What is composition in drama? Basic elements of dramatic composition

(Graduate work)

Boyadzhiev G.N. From Sophocles to Brecht in Forty Theater Evenings (Document)

Egri L. The Art of Drama (Document)

n1.doc

CHAPTER 7

COMPOSITION

§ 1. The concept of dramatic composition

Composition (lat. Withompositio- compilation, connection) - this concept is relevant for all types of arts. It is understood as a significant correlation of parts of a work of art. Dramatic composition can be defined as the way in which a dramatic work (in particular, a text) is ordered, as an organization of action in space and time. There can be many definitions, but in them we meet two essentially different approaches. One considers the correlation of parts of a literary text (the discourse of characters), the other - directly the warehouse of events, the actions of the characters (the discourse of the staging). In theoretical terms, such a division makes sense, but in the practice of stage activity it is hardly possible to implement it.

The foundations of composition were laid down in Aristotle's Poetics. In it, he names the parts of the tragedy that should be used as generators ( eide) and constituent parts ( kata to poson), into which the tragedy is divided by volume (prologue, episody, exodus, choral part, and in it parod and stasim) 1 . Here we also find the same two approaches to the problem of composition. Sakhnovsky-Pankeev pointed out the same when he said that it is simultaneously possible to “study the composition of a play according to the formal signs of the difference between parts (subdivisions) and analyze the construction based on the characteristics of the dramatic action” 2 . It seems to us that these two approaches are actually stages in the analysis of dramatic composition. The composition in the drama simultaneously depends on the principle of construction of the action, and it depends on the type of conflict and its nature. In addition, the composition of the play depends on the principle of distribution and organization of the literary text between the characters, and the relationship of the plot to the plot.

How necessary and urgent are the questions of composition in the study and analysis of a dramatic work? It is hardly possible to exaggerate their role. In 1933, B. Alpers pointed out that "questions of composition in the near future will be one of the central production issues of dramatic practice" 3 . This belief has not lost its sharpness in our time. Insufficient attention to the problems of composition leads to the fact that directors are often forced to change the composition of the play, which, in general, violates the author's intention, although it largely clarifies the meaning.

The main elements in the construction of the composition is repetition, which creates certain rhythmic sequences and the violation of this repetition is contrast. These principles are always meaning, and in some cases semantic. We will consider the types of dramatic compositions later, but we note that any composition based on some model (which is the idea) is initially drawn up as a kind of “plan” designed to maximally express the author’s intention and the main idea of ​​the work. The composition at this stage is subordinated to the task of revealing, developing and resolving the main conflict. Therefore, if we consider the conflict as a clash of characters, then “composition is the realization of conflicts in a dramatic action, which in turn is realized in language” 1 . Thus, we remove contradictions in the problem of understanding dramatic composition. In matters of Poetics, composition is the law of constructing levels of meaning in a work of art. Composition allows perception to go from part to whole and vice versa, from one level of meaning to another, from primary meanings and meanings to some kind of generalization, generalized content. The director in his work adds additional structural principles due to the technology of the play's realization on the stage: pictorial composition, architectural composition, organization of the hall - stage, openness or closeness of the production, and many others. etc. To them one can add a paradoxical composition, the meaning of which is to reverse the perspective of the dramatic structure.

Considering the general principles, it is necessary to consider the parts of the composition, and here we turn again to Aristotle. He was the first in theory to single out the parts of the tragedy that make up its composition. In every tragedy, writes Aristotle, there must be six parts:

• 
  legend ( mythos);
• 
  characters ( ethe);
• 
  speech ( lexis);
• 
  thought ( dianoia);
• 
  spectacle ( opsis);
• 
  musical part ( melos);

The first four parts relate directly to dramaturgy, the last two directly to performance. Aristotle considers the warehouse of events (the legend) to be the most important of all parts. the purpose of imitation is to represent an action, not a quality. In his opinion, characters give people exactly qualities. “Happy or unhappy ... are only [only] as a result of action ... [in tragedy] action is not carried out in order to imitate characters, but, [on the contrary], characters are affected [only] through action; Thus, the purpose of the tragedy is the events(our italics - I.Ch.) "2. Denoting the warehouse of events as the most important part of the tragedy, Aristotle considers the principles of organizing events into a single whole as the basis for building a composition.

What should be the store of events? The first condition is that the action must have a "known scope", i.e. be complete, whole, having a beginning, a middle and an end. The warehouse of events, like any thing that consists of parts, not only must "have these parts in order," but the volume must also be non-random. This is the law of unity and wholeness, and it expresses the relation of the part to the whole. As the next principle, Aristotle singled out the position according to which the composition should express the action concentrated not around one person, but the action. “Because with one person an infinite number of events can occur, of which others have no unity” 3 . Theatrical imitation consists in imitation of a single and whole action, which involves all the characters in its zone. Therefore, the warehouse of events is an expression of this general action. Events must be composed in such a way that “with the rearrangement or removal of one of the parts, the whole would change and be upset, because the presence or absence of which is imperceptible, is not part of the whole” 4 . It should be noted here that this is the law of "exclusion of the event", which must be applied in the analysis of the play when highlighting events and separating them from facts. If the excluded changes the plot of the entire play, this is an event; if not, it is a fact that affects the action of a character or several characters, but not the plot of the entire play.

Speaking of the plot, we should understand it as a "story", as defined by Aristotle, which undoubtedly affects the overall composition of the play. Tales are simple and complex (woven). Complex ones differ from simple ones - Aristotle points out - by the presence of a fracture (change of fate) based on recognition (for more details on these concepts, see "Poetics"). Aristotle calls the above mentioned parts generators, because these principles organize and order the warehouse of events in a certain sequence.

Prologue- an introductory monologue, sometimes a whole scene containing a presentation of the plot or the initial situation.

Episody - direct development of the action, dialogic scenes.

Exod - the final song accompanying the solemn departure of the choir.

choral part- it includes stasim (song of the choir without actors), the number and volume of stasims is not the same, but after the third the action moves to the denouement; commos - joint vocal part of the soloist and choir.

These are the parts of the tragedy that make up its composition. Each of these parts contains a different number of events, but there is a definite difference between them. Next, you need to consider each of these parts, and then the types of compositions that they form.

§ 2. Composition structure

With the development of dramaturgy, the initial division into the middle, beginning and end in the technique of dramaturgy became more complicated, and today these parts of a dramatic work have the following names: exposition, plot, development of action, climax, denouement and epilogue. Each element of the structure has its own functional purpose. But such a scheme was not fixed immediately, in principle, disputes over the name and number of elements continue to this day.

In 1863, Freitag proposed the following scheme for dramatic structure:

1. 
   Introduction (exposition).
2. 
   Exciting moment (tie).
3. 
   Increasing (ascending movement of the action from the exciting moment, that is, about the tie to the climax).
4. 
   Climax point.
5. 
   Tragic moment.
6. 
   Downward action (pivot to disaster).
7. 
   The moment of the last tension (before the catastrophe).
8. 
   Catastrophe.

Of course, some points in this scheme are debatable, however, this is the most interesting scheme in the development of the concept of composition structure. In our country, Freytag was undeservedly forgotten, due to the fact that Stanislavsky's criticisms about the fact that the use of such a concept dries up creativity were misunderstood. This is a fair remark, but a remark actor and not theater theorist. There were several more schemes of dramatic structure, we have noted only the most interesting ones.

Aristotle Freitag

(beginning-middle-end) (rise-tragic moment-catastrophe)

Volkenstein Vasiliev

(continuous rise) (repeat-contrast-modulation)

Ultimately, all authors agree on the triadic structure of the underlying dramatic composition. Here, in our opinion, there can be no "universal" scheme, since this is creativity, and its laws remain largely a mystery to us. One way or another, if we try to bring all these schemes together, then the structure of a dramatic work can be expressed as follows:

the result of the struggle

the beginning of the struggle

the course of the struggle

From this scheme, we see that the beginning of the struggle is revealed in the exposition and the beginning of the main conflict. This struggle is realized through concrete actions (ups and downs - in the words of Aristotle) ​​and constitutes general movement from the beginning of the conflict to its resolution. The climax is the highest tension in action. The result of the struggle is shown in the denouement and finale of the play.

§ 3. Parts of the composition

Prologue currently acting as Foreword - this element not directly related to the plot of the play. This is a place where the author can express his attitude, it is a demonstration of the author's ideas. It can also be the orientation of the presentation. Following the example of ancient Greek plays, the Prologue can be a direct appeal of the author to the viewer (“The Ordinary Miracle” by E. Schwartz), the chorus (“Romeo and Juliet”), the character (“The Life of a Man” L, Andreev), a person from the theater.
exposition (from lat. expositio- "statement", "explanation") - part of a dramaturgical work in which the situation preceding the beginning of the action is characterized. Its task is to present all the proposed circumstances of a dramatic work. Even the very title of the play serves as an exposition to a certain extent. In addition, the task of the exposition, in addition to presenting the entire background of the play, includes exposing the action. Depending on the idea, the exhibition can be: straight(special monologue); indirect(disclosure of circumstances in the course of action);

Also in the role of the exposition may lie the display of events that occurred long before the main action of the play (see “Guilty Without Guilt” by A.N. Ostrovsky). The purpose of this part of the composition is to provide information necessary for understanding the upcoming action, a message about the country, time, place of action, a description of some events that preceded the beginning of the play and influenced it. A story about the main alignment of forces, about their grouping to the conflict, about the system of relationships and the relationship of characters in this situation, about the context in which everything must be perceived. The most common type of exposition is showing the last segment of life, the course of which is interrupted by the emergence of a conflict.

The exposition contains an event that occurs at the beginning of the play. The initial situation begins with it, giving impetus to the movement of the whole play. This event is called original. It contributes not only to revealing the fundamental principle of the plot, but effectively prepares eyeballs. The plot and exposition are inextricably linked elements of a single, initial stage of the play, which forms the source of dramatic action. You should not think that the initial event is the exposition - this is not true. In addition to it, several more events and various facts may also be included there. Note that our consideration is dramatic exposition, but there is also theatrical exposition. Its task is to introduce the viewer into the world of the upcoming performance. In this case, the very location of the auditorium, lighting, scenography, and more. others related to the theater, but not to the play, will be a kind of exposition.
tie - the most important element of the composition. Here are the events that violate the original situation. Therefore, in this part of the composition there is the beginning of the main conflict, here it acquires its visible outlines and unfolds as a struggle of characters, as an action. As a rule, two opposite points of view, different interests, worldviews, ways of existence collide. And they do not just collide, but are tied into one conflict knot, the resolution of which is the goal of the play's action. It can even be said that the development of the action of the play is the resolution of the plot.

