and structure. Extra-stage hour (chi dramatic) - this hour is coming, about some kind of roaring performance, that is. its own plot of the play, the explanations are not from the podia, which are implicitly revealed, but from the illusion of what is happening, it became either in the world of the possible, or in the world of fantasies. The dramatic hour signifies the prolongation of the story and the intrigue, the plot and the plot, the story and the story, and the very spivvіdshlennâ between the timing sequence of the elements in the strictly chronological order under and illusions of the timing order in the theatrical performance. The effect of the theatrical hour for a spectator is in the fact that one forgets one’s guilt, where one knows: one lives in the present hour, but when one wears one’s tongue and penetrates into another world, manifested in the world, like, in one’s own line, appears to be experienced by the right - who has a special theatrical intelligence. The expression of the French philosopher Etienne Suriot is coming up: “The whole theater is existential, it is the greatest triumph, it is the heroic act of the one who stuns the soul of the character” (Quoted by: Bentley Erik. Life of drama. M., 1878. P.5) . The dramatic hour can be even more trivial (for example, in Shakespeare's historical chronicles), but it is only realized by the stretch of one manifestation and three two or three years. Aesthetics vimagala to classicism, so that the dramatic hour coincided with the stage hour, but it also led to a naturalistic aesthetics, if the stage reality reflects the dramatic “life size”. This is typical for a modern performance, if the dramatic hour is not celebrated, the stage hour is overwhelmed by itself artistic wimisl that zovnіshnіm manifestation of the hour on the stage. Rarely, it becomes possible to expand the scope of the stage hour, which means even a short gap to the hour of the day (for example, in M. Maeterlinck, J. Priestly, in the theater of absurdity). - functional aspect of creativity). And here the hour of stage performance is brought to memory (historical moment, if TV was staged on stage, what kind of appellation is the director); the historical part of that yoga logic is represented by the plot; the hour of creation is equal to the theater, the style of actors of that historical hour.
Expanse(theatrical) (space in the theater / eng. /) - understanding what zastosovuetsya to other aspects of the production. You can try to see the image of the theatrical space: a) a dramatic space, that is. those, about which are found in the text, are an abstract expanse, created by the reader and looking for help; b) the expanse of the stage - the real expanse of the stage, demonstrating the action; for the public "singing architecture, singing towers of the world, created, leading rank, the actors themselves and the directors of the performance; on the stage (pov'yazane z understand the mise-en-scene); e) textual expanse - the expanse of graphic, phonetic and rhetorical materiality, the expanse of the score, the recording of replicas and didaskalia, vinikatodі, if the text of the assignments is not for a dramatic expanse, but for visual representations of the material for visual and auditory perception; e) the space of the interior - the same stage space, where you try to reveal the fantasies, dreams, the playwright’s or one of the characters. At first glance, the theater is a place of the old order, where you can go as far as looking at the stage, keeping a distance from it according to your appearance. Behind Hegel, the place of objectification and confrontation staged the halls, so the expanse of the obvious, the visible. But the theater is also a place where the process of self-projection of a spectator (catharsis and self-identification) is introduced. In the same way, the interpenetration of the theater becomes the “inner space” of the staring person himself, the ability to develop himself and all his abilities. In this way, the stage space is shaped and zabarvlyuєtsya glyadatsky I. Dramatic space conveys the image of a dramatic structure p'єsi, which includes characters, their characters and the blue between the characters. Dramatic expanse will be us with the improvement of the author's stage remarks, as a kind of premise for the stage with additional spacious-hourly features, like a dialogue. In this way, the skin looker creates his own subjective image of a dramatic space and there is nothing marvelous in the fact that the director-producer chooses only one of the possible specific stage vtіlen. Dramatic expanse - this expanse of vision, which, with its own blackness, pours into scenography. Here we blame the eternal food about those that are the first: scenography and dramaturgy in the production of vistavi. I want to, obviously, first place the next place to put a dramatic concept, then. ideological conflict between characters, movers
