Analysis of a dramatic work (on the example of A.N.

The time of creation of the work, design history, a brief description of the era.

The connection of the play with any literary movement or cultural era (antiquity, Renaissance, classicism, Enlightenment, sentimentalism, romanticism, critical realism, symbolism, etc.). How did the features of this trend appear in the work? 1

Type and genre dramatic work: tragedy, comedy (of manners, characters, positions, cloak and sword; satirical, everyday, lyrical, buffoonery, etc.), drama (social, everyday, philosophical, etc.), vaudeville, farce, etc. Meaning check these terms in the reference literature.

The specifics of the organization of the action of the drama: division into actions, scenes, acts, phenomena, etc. Author's original components of the drama (for example, "dreams" instead of acts or actions in M. Bulgakov's drama "Running").

Playbill ( characters). Features of names (for example, "speaking" names). Main, secondary and off-stage characters.

Features of the dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.

Features of dramatic action: external - internal; "on stage" - "behind the stage", dynamic (actively developing) - static, etc.

Features of the composition of the play. The presence and specificity of the main elements: exposition, an increase in emotional tension, a conflict and its resolution, a new increase in emotional tension, culminations, etc. How are all the "sharp points" (especially emotional scenes) of the work connected? What is the composition of the individual components of the play (acts, actions, phenomena)? Here it is necessary to name specific episodes that are these "sharp glasses" of action.

The specifics of creating dialogue in a play. Features of the sound theme of each character in dialogues and monologues. ( Brief analysis dialogue composition of one episode of your choice).

The theme of the play. Leading themes. Key episodes (scenes, phenomena) that help to reveal the theme of the work.

The problem of the work. Leading problems and key episodes (scenes, phenomena), in which the problems are especially acutely stated. The author's vision of solving the problems posed.

actions of characters (play of actors);

stage setting, costumes and scenery;

the mood and idea of ​​a scene or phenomenon.

Meaning of the play's title.

1. Artistic image. Types of imagery.

2. Genera and genres of literature.

Artistic image - there is concretely - a sensual form of reproduction of the transformation of reality. A category of aesthetics that characterizes the result of the comprehension by the creator (artist) of any phenomenon, the process in ways characteristic of a particular type of art, objectified in the form of pr-tion as a whole or its department. fragments.

From the point of view of the theory of knowledge, the concept is also an image. However, there is a difference m \ du thin. image and concept: The concept highlights the general, essential features in the subject, it is not individual. Hood. the image reproduces the object in its entirety, the image is individual.

There are sensory-figurative and conceptual-logical forms of mastering the world. There are figurative representations as a phenomenon of consciousness and own images as a sensual embodiment of representations (visual and auditory).

St. thin. image.

1) Typicality. It contains a generalization. Even if the image is sketchy, unfinished, it carries integrity. Own the names of the heroes become common names. because of the generalizing meaning of thin. image. Creative typification - selection of certain aspects of life phenomena and their underlining, hyperbolization in art. image. Gogol "The Nose", S-Sch. Two description options: a) the writer can describe, creating the illusion of credibility b) secondary convention - the deliberate destruction of credibility, grotesque and fantasy.

2) expressiveness(expressiveness): The image usually surpasses reasoning in terms of emotional power. air ratings. Ideological-emotion. author's assessment -> division of heroes into lies, denies, contradicts. (conditionally). Forms expressions auth. estimates: a) explicit (Pushkin - Tatyana). b) implicit (Pushkin - Onegin). Estimate help express trails, st. figures. Create your own subject world.

3) Self-sufficiency, the image is alive in itself. Being the embodiment of the general, essential in the individual, thin. the image can give rise to various senses, interpretations.

Polysemy thin. image.

The figurativeness of the claim creates objective prerequisites for disputes about the meaning of the claim, for its various interpretations, sometimes polemical author's concepts. Authors are often unwilling to define the idea of ​​their works th -> controversy. Turgenev "O and D".

Internal images - bear, window.

Internal word form- an increase in meaning.

For an image, one must possess a key, a literary code.

Image - appearance, appearance, method (means) with the help of which literature carries out its mission (see the previous lecture).

As part of psychology and philology, images are concrete representations, that is, a reflection by human consciousness of individual objects, facts, events, in their sensually perceived appearance.

They [images] are opposed to abstract concepts that fix the general constant properties of reality, ignoring individual features.

RESULT: there is a sensory-figurative and political-logical form of mastering reality.

Distinguish:

1. figurative representations as a phenomenon of consciousness;

   actually "images", as a sensual incarnation of representations.

Distinguish images:

scientific and illustrative;

factual;

information and journalistic, which inform about the facts that really took place;

artistic, are created with the active participation of the imagination: they do not just reproduce single facts, but condense, concentrate the author’s essential aspects of life, in the name of its evaluative comprehension.

The artist's imagination is not only a psychological stimulus for his work, but also a certain antiquity.

In the imagination there is a fictitious objectivity that does not have a full correspondence with reality.

In modern science there is the concept of sign.

Sign – material object, acting as a representative, substitute for another object, property.

Definition of an artistic image - there are more than 70 of them!

One point of view:

Artistic image - a concrete-sensual form of reproduction and transformation of reality.

According to the nature of generalization, artistic images are divided into:

individual(originality, originality. Found among romantics and science fiction writers);

characteristic(is generalizing. It contains common features of characters and mores inherent in that time);

typical(the highest level of a characteristic image. This is the most probable, exemplary for a certain era. The image of typical images was one of main goals, achieving the goals of realistic literature. Sometimes socio-historical objects of the era, as well as general human features human nature - eternal images);

images-motifs(go beyond individual images heroes), (this is a theme that is consistently repeated in the writer's work, expressed with the help of different aspects, with the help of variation);

topazes(place, place, common place), (denoting common and typical images created in the literature whole era, nation, and not in the work of an individual writer);

archetypes (beginning, image)(early 19th century, German romantics. Jung - understood the ARCHETYPE as a general human image, unconsciously transmitted from generation to generation. Most often mythological images. Universal symbols: fire, sky, house, road, garden, etc.).

Image structure:

sounding, rhythmic surface of speech;

artistic speech (sequence of words and their relations);

plot - the purpose of the movement of people, things;

plot - a system of main goals;

interacting images;

comprehension of the life meaning of the image.

Artistic image is a popular term that is used in various sciences. The most common definition is a subjective reflection of the objective world. The artistic image has a super-task - it is always a kind of thought embodied in art form. This is not just a description. Example: Pinocchio. The image is always concrete, pictorial. But this concreteness always expresses something general, some thought. The image is plastic, emotional, it expresses the state of the hero, everything in it is in unity. What in reality can be an antithesis converges in the image. Example: drawing a heart in lovers in response to an abstract feeling. Potebnya: “If we are given a poetic image, then we ask ourselves what is the circle of ideas, observations, thoughts, remarks, perceptions from which this image arose? It could arise from direct observation, it could arise from tradition, that is, with the help of other images. abstract, philosophical ideas are depicted through objective realities, most often from nature. Example: Venevitinov's poem "Vetka". Observation of nature is the source of artistic images. Turgenev has many prototypes: Rudin - Bakunin, Bazarov - Dobrolyubov. But the image, even if it is written off from nature, is not literal, it is always autonomous, self-sufficient, it lives its own life.