Regarding what is considered the beginning of an action, Hegel noted that “in empirical reality, each action has a lot of prerequisites, so that it is difficult to determine where the real beginning should be found. But since dramatic action is essentially based on a certain conflict, the corresponding starting point would be to toy situation from which this conflict must develop in the future. It is this situation that we call the tie.
Development of action - the most extensive part of the play, its main field of action and development. Almost the entire plot of the play is located here. This part consists of certain episodes, which many authors divide into acts, scenes, phenomena, actions. The number of acts is in principle not limited, but, as a rule, ranges from 3 to 5. Hegel believed that the number of acts should be three:

1st - collision detection;

2nd - disclosure of this collision, "as a live clash of interests, as division, struggle and conflict" 1 .

3rd - resolution in the utmost aggravation of its contradiction;

But almost all European drama adheres to a 5-act structure:

1st - exposure;

2,3,4th - development of action;

5th - final;

It should be noted that in action development find and climax- another structural element of the composition. It is independent and functionally different from action development. That is why we define it as an independent (by function) element.
climax - By common definition this is the pinnacle of the development of the play. In each play there is a certain milestone, which marks a decisive turn in the course of events, after which the very nature of the struggle changes. The denouement begins to rapidly approach, It is this moment that is commonly called - climax. At the core of the climax is central event, which is a radical change in the action of the play, in favor of one or another side involved in the conflict. In its structure, the culmination, as an element of the composition, can be complex, that is, it can consist of several scenes.
denouement - here the main (plot) action of the play traditionally ends. The main content of this part of the composition is the resolution of the main conflict, the cessation of side conflicts, other contradictions that make up and complement the action of the play. The denouement is logically associated with the tie. The distance from one to the other is the plot zone. It is here that the through action of the play ends and the characters come to one or another result, as they say in the theory of Sanskrit drama - “gaining fruit”, but it is not always sweet. In European tragedy, this is the moment of the death of the hero.
Epilogue - (epilogos) - part of the composition that produces the semantic completion of the work as a whole (and not the storyline). The epilogue can be considered a kind of afterword, a summary in which the author sums up the semantic results of the play. In dramaturgy, it can be expressed as the final scene of the play, following the denouement. Not only the content, style, form, but also its very purpose has changed in the history of drama. In antiquity, an epilogue was an appeal by the choir to the viewer, which commented on the events that had taken place and explained the author's intention. In the Renaissance, the epilogue acts as an appeal to the viewer in the form of a monologue, containing the author's interpretation of events, summarizing the idea of ​​the play. In the dramaturgy of Classicism, please be kind to the actors and the author. In the realistic dramaturgy of the 19th century, the epilogue takes on the features additional scene, revealing the patterns that determine the fate of the characters. Very often, therefore, the epilogue depicted the life of the characters, many years later. In the 20th century, there is polyphony in the understanding and use of the epilogue. It often occurs at the beginning of the play, and in the course of the play it is explained how the characters came to a similar ending. Chekhov was constantly preoccupied with the question of the "original" ending of the play. He wrote: “I have an interesting plot for a comedy, but I haven’t figured out the end yet. Whoever invents new endings for plays will invent new era! There are no mean endings! A hero either get married or shoot yourself, there is no other way out” 1 .

Volkenstein, on the contrary, believed that “an epilogue is usually a statistical stage situation: a sign of the author's inability to give an exhaustive resolution of the “dramatic struggle” in the last act. A very controversial definition, but still not without its meaning. Indeed, some playwrights overuse the epilogue to express not so much their ideas, but to complete the action. How important is the problem of the finale of the play and the epilogue that follows from the entire content of the play, emphasizes the following opinion. “The problem of the last act is first of all an ideological problem and only then a technological one. It is in the last act, as a rule, that the resolution of the dramatic conflict is given, therefore, it is precisely here that the ideological position of the dramatic writer manifests itself most actively and definitely. An epilogue can also be understood as a kind of look into the future, answering the question: what will happen to the characters of the play in the future?

An example of an artistically solved epilogue is the "silent scene" in Gogol's "Inspector General", the reconciliation of clans in Shakespeare's "Romeo and Juliet", Tikhon's rebellion against Kabanikhi in Ostrovsky's "Thunderstorm".

§ 4. Laws of composition

We will not dwell on this topic in detail, it is enough to note that there is enough literature on this issue. Moreover, in music, painting, architecture, they are developed with such care that, really, theater theorists should be envied. Therefore, it is difficult in this case to come up with something new, we will limit ourselves to a simple enumeration of these laws.

• 
  Integrity;
• 
  Interrelation and subordination;
• 
  proportionality;
• 
  Contrast;
• 
  Unity of content and form;
• 
  Typification and generalization;

§ 5. Types of dramatic compositions

We have already named and briefly characterized the main parts of the composition of a dramatic work. They do not have a set form of combination once and for all, but each time, combined in a new way, they create special types of compositions. In the compositional presentation of the events of the play, a breakdown of the action into acts is distinguished. The events in the acts are located in completely different ways and depend primarily on the form of construction of the play.

In a play consisting of 5 acts

1 act - exposition, at the end of the act - a plot;

2nd and 3rd - development of action;

4th - climax;

5th - denouement and finale.

In a play consisting of4thactions (acts):

1. 
   exposure and setting;
2. 
   development action;
3. 
   climax;
4. 
   denouement and epilogue;

IN3rdact play:

1. 
   exposition, plot and the beginning of the development of the action;
2. 
   development of action at the end of the climax;
3. 
   denouement of the action, finale and epilogue;

In a play consisting of2ndacts:

1 - exposition, plot, development of action, culmination at the end;

2 - culmination, denouement, final epilogue can be placed at the beginning;

INone-act play Naturally, everything is located in one act.
According to the sequence of events (naturally, major, i.e. defining the plot of the play) one by one we distinguish several types of compositions. Let's name a few.
Linear - composition. This is the most common type of composition. It is characterized by the fact that in it parts of the composition follow sequentially, one after another.

Reverse - in this type of composition, although events are arranged (follow) linearly, they are in reverse order.

Ring - characterized by the fact that in it the beginning closes with the final, i.e. the action of the play begins with what it ends with.

Detective - we call it that, because many detective stories are written according to a similar scheme. The exposition in it drags on for quite a long time and the characters are constantly forced to turn to the beginning and try to restore it.

Mounting - consisting of several storylines, stories that are linked into one single narrative with the help of editing. For example, two stories.
Events of the 1st story a b c d e f g h i l k

Events of the 2nd story 1 2 3 4 5 6 7 8 9

Editing compositionthese two stories:
a1 b2 c d3 4 e f5 g h6 7 i l8 k9

There is a montage of three or more stories. This type of composition allows you to achieve epic narration. The main characteristic of this type will be the coverage of various events that are not related to each other in plot, one semantic problem underlying the work.
collage - one of the most complex compositions but also the most interesting. It is based on a certain semantic plot built according to a structural scheme (exposition, plot, climax, denouement, epilogue), but each part of the composition is revealed by a separate story.

1 story 2 3 4 5
This is not a montage, but a collage. As a clear example, we can cite “Little Tragedies” by A.S. Pushkin, where a single plot is revealed various stories about vices. Collage as an eccentric metaphor, but not an explicit form of composition, is present in the paintings of Picasso, in the plays of B. Brecht and P. Weiss, in the direction of E. Vakhtangov and E. Piscator. This type of composition can be used especially successfully when staging.

Paradoxical - this type of composition is characterized by a reversal of perspective and a shift in dramatic structure. This deliberate violation of the harmonic compositional unity leads to the exposure of the semantic and artistic construction, which generally removes the automaticity of the viewer's perception. In reality, this is expressed as follows: a logically developing action is interrupted by a piece or scene completely unrelated in meaning, style, even genre. On the one hand, this shows the "wrong side" of the action, character, performance; on the other hand, it communicates a new vision of an ordinary, everyday event. The location of the parts of the composition in this case becomes not exactly defined, but it will be more accurate to say un-defined: the plot can be followed, for example, by the finale, and then the exposition begins. But this type of composition is used extremely rarely in dramaturgy, it is more characteristic of directorial innovations.

Thus, we see that with a single plot set of events, in a work of art it is possible to state (arrange) them completely arbitrarily, but according to certain laws. At the same time, it is necessary to distinguish sequence of events that occurred chronologically from forms of presentation these events. This brings us to the concept of disposition, which we will consider.

§ 6. Disposition and composition

This concept(disposition) is used by Vygotsky L.S. in "Psychology of Art" in the analysis of aesthetic reaction on the example of I. Bunin's story "Easy breathing". In this analysis, in his opinion, the issue of composition is especially relevant: “... events a, b, c completely change their meaning ... if we rearrange them in this order, say: b, c, a; b, a, c" 1 . When analyzing a work of art, Vygotsky proposes to distinguish between the static scheme of the construction of a story (as it were, its anatomy) from the dynamic scheme of its composition (as it were, its physiology). By "disposition" in this case is meant the chronological arrangement of the episodes that make up the story. This is commonly called the disposition of the story i.e. "natural disposition of events" 2 .

This concept is very rarely used in dramaturgy, but we still decided to include it, because. not always in theatrical practice the director is conditioned by dramaturgy. Recently, they have often resorted to staging, and in working on it, this concept becomes very important in revealing the author's intention and in building his presentation scheme.

To explain the concept of disposition, since we are talking about Vygotsky, we will use the story "Lung and Breath". So, the disposition of the story "Light Breath" by I. Bunin differs significantly from its composition. Events that happened in the life of the characters this story are presented out of order, in the wrong sequence and relationship. The story itself consists of two stories. The first is the life of Olya Meshcherskaya; second Life cool lady. These stories do not tell about their whole life, but about the last times in the life of Olya Meshcherskaya and the life of a cool lady after her death. We present these events in chronological order(definition and names of Vygotsky's events).
Story disposition

A- these are events related to the life of O. Meshcherskaya. They make up the main outline, the plot of the story. IN - events from the life of a classy lady. We did not include them in the general numbering, because the author does not give an exact temporal definition for them (as well as talking about easy breathing, but more on that later). In the story, these events follow a very different order.
Story Composition

14. Grave.

1. Childhood.

2. Youth.

3. Episode with Shenshin.

8. Last winter.

10. Conversation with the boss.

11. Murder.

13. Interrogation with a witness.

9. Episode with the officer.

7. Diary entry.

5. Arrival of Malyutin.

6. Communication with Malyutin.

14. Grave.

• 
  Cool lady.
• 
  Dream of a brother.
• 
  The dream of an ideological worker.