The plot and plot of the drama . The fabula (fabula /lat./ - rozpovid, tale) - is the basis of creativity, which is reflected in specific artistic details and is available for post-artistic development, retelling (often behind mythology, folklore, early literature, history, newspaper etc.) . The term fabula korelyuє (spіvvіdnositsya) from the term plot (sujet /French/ - subject). “Formal school”, perhaps, was conceptualized earlier by wording. According to the darkness of the representatives of the OPOYAZ, since the plot indicates the development of the characters themselves in the life of the characters, then the plot is the way and the way the author tells about them. At the same time, science has adopted such a division: the plot is the material for the plot; that is, the plot is like a continuum of subdivisions and motives for the current logical causal-inferential connection; the plot, as a sequence of quiet subdivisions themselves, and motives for those sequences and connections, in a way about them, they are confirmed by the work of the artistic (compositional) sequences and all the figurativeness. In this way, the plot of an artistic creation is one of the most important reasons for framing the thoughts of a writer, expressed through the verbal imagery of these characters in their individual actions and in their voices, including in the emotional turmoil, “gestures” of people or speech, that they “move.” from the theory of the author B. Korman, the order of the formally comprehensible to the plot, as the totality of the elements "to the text, united by the main subject (the one who perceives that image) or the main object (the one who perceives it is imaged)" ; “Twіr as a whole is a unit of impersonal plots of different equals and commitments, and in principle there is no single unit to the text, as it would not be included in one of the plots” (B. Korman. .Kuibishev, 1981. S. 42.). In this manner, it can be assumed that an equal unity of the plot can have a post-text element, an overtext, a subtext, and a metatext. It is necessary to note that it is customary to say about the spivvіdnoshennia of the plot and the plot more importantly than the epic creation. Oskіlki in classical drama directly the word of the author in the dramatic text is insignificant, then the plot of a dramatic work is as close as possible to the plot line. conflicts, cherry-pick, rozvyazka - in the dramatic (mental) space / hour. But the storyline doesn't cover the text itself, like in the 20th century. the dialogical and monologue language of the characters is increasingly invading the narrative element, behind which stands the image of the author, who shapes the plot. I, obviously, cannot find the text of the production of p'esi in the theatre. (Modern theater plays, plays and represents no longer the plot, but the plot (in the author's interpretation) of a dramatic creation. Shards of the plot of the dramas of the twentieth century are not just a lance of social life, which is a copy of the author's real idea, but a singing some thoughts about human suspіlstvo. In the process of work over the vistava, the plot is known in the camp of postiynoї development, not only on the equal editorial line and the text, but also on the equal process of staging that gr: in the scene, the robot over the roll and the motivation of the characters , coordination of various stage arts, etc. To create the plot of the production from the plot of the production - to give an interpretation (to the text for the director and to see for the viewer), to mean to choose the concept, to change the accents. if the dramatic plot (like i, like and epic) is adequate to the text of the poem, then the theatrical plot can be considered as an invariant of the text stopovers at the station of everyday life.
character, hero, nature, image –
1. Character (persona /lat./ - mask, disguise: personage /french/; character /engl./; Figur /germ/; Actor buv vіdokremleniy vіd svіd sіvі character, vіn іn lеt yogo vykonavets, but chi іn’t vіlennya. Coming evolution The theater needs to see the dual function of the character, to bring the character closer to the understanding of the character, which helps to understand the "character" to understand the social, psychological and moral essence of the hero. In the ri Zin, the character was the character was a singer of the artist, an іndivuwuum, type, submarine, yandy, a fate of a drama of the drama of the dramaturus at his own socialist. the character of the drama of the XX century, the character acquires a number of new qualities, which evoke the image of yoga from the image of the author, from the actor's individuality and intertextual context (there is no plan for "theatre within the theater").
2. Hero (heros /Greek/ - sang god chi deified people) - an artistic image, one of the designations of a person's solid foundation in the totality of the image, way of thinking, behavior and spiritual light in the art of the word. In dramaturgy, starting from ancient times, the hero is the same type of character, endowed with vibrant strength and might, some may look like bright, some share is the result of a free choice, I create my own camp and stand against the struggle for moral conflict, in my own way chi pardon. The heroic character is only just the same, if the p'esi (social, psychological and moral) are completely laid out in the hero's identity and the identity is a microcosm of the dramatic universe. At times, the concept of a “hero” forms a theatrical role - a hero / heroine (similar to the concept of “protagonist”). From the 19th century. A hero is called a tragic and comical character. Vіn spends its significance of the eye and gains only one sense: head character dramatic creation. The hero becomes negative, collective (the people are in some historical dramas), elusive (the theater of the absurd), unscenic. The modern hero cannot be more on the verge, he cannot take a position like reality. Z XIX Art. i in contemporary theater The hero can look at his ironic and grotesque twin - the anti-hero. Shards of value, which the classic hero (protagonist) cherishes, or fall at the price, or rebound, the anti-hero is the only alternative for the description of human vchinkiv. In Brecht, for example, the human being is dismantled, reduced to the state of an individual, internally super-smart and integrated into history, as a way of signifying a greater life, lower guilt and suspicion. The hero cannot survive the reassessment of values and the spreading of the power of knowledge, but in order to survive, he must take on the image of an anti-hero (an anti-hero similar to a marginal hero).