Classification of images.

There are conditional and life-like images. Lifelike is a reality that is mirror-like to life. Conditional ones are violations, deformation, they have two plans - depicted and implied. Lifelike - character and type, conditional - symbol, allegory, grotesque.

Subject classification.

1 step. Details from one-word details to detailed descriptions (interior, landscape, exterior, etc.). They are static and fragmented.

2 step. The plot structure: events, actions, moods, aspirations of a person. This is dynamism and evolution.

3 step. Subject structure: characters, characters, image of the author, narrator, choir.

4 step. The image of the world.

Nature - Man - Society

Landscape portrait family

Interior system environment

people characters exterior

Generalized semantic: motive, topos, archetype.

A motive is a word or a set of words that are repeated (in the work of a writer, a group of writers, or an era).

Topos - designation of a place, repeated within a culture or nation (Peter. Forest, steppe).

The archetype (According to C. G. Jung) is the oldest mythological symbol generated by the archaic collective consciousness. Example: the image of the prodigal son, Cain and Abel, Ahasuerus, Faust.

The internal structure of the image:

1) the internal form of the word. Example: ink.

2) comparison: A=B

3) co and opposition: A is not equal or equal to B.

Everything is figurative - the word, the people, and the action.

- Small forms of figurativeness.

From the point of view of many researchers, only what is created with the help of the word is figurative. The possibilities and features of the word are a topic of discussion, this is how futurism arises. The word in a work of art behaves differently than in ordinary speech - the word begins to realize an aesthetic function in addition to the nominative (naming) and communicative. The purpose of ordinary speech is communication, discourse, information transfer. The aesthetic function is different, it does not just convey information, but creates a certain mood, conveys spiritual information, a kind of super-meaning, an idea. The word itself is different. The context, compatibility, rhythmic beginning is important (especially in poetry). Bunin: "punctuation marks - musical marks". Rhythm and meaning are combined. The word in a work of art does not have a definite meaning as in everyday speech. Example: a crystal vase and a crystal time at Tyutchev. The word does not appear in its meaning. The same stream of associations with the author. Crystal time - a description of the sounds of autumn. The word in an artistic context gives rise to individual associations. If the author's and yours match, everything is remembered, no - no. Any artistic trope is a deviation from the rules. Y. Tynyanov "The meaning of the verse word." “The word is a chameleon, in which each time not only different shades appear, but also different colors.” Emotional coloring of the word. The word is an abstraction, the complex of meanings is individual.

All methods of changing the basic meaning of the word are paths. The word has not only a direct, but also a figurative meaning. The definition usually given in textbooks is not entirely complete. Tomashevsky "Poetics of speech". Example: the title of Shmelev's story "The Man from the Restaurant". First man means waiter, and the word is used, as the client usually calls it. Then the action develops, the hero reflects that the elite of society is vicious. He has his own temptations: the money he returns. The waiter cannot live with sin, the main word becomes "man" as the crown of nature, a spiritual being. Pushkin's metaphor “The east is burning like a new dawn” is both the beginning of a new day and the emergence of a new powerful state in the east.

From this paragraph, the reader will learn what are the specifics of epic and dramatic works, get acquainted with the concepts used in the analysis of such works: the protagonist, hero, character, off-stage character, narrator, character, type, typification.

In epic and dramatic works, the reader or viewer meets with whom they are also called, or In a story there may be only a few of them (for example, L.N. Tolstoy has four characters in the story “After the Ball”, and about 600 in the novel “War and Peace” actors). Characters are people who take part in the action, even if only occasionally. There are also so-called ones that are only mentioned in the statements of the characters or the narrator. Among such characters are mentioned by the heroes of the play A-C. Griboedova "Woe from Wit" Princess Marya Aleksevna, Praskovya Feodorovna, Kuzma Petrovich, Maxim Petrovich. From a character, or a hero, they distinguish which can simultaneously be an actor, main or secondary, and thus a participant in the action. This role is played by Petr Andreevich Grinev in the story by A.S. Pushkin " Captain's daughter" or Grigory Alexandrovich Pechorin in that part of the novel by M.Yu. Lermontov "A Hero of Our Time", where his diary is given. In other cases, the narrator is not a character and does not take part in the action, as, for example, in the novels of I.S. Turgenev "Fathers and Sons", F.M. Dostoevsky "Crime and Punishment", L.N. Tolstoy "War and Peace" and many others. In these cases, the narrator seems to be very close to the writer, but not identical with him and cannot be identified with the biographical author. Sometimes the narrator reports that he is familiar with the characters and is somehow involved in their fate, but his main mission is to tell about the events and circumstances that have occurred. We meet such an option in the story of A.P. Chekhov's "The Man in the Case", where the teacher Burkin tells the story of the marriage of another teacher, Belikov, and thereby recreates the atmosphere of a provincial gymnasium, in which both of them taught.

When reading epic work or the perception of a stage performance, it is impossible not to notice that the actors, or characters, may somehow resemble the people around us or ourselves. This happens because the heroes of a literary work are associated in our minds with certain or Therefore, we will try to understand what meaning and what meaning are contained in the concepts of “characteristic” and “typical”.

Using the concepts and, we, realizing it or not, pay attention to the presence of a common, repetitive and, therefore, essential in a concrete, individual, unique. We apply the concept of characteristic to the assessment of a particular landscape reproduced by an artist or photographer, if their drawings or photographs show a certain type of trees and plants characteristic of different parts of the area. For example, the diverse landscapes of Levitan convey the landscape of Central Russia and this is characteristic, and seascapes Aivazovsky - the appearance of the sea element in its various manifestations and states. Various temples and cathedrals, such as the Cathedral of Christ the Savior, St. Basil's Cathedral on Red Square, the Assumption Cathedral in the Kremlin, with all the originality of each of them, contain in their design something in common, characteristic of Orthodox church buildings, in contrast to Catholic or Muslim. Thus, specificity takes place when the general is seen in something specific (landscape, cathedral, house).

As for people, each person is unique and individual. But in his appearance, manner of speaking, gesticulating, moving, as a rule, something general, constant, inherent in him and found in different situations. Such features can be due to natural data, a special warehouse of the psyche, but they can also be acquired, developed under the influence of circumstances, the social status of a person and, thus, socially significant. They are found not only in the way of thinking, judging others, but even in the manner of speaking, walking, sitting, looking. We can say about some people: he doesn’t walk, but walks; he doesn’t talk, but broadcasts; he doesn’t sit, but sits. Such actions, statements, gestures, postures are

The concepts of type and typicality, apparently, are very close in meaning to the concepts of "character" and "characteristic", but they emphasize a greater degree of generalization, concentration and nakedness of one or another quality in a person or hero. For example, there are plenty of phlegmatic, passive, non-initiative people around us, but in the behavior of people like Ilya Ilyich Oblomov from the novel by I.A. Goncharov "Oblomov", these qualities appear with such force and nakedness that they speak of his inherent way of life as Oblomovism, giving this phenomenon a generalizing meaning.