12. Funeral

4. Talk about easy breathing.
The question of where to put the talk about easy breathing is very important. Vygotsky puts it almost at the very beginning. But Bunin does not give an exact temporal definition of this scene (“... one day at a big break, walking in the gymnasium garden ...”). This is the liberty of Vygotsky, from which the whole semantic concept of the story changes. If this scene is at the beginning, then all " love stories"there is some development of this" easy breathing". But if, after all the stories and connections of Meshcherskaya, we put this conversation about her discovery of beauty - “easy breathing” - then her refusal to go with an officer takes on a completely new meaning and the more tragic the murder becomes. We emphasize once again that chronologically (in disposition) the author does not give the exact location of this scene, but in the composition we talk about light breathing completes(!) story. This may be the author's intention: for the reader to correlate the location of this story in the life of Meshcherskaya, he himself puts it in the finale.

In the era Renaissance ideas about the composition of the drama, laid down in antiquity, are being streamlined.

• the basis of the drama is the plot (you need to carefully develop the intrigue of the play);
• characters must be typical;
• the five-act structure of the plays (with reference to Horace, a Roman poet and art theorist);

An extremely important provision, developed in the 16th century and anticipating classicism, was the concept of "three unities" in drama - unity of action, place and time.

The composition of the play is subject to the disclosure of the conflict.

The laws of composition:

· Integrity;

Interrelation and subordination;

· Proportionality;

· Contrast;

Unity of content and form;

· Typification and generalization;

With the development of dramaturgy, the initial division into the middle, beginning and end in the technique of dramaturgy has become more complicated, and today these parts of a dramatic work have the following names: exposition, plot, development of action, climax, denouement, we also highlight the prologue - before and the epilogue - after.

Prologue

The Prologue currently acts as a Preface - this element is not directly related to the plot of the play. This is a place where the author can express his attitude, it is a demonstration of the author's ideas. It can also be the orientation of the presentation.

exposition
Exposition (from Latin expositio - “exposition”, “explanation”) is a part of a dramatic work in which the situation preceding the beginning of the action is characterized. Its task is to present all the proposed circumstances of a dramatic work.

The exposition should be closely related to the main action. The playwright must assume that he is writing for people who know absolutely nothing about his material, except for a few historical themes. The playwright should make it clear to readers:

1) who are his characters

2) Where are they located,

3) when the action happens

4) what exactly in the present and past relationships of his characters serves as the plot plot.

tie

Here are the events that violate the original situation. Therefore, in this part of the composition there is the beginning of the main conflict, here it acquires its visible outlines and unfolds as a struggle of characters, as an action. The plot is a very important moment in the development of the plot, this is the moment when decisions are made (fraught with consequences), the moment of awakening the will to conflict, pursuing a specific goal.

Shakespeare's plays use a particular conflict to establish the causes of an action. "Macbeth" begins with the sinister incantations of the witches, after which we learn that Macbeth has won great victory. Hamlet begins with a silent picture - a ghost passes silently across the stage. In both cases, the amount of information reported is directly proportional to the strength of the tension created.

Development of action

The most extensive part of the play, its main field of action and development. Almost the entire plot of the play is located here. This part consists of certain episodes, which many authors divide into acts, scenes, phenomena, actions.

Drama is struggle; interest in drama is, above all, interest in the struggle, in its outcome. Who will win? Will lovers unite in defiance of those who interfere with them? Will the ambitious man succeed? And so on.

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.

In the play, the action goes along an ascending line - this is the basic law of dramaturgy. Dramaturgy requires a build-up of action, the lack of build-up in action instantly makes the drama boring. If a lot of time passes between actions, the playwright depicts us only the moments of collisions, growing towards a catastrophe.

The increase in action in drama is achieved by:

1) The gradual introduction into the struggle of more and more active forces from the side of counteraction - more and more influential and dangerous characters for the hero;

2) Gradual intensification of the actions of each of the combatants.

Many plays use the alternation of dramatic, tragic scenes - scenes in which the characters fight with dangerous means, with scenes in which a comic struggle takes place.

climax
The pinnacle of the development of the play. This is a required scene. In each play there is a certain milestone, which marks a decisive turn in the course of events, after which the very nature of the struggle changes.

The climax in dramaturgy is the main event that causes an increase in action, this is the immediate goal towards which the play develops.

The climax is the point in the play where the action reaches its highest voltage, the most critical stage of development, after which comes the denouement.

In the play "HeddaGabler" the climax seems to be the moment when Hedda burns Levborg's manuscript; is the climax of all events or crises her life, shown in the play or that happened before it began, which interest Ibsen. From this moment on, we see only results, the action never reaches such tension again. Even the death of Hedda is only a logical consequence of previous events.

The climax is by no means the most noisy moment in the play, it is the most significant moment and, therefore, the most intense.

denouement

Traditionally, the main (plot) action of the play ends. The main content of this part of the composition is the resolution of the main conflict, the cessation of side conflicts, other contradictions that make up and complement the action of the play. The denouement is logically associated with the tie. The distance from one to the other is the plot zone.

It should be noted that the catastrophe behind which ancient tragedy a denouement follows, in many new dramas it coincides with the denouement.

In the denouement, the destinies of all the main characters must be completed.

Epilogue

(Epilogos) - a part of the composition that produces the semantic completion of the work as a whole (and not the storyline). The epilogue can be considered a kind of afterword, a summary in which the author sums up the semantic results of the play. In dramaturgy, it can be expressed as the final scene of the play, following the denouement.

11. "Poetics" of Aristotle: the concept of mimesis, the difference between the arts on the subject, ways and means of imitation.

Aristotle's Poetics is the first systematic theory of drama.

In his treatise, Aristotle considers drama inextricably linked with other arts. All arts, according to Aristotle, are imitation (mimesis). However, this is not an imitation of nature in general, but an imitation of man: his character, passions and actions.

The arts differ from each other in the types of imitation. At the same time, art (as mimesis) is not a mechanical, but a creative reproduction of reality, serving both for knowledge and for pleasure. From masterfully reproduced things we enjoy. The artist reproduces human life, focusing on the general, and not on random particulars, he, according to the laws of reason, common sense creatively recreates reality, imitating these very nature. From this thought comes the position of Aristotle that "poetry is more philosophical and more serious than history." The historian grasps only the particulars that really happened - the accidental and fleeting, the poet, having the opportunity to creatively recreate reality, turns to the generalized and typical in man.

So, all kinds of arts differ in subject, means and way of imitation.

12. Drama as a kind of verbal creativity. Peripetia and recognition. Varieties of plots (tales) according to Aristotle.

The specificity of drama is in the way of imitation: if an epic (such as the Iliad) is imitation through a story, then drama is action imitation. If the epic tells us about an event, then the drama shows that it represents this event in action. Hence the name of this art form ("drama" in Greek literally - action). So Aristotle gives us the classic definition artistic specificity drama.

Varieties of dramas differ in the subject of imitation: lofty and noble objects and actions are depicted in tragedy, low objects in comedy. However, the specificity lies precisely in the method, and not in the subject or means of imitation. Low objects can be depicted in a parody, high objects in an epic poem. In all cases, the means of imitation is “decorated speech” (that is, poetic, rhythmic, with meter and rhyme). However, tragedy and comedy are precisely actions, imitations of action.

Sequence of events in drama. The plot is the processing of the myth, a certain combination of events in the drama, this, according to Aristotle, is "the basis and soul of tragedy." It is by building the action in a special way that the poet shows his art.

At the same time, Aristotle requires the observance of the principle unity of action: the plot cannot begin "anywhere", it has a beginning, a middle and an end, and is an imitation of a single and integral action, from which the tragedian should not be distracted. What, according to Aristotle, is an event? It is the transition from unhappiness to happiness and from happiness to unhappiness. The sequence of such transitions from the tie to the fracture and the denouement is the essence of tragic action. The rule of unity of action is classical for drama and retains its relevance to this day (in contrast to the rules of unity of time and place of action).

Action, according to Aristotle, is of two types - simple and intricate. Tangled is characterized by the presence vicissitudes And recognition. What is peripety? This is a change of what is happening to its opposite: from happiness to unhappiness or from unhappiness to happiness. Recognition is the transition from ignorance to knowledge. The third element of tragic action is suffering (an action that causes death or pain). It is the saturation of the action with ups and downs and recognitions that makes it tense and produces a tragic impression.

13. Semiotic theories of drama and theater.
Semiotic theories of the theater as a system of signs and cultural theories of the theater as a divergence of the actor's position ("to mean" and "to be"). Spectator theory: observation, enjoyment, co-experience, analytics, estrangement and criticism. Theater criticism: the difference between two types of subjects - research and evaluation. The special position of the theater critic, who occupies a specific place in the theater process. The influence of the critic on the formation of aesthetic priorities and moral values ​​of society. The position of the critic as a reflection of the dominant system of views.

14. E. Grotovsky and his concept of "poor theater".

The concept of the poor theatre, developed by Grotovsky, relies in all its principles on the actor. The theater, limited in expressive means, poses the problem of perfect purity, when only two main components are needed for the existence of a performance-action - an actor and a spectator. The actor becomes the focus of all the possibilities of influencing the viewer. A person in the empty space of the stage is able to express all the diversity of the artistic and psychological depth of the images he creates.

22. What is the content of the concept of "monodrama" in the concept of N. Evreinov?
Monodrama is the principle of the theatrical theory of N. N. Evreinov, the unfolding of stage events, as if projected through the consciousness of the protagonist or one of the characters. Implies a dramatic performance that presents the world the way he is perceived by the protagonist "at any moment of his stage existence", and makes each of the spectators become in the position of this person, "to live his life".

To strengthen the element of spectacle - such is the task of Evreinov.

He also wants to "abolish the ramp", but for different purposes and in a different way than the supporters of the metaphysical ballet.

He wants to merge the hero and the viewer, that is, to turn the sympathy that we feel for the main character into real empathy. We must not only

think and feel, but also hear, see, feel like a hero.

