N.P. Shilov "Screenwriting"
The sequence of plot components, their commensurability and correlation is nothing but composition (lat. "composite" - compilation, connection) of the script. "... A well-compositionally constructed work has the qualities of a healthy physique" (Ya. Parandovsky. Alchemy of the word)
When working on a script, you need to think about how to introduce the viewer into the setting of the action and acquaint him with the characters, that is, outline the part of the script that is called the exposition. It is necessary to find the initial situation from which the development of the action begins (the plot), to think over its movement to the highest point of tension (climax) and further, to the denouement.
So, the presentation of the dramatic history begins with the exposition.
exposition(lat. "exposure" - presentation, explanation) - a component of the plot; depiction of the life of the characters in the period immediately preceding the beginning and development of the conflict. This is a kind of introduction of the viewer into the conditions of a fictional reality. In the text of the script: remarks, dialogues, monologues, the information necessary for further understanding of what is happening is given.
As soon as characters appear on the pages of the script who represent the conflicting parties, the dramatic story enters a new phase. The first clash of heroes, the beginning, the development of action is usually called eyeball. And this is the second component of the plot. It is here that the main goals are declared actors, the alignment of forces in the conflict is determined.
The next and main component of the plot is action development . This is, in fact, a detailed presentation dramatic history. It contains a number of unexpected changes in the fate of the characters, which are called twists and turns.
ups and downs(Greek "peripetia" - a sudden turn, fracture).
The development of the action takes place in episodes, and each subsequent episode is most often associated with the emergence of new characters. Once again, we note for ourselves the danger that lies in wait for the screenwriter in the process of unfolding the plot - the unjustified verbosity of the characters. And here a strict regime of self-restraint is needed. The main tasks of the heroes should become the tuning fork that determines the need for certain replicas.
The logic of the development of the struggle gradually leads them to the moment highest voltage. This is the next component of the plot, and it is called climax (lat. "culminis" - top). It is here that the ideological and moral positions of the characters, and, consequently, the author himself, are exposed with the greatest force. The presentation of the dramatic history ends with the final moment in the development of the conflict - decoupling. The results of the struggle are summed up, the riddles that have maintained interest in what is happening throughout the entire action are clarified, and the techniques used to build the plot are finalized. The denouement should not be delayed: it should soon follow the climax.
Composition is the realization of conflict in stage action, internal structure works. The organization of the action is achieved by the appropriate arrangement of the material. If the plot gives rise to action, then the composition determines its logic, tempo, rhythm, introduces a clear organization into the action.
Event- an effective fact that passes before our eyes, which changes our attitude to what is happening and the line of behavior of the hero.
An event is news, an incident, an accident, some kind of discovery, etc. Sometimes an event is an unexpected obstacle or unforeseen circumstance. The event changes the line of behavior of one, several, and sometimes all heroes. Consequently, each event gives rise to a situation and creates a need for the hero to get out of the current situation, and this requires an assessment of the event that happened.
Significant event This is a revolution in the life of the heroes.
imaginary event are everyday events.
Definition significant events according to K. S. Stanislavsky:
“... The very technique of the process of evaluating facts is at first simple for. This should eliminate the estimated fact, try to understand how this will affect the life of the human spirit, the role ... "
With each event, the proposed circumstances change, and the change in the proposed circumstances dictates the change in events.
Event row:
- Source event- how the story begins, and it takes its beginning outside the play, and ends before our eyes. It lies in the bowels of the leading proposed circumstance. With the opening of the curtain, we should see the "traces" of life that is already going on (these can be sounds, noises, people, etc.)
- Start (or main) event- in this event, the struggle for through action and the leading proposed circumstance begins. In this event, "camps" and methods of struggle between them are determined.
- central event- the struggle for through action reaches its highest intensity. Here is the highest point of spectator interest. ( I personally have doubts
- Final event - ends through action and the leading proposed circumstance exhausts itself, unleashes conflict situation, the "experiment" of the author ends. After this event, there is always air left. What will happen after this event? What will change?
- Main event- the story ends with it, the most important task is affirmed. This is a director's event. From it, the viewer should understand "what the director is voting for." All expressive means of directing should be thrown here. It realizes the fate of the original proposed circumstance. It is usually spelled out by the author in a strange way and it is difficult to define it, but it is worth staging a performance for its sake. The main event is unexpected turn habitual events.
The concept of "composition" refers to all kinds, types and genres of art. For drama, this concept is especially important in connection with its very aesthetic nature.