Many writers are quite clearly aware of this circumstance, therefore, in their statements, the concepts of "character" and "type" occur quite often. By referring to these concepts, they clearly emphasize the need to generalize life phenomena in art, “In life you rarely meet pure, unalloyed types,” I.S. Turgenev. "Writers for the most part they try to take the types of society and represent them figuratively and artistically - types that are extremely rare in reality in their entirety, ”F.M. Dostoevsky, adding, “in reality, the typicality of faces is, as it were, diluted with water ...” And at the same time, “the whole depth, the whole content of a work of art lies only in types and characters.” And here are two more judgments by A.N. Ostrovsky: "Fiction gives separate types and characters with their national characteristics, she draws various types and classes of society ... Artistic works, with their truthful and strongly posed characters, provide correct abstractions and generalizations.

From the word "type" a concept is formed, meaning the process of creating such a picture of the world or its individual fragments, which will be unique and at the same time generalized. Recognizing typification as an internal need and law of art, both writers and researchers argue that the typical in itself is rarely present in life in the form in which art needs it. Therefore, the writer needs observation and the ability to analyze and generalize. But the most important thing is that the artist can not only observe and generalize, he is able to create new world, to recreate various situations in which the characters act with all their features. Because of this, most of the characters are fictional faces created creative fantasy artist. Being similar to real persons, they more clearly demonstrate general and significant tendencies in their appearance and behavior. If, when creating this or that character, the writer focuses on some real face, then this person is called Let's recall the image of historical persons, in particular Kutuzov or Napoleon in L.N. Tolstoy.

Peering into the characters' characters and trying to understand them, we thereby embark on the path of analyzing a literary work, that is, in the field of literary criticism. But this is only the first step in the research. Continuing and deepening the analysis, we will inevitably come to the formulation of the question of the content and form of a work of art, their connection and correlation.

This paragraph substantiates and explains the concepts: content, themes, problems, idea, contradiction, conflict, emotional attitude to reality and its types - dramatic, tragic, heroic, romance, comic, humor, satire, irony, sarcasm.

and - these are concepts borrowed from philosophy and used in literary criticism to designate two sides of a work: semantic, meaningful, and formal, pictorial. Of course, in the real existence of a work, content and form do not exist separately and independently of each other, but constitute an inseparable unity. This means that each element of the work is a two-sided entity: being a component of the form, it simultaneously bears semantic load. So, for example, the message about Sobakevich's clumsiness is both a detail of his portrait and evidence of his mental sluggishness. Because of this, scientists prefer to talk not just about the content and form as such, but about the content of the form, or

However, with a research approach to a work, it is practically impossible to consider both at the same time. This implies the need for a logical distinction and selection of two levels (or two planes) in the product. - and Let's continue our reasoning, referring to the content.

Arguing about the characters of the characters depicted in the work, we are in the sphere of content. The two most important aspects of the content are the theme and the problem, or rather, and

The analysis of the subject includes consideration of the time of action, the place of action, the breadth or narrowness of the life material depicted, the specificity of the characters themselves and the situations in which they are placed by the author. In some works, for example, in the story "Asya", the stories "Khor and Kalinich", "Biryuk" by I.S. Turgenev, the action is limited in time to two or three weeks and even days and is localized in space by the meeting of heroes in the village, in the estate, at the resort. In others, for example, in the novel by L.N. Tolstoy's "War and Peace", the action itself lasts about fifteen years, and the scene of action extends quite widely: the characters meet in various places - in Moscow, St. Petersburg, on estates, on battlefields, on foreign campaigns. In addition, sometimes the action affects the personal-family sphere, sometimes it is wider, but in all cases the situations depicted are typical for individual people and for entire public circles.

Let us pay attention to those cases when the characters literary works it is not people who become, but animals, fish, birds or plants that act in fantastic situations. Fables and fairy tales are works of this type. Apparently, the theme here should be considered characteristics people's lives recreated with the help of fantastic characters and situations. In the fable of I.A. Krylov’s “The Monkey and Glasses” is easily recognized as a certain person who, having acquired something new that she does not understand or that she does not need, is ready to destroy her acquisition out of anger and stupidity, instead of asking or figure out how to use it. In another fable - "The Donkey and the Nightingale" - one guesses life situation in which they participate talented person(nightingale) and a fool who, after listening to his penis, could not understand what his charm was, and advised him to learn from someone who does not know how to sing at all - from a rooster.

A problematic is often called a set of questions posed in a work. Using this understanding as a starting point, it is important to realize and take into account that usually the writer does not declare thoughts and does not formulate questions, but reproduces life based on his understanding and vision, only hinting at what excites him, by drawing attention to certain features in the characters of the characters or the whole environment.

What is a problem in relation to current life? A problem is, first of all, what we stop and fix our attention on at one time or another, since our consciousness works very selectively. For example, when we walk down the street, we note far from everything, but only some of the facts that caught our eye. Thinking about relatives and friends, we remember and analyze their actions that occupy us now. It is easy to assume that similar operations take place in the minds of writers.

Reflecting on what brings together and separates such personalities as Bezukhov and Bolkonsky, what are the similarities and differences lifestyles Moscow and St. Petersburg noble society, what is the attraction of Natasha for Pierre and Andrei, what is the difference between the commanders Kutuzov, Napoleon and Barclay de Tolly, L.N. Tolstoy thus forces readers to think about these circumstances, without being distracted from the life of specific heroes. The word “thinking” should be put in quotation marks, because Tolstoy probably thinks to himself, and in the novel he shows, for example, by reproducing the actions and dialogues of Prince Andrei and Pierre, how they are close and how far from each other. He writes out in particular detail and carefully, that is, he depicts the atmosphere and life, on the one hand, of the St. incompatibility of the Moscow and St. Petersburg noble circles. Depicting the life of the Rostov family, the writer draws attention to the simplicity, naturalness, goodwill of the relations of members of this family to each other, to acquaintances (recall how Countess Rostova gives money to Anna Mikhailovna Drubetskaya) and completely strangers (Count Rostov and Natasha readily give carts for rescuing wounded soldiers). Petersburg, where everything is subject to ritual, where people are accepted only high society, where words and smiles are strictly measured, and opinions change depending on the political situation (Prince Vasily Kuragin changes his attitude towards Kutuzov during the day in connection with his appointment as commander-in-chief in the summer of 1812),

From what has been said, it follows that

When analyzing a work, along with the concepts of “thematics” and “problematics”, a concept is also used, which most often means the answer to a question allegedly posed by the author. However, as already mentioned, the writer does not pose questions, and therefore does not give answers, as if urging us to think about the important, from his point of view, features of life, for example, about the poverty of such families as the Raskolnikov family, about the humiliation of poverty, about a false way out of the existing situation, which was invented by Rodion Romanovich in the novel by F.M. Dostoevsky "Crime and Punishment".

A peculiar answer, which the reader often wants to find, can be considered to be the characters of the characters portrayed and the type of their behavior. Indeed, a writer can sometimes reveal his likes and dislikes for a particular type of personality, while not always unambiguously assessing him. So, F.M. Dostoevsky, condemning what Raskolnikov invented, at the same time sympathizes with him. I.S. Turgenev examines Bazarov through the lips of Pavel Petrovich Kirsanov, but at the same time appreciates him, emphasizing his mind, knowledge, will: “Bazarov is smart and knowledgeable,” says Nikolai Petrovich Kirsanov with conviction.