"The main character felt dizzy and green circles flashed in his eyes ... The viewer will also see these green circles on the stage." Items should also change

depending on the attitude of the hero towards them. Nature too. Hence the name: "monodrama". The art of the director, technical improvements must come to the rescue

Such is Evreinov's theory. "I'm afraid to be too hasty in my decision," he says, "but it seems to me that the refreshing idea of ​​the monodrama hangs now, as it were, in the musty air of the decrepit theater and that I am the spokesman for what could be expressed tomorrow by another or others."

The viewer has a proud place in the drama. He looks at a piece of life like God. Actors meet, collide, create drama. The drama is not a hero, not a heroine, not a noble father, not a villain - a drama, as something whole, as there is a whole chess game in which neither pawns, nor kings, nor ladies are interested, but what is created with the help of them is interesting and good. - the party itself. Will this "whole" survive in the monodrama? Who will guarantee?

Composition is a kind of program for the process of perception of the work by the reader. The composition makes a whole out of separate parts, by the very arrangement and correlation of artistic images expresses artistic sense. What is composition , compositional analysis of a work of art?

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Composition of a work of art

Composition is a kind of program for the process of perception of the work by the reader. The composition makes a whole out of separate parts, the very arrangement and correlation of artistic images expresses artistic meaning.

« What is composition?First of all, this is the establishment of the center, the center of the artist’s vision, ”wrote A.N. Tolstoy . (Russian writers about literary work. - L., 1956, vol. IV, p. 491) The composition of a work of art is understood differently.

B. Uspensky argues that "the central problem of the composition of a work of art" is "point of view problem". “It is assumed that the structure of a literary text can be described by isolating different points of view, that is, the author’s positions from which the narration (description) is conducted, and exploring the relationship between them.” (Uspensky B. Poetics of composition. - St. Petersburg, 2000, p.16)Point of view in a literary work- “the position of the “observer” (narrator, narrator, character) in the depicted world (in time, space, in the socio-ideological and linguistic environment), which, on the one hand, determines his horizons - both in relation to “volume” (degree awareness), and in terms of assessing the perceived; on the other hand, it expresses author's assessment this subject and his outlook. (Tamarchenko N.D., Tyupa V.I., Broitman S.N.Theory of Literature. In 2 volumes. - M., 2004, v.1, p.221)

« Composition - a system of fragments of the text of a work, correlated with the points of view of the subjects of speech and image, this system, in turn, organizes a change in the reader's point of view both on the text and on the depicted world. . (Tamarchenko N.D., Tyupa V.I., Broitman S.N. Theory of literature. In 2 volumes. - M., 2004, v.1, p.223) These authors distinguishthree compositional forms of prose speech

V. Kozhinov believes that composition unit“is a segment of a work, within the framework or boundaries of which one specific form (or one way, angle) of a literary image is preserved.” “From this point of view, in a literary work one can single out elements of a dynamic narrative, a static description or characterization, a dialogue of characters, a monologue and the so-called internal monologue, a character’s writing, an author’s remark, a lyrical digression… Composition – connection and ratio individual forms images and scenes. (Kozhinov V.V. Plot, plot, composition. - In the book: Theory of Literature. - M., 1964, p. 434)Large composition units- portrait (composed of individual elements of the narrative, description), landscape, conversation.

A. Esin gives the following definition: Composition - this is the composition and a certain arrangement of parts, elements and images of a work in some significant temporal sequence. (Esin A.B. Principles and methods of analysis of a literary work. - M., 2000, p. 127) He highlightsfour compositional techniques: repetition, amplification, opposition, montage.

Repetition - a roll call between the beginning and end of the text, or a repeating detail as the leitmotif of the work, or rhyme. Strengthening - the selection of homogeneous images or details. Opposition is the antithesis of images. Montage - two neighboring images give rise to a new meaning.

V. Khalizev calls such compositional techniques and means: repetitions and variations; motives; close-up, general plan, defaults; point of view; co-and opposition; installation; temporal organization of the text. (Khalizev V.E. Theory of Literature. - M., 2005, p. 276) " Composition literary work, constituting the crown of its form, is the mutual correlation and arrangement of units of the depicted and artistic and speech means.

(Khalizev V.E. Theory of literature. - M., 2005, p.276)

N. Nikolina highlights different aspects compositions:architectonics, or external composition of the text; character image system; change of points of view in the structure of the text; parts system; extracurricular elements. (Nikolina N.A. Philological analysis of the text. - M., 2003, p.51) Composition organizes the entire artistic form of the text and operates at all levels: the figurative system, the system of characters, artistic speech, plot and conflict, extra-plot elements.

« Composition - the construction of a work of art, due to its content, character and purpose, and largely determining its perception. Composition is the most important, organizing component of the artistic form, giving unity and integrity to the work, subordinating its elements to each other and to the whole. (Great Soviet Encyclopedia - M., 1973. T.12. St.1765.-p.293)

The reader perceives the text, first of all, through the features of its construction. wide view oninstallation as a principle of joining the elements of the wholeunderlies the understanding of composition. S. Eisenstein stated: “... the method of composition always remains the same. In all cases, its main determinant remains, first of all, the attitude of the author ... The decisive elements of the compositional structure are taken by the author from the foundations of his attitude to phenomena. It dictates the structure and characterization by which the image itself is deployed.” (Eisenstein S. Selected works. In 6 T. T. 3. - M., 1956, - ​​p. 42)

The composition of a literary work is based on such an important category of text as connectivity . In the same time repetitions and oppositions(opposition) determine the semantic structure of a literary text and are the most important compositional techniques.

Linguistic composition theoryoriginated at the beginning of the 20th century. V.V. Vinogradov wrote about verbal, linguistic composition. He advanced understanding compositions literary text "as a system of dynamic deployment of verbal series in a complex verbal and artistic unity"

(Vinogradov V.V. On the theory of artistic speech. - M., 1971, p. 49) The components of the language composition are word sequences. " Word row - this is a sequence (not necessarily continuous) of language units of different tiers presented in the text, united by a compositional role and correlation with a certain sphere of linguistic use or with a certain method of constructing a text. (Gorshkov A.I. Russian stylistics. - M., 2001, p.160)Language composition- this is a comparison, opposition and alternation of word rows in a literary text.

Types of composition.
1. Ring
2.Mirror
3.Linear
4.Default
5. Flashback
6.Free
7.Open, etc.
Composition types.
1. Simple (linear).
2. Complex (transformational).
Plot elements

climax

Development Fall

action actions

Exposition Ending Ending Epilogue

Extraplot Elements

1.Description:

Scenery

Portrait

3.Insert episodes

Strong positions of the text

1.Name.

2. Epigraph.

3. Beginning and end of the text, chapter, part (first and last sentences).

4. Words in the rhyme of the poem.

Drama composition- organization of dramatic action in time and space.
E. Kholodov

IPM - 2

Compositional analysis of a work of art

Compositional analysisin accordance with the style of the text, he is most productive in working on a literary work. L.Kaida writes that "all components artistic structure(facts, a set of these facts, their location, character and method of description, etc.) are important not in themselves, but as a reflection aesthetic program(thoughts, ideas) of the author, who selected the material and processed it in accordance with his understanding, attitude and assessment. (Kaida L. Compositional analysis of a literary text. - M., 2000, p. 88)

V. Odintsov argued that “only realizing the general principle of constructing a work, one can correctly interpret the functions of each element or component of the text. Without this, a correct understanding of the idea, the meaning of the whole work or its parts is unthinkable. (Odintsov V. Stylistics of the text. - M., 1980, p.171)

A. Esin says that “it is necessary to begin the analysis of the composition of a whole work precisely with reference points ... We will call the points of greatest reader tension the reference points of the composition ... Analysis of the reference points is the key to understanding the logic of the composition, and hence the whole internal logic works as a whole. (Esin A.B. Principles and methods of analysis of a literary work. - M., 2000, p.51)

Composition anchor points

1. climax
2. denouement
3. The ups and downs in the fate of the hero
4. Strong positions of the text
5. Effective artistic techniques and means
6. Replays
7. Oppositions

Object of analysisdifferent aspects of the composition can serve: architectonics, or external composition text (chapters, paragraphs, etc.); character image system; change of points of view in the structure of the text; the system of details presented in the text; correlation with each other and with other components of the text of its extra-plot elements.

It is necessary to take into account the variousgraphic highlights,repetitions of language units different levels, strong positions of the text (title, epigraph, beginning and end of the text, chapters, parts).

“When analyzing the overall composition of a work, one should first of all determine the relationship between the plot and extra-plot elements: what is more important - and, based on this, continue the analysis in the appropriate direction.” (Esin A.B. Principles and methods of analysis of a literary work. - M., 2000, p.150)

The concept of text composition is effective at two stages of analysis: at the stage of acquaintance with a work, when it is necessary to clearly imagine its architectonics as an expression of the author's views, and at the final stage of analysis, when the intertextual connections of different elements of the work are considered; methods of constructing the text (repetitions, leitmotifs, contrast, parallelism, montage, and others) are revealed.

« To analyze the composition of a literary text, one must be able to: to highlight repetitions in its structure that are significant for the interpretation of the work, serving as the basis of cohesion and coherence; identify semantic overlaps in parts of the text; highlight the language signals that mark the compositional parts of the work; correlate the features of text division with its content and determine the role of discrete compositional units in the whole; establish a connection between the narrative structure of the text ... with its external composition. ( Nikolina N.A. Philological analysis of the text. - M., 2003, p.51)

When studying the composition, one should take into account the generic features of the work. The compositional analysis of a poetic text may include, for example, operations.

Compositional analysis of a poetic text

1.Strophes and verses. The microtheme of each part.

2. Language composition. Key words, word series.

3. Compositional techniques. Repetition, amplification, antithesis, montage.

4. Strong positions of the text. Title, epigraph, first and last sentences, rhymes, repetitions.

Compositional analysis of prose text

1. Plan of the text (micro-themes), plot scheme.

2. Reference points of the composition.

3. Repetitions and oppositions.

4. Compositional techniques, their role.

5. Strong positions of the text.

6. Language composition. Key words, word series.

7. Kind and type of composition.

8. The role of the episode in the text.

9. The system of character images.

10. Change of points of view in the structure of the text.

11. Temporary organization of the text.

1. External architectonics. Acts, actions, phenomena.

2. Development of action in time and space.

3. The role of plot elements in the text.

4. The meaning of remarks.

5. The principle of grouping characters.

6. Stage and off-stage characters.

Analysis of an episode of a prose text

What is an episode?