3. Image (artistic) - the category of aesthetics, which characterizes the peculiarities, the power of the art, the way of mastering that transformation of action. The image is called be-like a manifestation, creatively created in artistic TV. The artistic specificity of the image is distinguished only by the fact that we see and comprehend the essential reality, and the other time, that we create new, unbelievable predictions of the world. The artistic image reaches the creative transformation of real material: farb, sound, sliv toshcho. "Rich" (text, picture, performance) is created one by one, which takes its own special place among the objects of the real world. The image of the stage is close to the broadest understanding of the aesthetic category, as a form of transformation and transformation of action by the means of theatrical art. A high sense under the stage rank has a specific picture of the manifestation of action, which is shown, created by a playwright, director, actors, artist, a picture of life, character, character. The understanding of the stage image enters, first for everything, the image of the entire performance, the artistic integrity and the interplay of all its components combined by the director’s idea and yoga instillations, and for the great sensei - the image-character, created by the actor. The image plays the role of contemporary theatrical practice; Taking on the visual nature of the vistavi, the theater creates its own figurative picture. The staging is always more imaginative, but more or less obvious and “obvious” is the subject of theatrical discourse, which is represented by the light of the figure in the light of the creation of images, which are approaching reality. At this hour, the scene is close to the landscape, or a clear image, it podolala imitation of speech, or recognition. Having ceased to be a "machine for gris", the theater will no longer become a "machine for dreams", tobto. as if the world is turning to the ancient syncretic image of the prateatru, the subtext of sensu in the sight of that witness is much larger, lower, the manifestation that is being imaged.
4. Character (karahter /Greek/ - image of a sign) - the image of a person in a literary work, through which they reveal, as a socially and historically intellect type of behavior, vchinka, thoughts, language is thin, so the moral and aesthetic concept of foundation is powerful to the author. Characteristics of the characters p'єsi є suupnіst of physical, psychological and moral figures of the other person. The character manifests itself most clearly in the drama of the era of Renaissance and Classicism, taking away its latest development in the 19th century, in the period of bourgeois individualism, and reaching its culmination in the art of modernism and psychology. Standing in distrust of the individual, which is the negative subject of bourgeoisness, the science of the avant-garde should not be overpowered, how to move between psychologism and signify the emergence of “non-violent and post-individual” types and certitudes. Character is the creation of the destruction of the power of the middle era. It is paradoxical for those who bring a literary and critical analysis of a character to a mythical creation, so true and real, like people, like people, like everyday life. The "ideal" character takes on a balance between individual (psychological and moral) signs and socio-historical determinism. The scenically wild character is gradually becoming more universal with individuality, in such a way it allows us to make a comparison with the skin of us. For the secret of any theatrical character lies in the fact that you are the same, that you are (we ottozhnyuєmo ourselves with him at the moment of catharsis)
Dramatic creation (іn. gr. dіyu), like epіchnі, vіdvoryuyut podієvі ranks, vchinki people those їх vаєmini. Similar to the author of the epic creation, the playwright under the orders "to the law of action that develops." Ale, burn out the epic-descriptive image in the drama of the day.
Well, the author's language here is complementary and episodic. Such lists of special features, which are sometimes accompanied by short characteristics, are indicated by the hour of that month; a description of the stage situation on the cob of the acts and episodes, as well as comments up to the last replicas of the heroes and introductory remarks on their movements, gestures, facial expressions, intonations (remarks).
Everything is to become a side text of a dramatic creation. The main yoga text is a tse lanciug of characters, their replicas and monologues.
Zvіdsi pevna obmezhenіst khudozhnіh opportunities Drama. The writer-dramatist is only partly subject-image-creating, available to the creator of the novel, chi epics, short stories chi povesti. І characters of diyovih osіb are revealed in drama with less freedom and fullness, lower in epic. "I take the drama, - respecting T. Mann, - like a mystical silhouette and I only imagine a person as a voluminous, whole, real and plastic image."
At whom playwrights, at the sight of the authors of epic works, are embarrassed by this obligatory verbal text, which supports the needs of theatrical art. The hour of the image in the drama of the day may be placed at the strict frame of the stage hour.
And the performance in the forms typical for the new European theater is three, as it seems, no more than three years. I tse will require a detailed analysis of the dramatic text.
The hour played by the playwright under the prolongation of the stage episode does not shrink and does not stretch; the characters of the drama are exchanged with replicas without a hint of commemorative hourly intervals, that yogo speech, as if designating K.S. Stanislavsky, to establish a sustainable, uninterrupted line.