Summing up what has been said, we emphasize that the writer does not speak to the reader in a rational language, he does not formulate ideas and problems, but presents us with a picture of life and thereby prompts thoughts that researchers call ideas or problems. And since researchers use these concepts in the course of the analysis of works of art, it is necessary to understand what their meaning is.

How many problems can there be in a work? As many as important and essential facets and aspects of life are depicted in it and attracted our attention, as much as our consciousness catches. So, for example, if we talk about Russian literature of the 19th century as a whole, then we can say that one of the leading problems of Russian literature throughout the last century was the image of the inner world and the spiritual potential of the Russian intelligentsia, the ratio of different types of thinking, in particular, the study and identification the most diverse kinds of contradictions in the mind of one hero (Onegin, Pechorin, Bazarov, Raskolnikov), in the fate similar people(Onegin - Lensky, Bezukhov - Bolkonsky).

Inconsistency and inconsistency in Onegin's behavior are manifested, in particular, by the fact that he, having fallen in love with Tatyana after meeting in St. Petersburg and not finding a place for himself from an excess of feelings and emotions, persistently and importunately seeks a meeting with her, although he sees that Tatyana does not want to respond on his messages, in one of which he writes: “If only you knew how terrible it is to languish with a thirst for love,” he writes this to a woman who has been suffering from unrequited love for several years. Contradictions are present in the thoughts and behavior of Rodion Raskolnikov. Being an educated person and quite insightful in assessing the world around him and wanting not only to test himself, but also to help his neighbors, Raskolnikov creates an absolutely false theory and tries to put it into practice by killing two women. The difference between Onegin and Lensky in the novel "Eugene Onegin" is well known, but these are the differences between people who are close in spirit in many ways: they are both well-read, they have something to think about and argue about, so it's a shame that their relationship ended tragically. Bolkonsky and Bezukhov, with all the difference in age, are real friends (Prince Andrey only trusts Pierre with his thoughts, only singles him out of the men of the secular circle and entrusts the fate of the bride to him, leaving for a year abroad), but they are not close in everything and not agree on everything in assessing many of the circumstances of that time.

Comparison (sometimes called antithesis) different characters and types of behavior, as well as different circles of society (Moscow and metropolitan nobility in Pushkin and Tolstoy), different social strata (people and nobles in Nekrasov's poems and poems) clearly helps to identify similarities and differences in the moral world, " family life, in the social state of certain characters or social groups. Based on these and many other examples and facts, we can say that the source of problems, and therefore the subject of attention of many artists, is very often trouble, disharmony, that is, contradictions. different plan And different strength.

To denote the contradictions that arise in life and reproduced in literature, the concept is used. Conflict is mostly spoken of in the presence of sharp contradictions that manifest themselves in the clash and struggle of heroes, as, for example, in the tragedies of W. Shakespeare or the novels of A. Dumas. If we consider the play by A.S. Griboyedov's "Woe to the Mind", it is easy to see that the development of the action here clearly depends on the conflict that lurks in Famusov's house and lies in the fact that Sophia is in love with Molchalin and hides this from daddy. Chatsky, in love with Sophia, having arrived in Moscow, notices her dislike for himself and, trying to understand the reason, keeps an eye on everyone present in the house. Sofya is unhappy with this and, defending herself, throws a remark about his madness at the ball. Guests who do not sympathize with him gladly pick up this version, because they see in Chatsky a person with different views and principles than theirs, and then not just a family conflict is very clearly exposed (Sophia's secret love for Molchalin, Molchalin's real indifference to Sophia, ignorance Famusov about what is happening in the house), but also the conflict between Chatsky and society. The outcome of the action (denouement) is determined not so much by Chatsky's relations with society, but by the relations of Sophia, Molchalin and Lisa, having learned about which Famusov controls their fate, and Chatsky leaves their home.

We note that, although in Russian literature we do not often meet with a direct depiction of outwardly conflicting relations between heroes, their struggle for some kind of rights, etc., the atmosphere of the life of the heroes of most of the works is filled and permeated with disharmony, disorder and contradictions. For example, there is no struggle between Tatyana Larina and her family, between Tatyana and Onegin, but their relationship is disharmonious. The relationship of A. Bolkonsky with his entourage and his own wife is colored by a well-recognized conflict. Elena's secret marriage in I.S. Turgenev's novel "On the Eve" is also a consequence of contradictions in her family, and the number of such examples can easily be multiplied.

At the same time, contradictions can be not only of different strength, but also of different content and nature. It is on the essence and content of the contradictions exposed in a work of art that its emotional tonality depends. To indicate an emotional orientation (some modern researchers, continuing the traditions of V.T. Belinsky, in this case speak of pathos), a number of concepts that have long been established in science are used, such as drama, tragedy, heroism, romance, humor, satire.

The prevailing tonality in the content of the overwhelming number of works of art is undoubtedly Trouble, disorder, dissatisfaction of a person in the spiritual sphere, in personal relationships, in social status - these are the real signs of drama in life and literature. The failed love of Tatyana Larina, Princess Mary, Katerina Kabanova, Rostov's niece Sonya, Liza Kalitina and other heroines of famous works testifies to the dramatic moments of their lives.

Moral and intellectual dissatisfaction and unfulfillment of the personal potential of Chatsky, Onegin, Bazarov, Bolkonsky and others; social humiliation of Akaky Akakievich Bashmachkyan from the story of N.V. Gogol's "The Overcoat", as well as the Marmeladov family from the novel by F.M. Dostoevsky's "Crime and Punishment", many of the heroines from NA Nekrasov's poem "Who Lives Well in Rus'", almost all the characters in M. Gorky's play "At the Bottom" - all this serves as a source and at the same time an indicator of dramatic contradictions and dramatic tone in the content one work or another.

The tonality is closest to dramatic. As a rule, it is viewed and present where it takes place. internal conflict, that is, the clash of opposite principles in the minds of one hero. Among such conflicts are the contradictions between personal impulses and superpersonal restrictions - caste, class, moral. Such contradictions gave rise to the tragedy of Romeo and Juliet, who loved each other, but belonged to different clans of the Italian society of their time (“Romeo and Juliet” by W. Shakespeare); Katerina Kabanova, who fell in love with Boris and understood the sinfulness of her love for him (“Thunderstorm” by A. N. Ostrovsky); Anna Karenina, tormented by the consciousness of the duality of her position and the presence of an abyss between her, society and her son (“Anna Karenina” by Leo Tolstoy).

A tragic situation can also develop in the presence of a contradiction between the desire for happiness, freedom and the hero's awareness of his weakness and impotence in achieving them, which entails motives of skepticism and doom. For example, such motives are heard in the speech of Mtsyri, pouring out his soul to an old monk and trying to explain to him how he dreamed of living in his village "and was forced to spend his whole life, except for three days, in a monastery, internally

alien to him (“Mtsyri” by M.Yu. Lermontov). Tragic moods erupt from Pechorin, who tells himself "that he feels like a guest at someone else's ball, who did not leave just because they did not give him a carriage. Naturally, he thinks about the impossibility of realizing his spiritual impulses - his phrase from his diary is indicative: “My ambition is suppressed by circumstances” (“A Hero of Our Time” by M.Yu. Lermontov). The fate of Elena Stakhova from the novel by I.S. Turgenev "On the Eve", who lost her husband immediately after the wedding and went with his coffin to a foreign country.