The assumption about the role of the episode in the work.

Concise retelling of the fragment.

The place of the episode in the composition of the text. What are the before and after pieces? Why exactly here?

The place of the episode in the plot of the work. Exposition, plot, climax, development of action, denouement, epilogue.

What themes, ideas, problems of the text are reflected in this fragment?

Arrangement of characters in the episode. New in the characters of the heroes.

What is the object world of the work? Landscape, interior, portrait. Why in this particular episode?

episode motives. Meeting, dispute, road, dream, etc.
Associations. Biblical, folklore, antique.
On whose behalf is the story being told? Author, narrator, character. Why?
Organization of speech. Narration, description, monologue, dialogue. Why?
Language means of artistic representation. Paths, figures.
Conclusion. The role of the episode in the work. What themes are developed in this episode? The meaning of the fragment for revealing the idea of ​​the text.

The role of the episode in the text

1.Characterological.
The episode reveals the character of the hero, his worldview.
2.Psychological.
Episode Reveals state of mind character.
3. Rotary.
The episode shows a new twist in the relationship of the characters
4. Estimated.
The author gives a description of a character or event.

IPM - 3

Program

"Studying the composition of artistic

Works at the lessons of literature in grades 5 - 11 "

Explanatory letter

Relevance of the problem

The problem of composition is the center of the study of the work of art. The composition of a work of art is understood in different ways.

B. Uspensky argues that "the central problem of the composition of a work of art" is "the problem of point of view." V. Kozhinov writes: "Composition is the connection and correlation of individual forms of image and scenes." A. Esin gives the following definition: "Composition is the composition and a certain arrangement of parts, elements and images of a work in some significant time sequence."

In linguistics, there is also a theory of composition. Language composition is a comparison, opposition, alternation of word rows in a literary text.

Compositional analysis in accordance with the style of the text is most productive when working on a literary work. L. Kaida says that "all components of the artistic structure are important not in themselves, but as a reflection of the aesthetic program of the author, who selected the material and processed it in accordance with his understanding, attitude and assessment."

The way children acquire reading qualifications is an independent deep aesthetic analysis of a literary text, the ability to perceive a text as a sign system, a work as a system of images, to see ways to create an artistic image, to experience the pleasure of perceiving a text, to want and be able to create their own interpretations of a literary text.

“The structure of a literary text in this case (analysis) acts as a “mortified” object of study: elements in the text can be distinguished, compared with each other, compared with elements of other texts, etc. ... analysis helps the reader find answers to questions: “How is the text arranged?”, “What elements does it consist of?”, “For what purpose is the text built this way and not otherwise?” - writes Lavlinsky S.P.

Goal and tasks

Development of reader culture, understanding of the author's position; figurative and analytical thinking, creative imagination.

• Know the concepts of “composition”, “compositional techniques”, “types of composition”, “types of composition”, “language composition”, “compositional forms”, “composition reference points”, “plot”, “plot elements”, “extra-plot elements” , "conflict", "strong positions of the text", "literary hero", "motive", "plot", "verbal techniques of subjectification", "types of narration", "system of images".
• To be able to perform a compositional analysis of a prose text, a poetic text, a dramatic text.

5th grade

"Narration. The initial concept ofplot and conflictin epic work, portrait,building a work". (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p.268)

Verse and stanza.

Strong positions of the text: title, epigraph.

Plan of the text, micro-theme.

Compositional techniques: repetition, opposition.

Plot elements: plot, development of action, climax, fall of action, denouement.

The structure of a folk fairy tale (according to V. Propp).

"Propp's Maps"

1. Absence of one of the family members.

3. Violation of the prohibition.

4. Finding out.

5. Issue.

6. Trick.

7. Involuntary complicity.

8. Wreckers (or shortage).

9. Mediation.

10. Beginning opposition.

11. The hero leaves the house.

12. The donor tests the hero.

13. The hero reacts to the actions of the future donor.

14. Obtaining a magical remedy.

15. The hero is transferred, delivered, brought to the location of the "location" of the search items.

16. The hero and the antagonist enter the fight.

17. The hero is being marked.

18. Antagonist defeated.

19. Trouble or shortage is eliminated.

20. The return of the hero.

21. The hero is persecuted.

22. The hero flees from persecution.

23. The hero arrives unrecognized at home or in another country.

24. A false hero makes unfounded claims.

25. The hero is offered a difficult task.

26. The task is solved.

27. The hero will be recognized.

28. A false hero or antagonist is exposed.

29. The hero is given a new look.

30. The enemy is punished.

31. The hero gets married.

The plot of a folk fairy tale

1. Start. Exposure: the situation before the start of the action.

2.Setting: the hero is faced with a new situation (sabotage, lack, the hero leaves the house).

3. Development of action: the hero sets off on a journey, crosses the border of another world (donor, magic tool).

4.Climax: the hero between life and death.

5. Falling action: tense moments.

6.Decoupling: resolution of contradictions (wedding, accession of the hero). Ending.

Ways of inventing stories (according to D. Rodari)

• Bean fantasy.
• Limerick.
• Mystery.
• Propp cards.
• Inside out story.
• An old fairy tale in a new way.
• character material.
• Salad from fairy tales.
• Continuation of the tale.
• fantastic hypothesis.

"Fantastic Hypothesis"

What would happen if...? We take any subject and predicate - their combination gives a hypothesis. What would happen if our city suddenly found itself in the middle of the sea? What would happen if money disappeared all over the world?

What would happen if a person suddenly woke up in the guise of an insect?

This question was answered by F. Kafka in the story "Transformation".

"Limerick"

Limerick (English) - nonsense, absurdity. E. Lear's limericks are the most famous. The scheme of the limerick structure is as follows.

The first line is a hero.

The second line is the description of the hero.

The third and fourth lines are the actions of the hero.

The fifth line is the final characteristic of the hero.

Once upon a time there lived an old marsh man,

Nonsensical grandfather and burdensome,

He was sitting on the deck

Sang songs to the frog

Corrosive old man swamp.

E. Lear

Another variant of the limerick structure is possible.

The first line is the hero's choice.

The second line is the actions of the hero.

The third and fourth lines are the reaction of others to the hero.

The fifth line is the output.

An old grandfather lived in Graniers,

He walked on tiptoe.

All vied with him:

Laugh with you!

Yes, a wonderful old man lived in Granieres.

D.Rodari

"Mystery"

Constructing a riddle

Let's choose any item.

The first operation is elimination. Let's give the object such a definition, as if we see it for the first time in our lives.

The second operation is association and comparison. The object of association is not the subject as a whole, but one of its characteristics. For comparison, choose another item.

The third operation is the choice of metaphor (hidden comparison). We give the subject a metaphorical definition.

The fourth operation is an attractive form of puzzle.

For example, let's think of a riddle about a pencil.

First operation. A pencil is a stick that leaves a mark on a light surface.

Second operation. A light surface is not only paper, but also a snow field. The trace of a pencil resembles a path on a white field.

Third operation. A pencil is something that draws a black path on a white field.

Fourth operation.

He is on a white - white field

Leaves a black mark.

"Fairy Tales Inside Out"

Everyone enjoys the game of twisting fairy tales. Perhaps a deliberate “turning inside out” of a fairy-tale theme.

Little Red Riding Hood is evil, and the wolf is kind ... The boy - s - Finger conspired with the brothers to run away from home, leave their poor parents, but they holed his pocket and poured rice into it ... Cinderella, a mean girl, scoffed at her wonderful stepmother, beat off her fiancé from her sister ...

"Continuation of the fairy tale"

The story is over. What happened next? The answer to this question will be new fairy tale. Cinderella married the Prince. She, unkempt, in a greasy apron, always sticks out in the kitchen at the stove. The Prince is tired of such a wife. But you can have fun with her sisters, an attractive stepmother ...

"Salad from fairy tales"

This is a story in which the characters of various fairy tales live. Pinocchio ended up in the house of the seven dwarfs, became the eighth friend of Snow White ... Little Red Riding Hood met the Boy - with - Finger and his brothers in the forest ...

"An old fairy tale in a new key"

In any fairy tale, you can change the time or place of action. And the fairy tale will acquire an unusual coloring. Adventures of Kolobok in the 21st century…

"Character Material"

From characteristic features character can be logically deduced and his adventures. Let the glass man be the hero. The glass is transparent. You can read the thoughts of our hero, he cannot tell a lie. Thoughts can only be hidden by wearing a hat. Glass is fragile. Everything around should be upholstered with soft, handshakes are canceled. The doctor will be a glassblower ...

A wooden man must beware of fire, but he does not sink in water ...

The ice cream man can only live in the fridge, where his adventures take place...

"Beanome Fantasy"

Take any two words. For example, a dog and a closet. There are such options for connecting words: a dog with a closet, a closet of a dog, a dog on a closet, a dog in a closet, etc. Each of these pictures serves as the basis for inventing a story. A dog runs down the street with a wardrobe on its back. This is his booth, he always carries it on himself ...

In the 5th grade, “the teacher introduces students to the construction of fairy tales, dialogue and monologue, story plan, episode, forms the initial concept of literary hero. Comprehending the structural elements of the concept of "literary hero", children learn to highlight the description of the hero's appearance, his actions, relationships, characterize experiences, referring to descriptions of nature, the environment surrounding the hero. (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of high school. - M., 1978, p. 102)

6th grade

« The initial concept of composition. The development of the concept of the portrait of a literary hero, landscape. (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p.268)

Strong positions of the text: first and last sentences, rhymes, repetitions.

Language composition: keywords.

Types of composition : circular, linear.

Plot elements: exposition, epilogue.

Extraplot Elements: descriptions (landscape, portrait, interior).

Plot scheme : plot elements and non-plot elements.

In the 6th grade, you need to “acquaint students with the elements of composition. Landscape, interior ... as a background and scene of action, ... as a means of characterizing the hero, as a necessary part of the work, due to the writer's intention ... we draw the attention of children to the event side of the work and the means of depicting characters ... ". (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of high school. - M., 1978, p. 102 - 103)

7th grade

« The development of the concept of plot, composition, landscape, types of description.The role of the narrator in the story.(Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p.268)

Language composition: verbal thematic series.

Compositional techniques: Gain.

Types of composition : mirror, flashback.

First person narration. Third person narration.

Plot and plot.

Justify the role of the episode in the text.