The real life model, as a rule, serves only as an initial outline of the plan of any work of art, while its final design depends on the artist.
Term composition came to the theory of drama from the theory of painting in the 19th century. What is now meant by the term composition, Diderot was designated by the concept of "plan". And Diderot stated that there are far more plays with good dialogue than well-constructed plays. "Talent for the arrangement of scenes" he considered the rarest quality of a playwright. Even Moliere from this point of view, in his opinion, is far from perfect.
“First of all, I must praise the composition and liveliness of the action, and this is more than can be said about any modern German drama,” K. Marx wrote to Lassalle about his play “Franz von Sickingen”.
Arguing that the drama is a single whole, Aristotle was the first to single out three main points in its construction:
"Start- that which itself does not necessarily follow another, but, on the contrary, something else exists or occurs after it according to the law of nature; vice versa, the end- that which, of necessity or custom, necessarily follows another, and after it there is nothing else; a middle- that which itself follows another, and after it another.
Explaining this statement of Aristotle, Hegel in his "Aesthetics" says that dramatic action is essentially based on a certain collision. The appropriate starting point lies in the situation from which this contradiction must subsequently develop, although it has not yet emerged. “The end will be reached when in all respects the discord and its vicissitudes have been resolved. In the middle between the outcome and the end will fit the struggle of goals and the dispute of clashing characters. These different links, being moments of action in the drama, are themselves the essence of action...
Therefore, one can understand drama as a system of actions that, in their unity, form the process of becoming. Within this complex system, one action follows from another and leads to a third, different action. But at the same time, it must be remembered that the sequence in the development of action in a drama may not correspond to the temporal sequence and other features of a really developing life phenomenon.
Thus, both Aristotle and Hegel determined the possibility of approaching the problem of drama composition through the feature
dramatic action.
There can be no recipes by which a "flawless" play is built. But the laws governing the construction of drama do exist, and world aesthetic thought, beginning with Aristotle, has worked hard and fruitfully to elucidate them.
Exposure and connection. Since a dramatic action is a reflection of only a certain, artificially limited part of a real life action, one of the primary tasks of the playwright is the task of correctly defining the initial situation - as the fundamental basis of the collision, from which the dramatic conflict should unfold. In this situation, the conflict "has not yet erupted, but is planned in the future" as
collision.
By reproducing the initial situation, the playwright exhibits(literally - exposes, shows) the beginning
The first part of the Aristotelian definition of the plot: "...usually embraces events that are outside [the drama], and some of those that lie in itself" - refers, in essence, to the exposition.
The very title of the play serves to a certain extent as an exposing moment. genre definition, given by the author, also exhibits the play, being a kind of emotional tuning fork for the viewer. Modern playwrights often expand the meaning of the genre subtitle - it rises from pure information to a generalization of the figurative structure. In some cases, the genre subtitle even becomes, as it were, an ideological manifesto. Thus, in the subtitle of Schiller's "The Fiesco Conspiracy in Genoa" - "Republican Tragedy" - a political meaning that does not require commentary is reflected.
An important expositional function is performed by the so-called poster (list of characters), because the name itself often characterizes the character in a general way.
According to Diderot, the first act of a drama is its most difficult part: it must open the action, develop, sometimes expound, and always connect. The playwright has much to say and relate. He must exhibit not only the life circumstances that are the fundamental basis of the conflict and serve in the future for him nutrient medium but also the characters' personalities and their complex relationships.
The playwright can merge the exposition of circumstances, characters and relationships together or dissect it. He is free to give, first, a detailed picture of historical, social, everyday circumstances, and then expose the character of the protagonist (as Gogol did in The Inspector General), or first clarify the character of the hero for the audience, and then acquaint them with the details of the situation in which the hero you have to act (as in Ibsen's drama "Nora, or a Doll's House").
There are many ways to display. But ultimately they can all be subdivided into two main types - direct and indirect exposure.
In the first case, the task of introducing the viewer into the course of previously occurring events, of introducing the characters to the characters, is expressed with complete frankness and is solved straightforwardly.
By resorting to indirect exposition, the playwright introduces the necessary expositional data in the course of the action, including them in the conversations of the characters. The exposition is made up of a set of gradually accumulating information. The viewer receives them in a veiled form, they are given as if by accident, unintentionally - in the course of an exchange of remarks between characters.