In a literary work, both tragic and dramatic beginnings can be combined with Heroic arises and is felt there and then, when people take or take active actions in the name of the good of others, in the name of protecting the interests of a tribe, clan, state, or simply a group of people in need of help. Most often, such situations occur during periods of national liberation wars or movements. For example, moments of heroics are reflected in the Tale of Igor's Campaign in Prince Igor's decision to join the fight against the Polovtsians. The presence of a heroic tone is undoubtedly in the last two books of War and Peace by L.N. Tolstoy. Such pathos also permeates many works of both domestic and Western European literature devoted to the depiction of life. different peoples during the struggle against Hitlerism. In these cases, heroism is especially often intertwined with tragedy. An example of such a connection is the story of V.V. Bykov (“Alpine Ballad”, “Sotnikov”, “Wolf Pack”, “In the Fog”) and B.L. Vasiliev (“The Dawns Here Are Quiet”). At the same time, heroic-tragic situations can also take place in peacetime, at times of natural disasters arising due to the “fault” of nature (floods, earthquakes) or the person himself (the infamous Chernobyl, various kinds of transport disasters).

In addition, the heroic can be combined with Romance and they call the enthusiastic state of the individual, caused by the desire for something high, beautiful, morally significant. The sources of romance are the ability to feel the beauty of nature, to feel like a part of the world, the need to respond to someone else's pain and someone else's joy. The behavior of Natasha Rostova often gives reason to perceive it as romantic, because of all the heroes of the novel "War and Peace" she alone has a lively nature, a positive emotional charge, and dissimilarity to secular young ladies, which was immediately noticed by the rational Andrei Bolkonsky.

It is no coincidence that Pierre Bezukhov repeatedly calls his love for her romantic love.

For the most part, romance manifests itself in the sphere of personal life, revealing itself in moments of expectation or the onset of happiness. Since happiness in the minds of people is primarily associated with love, then the romantic worldview most likely makes itself felt at the moment of approaching love or hope for it. We meet the image of romantically inclined heroes in the works of I.S. Turgenev, for example, in his story "Asya", where the characters (Asya and Mr. N.), close to each other in spirit and culture, experience joy, emotional upsurge, which is expressed in their enthusiastic perception of nature, art and themselves, in joy communication with each other. However, in the end, although quite unexpectedly, they part, which leaves a dramatic mark on the soul and fate of each. And this once again proves that the dramatic tonality rarely bypasses the fate of people and therefore very often makes itself felt in works of art.

A combination of heroism and romance is possible in cases where the hero accomplishes or wants to accomplish a feat, and this is perceived by him as something sublime, noble, elevating him in his eyes, causing impulse and inspiration. Such an interweaving of heroism and romance is observed in "War and Peace" in the behavior of Petya Rostov, who was obsessed with the desire to personally take part in the fight against the French, which led to his death. Another example is the novel by A.A. Fadeev "The Young Guard", in which the writer tried to show how spiritually his heroes treated life - high school students who assessed their fight against the Nazis not as a sacrifice, but as a natural feat.

Emphasizing romantic, dramatic, tragic and, of course, heroic moments in the life of heroes and their moods in most cases becomes a way of supporting and protecting them by the author. Undoubtedly, W. Shakespeare is going through with Romeo and Juliet about the circumstances that prevent their love, A.S. Pushkin pities Tatyana, who is not understood by Onegin, F.M. Dostoevsky mourns the fate of such girls as Dunya and Sonya, A.P. Chekhov sympathizes with the suffering of Gurov and Anna Sergeevna, who fell in love with each other very deeply and seriously, but they have no hope of uniting their destinies.

However, it happens that the image of romantic moods becomes, sometimes even its condemnation. So, for example, Lensky's vague verses evoke light irony A.S. Pushkin, Grushnik's romantic vine - a caustic mockery of M.Yu. Lermontov. Image by F.M. Dostoevsky's dramatic experiences of Raskolnikov are in many ways a form of condemnation of the hero, who conceived a monstrous version of correcting his life and became entangled in his thoughts and feelings. The tragic collision of Boris Godunov, shown by A.S. Pushkin in the tragedy "Boris Godunov", also aims to condemn the hero - smart, talented, but unjustly received the royal throne.

Much more often, humor and satire play a discrediting role. In this case, and in this case means another variant of emotional orientation or type of problematic. Both in life and in art, humor and satire are generated by such characters and situations that are called The essence of the comic is to detect and identify discrepancies real opportunities people (and, accordingly, characters) and their claims, or inconsistencies between their essence and appearance.

Imagine a student who has no knowledge of literature or mathematics, and he behaves as if he knows them best. This cannot but arouse a mocking attitude towards him, because the desire to appear knowledgeable has no real basis. Or another example. Imagine public figure who has neither intelligence nor ability, but claims to be in charge of society. This behavior is likely to generate a bitter smile. A mockingly evaluative attitude to comic characters and situations is called Irony, it can be light, non-malicious, but it can become unkind, condemning. Deep irony, causing not a smile and laughter in in the usual sense words, but a bitter experience, is called.

The reproduction of comic characters and situations, accompanied by an ironic assessment, leads to the appearance of humorous or satirical works of art. Moreover, not only works of art can be humorous and satirical. verbal art(parodies, anecdotes, fables, stories, stories, plays), but also drawings, sculptural images, mimic representations, Let's consider a few examples.

The performances of circus clowns are mostly humorous in nature, causing a good laugh from the audience, because they, as a rule, imitate the numbers of professional acrobats, jugglers, trainers and deliberately emphasize the difference in the performance of these numbers by masters and clowns. In the story of S.Ya. Marshak about how "the absent-minded man from Basseinaya Street" got into the wrong car and could not get to Moscow in any way, the comical situation of the mistake "calculated for a good laugh" is also depicted. In the examples given, irony is not a means of condemning someone, but reveals the nature of comic phenomena, which, as already mentioned, are based on the discrepancy between what is and what should be.

In the story A.P. Chekhov’s “The Death of an Official” comically manifests itself in the ridiculous behavior of Ivan Dmitrievich Chervyakov, who, while in the theater, accidentally sneezed on the general’s bald head and was so frightened that he began to pester him with his apologies and pursued him until he aroused the general’s real anger, which and led the official to death. The absurdity in the inconsistency of the perfect act (sneezed) and the reaction caused by it (repeated attempts to explain to the general that he, Chervyakov, did not want to offend him). In this story, sadness is mixed with the funny, since such a fear of a high face is a sign of the dramatic position of a small official in the system of official relations.