In the 7th grade, “we set the task of identifying the role of composition in revealing the characters of the characters ... the construction and organization of the work, the presentation of events, the arrangement of chapters, parts, the ratio of components (landscape, portrait, interior), the grouping of characters are due to the author's attitude to events and heroes. (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of high school. - M., 1978, p. 103 - 104)

8th grade

« Development of the concept of plot and composition, and the antithesis as a way of constructing a work. (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p.268)

Compositional techniques: antithesis, montage.

Types of composition: free.

plot and motive.

Verbal techniques of subjectivation: direct speech, indirect speech, inner speech.

In the 8th grade, “not only special cases of composition are considered (for example, the reception of antithesis), but links are also established between the composition and the idea of ​​the work; the composition acts as the most important "above-verbal" means of creating an artistic image. (Belenky G., Snezhnevskaya M. The study of the theory of literature in high school. - M., 1983, p.110)

Grade 9

Types of composition: open, default.

Extraplot Elements: author's digressions, inserted episodes.

Composition types

Episode Matching.

Justify the role of the episode in the text.

Subject of speech : point of view bearer.

Composition as the arrangement of text fragments that are characterized by the point of view of the author, narrator, character.

Language compositionas a comparison, opposition, alternation of word rows.

Composition of worksclassicism, sentimentalism, romanticism, realism.

Compositional analysis of dramatic text

In grade 9, “the concept of composition is enriched in connection with the study of works of a more complex structure; students to some extent master the skills of compositional analysis for more high levels(systems of images, "scene roll call", change of the narrator's points of view, conventionality of artistic time, character building, etc.)". (Belenky G., Snezhnevskaya M. Studying the theory of literature in high school. - M., 1983, p. 113)

10 - 11 grades

Deepening the concept of composition.

Different aspects of compositionartistic text: external composition, figurative system, system of characters, change of points of view, system of details, plot and conflict, artistic speech, extra-plot elements.

Compositional forms: narration, description, characterization.

Composite forms and means: repetition, amplification, opposition, montage, motif, comparison, "close-up" plan, "general" plan, point of view, temporal organization of the text.

Composition anchor points: climax, denouement, strong positions of the text, repetitions, oppositions, ups and downs in the fate of the hero, spectacular artistic techniques and funds.

Strong positions of the text: title, epigraph,

The main types of composition: ring, mirror, linear, default, flashback, free, open, etc.

Plot elements: exposition, plot, development of the action (ups and downs), climax, denouement, epilogue.

Extraplot Elements: description (landscape, portrait, interior), author's digressions, inserted episodes.

Composition types : simple (linear), complex (transformational).

Composition of worksrealism, neorealism, modernism, postmodernism.

Compositional analysis of prose text.

Compositional analysis of the poetic text.

Compositional analysis of dramatic text.

IPM - 4

The system of methodological techniques for teaching compositional

Analysis of a work of art.

Methodical methods of teaching compositional text analysis are generously scattered in the works of M. Rybnikova, N. Nikolina, D. Motolskaya, V. Sorokin, M. Gasparov, V. Golubkov, L. Kaida, Y. Lotman, E. Rogover, A. Esin, G. Belenky, M. Snezhnevskaya, V. Rozhdestvensky, L. Novikov, E. Etkind and others.

V. Golubkov believes that in the lessons of literature it is necessary to use works of painting. “In the artist’s picture, all its constituent parts are before your eyes, and it is not difficult to establish their connection. Therefore, if a teacher wants to explain to students what the composition of a literary work is, it is best to start with a picture ”(Golubkov V. Methods of teaching literature. - M., 1962, p. 185-186).

Interesting ideas can be found in books M. Rybnikova . “Compositional analysis consists of three aspects: 1) the course of action, 2) the character or other type of image (landscape, detail), its construction, 3) the system of images ... Take any central scene of a story or story and show how it is prepared by all previous and how it determines all subsequent scenes ... Take the denouement ... and prove by the whole course of action, by the characters of the characters, that this denouement is natural, that it cannot be otherwise ... The next question: about the roll call of the characters in the work, about their neighborhood, about contrasts, similarities, with the help of which the author makes scenes and characters bright ... ”(Rybnikova M. Essays on the method of literary reading. - M., 1985, p. 188 - 191).

• The methodologist cut the text of "Death of an official" by Chekhov, handed it out to the students on cards, the children arranged it in the right sequence.
• The students drew up a plan for Tolstoy's story "After the Ball", determined which part was the central one, and retold it in a horizontal order.

D. Motolskaya offers a whole group of techniques for analyzing composition.

1. “From the very grouping of actors, it becomes to some extent clear what the author’s intention is ... Revealing the principle of grouping the heroes of the work will allow students ... to keep in sight the “part” and “whole” (Motolskaya D. Studying the composition of a literary work. - In book: Questions of studying the skill of writers in literature lessons in grades VIII - X, L., 1957, p.68).

2. “When analyzing a composition, it is taken into account ... how the writer arranges the storylines (does he give them in parallel, does one storyline intersect another, is one given after the other) ... how do they relate to each other, what connects them with each other” (p. 69 ).

3. “... it seems important to find out where the exposition is given, where is the portrait or characterization of the character, where is the description of the situation, the description of nature ... why the author's reasoning or digressions appear precisely in this place of the work” (p. 69).

4. “... what is given by the artist close-up, which, as it were, is relegated to the background, that the artist details, about which, on the contrary, he writes briefly” (p. 70).

5. "... the question of the system of means of revealing the human character: biography, monologue, replicas of the hero, portrait, landscape" (p. 70).

6. “... the question of through whose perception this or that material is given ... And when the author depicts life from the point of view of one of his heroes ... when the narrator narrates ...” (p. 71).

7. “In the composition of epic works ... the principle of dividing the material in them (volume, chapter) also plays a significant role ... which serves as the basis for the writer to divide into chapters ...” (p. 71-72).

D. Motolskaya believes that it is useful to start working on a work with a consideration of the composition. “The movement from the “whole” to the “part” and from the “part” to the “whole” is one of possible ways analysis of the work... In such cases, the appeal to the “whole” is both the initial stage of the work and the final one” (p. 73).

When studying the composition, one should take into account not only the specific, but also the generic features of the work. When analyzing the composition of dramatic works, it is necessary to pay attention to off-stage characters, denouement, storylines, pulled together into one dramatic knot.

“When analyzing the composition of a lyrical work, one should not miss what is inherent in the lyrics ... the author's "I", the feelings and thoughts of the poet himself ... it is the poet's feelings that organize the material that is included in the lyric work" (p. 120).

“When analyzing epic works imbued with a lyrical beginning, one should always raise the question of what place lyricism occupies in an epic work, what is its role in an epic work, what are the ways of introducing lyrical motifs into the fabric of epic works” (p. 122).

V.Sorokin also writes about methodological methods of composition analysis. “The main task of analyzing composition ... at school is to teach students not only to draw up an “external” plan, but also to capture its “internal” plan, the poetic structure of a work” (Sorokin V. Analysis of a literary work in high school. - M. , 1955, p. 250).

1. “... when analyzing the composition of a plot work, it is important to establish what kind of conflict lies at its basis ... how all the threads of the work stretch to this main conflict ... Students should be taught to determine the main conflict of the plot work, recognizing it as the compositional core of this work” (p. 259 ).

2. "... what is the significance of ... each character for revealing the main idea of ​​the work" (p. 261).

3. “In a plot work, it is important not only to name the plot, climax, denouement, but it is even more important to trace the entire course of the development of the action, the growth of the conflict ...” (p. 262).

4. “At school, all the most important extra-plot elements in the analysis of works, students must identify and find out their ... expressiveness and relationship with the whole work” (p. 268).

5. "The epigraph is a responsible compositional element of the work" (p. 269).

"When analyzing major works it is necessary to identify the compositional elements (plot, images, lyrical motifs), their meaning and interconnection, to dwell on the most important parts (the plot, the climax, lyrical digressions, descriptions) ”(p. 280).

“In grades 8-10, small, but independently prepared by students, messages are possible: to trace the development of the plot (or one storyline), find the key points of the plot and explain their expressiveness” (p. 280).

V. Sorokin speaks of the need to use “the technique of expressive reading, retelling the most important episodes in the plot, summary plot, retelling of the climax, denouement, students' sketches, oral drawing, selection of illustrations for individual episodes with motivation, written presentation of the plot or plot, memorization of lyrical digressions, own composition with obligatory compositional techniques (for example, exposition, landscape, lyrical digressions) " (p. 281).

L.Kaida developed a decoding technique for analyzing composition. “The study covers two stages: at the first stage, the real meaning of the statement is revealed as a result of the interaction of syntactic units…; on the second (compositional) - the real meaning of the syntactic structures that make up the components of the composition (heading, beginning, ending, etc.) is revealed as a result of functioning in the text ”(Kaida L. Compositional analysis of a literary text. - M., 2000, p. 83).

A. Esin argues that you need to start the analysis of the composition from the reference points. He refers the following elements to the reference points of the composition: climax, denouement, ups and downs in the fate of the hero, strong positions of the text, spectacular artistic techniques and means, repetitions, oppositions. “Analysis of reference points is the key to understanding the logic of composition” (Esin A.B. Principles and methods of analyzing a literary work. - M., 2000, p.51)

N. Nikolina names the skills necessary for the analysis of the composition of a literary text (Nikolina N.A. Philological analysis of the text. - M., 2003, p.51).

In the 5th grade, the teacher gives "the initial concept of the plot and conflict in an epic work, a portrait, the construction of a work" (Bogdanova O., Leonov S., Chertov V. Methods of teaching literature. - M., 2002, p. 268.).

It seems successful to get acquainted with the composition on the example of folk fairy tales. “The teacher introduces schoolchildren to the construction of fairy tales, dialogue, monologue, story plan, episode, forms the initial concept of a literary hero” (Snezhnevskaya M. Theory of literature in grades 4-6 of high school. - M., 1974, p. 102.). The study of the composition of a fairy tale in the form of playing cards was proposed by D. Rodari in the book “Grammar of Fantasy” (Rodari D. Grammar of Fantasy. An Introduction to the Art of Inventing Stories. - M., 1978, p. 81.). This idea is developed by Y. Sipinyov and I. Sipinyova in the manual "Russian culture and literature" (Sipinyov Y., Sipinyova I. Russian culture and literature. - S.-P., 1994, p. 308).

The outstanding folklorist V.Ya. Propp wrote about the structure of a fairy tale in his works “Morphology of a fairy tale”, “Historical roots of a fairy tale”, “Transformations of fairy tales”.