As for the help of roses, the diya seems to be like a past time, then the dialogue of dialogues and monologues at the drama creates the illusion of the present hour. Life here to speak nibi in the light of your own person: at the same time, what is being imaged, and at the reader there is no intermediary-reporter.
The action takes place in the drama with the maximum bezperednistyu. It leaks out in front of the eyes of the reader. “All warning forms,” F. Schiller wrote, “to endure today’s past; all dramatic shy of the past today.
Drama is oriented towards the stage. And the theater is a public, mass art. Vistava imperceptibly pours into rich people, as if they are angry together at the sight of those who are in front of them.
Appointed drama, according to Pushkin's words, - work on the faceless, occupy it with your cuckoo" and for the sake of remembering the "truth of passions": "Drama was born on the square and laid down the rank of the people. The people, like children, will require cicavost, dee. Drama reveals your unimaginable, marvelous surroundings. The people will demand strong voices. Smіh, pity and zhah є three strings of ours will be revealed, with a dramatic mysticism.
With especially tight bonds of binding, the dramatic kind of literature with a sphere of laughter, more than the theater zmіtsnyuvavsya and develops into an indistinct link with mass saints, in an atmosphere of grit and merriment. "The comic genre is universal for antiquity," O. M. Freidenberg respected.
It is right to say the same about the theater and the drama of other countries and eras. Maverick T. Mann, who called the "comedian instinct" "the first basis of any dramatic mastery."
It is not surprising that the drama is heavy to the level of an effective presentation of the image. The figurativeness appears hyperbolic, bright, theatrical bright. “Theater of vimagaє perebіlshennyh broad lines like voices, declamations, and gestures,” wrote M. Boileau. The first purpose of the power of stage art inevitably imposes its own friend on the behavior of the heroes of dramatic works.
“It’s like playing at the theater,” Bubnov (“On the Days” by Gorky) comments on Klishch’s crazy tirade, which is angry, which resists the intrusions at the bedroom of Rozmov, giving it a theatrical effect.
Significant (as the characteristics of a dramatic kind of literature) throw Tolstoy at W. Shakespeare for the great number of hyperbole, through which "the possibility of artistic enmity is destroyed." “From the first words,” writing about the tragedy “King Lear”, “you can see an overshoot: an overflow of podias, an overflow of feelings and an overflow of expressions.”
In the assessment of Shakespeare's work, L. Tolstoy is wrong, but the idea that the great English playwright is pretentious to theatrical hyperbole is absolutely fair. The saying about "King Lear" with no less basis can be attributed to ancient comedies and tragedies, dramatic works of classicism, to F. Schiller's and V. Hugo's p'es.
In the 19th-20th centuries, as in literature, life's credibility was more important, the power of the drama of intelligence became less obvious, often the stench was reduced to a minimum. Bіlya vytokіv tsgogo yavischa so-called "petty drama" of the XVIII century. Lessing.
Create the greatest Russian playwrights of the 19th century. the beginning of the 20th century - O.M. Ostrovsky, A.P. Chekhov's and M. Gorky's works – they revise the authenticity of the life forms. And yet, when the playwrights were installed, the plausibility of the plot, psychological and modern hyperbole were taken into account.
Theatrical minds gave themselves the nobility to inspire Chekhov's dramaturgy, which showed the maximum between "lifelike". Surprised at the conclusion of the scene "Three Sisters". One young woman, ten or fifteen years ago, parted ways with a kohan people, maybe forever. And five times later she found out about the death of her betrothed. The first axis of the stench, at once with the elder, the third sister, to beat the moral and philosophical podbags of the past, roaming the sounds of the military march about the share of their generation, about the future of humanity.
It is unlikely that you can show what happened to be true. But we don’t commemorate the implausibility of the finale of “Three Sisters”, because they called out that the drama clearly looks at the forms of people’s life.
It is said that A.Z. Pushkin’s judgment is reconsidered from justice (from the same cited article) to the fact that “the very essence of dramatic art includes credibility”; “Reading this, a novel, we can often forget and think, what is true, what is being described, is not a guess, but the truth.
In one, in an elegy, one can think what he sings, imagining his right hand, in real surroundings. Ale de veracity in life, subdivided into two parts, of which one is filled with gazers, as if they were housed.
The most important role in dramatic creations is to lay the mentality of the heroes’ self-revelation, the dialogues and monologues of those, often full of aphorisms and maxims, appear more spacious and effective, lower replicas, like a vision in a similar life camp.