For the dramaturgy of great social sounding, the role of the exposition is not limited to revealing the fundamental principle of the plot. It is intended to give a picture of the social milieu in which the dramatic struggle unfolds and, in close connection with the milieu, an analysis of the characters entering into this struggle. That is why Ostrovsky, Ibsen, Chekhov, Gorky and their great predecessors, including Shakespeare, consummate master dramatic dynamics, never skimp on the space given to the exposition.
The exposition effectively prepares eyeball. The plot realizes the conflict possibilities laid down and more or less tangibly developed in the exposition.
Consequently, the exposition and the plot are inextricably merged elements of a single initial stage drama, form the source of dramatic action.
In the normative theory of drama, the exposition is seen as a stage that necessarily precedes the plot. Meanwhile, the ancient Greeks already knew another principle of the beginning of a drama. In Sophocles' tragedy Oedipus Rex, for example, the opening precedes the exposition.
In bourgeois art criticism, normativity was especially persistently manifested precisely in matters relating to the initial stage of dramatic action. In this sense, theory followed practice, unjustifiably absolutizing the stereotyped techniques by which the exposition and plot were constructed in many plays. Here it is necessary to proceed from the fact that the initial stage has its own, special aesthetic tasks. The very specific form of articulation of the play gives rise to a constant need for exposing information, which is presented in one way or another in each scene. And it depends on the author's intention, on the vital material reflected in the play, on the style of the work, and so on.
Action development, climax, denouement. The development of action is the most difficult stage in the construction of drama. It covers the main action array. One battle leads another, the scales tilt first to one side, then to the other, new forces are introduced into the battle, insurmountable obstacles arise.
The dynamics of the drama is generated by the variability of success, the uncertainty of the result of a particular dramatic collision. But each of these "cycles of action", which can be singled out with varying degrees of distinctness in the works of any playwright, must mark a higher stage in the development of the conflict in comparison with the previous stage, sharpen the contradictions up to last stage- junctions-. That is, the action in the drama develops in ascending order, the tension intensifies as the action develops. This pattern is noted by the vast majority of art theorists.
Consequently, a constructively unified action in a drama is built from a set of “cycles of actions” that have all the features dramatic composition: each of them has an exposition, a plot, a climax, a denouement.
In the development of the unified action of each play there is a milestone that marks a decisive turn, after which the nature of the struggle changes and the denouement is irresistibly approaching. This border is called climax
Aristotle attached great importance to the climax, calling it "the limit from which the transition to happiness begins.<от несчастья или от счастья к несчастью>».
Despite the seeming archaism, this definition most deeply and accurately expresses the essence of the culmination. Only by understanding the internal conditioning of the ideological and compositional structure of the drama, one can unmistakably find the climax, the turning point in the development of the action.
The architectonics of the climax can be quite complex, the climax can consist of several scenes. Attempts to theoretically establish its place in the dramatic composition, as a rule, are fruitless. Both the length of the climax and its place in each individual case are determined by the style and genre of the play, but above all by the semantic task. Only one thing is invariable - the aesthetic essence of the climax, which marks fracture during the dramatic struggle.
The construction of action in ascending order (“increase in action”), according to theorists, is a general pattern that knows no exceptions. It manifests itself equally in plays of all genres, in works of any compositional structure, up to plays that reverse the action. Departure from this immutable regularity, which is rooted in the very essence of the drama and in the structure of the action, means the introduction of a lyrical or epic element into the drama.
But even after the climax, the tension does not subside at all, the action does not move downward.
The problem of the compositional completion of the drama, the problem interchanges closely related to the moral effect required of it. This was first noticed by Aristotle, who put forward the concept catharsis- tragic cleansing. But since Aristotle did not give a detailed definition of this concept, disputes over the interpretation of the latter have centuries-old traditions and have not stopped to this day. Nevertheless, one thing is certain: catharsis, according to Aristotle, indicates a connection between aesthetic and ethical principles, recognizing highest goal tragedy has a certain moral effect. This effect is prepared by the entire deployment tragic conflict, is finally realized by the denouement, the resolution of the conflict. It is in the denouement that the focus of the moral and emotional pathos of the drama lies.
The denouement takes us to a new moral height, from which we re-examine the entire course of the dramatic battle, overestimating the ideas and principles that moved the heroes, or rather, discovering the measure of their true value.
The more diverse vital connections that form a dramatic conflict, the wider the possibilities of its various resolutions. The widespread opinion that the consistent development of a collision automatically leads to a certain denouement is theoretically unjustified, but in practice it is rejected by the experience of dramaturgy.