Fear can generate unnaturalness in human behavior. This situation was reproduced by N.V. Gogol in the comedy "The Inspector General", which shows how the Governor and other "owners of the city" out of fear of the auditor commit such acts that cannot but cause laughter from the audience. The emphasis on absurdities in this work is evidence of no sympathy for the characters, as in the AP story. Chekhov, but by the way of their condemnation. The fact is that in the person of Gorodnichiy and his entourage appear significant persons who are called to be responsible for the life of the city, but do not correspond to their position and therefore are afraid of exposing their sins - bribery, greed, indifference to the fate of subjects. The identification of serious contradictions in the behavior of the characters, giving rise to a clearly negative attitude towards them, becomes a hallmark of satire.

Classical examples of satire are given by M.E. Saltykov-Shchedrin, in whose works - fairy tales and stories - there is an image of stupid landowners who would like to get rid of the peasants, but, being unsuitable for any occupation, run wild ("Wild Landowner"); stupid generals who, like the aforementioned landowners, can do nothing, thinking that buns grow on trees, and therefore are capable of starving to death, if not for the peasant who fed them (“How a peasant fed two generals”); cowardly intellectuals who are afraid of everything, hide from life and thereby cease to be intellectuals (“ wise gudgeon»); thoughtless mayors, whose mission is to take care of the city and the people, but none of those shown in the story is capable of fulfilling this mission due to their stupidity, limitations (“The History of a City”) - in a word, characters who deserve evil irony and harsh condemnation. An example of satire in Russian literature of the 20th century is the work of M.A. Bulgakov, where the subject of ridicule and exposure are different sides Russian life in the 1920s and 1930s, including the bureaucratic arrangements of Soviet institutions depicted in the story "Diaboliad"; or the atmosphere of literary life in Moscow, where mediocre writers and critics are ready to poison talented artists, and their own interests are focused exclusively on money, apartments and all sorts of benefits that membership in MASSOLIT gives ("Master and Margarita"), the narrow-mindedness and aggressiveness of people like Sharikov, who become dangerous when they get power ("Dog's Heart").

Of course, the distinction between humor and satire is not absolute. Very often they are intertwined, complementing each other and supporting the ironic coloring of the depicted. So, for example, when, speaking of Manilov, N.V. Gogol draws attention to the ridiculous position of his house, the wonderful names of his children (Alkid and Themistoclus), the cloyingly polite form of his communication with his wife and guest, this causes a good-natured smile from readers. But when it is reported that neither Manilov nor his manager knows how many peasants died on the estate, or how the same Manilov, amazed at Chichikov’s undertaking, nevertheless agrees to enter into a deal and sell the “dead”, the smile ceases to be good-natured: humor develops into satire.

The desire to comprehend the shortcomings and absurdities of life does not always lead to the creation of large literary and artistic works, it can also be expressed in other forms, for example, in satirical miniatures that are very common at the present time, sounding from the stage, an example of which can be the speeches of M. Zhvanetsky, M. Zadorny and some other authors. The audience actively reacts to the humorous and satirical meaning of their performances, because they recognize in their characters and situations the absurd, sometimes ugly and therefore comical features of our everyday life.

satirical works may include elements of fantasy, that is, implausibility in the image of the world. WITH fantastic heroes and situations we meet not only in fairy tales. Fantastic start is present, for example, in the famous novel English writer D. Swift's "Gulliver's Travels" and even N.V. Gogol's "Inspector General": it's hard to believe that every one of the officials were deceived and believed in Khlestakov as an auditor. In literature and art in general, the special form fantasy, where life proportions are especially strongly violated, and the image is based on sharp contrasts and exaggerations, is called an example of the grotesque in painting. Spanish artist Goya, many paintings of the modern avant-garde, in literature - the works of M.E. Saltykov-Shchedrin and in particular "The History of a City".

The concepts discussed above - drama, tragedy, heroism, romance, humor, satire - do not cover all variations of the problem-emotional orientation of literary works. In addition, many types of emotional orientation can be intertwined, superimposed on one another, forming a kind of alloy. As a result, the problematic of the work is often very rich and multifaceted.

And now let us turn to the consideration of what constitutes the form, that is, the pictorial and expressive side of the work. Considering the certain closeness of the epic and dramatic works, which could be felt when analyzing the content, we will not separate them in principle in this case, although we will show the differences in their artistic organization.

Homework

on literature

What is the best way to study drama? modern school? Why?

The modern way of studying drama at school is seen as follows: first, acquaintance with the play - watching a video recording of a play or television play (not a movie based on!) - getting to know the text and analyzing it - watching a play in the theater (the last element is desirable, but optional) - discussion.

Drama - the most difficult kind reading for schoolchildren. The difficulty of playing the piece ininsufficient development of both recreative and creative thinking.

In a modern school, the following ways of studying drama can be applied:

traditional way (reading - studying - viewing). The experience of working at a school shows that when a teacher reads brightly, most students listen to him with pleasure, get involved in ongoing events, and realize the main qualities of the characters and the relationship between them. The play may not be read to the end if the teacher is sure that the interest in the action is high, and difficulties in recognizing the characters and orienting in the art world overcome, - then the guys will be able to finish reading on their own.

It is not worth talking about what you read immediately after reading in the lesson: you need to give the opportunity to re-read the text, think about it. Therefore, it is more expedient to invite students at home to reflect on a number of questions that activate all areas of the reader's perception. The form, oral or written, the teacher chooses arbitrarily.

The specificity of a dramatic work lies in the fact that the conflict is not described, but depicted: the reader must restore it, guess, understand its essence and causes only on the basis of the words of the characters and the author's remarks. This is the hardest thing about reading activity. Therefore, the task of the teacher is to help the children to clarify the conflict, to see its roots. The most convenient way to do this is to move from scene to scene, from action to action. At the lesson, the focus is on the action as an integral element of the composition of a dramatic work. It is necessary to single out its stages, drawing up a plan, we also highlight the elements of the plot: exposition, plot, episodes of the development of the action, climax and denouement. As a result, all events will be correlated with the plot.

Then select plot elements: everything that is not directly related to the action, but slows it down, suspends it. These are monologues and dialogues that in one way or another reveal inner world the hero, reveal his past, indicate his relationship with other characters, etc.; descriptions contained in the replicas (appearance, nature, premises), letters (their content). We pay attention to the details, image-symbols (if any), motives, author's remarks that precede the action and data in the course of the action. Thus, we get a certain portrait of each character.

And of course, in a drama lesson, one cannot do without expressive reading by roles, staging individual episodes, and creating a play project.

In the "strong" class, where the level literary development students above should applythe path of analysis is by action.

We design a system of lessons, where we study in detail each action.

We start the lesson by setting a learning task and after creating problem situation Let's start solving it.Action analysis will be devoted to finding the answer to these questions.

The projects of the following lessons are created according to the same principles: from text analysis, from highlighting structural elements to questions and tasks that will help students see these elements and understand their role, which means getting closer to understanding the essence of the conflict and its causes and understanding the images of characters .

In many ways, designing the stage of studying the text of a dramatic work is similar to designing lessons on epic works. However, it should be taken into account when compiling a lesson on drama: this is the complexity of perceiving a dramatic text, the need for visual concretization of the images of characters that are created differently than in the epic, highlighting the event basis and considering the conflict in its development, the peculiarities of the language of dramatic art (the importance of remarks, the imposition of replicas , antithesis in mise-en-scenes, the role of music, lighting, manners and gestures). Inclusion in the project of latent analysis, creative activity students helps the children look at the world created by the author, with different points vision, which means a deeper, more accurate understanding of the characters' characters, their feelings.