Clever replicas “in bik”, as if they were not used for other characters, which they perebuvayut on the stage, but it’s good for chubby peeps, as well as monologues, which the heroes act on their own, alone with themselves, such monologues were not uncommon in ancient tragedies, and in the dramaturgy of the New Hour).
The playwright, staging his own kind of experiment, showing how a person would hang out, yakby in the words of wine, expressing his mindset with maximum fullness and eloquence. It is not uncommon to know the imitation of a promo artistic and lyrical oratorical speech in a dramatic work: the heroes here hang out like an improviser-sing the chi maistri of the public speeches.
That is why Hegel is often maverick, looking at the drama as a synthesis of an epic cob (podіynіst) and lyrical (moving expression).
Drama can have two lives in art: the theatrical and the literary. Putting together the dramatic basis of the whistles, butuyuchi at the warehouse, the dramatic TV is also accepted by the reading public.
Ale, so the bula on the right is not far from the start. The emancipation of drama from the scene was staged step by step - with a stretch of a hundred years and ended in equal measure recently: in the XVIII-XIX centuries. All-worldly-significant characters of dramaturgy (from antiquity to the 17th century) at the hour of their creation were little seen as literary creations: the stench was only at the warehouse of stage art.
Neither W. Shakespeare nor J. B. Molière were accepted by their fellow writers as writers. In the other half of the 18th century, Shakespeare was recognized as a great dramatic poet.
In the nineteenth century (Especially in the first half of the year) literary dramas were often staged more than the stage ones. So, having thought to Goethe, “do not create Shakespeare for the eyes of the body”, and Griboyedov, calling his bazhanya “childish”, feel the verse of “Woe for Rose” from the scene.
Nabula is so called Lesedrama (drama for reading), which is created with the installation of us in front of us in the reading room. Such are Goethe's Faust, Byron's dramatic creations, Pushkin's little tragedies, Turgenev's dramas, which the author mentioned:
Principles of authority between Lesedrama and p'soyu, as oriented by the author to stage production, do not exist. Drami, creating reading, often є potentially scenic. The first theater (among them the current ones) is upright whispering and for an hour to know the keys to them, which is evidenced by the successful production of Turgeniv's "Moon in the countryside" (we are famous for the pre-revolutionary performance of the Art Theater) and numerous (want far and not far away) stage readings of Pushkin small tragedies in the XX century.
Long-standing truth is overpowered by force: the most important, most recognized drama is the scene. “Only in the presence of a stage visionary,” naming O. M. Ostrovsky, “the author’s dramaturgical vigadka takes away the complete form and manages the very moral action that the author has reached for the meta.”
The creations of the play on the basis of the dramatic creation are connected with the creative ones before the Budovo: the actors create intonation-plastic little roles, the artist decorates the stage space, the director expands the mise-en-scene. In connection with this concept, the concept is sometimes changed (more is given to some sides, less respect is given to others), it is often concretized and improved: the stage production introduces new meanings to the drama.
Which theater has a very important principle of faithful reading of literature. The director and actors called to convey the statements of TV to the viewers as much as possible. The versatility of the stage reading can be there, the director and the actors deeply touch the dramatic tvir of some of the main literary, genre, and stylistic features.
Stage productions (like screenplays) are less right in quiet moods, if it’s a good time (let’s not) a director and an actor with a stake of ideas of a writer-dramatist, if a playful scene is double respectful to the sense of the set creation, to the peculiarities of the yogo genre, rice yogo style of the text .
In the classical aesthetics of the 18th-19th centuries, in the works of Hegel and Belinsky, the drama (the genre of tragedy is now in front of us) was seen as a naive form of literary creativity: like “the crown of poetry”.
The quality of the low artistic epochs and truth proved to be more important in dramatic art. Eskhil and Sophocles in the period of development of ancient culture, Molière, Racine and Corneille at the time of classicism were not few equal among the authors of epic works.
Goethe's creativity is well known for his plan. For the great German writer, all literary canopies were available, having crowned his life with the mystical creations of the dramatic creation - the immortal "Faust".
In the past century (until the 18th century), the drama was no less successful than the epic, and often became a clear form of artistic expression in the expanse of that hour.
Tse explained by low reasons. First, a majestic role was played by the theatrical art, accessible (on the basis of handwritten and handwritten books) to the widest versions of society. In another way, the power of dramatic creations (images of characters with sharply shaped rice, the creation of human passions, gravitating to pathos and grotesque) in the "pre-realistic" era, as a whole, supported the trends of literary and literary art.
I want in the XIX-XX centuries. a socio-psychological novel has hung on the forefront of literature - a genre of an epic kind of literature, dramatic works, like before, deserve a better place.
V.Є. Khalizev Theory of Literature. 1999