The choice of denouement is dictated not only (and sometimes not so much) by the objective logic of characters and circumstances, but also by a subjective factor - the will of the author, directed by his worldview, the essence of the moral task. Yes, Sun. Vishnevsky "cost nothing" to save the Commissar. But the Commissar dies - dies, by his very death affirming the greatness of his work, the unbroken spirit of the Bolsheviks. The great, tragic time, in the opinion of the playwright, required such a denouement.
The difficulties that the playwright faces when isolating the initial dramatic situation, the plot, from "empirical reality" (Hegel's expression) arise again when it is necessary to find a resolution to the conflict. The point is not only to understand, based on one’s view of the world, how the collision discovered in reality will end, one has yet to find the stage that will complete it with most likely, and the specific form in which the decoupling will take place.
Consequently, the denouement restores the balance that was disturbed in the plot: the conflict is settled, the opposition of one of the contending parties is broken, and victory is won. For a given dramatic action, the significance of this victory is absolute, although in its real life content it can be transient, temporary.
"Drama? one of the main genera fiction… encompassing works normally intended to be performed on stage.” This, the most widespread judgment, is a purely practical definition of drama, which not only fails to explain its essence, but even refers it to literature. Let's look at the definition of drama in a specialized edition: drama is "a kind of literary work in dialogic form, intended for stage performance." Here an attempt is made to define a structural principle, but, unfortunately, only one (dialogic form), and nevertheless, from this definition the conclusion follows that drama is only a genre in literature.
The essence of the drama is in the conflict, the struggle that takes place before our eyes and turns into a different quality. Drama emphasizes the tension and conflict of human existence, and they say that it is natural for a person and constantly accompanies him.
Second, drama? it is text written for different roles based on conflict action. Hegel wrote about this: “Dramatic in the proper sense is the utterance of individuals in the struggle of their interests and in the discord of the characters and passions of these individuals.”
Thirdly, the term drama is sometimes used to define a specific genre of dramaturgy (bourgeois drama, lyrical drama, romantic drama).
"Dramaturgy" is, on the one hand, a kind of art, on the other, a kind of literature and theater. Dramaturgy is also sometimes understood as the totality, a collection of plays (works intended for stage performance) in general.
Dramaturgy arises at the time of the birth and emergence of the theater, because. it is a product of the creativity of the first playwrights.
Theater at the time of its inception had a ritual basis. Its ritual genesis is beyond doubt. The ritual basis of the theater it is primarily an institution of pagan Mystery. In their views, dramaturgy occupied a very special place and had a sacred meaning.
Drama brings together according to Hegel? the objectivity of the epic with the subjective beginning of the lyrics. But then he comes to a contradiction: calling the drama poetry, he nevertheless notes that "the need for drama in general lies in the visual depiction ... of actions and relationships, accompanied by a verbal statement of persons expressing the action" .
Khalizev in the book "Drama as a Phenomenon of Art" considers drama as a literary and artistic form with a certain content. He writes: "... drama as a meaningful form of verbal art is the main subject of our work." The author examines the artistic possibilities of drama based, firstly, on its verbal nature, and secondly, on its intended use for the stage. It seems to me that this position is largely incorrect, because drama is primarily written as a work intended to be staged, which imposes certain outlines on its forms. Aristotle also wrote about this: “... summing up the legends and expressing them in words, one should imagine them as much as possible [more vividly] before one’s eyes: then [the poet], as if he himself was present at the events, will see them most clearly and will be able to find everything that is relevant and in no way miss any contradictions.
Thus, the drama passes the techniques and means of verbal and artistic expression through the filters of stage requirements. M.Ya. Polyakov in his Poetics. In his opinion, "drama theory" explores and considers drama as a kind of verbal basis theatrical work. This definition is closer to the concept of "dramatology", but it is not only a verbal, but also an effective basis, and this should not be forgotten or skipped.
In our opinion, V.M. Wolkenstein in the article “The Fates of Dramatic Works”: “I believe that dramas “for reading” (that is, for reading only) do not exist; what is the drama that can't be played? not a drama, but either a treatise, or a poem in a dialogic form, and if it is a drama, then a failed drama ... I ... see in the drama natural stage material, literature of theatrical possibilities ... the play is both stage material and a finished work of art. Dramaturgy? it is the literature of theatrical possibilities, it is not a kind of literature, not a literary and artistic form, and even more so highest form poetry.
Aristotle's Poetics, the first and most important treatise on the theory of drama. The principles that Aristotle defined in Poetics dominated the theory and practice of Western theater until the 20th century. They even received such names as, for example, "Aristotelian type of action."