2. What techniques are actively used in the study of drama? Why?

The methods and techniques of working on the drama are varied. Let's consider some of them:

1. View from the audience, installation on visual perception. Schoolchildren should imagine themselves mentally seeing the play, for this purpose it is useful to use fragments of memories of performances.

2. It is important to encourage students to IMAGINE what is happening on the stage in order to propose a situation: "Imagine you are sitting on the stage."

Another technique that encourages students to penetrate the text of the play iscreating imaginary mise-en-scenes, those. schoolchildren are invited to think about how they would arrange the characters at a certain moment of the action, to imagine their positions, gestures, movements.

The core of the work on each act is the consistent observation of the development of the action, internal logic this development in this act. The students' observation of the development of the action must be inseparable from the penetration into the characters of the characters. Questions contribute to this.

In the analysis of drama, the subject of constant attention isspeechcharacter, its originality, since the character of the character, his social face, state of mind reveals speech. In how a speech sounds, the person to whom it is addressed also plays a big role. It must be remembered that the selection of words and their sound - intonation is directly associated with the SUB-TEXT. To reveal the subtext means to reveal the essence of the play, the relationship between the causes of the character's actions and their external manifestation. If students are taught to understand subtext, then we are educating good reader and the viewer.

It should not be forgotten that when analyzing a play, the speech of the characters is of great importance, and the remarks of the authors, the poster and the remark to it (this is often skipped by students when reading) For this purpose, the following tasks are important: does this in "The Inspector General" or "What does the remark say in the second act of The Thunderstorm in the scene of Katerina's farewell to her husband."

Great importance in the work on the play has an expressive reading. At the same time, the student moves from the position of the viewer to the position of the performer.

The author, his attitude to what is happening - the main question when faced with the study of any work. In a dramatic work, the position of the author is hidden more than in works of another kind. For this purpose, the teacher will have to: draw the attention of students to the comments made by the author for the actors and invite them to think about how the writer relates to his characters? Or he offers to answer the question: “How does Ostrovsky make the viewer, watching the 3rd act, justify Katerina?”

In the process of analyzing the observations received, the teacher should generalize for this purpose important summarizing questions, such as: “What have we learned about the life of the county town? What were the officials of the city like? What is the nature of the measures taken in Gorodniche? or "What is common in the characters of Dikoy and Kabanikh, and what are their differences? Why is the conflict between Katerina and the world of Kabanova inevitable?"

At the final lessons, in a generalized form, those questions arise that the students were looking for answers in the process of analyzing the drama.

The final lesson, in fact, begins already with work on the last act of the play, when the conflict is resolved and the author-playwright, as it were, sums up. To this end special meaning has an expressive reading of students: this is a test of the depth of their understanding of the characters of the characters.

Reading by roles also shows the degree of students' understanding of a dramatic work. The teacher can approach the distribution of roles in different ways. Homework for such a lesson can be a written or oral compilation of the characteristics of the hero, whose role the student will play.

At the final lessons - competitions of readers of individual scenes, the stage history of the drama, watching the film adaptation, and discussing it.

In connection with the study of drama, the student must master a number of theoretical and literary concepts. A number of them should be included in the active vocabulary of schoolchildren: act, action, phenomenon, monologue, dialogue, list of characters, remarks. As they penetrate into the drama, the vocabulary of schoolchildren is replenished: conflict, plot, exposition, plot, climax, denouement, genres: comedy, drama, tragedy .; play, play. The performance is not an illustration in a play, but a new work of art created by the theater, interpreting the plays of the playwright in its own way.

3. How to "translate" the literary analysis of the drama into questions and tasks for students?

Dramaturgy of the play based on the play by Leonid Andreev

"The one who gets slapped"

Music for the play:

Spleen: "Rock and Roll Star", "Romance", "You're dreaming about it"

"We sat and smoked", "Riki-Tiki-Tavi"

"Plastic Life", "Sihanoukville"

"Chateau Margot"

L. V. Beethoven The third part of the 14th sonata in Spanish. Viktor Zinchuk.

ANALYSIS OF A DRAMATIC WORK

1) The theme of the play is Love, which everyone is looking for, but not found, because. they themselves do not know how to love, trying to achieve it, even from "predators" and only the hero loves, loves sincerely and openly, without trying to seize it completely himself. Ready for any sacrifice in the name of this high feeling, which I experienced for the first time in my life, being already married man and completely disappointed in people, and in existence itself, as a bright and extraordinary personality, which he himself was.

2) The idea of ​​plays s: The arrival of a stranger, very often in the classical works of Russian and foreign authors the appearance of a stranger in the wrong place leads to tragic consequences. (The destruction of two families - “Wuthering Heights” by E. Bronte.) Also in Andreev: a man from an aristocratic society who appears in a traveling circus destroys the established way of life with his appearance, thereby introducing a note of discord, both between circus workers and his own life condemns to death along with an innocent girl, endowing herself with a divine symbol.

Andreev himself is an unusual symbolist writer, a friend of A. Blok, etc. The symbols of his work begin with the name of the hero and heroine. "That" - Where from? Why? "Thoth" is the god of wisdom in Egyptian mythology. "Consuella" - consolation. In order to start work on a play, having the name of the heroine and knowing that it is taken from the novel by George Sand (pseudonym French writer Aurora Dupin, beloved of Frederic Chopin, the great composer, who wore trousers and smoked a pipe, thereby challenging the aristocratic society, the mother of five children, a romantic writer, in her prose one can guess the features of Gothic prose, from which we can conclude that a huge influence on she was given by Walter Scott) the name of the heroine, which Leonid Andreev took not by chance, the heroine was not only consoled, but also rested in peace at a young age. It is difficult to accurately define the idea, the more you delve into the material, the more it seems with a double, and sometimes with a triple bottom. A deeply philosophical tragedy in which the real names of all the characters are not explained, they are all carriers stage name. Nameless heroes, looking at us from the past, in spite of everything, keep in themselves and carry all those human qualities and eternal human mistakes, and therefore they themselves become some kind of symbols of eternal values ​​and great losses, where values ​​acquire a different character. The idea of ​​the play is that the height of the spirit is determined by the baseness of the situation, the power of money for some reason gives the right to buy innocent children's souls? In the wake of perestroika in our state, this play seemed to me especially relevant, where people commit crimes that are redeemed thanks to their wealth, and do not bear any responsibility for this. We come across stories like this all the time.

3) The main conflict is “... after all, they buy everything beautiful!” Zinida. As they are bought and sold human souls. The hero came to this world in order to change it, since he himself got into this system of buying and selling (the scene of the appearance of the Master). We know that the world cannot be changed.