You can use in class different forms work with "Propp's cards": compose a fairy tale based on the proposed situations, compose a fairy tale formula, compose a fairy tale formula, give examples of functions from fairy tales, compare sets of fairy tale situations in different fairy tales. (IPM - 8).

Thus, compositional analysis is effective at the stage of acquaintance with the work, when you need to imagine its architectonics, and at the final stage of the analysis, when the methods of constructing the text (repetitions, leitmotifs, contrast, parallelism, montage) are revealed and the intertextual connections of the elements of the work are considered.

Summary

Methodological techniques

• Condensed retelling.
• Creation of a simple (complex, citation) plan.
• Mental rearrangement of episodes.
• Restoration of missing links of the text.
• Identification of the principle of grouping actors.
• Justification of the role of the episode in the text.
• Identification of the location of storylines.
• Detection of plot and extra-plot elements.
• Designing your own ending.
• Comparison of plot and plot.
• Drawing up a chronological scheme.
• Discovery of different points of view.
• Analysis of the composition of a painting.
• Selection of illustrations for episodes.
• Create your drawings.
• Identification of the principle of division of the material.
• Detection of a system of means for creating a character's image (portrait, landscape, biography, speech, etc.)
• Comparison of episodes and images.
• Selection of keywords and construction of word rows.
• Analysis of strong positions.
• Search for compositional techniques.
• Determining the type of composition.
• Finding the anchor points of the composition.
• Determining the composition type.
• The meaning of the title of the work.
• Search for repetitions and contrasts at all levels of the text.
• Reception by E. Etkind "Up the ladder of meanings"

1. External plot.

2. Fantasy and reality.

3. Nature and man.

4. World and man.

5 people.

• Detection of compositional forms in a literary text.
• Detection verbal tricks subjectivation.
• Narrative type analysis.
• Search for motives in the text.
• Writing a story using D. Rodari's techniques.
• Analysis of the structure of a fairy tale.
• Working with "Propp's maps".
• Oral word drawing.

IPM - 5

Subject

A.A. Fet "Whisper, timid breathing…»

Whisper, timid breath,

trill nightingale,

Silver and flutter

sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

sweet face,

In smoky clouds purple roses,

Reflection of amber

And kisses, and tears;

And dawn, dawn!

1850

I. Perception of the poem.

What was unusual about the text?

What's not clear?

What did you see?

What did you hear?

What did you feel?

What is unusual in terms of syntax?

The poem consists of one exclamatory sentence.

What is unusual in terms of morphology?

There are no verbs in the text, mostly nouns and adjectives.

II. Language composition of the text.

What nouns refer to nature?

What nouns indicate the state of a person?

Let's build two verbal thematic series - nature and man.

"Nature" - the trills of a nightingale, the silver and the ripple of a sleepy stream, the light of the night, the shadows of the night, the purple roses in the smoky clouds, the reflection of amber, the dawn.

"Human" - a whisper, a timid breath, a series of magical changes in a sweet face, a kiss, tears.

Conclusion. The composition is based on the technique of psychological parallelism: the world of nature and the world of man are compared.

III. compositional analysis.

First stanza

What is a micro theme?

Date of lovers in the evening by the stream.

What colors? Why?

Dim colors.

What sounds? Why?

Whisper, sway.

Epithet "timid", "sleepy", metaphor "silver".

Second stanza

What is it about?

A night spent in love.

What sounds?

Silence.

What colors? Why?

There are no color definitions.

What is the role of epithets?

Third stanza

What is a micro theme?

Morning, separation of lovers.

What colors? Why?

Bright colors..

What sounds? Why?

Tears, kisses.

What is the role of means of artistic expression?

Conclusion. Fet uses the technique of color and sound contrast. In the first stanza, muted, soft colors, in the last - bright tones. This shows the flow of time - from evening through night to dawn. The nature and feelings of a person change in parallel: evening and a timid meeting, dawn and a stormy farewell. Through the sounds, the change in the mood of the characters is shown: from whispers and sleepy swaying through absolute silence to kisses and tears.

IV. Time and action.

There are no verbs in the poem, but there is an action.

Most nouns contain movement - trills, swaying.

What is the time characteristic?

Evening, night, morning.

v. The rhythmic pattern of the poem.

Work in pairs or groups.

Meter - trochee. Size - diverse with pyrrhic. Constant on 5 and 7 syllables. Clause male and female. There is no caesura. Short and long lines alternate. Anakruza is variable. The rhyme in the verse is finite, male and female alternate, exact and inexact, rich, open and closed. The rhyme in the stanza is cross.

Conclusion. The rhythmic pattern is created by a multi-footed trochaic with pyrrhias. The constant, alternating on syllables 5 and 7, gives harmony to the rhythm. The alternation of long and short lines, feminine and masculine clauses gives a combination of soft and hard rhythmic beginnings. At the end of the stanza there is a solid masculine ending, the last line is short.

VI. Features of the composition of the poem.

There are three stanzas of 4 verses in the text. Composition of the stanza: in the first stanza, 1 verse - man, 2,3,4 verses - nature; in the second stanza, verses 1.2 - nature, verses 3.4 - man; in the third stanza verses 1,2,4 - nature, verse 3 - man. These lines intertwine, alternate.

Conclusion. The composition of the poem is built on a parallel comparison of two verbal series - human and natural. Fet does not analyze his feelings, he simply fixes them, conveys his impressions. His poetry is impressionistic: fleeting impressions, fragmentary composition, richness of colors, emotionality and subjectivity.

Literature

1. Lotman Yu.M. About poets and poetry. - St. Petersburg, 1996
2. Lotman Yu.M. At school poetic word. - M., 1988
3. Etkind E. Talk about poetry. - M., 1970
4. Etkind E. Matter of verse. - St. Petersburg, 1998
5. Ginzburg L. About lyrics. - M., 1997
6. Kholshevnikov V. Fundamentals of versification. - M., 2002
7. Gasparov M. About Russian poetry. - St. Petersburg, 2001
8. Baevsky V. History of Russian poetry. - M., 1994
9. Sukhikh I. The world of Fet: moments and eternity. - Star, 1995, No. 11
10. Sukhikh I. Shenshin and Fet: life and poems. - Neva, 1995, No. 11
11. Sukhova N. Masters of Russian lyrics. - M., 1982
12. Sukhova N. Lyrics by Afanasy Fet. - M., 2000

IPM - 6

Literature lesson summary in grade 9

Subject

"Darling" A. Chekhov. Who is Dushechka?

I. Individual task.

Compare the images of Dushechka and A.M. Pshenitsyna.

II. Two views on Chekhov's heroine.

L. Tolstoy: “Despite the wonderful, cheerful comedy of the whole work, I cannot read some parts of this amazing story without tears ... The author obviously wants to laugh at a pitiful, in his reasoning, creature ... but the amazing soul of Darling is not funny, but holy.”

M. Gorky: “ Here, Dushechka scurries anxiously like a gray mouse, a sweet, meek woman who knows how to love so slavishly, so much. You can hit her on the cheek, and she won’t even dare to moan loudly, meek slave.”

Whose side are you on? Why?

III. Checking homework.

2 group. Reading written works"My attitude to Darling".

1 group. Plan of the story, compositional techniques.

1. Darling is married to an entrepreneur Kukin.
2. Death of a husband.
3. Darling is married to the manager Pustovalov.
4. Death of a husband.
5. Roman Dushechki with veterinarian Smirnin.
6. Departure of the veterinarian.
7. Loneliness.
8. Love for Sasha.

The composition is based on thematic repetitions. “Darling every time becomes the “understudy” of her husband. Under Kukin, she sat at his cash desk, looked after the orders in the garden, wrote down expenses, paid out salaries ... Under Pustovalov, “she sat in the office until the evening and wrote accounts there and sold the goods.” But at the same time, Olga Semyonovna did not remain only an assistant - she appropriated someone else's personal experience, someone else's "direction of life", as if doubling the object of their affection. Darling's selflessness, as it gradually becomes clear towards the end of the story, is a form of spiritual dependency”

3rd group. Analysis of strengths: title, beginning and end of each chapter.

Linguistic analysis of the fragment from the words “In Lent he left for Moscow…”

Find key words, build a word sequence that creates the image of the heroine (I couldn’t sleep without it, I sat by the window, looked at the stars, compared myself with chickens, they don’t sleep, they are worried, there is no rooster in the chicken coop).

“In the poetic tradition, contemplation of the starry sky usually presupposes an exalted frame of mind, a dream of wingedness. According to mythological ideas, the soul is generally winged. Olenka also compares herself with winged creatures, however - flightless, and the contemplation of the universe makes her think of a chicken coop. Just as a chicken is a kind of parody of a free migratory bird..., Chekhov’s Darling is a parody of the traditionally allegorical Psyche.”

The heroine of the story is deprived of the ability to independently choose her life position, she uses other people's self-determinations. Chekhov's irony develops into sarcasm.

V. Conclusions.

Why is the story called "Darling"? Why is there a chapter about Sashenka in the finale?

“So, no degeneration of “Darling” into an adult “soul” under the ennobling influence of maternal feelings is visible in the final part of the work. On the contrary, having adopted the author's point of view on what is being communicated to us in the text, we will be forced to admit that the last attachment finally reveals Olga Semyonovna's failure as a person. Darling ... with her inability to self-determination, her inability to actualize this meaning in herself, appears in the story as an undeveloped "embryo" of personality.

Bibliography.

1. Tyupa V. The artistry of Chekhov's story. - M., 1989, p.67.
2. Tyupa V. The artistry of Chekhov's story. - M., 1989, p.61.
3. Tyupa V. The artistry of Chekhov's story. - M., 1989, p.72.

Application

Composition

Language composition

Compositional techniques

1. Repeat.
2. Gain.
3. Installation.

Strong positions of the text.

1. Title.
2. Epigraph.
3. The beginning and end of the text, chapter, part (first and last sentence).

The main types of composition

1. Ring
2. Mirror
3. Linear
4. Default
5. Retrospection
6. Free
7. open

Plot elements

1. exposition
2. tie
3. Development of action
4. climax
5. denouement

1. The meaning of the title of the work.

IPM - 7

Literature lesson summary in grade 10

Subject

A man and his love in A. Chekhov's story "The Lady with the Dog".

Goals:

1. Cognitive:

• know the compositional techniques and their role in a work of art, the strong positions of the text, the scheme of compositional analysis of a prose text;
• be able to find compositional techniques and determine their function in a work, analyze the strong positions of the text, interpret a literary text using compositional analysis.