Aristotle divides all tragedy scenes into three groups:
- 1) Scenes where "happiness" and "unhappiness" are replaced;
- 2) Scenes of recognition;
- 3) Scenes of pathos, scenes of violent suffering.
The scenes where the “happiness” and “unhappiness” of the hero are replaced are the scenes of his successes and failures, victories and defeats, where the moments of the predominance of “single action” over “counter-action” sharply alternate with moments of the opposite meaning. In other words, these are the scenes that can be called battle scenes.
Scenes of recognition Aristotle calls scenes of genuine recognition. In many ancient tragedies, the decisive moment of the struggle - catastrophe - coincides with recognition (for example, recognition of one's guilt is a catastrophe for Oedipus). Scenes of a double spectacle - when a court, a theatrical performance, etc. takes place on the stage, and some of the actors contemplate the performance together with auditorium, ? are usually recognition scenes.
Brecht coined the term "Aristotelian theatre" to designate dramaturgy and theater based on the principle of illusion and identification. But, in our opinion, Brecht identified one of the characteristics of action with the entire concept of Aristotle. In principle, the reasons for the emergence of this term are associated with the attempt of many directors and theatrical figures of the twentieth century to move away from the classical techniques in staging, to go beyond the canon, to destroy the usual framework of the performance. These searches gave rise to a number of very interesting directions (Brecht's epic theater, Artaud's theater of cruelty, etc.).
With the advent of directing, the playwright and dramaturgy are gradually pushed into the background, and then the actor. The playwright passes into a subordinate position, and the drama becomes, according to Volkenstein, “the literature of theatrical possibilities.
Our position on this issue is as follows: drama is a kind of literary action, fixed by the text of the play in one form or another (which is a genre). Text ( literary basis) is not, in our opinion, primary in relation to the definition of "drama" or "drama", the primary is the action (drama). Drama first? it is a stage (intended for stage embodiment) work. Although in the history of the theater there were plays that were not intended for the stage.
Drama is an independent literary method? stage display of life, the subject of which is a holistic action that develops from beginning to end (from exposition to denouement) as a result of the willful efforts of heroes who enter into combat with other characters and objective circumstances. Drama is part of the general theatrical process; dramaturgy - the art of writing dramas and the totality of written dramas. Competently writing a play is possible only with good knowledge about the laws of dramaturgy.
Aristotle spoke simply of "the beginning, the middle, and the end of the play." Obviously, a play that starts randomly and ends because two and a half hours have elapsed will not be a play. Its beginning and end, the coherent construction of all its parts is determined by the need for a concrete expression of the concept that constitutes the theme of the play.
Lope de Vega, writing in 1609 on The New Art of Commedia Writing, gave a short but useful summary of the structure of the play: “In the first act, state the case. In the second, intertwine the events in such a way that until the middle of the third act it was impossible to guess the denouement. Always fail expectations.
According to Dumas son, “before creating any situation, the playwright must ask himself three questions. How would I act in such a situation? How would other people act? What should be done? An author who does not feel disposed towards such an analysis should leave the theater, because he will never become a playwright.
The playwright must assume that he is writing for people who know absolutely nothing about his material, except for a few historical themes. And if this is so, then the playwright should make it clear to the audience as soon as possible:
1) who his characters are, 2) where they are, 3) when the action takes place, 4) what exactly in the present and past relationships of his characters serves as the beginning of the plot.
The beginning of a play is not an absolute beginning; it is just a moment in a larger set of activities; this is a moment that can be precisely defined and is certainly a very important moment in the development of the plot, because this is the moment when decisions are made ( fraught with consequences). This is the moment of awakening reasonable will to a tense conflict pursuing a specific goal. Drama is struggle; interest in drama is, above all, interest in the struggle, in its outcome.
The playwright keeps the reader in suspense, delaying the decisive moment of the battle, introducing new complications, the so-called "imaginary denouement", temporarily calming the reader and rekindling him again with a sudden, stormy continuation of the struggle. We are fascinated by the drama - first of all - as a competition, as a picture of the war.
Dramaturgy requires increase in action, the lack of buildup in action instantly makes the drama boring. If a lot of time passes between actions and - the playwright depicts us only moments of collisions, growing towards a catastrophe.
obligatory scene, climax. The unrelenting interest with which the viewer follows the action can be defined as anticipation mixed with uncertainty. The characters in the play have made a decision, the viewer must understand this decision and imagine its possible outcome.