4) The main events of the play: There is not a single event in L. Andreev, in which there would be no symbols of mysticism and riddles.

a) Initiating event: The hero leaves his usual habitat, the hero's internal moral conflict leads him to a traveling circus.

b) The appearance of the hero in the circus where his life flows, where his laws and his ideas about it, but even in the circus the hero plunges into the infinity of problems, and the circus is a "model" of the world order from which he escaped.

c) The meeting of the hero and the heroine stirred up the soul of the hero, since the heroine possessed, according to him, divine innocence and purity of soul. "Stricken by the arrows of Cupid", he is ready to do anything to stay by her side.

d) The hero is forced to open the circus director its origin, thereby leading to confusion and amazement.

e) Clarifying the relationship between Zinida and Bezano Becoming a witness to this scene, the hero discovers the secret aspects of the life of this circus, as the secret aspects of the life of the world and any society already familiar to him, in which people are forced to live.

f) The teacher of the heroine intended sell it to a perverted baron who is clearly advanced in years. This fact leaves indifferent all the characters, except for the hero in love.

g) Jim the Clown forbids the hero peer and sneer at Providence, by virtue of something already experienced. The hero receives a real slap in the face, because he has not yet learned that one cannot work for nothing. Here the author vividly draws a parallel between himself and the hero of the play.

h) Confidential conversation of the hero with the "tutor" of the heroine. The conversation is paid for by the hero in material terms. Another step to save the heroine from the web, which should fall into an innocent creature, was not successful, because. too much power of money.

i) Zinida the tiger tamer loses consciousness after colossal dedication and nervous tension in the arena with tigers, having crossed the permitted boundaries, being already sure that predators will now tear her apart, and thereby blowing up auditorium, appears, still trying to hold on, but loses consciousness, which causes a general commotion of the entire circus. I limited this bright event of the play with the internal discord of the tamer with the dislike of people and the devotion of predators.

j) Divine innocence of the heroine in this event asks the hero a question - "What is love?" Already trying to enjoy the love of others (Jim, Thomas, Tilly and Polly, Bezano, Zinida, Papa Briquet). The hero does not directly answer her question, but tries to frankly confess his love himself, raising himself to one level with divine innocence, clothing his soul in divine wisdom, trying to make an illiterate girl, who is unable to comprehend, understand his thoughtful words and look into "second bottom" (or second plan), which the hero uses. Receiving a slap in the face, the hero translates everything into a game, fortune-telling, etc. And she just wants to be full all the time.

k) The Coming of the Master, the climax of the work. This event fully reveals the life of the hero before joining the circus, and in this event the author clearly makes it clear how endlessly the destruction of their own kind due to envy, self-interest, desire for fame.

m) Trying to persuade the rider, also in love with the heroine, to save the girl, stumbles upon silence, and the impossibility of doing this, by virtue of his own convictions.

m) The tamer makes it clear to the hero that he is “superfluous”, if he is superfluous in the world from which he came, and superfluous here, then what is the point in further existence?

o) Clowns during the benefit performance the heroines feel like fraudsters, because understand that they cannot go against fate.

o) The heroine understood what threatens her life with the baron, and in tears asks the hero for help, although he understands that nothing can be returned.

p) Poisoning, that's the only thing what remains for the hero in order to save an innocent soul, and he himself passes away.

c) Staying conscious, after the heroine's breathing has stopped, he hears Thomas running in and reports that the baron has shot himself. A hero's score is the end of a tragedy human life, where very often close souls are forced to live apart.

r) Clown Jim's outrage, and the explanation of the tamer, this is the final point of the mysterious and mystical work of L. Andreev.

Similar information.

1. Study the heading complex of the work (title, genre subtitle, dedication, epigraph, preface). What is the reader's expectation?

2. How does the poster characterize the heroes (list of characters)? What are the heroes' names? What is the order in which they are presented?

3. Review the play's design notes. What “hints” do they offer to the director, actors, set designer, etc.? How do the features of the temporal and spatial organization of the action clarify the conflict of the play?

4. How are the characters revealed in monologues, dialogues, replicas "aside"?

5. Follow the main stages in the development of a dramatic conflict. What is its climax and denouement? How do they relate to the creative concept of the play?

6. Make a conclusion about the meaning of the work. Was your reader's expectation justified, which was formed at the first approaches to the text of the work?

7. What interpretations of the play, its individual scenes do you know? Try to explain and evaluate some of them.

End of work -

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A.A. Kositsin Theory of literature basic concepts and terms

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Why, from the point of view of the correlation of subjective and objective principles, is drama a syncretic genre that combines epic and lyric, and from the point of view of modality, epic? Poya

Poetry and prose
The common idea that poetry is ‘what is written in verse and rhymed’, and prose is ‘a text undivided into verses’, is far from the truth. Indeed

Meter and rhythm
In order to understand once and for all the relationship between meter and rhythm, let's compare the metrical and rhythmic patterns of one Mandelstam verse - the beginning of a famous poem:

Dimensions
Poetic dimensions five - two two-syllable (iamb, trochee) and three three-syllable (dactyl, amphibrach, anapaest). All of them differ in the place of the stressed syllable in the foot (accordingly, the foot may consist of

To reflection
Determine the size of the following verse fragment. Give his characteristics: The Jew had a dog, he loved her, She ate a piece of meat - he killed her.

Wholeness and wholeness
A.F. Losev, who believed that artistic structure turns out to be world-like, and the integrity of the work arises as an “aesthetic

Story and plot
In the theory of literature, it is customary to separate the plot (the story, the sequence of events that are presented in the work) and the plot (the way the plot is presented in the text). B.V.

Subject-object organization
The comprehension of subject-object relations in a work of art grows out of the nature of the artistic text, its multilevel nature, and a research approach to it with a linguistic

To reflection
Explain how, according to the theory of integrity of M. M. Girshman, each level of a work of art is affected by the idea of ​​its general design and the contemporary epoch is imprinted? Illustrate

In search of an algorithm
The undisputed question in literary criticism is how to approach work of art: where to begin? One can hear the idea that one should start the analysis with a simple one: to retell

Analysis of a lyric poem
1. Determine your impression of the poem. What mood does it have? What is the state of the lyrical subject (hero, lyrical "I")? What caused it? 2. Reverse

Analysis of the epic work
1. Study the heading complex of the work (title, genre subtitle, dedication, epigraph, preface). What is the reader's expectation? 2. What meanings do the first

Practice Plans
treatises, scientific works submitted to practical lessons: Aristotle. Poetics Boileau N. Poetic Art Lessing G. E.

The specifics of verbal creativity
Discussion of the treatise by G. E. Lessing “Laocoon, or On the Limits of Painting and Poetry” Questions for discussion: 1. The difference between the interpretation of the myth of Laocoön by sculptors and

The novel as a literary genre
Discussion of the article by M. M. Bakhtin "Epos and the novel" (On the methodology of the study of the novel) Questions for discussion: 1. The difference between the genre of the novel

Creative tasks
1. Analyze the lyrical work (optional): Akhmatova A. A. “I don’t need odic rati ...” Blok A. A. To the muse Brodsky

Questions for self-control
What is the specificity of the science of literature? What is the relationship of literary criticism with other sciences? What is the place of fiction among other arts?

Thesaurus
Author (from lat. auctor - creator), the concept is polysemantic; should be distinguished: 1) a biographical author, that is, really an existing person with your destiny and yes