The viewer looks forward to the realization of these possibilities, the expected collision. The playwright strives to make the action seem inevitable. He will succeed if he captivates the audience, awakens their feelings. But the audience is only as caught up in the development of the action as they believe in the veracity of each new revelation of reality that affects the goals of the actors.
Since the audience does not know in advance what the climax will be, they cannot test the action in the light of the climax. However, they test it in the light of their expectations, which focus on what they consider to be the inevitable outcome of the action, i.e. the obligatory scene.
The climax in dramaturgy is the main event that causes an increase in the action. Mandatory Scene- this is the immediate goal towards which the play develops.
The climax is that moment in the play at which the action reaches its highest tension, the most critical stage of development, after which the denouement comes.
At the moment of resolution, we observe in many dramas a construction corresponding to the principle of concentrating forces on a decisive point at a decisive moment. In many plays, the catastrophic moment comes with the participation - and maximum volitional effort - of all or almost all of the main characters. Such, for example, are the final scenes of many of Shakespeare's plays, such as the finale of Othello, Hamlet, and Schiller's Robbers. It should be noted that the catastrophe, which in ancient tragedy is followed by a denouement, in many new dramas, coincides with the denouement.
AT denouement the destinies of all the main characters must be completed.
The word composition comes from Latin words"compositio" (drawing up) and "compositus" - well-placed, slender, correct. Any work of art in all its forms and genres must create a complete image of the depicted. If the artist's goal is to depict a person at work, he will definitely show both the tools of labor, the processing material, and the working movement of the worker. If the subject of the image is the character of a person, his inner essence - sometimes it is enough for an artist to depict only one person's face. Recall, for example, famous portrait Rembrandt "The Old Man" The person is not depicted here in its entirety, but the integrity of the image was not only not affected by this, but, on the contrary, won. After all, the subject of the image in this case is not the figure of the old man, but his character. By depicting the face of an old man, Rembrandt creates a typical image of the human character characteristic of old people who have lived a long life filled with experiences. The image of the notes is quite complete, complete.
The subject of the picture in dramatic work is, as we already know, a social conflict (of one scale or another), personified in the heroes of the work.
When the beginning of the play remains the most interesting part of it and further development goes from the beginning not “up”, but “down”, its author is forced to throw new “logs” into his dying fire, replacing the development of this conflict from its initial situation by setting up some new, additional collisions. This path excludes the end of the play by resolving the conflict with which it began, and leads, as a rule, to an artificial end by way of the play's author's volitional command over the destinies of his characters. Basically, due to the compositional complexity of creating a dramatic work, a fair belief appeared that dramaturgy is the most complex kind of literature. Add to this: good dramaturgy. For seventy pages of a bad play are easier to write than nine hundred pages of a bad novel.
In order to cope with compositional difficulties, the playwright needs to have a good understanding of his artistic task, to know the basic elements of a dramatic composition and to imagine the “typical structure” of constructing a dramatic work. The word structure is not accidentally placed here in quotation marks. Of course, no work of art is written according to a predetermined pattern. The more original this essay, the better. The "scheme" in no way encroaches either on the individual originality of each given play, or on the infinite variety of works of dramatic art as a whole. It is conditional in nature and serves to clearly explain what compositional requirements are in question. It will also be useful for analyzing the structure of dramatic works. At the same time. the proposed “typical structure” objectively reflects the composition of a dramatic work as such and, therefore, has some obligation. The ratio between convention and obligation here is as follows: the content of the play and the ratio of the sizes of its parts in each this work different. According to their presence and sequence of location for all works are required.
Exposure - initial part dramatic work. Its purpose is to provide the viewer with the information necessary to understand the upcoming action of the play. It lasts until the beginning of the tie - the tie of the main conflict of the play. It is extremely important to emphasize that we are talking about the beginning of the main conflict, the development of which is the subject of the image in this play. Sometimes the exposure is combined with the plot. That is how it is done in The Inspector II. In Gogol. The outcome of the conflict is possible only if the unity of action is preserved, the main conflict that began in the plot is preserved. From this follows the requirement: this outcome of the conflict must be contained as one of the possibilities for its resolution already in the plot. In the denouement, or rather, as a result of it, a new situation is created, but in comparison with the one that took place in the plot, expressed with a new relationship between the characters. This new attitude can be quite varied. One of the heroes may die as a result of the conflict. The final is the emotional and semantic completion of the work. "Emotionally" - this means that we are talking not only about the semantic result, not just about the conclusion from the work.