2. Developing:

• development of the ability to think;
• complication of the semantic function of speech, enrichment and complication of vocabulary.

Equipment

1. visual material. Photograph of the writer, tables “Scheme of compositional analysis of a prose text”, “Composition”, “Compositional techniques (principles)”.
2. Handout. Photocopies “Scheme of compositional analysis of a prose text”.

Preparing for the lesson

1. Homework for the whole class. Reading the story “The Lady with the Dog”, draw up a plan for the story.
2. Individual tasks. Three students are preparing expressive reading fragments of chapters I, III, a comparison of Pushkin's "Stone Guest" with Chekhov's story (Don Guan and Dmitry Gurov).

During the classes

I. Motivation of cognitive activity.

Russian historian V. Klyuchevsky said about Chekhov: “An artist of gray people and gray everyday life. The structure of life, woven from these absurdities, is not torn. Do you agree with this statement? Why?

II. Goal setting.

Is “Lady with a Dog” a story about a holiday romance or true love? Today in the lesson we will try to answer this question using compositional text analysis.

III. Updating what has been learned.

1. Poll. What is composition? Name compositional techniques. What is a repeat? What is reinforcement? What is the role of opposition? What is the role of editing?

2. Checking homework.

Reading and discussion of story plans.

1 chapter. Meeting of Dmitry Gurov and Anna Sergeevna in Yalta.

Chapter 2 Love (?) and parting.

Chapter 3 Meeting of heroes in the city of S.

Chapter 4 Love and “the most difficult and difficult is just beginning.”

What is each chapter about? Brief summary of the plot.

IV. Formation of the ability of compositional analysis of the text.

What is interesting about the composition of the story? Thematic repetitions: in chapters 1 and 3; events are repeated in chapters 2 and 4. Let's compare these chapters. What changes in them?

Chapter 1. The student expressively reads the fragment from the words “And then one day, in the evening, he dined in the garden ...” to the words “She laughed.” Why does Gurov meet a woman? What kind of life does the hero lead?

Individual message"Don Juan of Pushkin and Dmitry Gurov of Chekhov".

Chapter 3 More than a month…”. What happened to the hero?

Linguistic analysis of the episodefrom the words “He arrived in S. in the morning…”. Why does the author need the epithet “gray” three times? Why is the rider's head cut off? Why does the doorman pronounce Diederitz's name incorrectly?

The student expressively reads a fragment with the words “In the first intermission, the husband went to smoke ...”. What has changed in chapter 3?

“So, with Gurov in the city of S., a genuine rebirth takes place ... The emergence of a genuine, inner closeness of two personalities transforms everything. In Yalta, as we remember, while Anna Sergeevna was crying, Gurov was eating a watermelon, demonstrating his invulnerable indifference to the suffering of another. In Moscow, in the “Slavyansky Bazaar”, he orders tea for himself in a similar situation. A thematically adequate gesture acquires the exact opposite meaning. Tea drinking is a purely domestic, everyday, peaceful action. By genuine closeness, two personalities create an atmosphere of domestic intimacy around them (on the heroine, for example, “his favorite gray dress”).

Reading the end of the story. Why “…the most difficult and difficult is just beginning”? Read the first and last sentences. Compare them. What is the role of each?

Why is the story called “Lady with a Dog” (after all, we are talking about Gurov's love)?“The story told in The Lady with the Dog is not just a story of secret love and adultery. The main event of the story is the change that takes place under the influence of this love. Throughout the story, Gurov's point of view dominates, the reader looks through his eyes, first of all, a change takes place in him.

The lady with the dog has become a symbol of mental fracture, which happened to Gurov. Internal rebirth, the rebirth of a person under the influence of love for a woman.

We came to the idea of ​​Chekhov's story with the help of compositional analysis. What composition techniques did the author use and why? (Repetition and opposition).

Is this a story about a holiday romance or true love?

V. Reflection.

Write a thumbnail gray people and gray everyday life” in “The Lady with the Dog”.

VI. Homework.

1. For the whole class. Reading the story "Ionych". Make a plan, find compositional techniques.

2. Individual assignments. What is the meaning of the title of the story "Ionych". Analysis of the first and latest offers in every chapter. Comparative characteristics Gurov and Startsev.

Bibliography.

1. Tyupa V.I. The art of Chekhov's story. M., 1989, p. 44-45.
2. Kataev V.B. Literary connections of Chekhov. M., 1989, p. 101.

Application

Composition

The composition and a certain arrangement of parts, elements and images of a work in some significant time sequence.

Language composition

Comparison or opposition of verbal series.

Compositional techniques

1. Repeat.
2. Gain.
3. Opposition (opposition).
4. Installation.

Strong positions of the text.

1. Title.
2. Epigraph.
3. The beginning and end of the text, chapter, part (first and last sentence).

Scheme of compositional analysis of prose text

1. Make a text plan (micro-topics) or plot scheme(plot elements and non-plot elements).
2. Detect composition anchor points.
3. Highlight repetitions and oppositions in the structure.
4. Discover compositional techniques. Determine the role of these techniques.
5. Analysis of the strong positions of the text.
6. Find keywords. Build word thematic series.
7. Determine the type and type of composition.
8. Justify the role of a particular episode in the text.
9. The meaning of the title of the work.

IPM - 8

Bibliography

1. Lazareva V.A. Principles and technology literary education schoolchildren. Article one. - Literature at school, 1996, No. 1.
2. Collection of normative documents. Literature. Federal component of the state standard. - M., 2004.
3. Lavlinsky S.P. Technology of literary education. Communicative-activity approach. - M., 2003.
4. Loseva L.M. How the text is built. - M., 1980.
5. Moskalskaya O.I. Grammar of the text. - M., 1981.
6. Ippolitova N.A. Text in the system of studying the Russian language at school. - M., 1992.
7. Vinogradov V.V. On the theory of artistic speech. - M., 1971.
8. Russian writers about literary work. - L., 1956, vol. IV.
9. Uspensky B. Poetics of composition. - St. Petersburg, 2000.
10. Tamarchenko N.D., Tyupa V.I., Broitman S.N. Theory of Literature. In 2 volumes. - M., 2004, v.1.
11. Kozhinov V.V. Plot, plot, composition. - In the book: Theory of Literature. - M., 1964.
12. Esin A.B. Principles and methods of analysis of a literary work. - M., 2000.
13. Khalizev V.E. Theory of Literature. - M., 2005.
14. Nikolina N.A. Philological analysis of the text. - M., 2003.
15. Great Soviet Encyclopedia - M., 1973. T.12. Art.1765.-p.293.
16. Eisenstein S. Selected Works. In 6 T. T.3. - M., 1956.
17. Gorshkov A.I. Russian style. - M., 2001.
18. Kaida L. Compositional analysis of a literary text. - M., 2000.
19. Odintsov V. Stylistics of the text. - M., 1980.
20. Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002.
21. Snezhnevskaya M.A. Literary theory in grades 4-6 of high school. - M., 1978.
22. Belenky G., Snezhnevskaya M. Studying the theory of literature in high school. - M., 1983.
23. Golubkov V. Methods of teaching literature. - M., 1962.
24. Rybnikova M. Essays on the method of literary reading. - M., 1985.
25. Motolskaya D. The study of the composition of a literary work. - In the book: Questions of studying the skill of writers in literature lessons in grades VIII - X, L., 1957.
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Composition (lat. compositeio- compilation, connection) - this concept is relevant for all types of arts. It is understood as a significant correlation of parts of a work of art. Dramatic composition can be defined as the way in which a dramatic work (in particular, a text) is ordered, as an organization of action in space and time. There can be many definitions, but in them we meet two essentially different approaches. One considers the ratio of parts of a literary text (the discourse of characters), the other - directly the warehouse of events, the actions of characters (the discourse of staging). In theoretical terms, such a division makes sense, but in the practice of stage activity it is hardly possible to implement it.

The foundations of composition were laid down in Aristotle's Poetics. In it, he names the parts of the tragedy that should be used as generators ( eide) and constituent parts ( kata to poson), into which the tragedy is divided by volume (prologue, episody, exodus, choral part, and in it parod and stasim). Here we also find the same two approaches to the problem of composition. Sakhnovsky-Pankeev pointed out the same thing, saying that it is simultaneously possible "to study the composition of a play according to the formal signs of the difference between parts (subdivisions) and to analyze the structure, based on the characteristics of the dramatic action." It seems to us that these two approaches are actually stages in the analysis of dramatic composition. The composition in the drama simultaneously depends on the principle of construction of the action, and it depends on the type of conflict and its nature. In addition, the composition of the play depends on the principle of distribution and organization of the literary text between the characters, and the relationship of the plot to the plot.

How necessary and urgent are the questions of composition in the study and analysis of a dramatic work? It is hardly possible to exaggerate their role. In 1933, B. Alpers pointed out that "questions of composition in the near future will be one of the central production issues of dramatic practice." This belief has not lost its sharpness in our time. Insufficient attention to the problems of composition leads to the fact that directors are often forced to change the composition of the play, which, in general, violates the author's intention, although it largely clarifies the meaning.

The main elements in the construction of the composition is repetition, which creates certain rhythmic sequences and the violation of this repetition is contrast. These principles always have a semantic meaning, and in some cases a semantic one. We will consider the types of dramatic compositions later, but we note that any composition based on some model (which is the idea) is initially drawn up as a kind of “plan” designed to maximally express the author’s intention and the main idea of ​​the work. The composition at this stage is subordinated to the task of revealing, developing and resolving the main conflict. Therefore, if we consider the conflict as a clash of characters, then "composition is the realization of conflicts in a dramatic action, which in turn is realized in language." Thus, we remove the contradictions in the problem of understanding the dramatic composition. In matters of Poetics, composition is the law of constructing levels of meaning in a work of art. Composition allows perception to go from part to whole and vice versa, from one level of meaning to another, from primary meanings and meanings to some kind of generalization, generalized content. The director in his work adds additional structural principles due to the technology of the play's realization on the stage: pictorial composition, architectural composition, organization of the hall - stage, openness or closeness of the production, and many others. etc. To them one can add a paradoxical composition, the meaning of which is to reverse the perspective of the dramatic structure.

Considering the general principles, it is necessary to consider the parts of the composition, and here we turn again to Aristotle. He was the first in theory to single out the parts of the tragedy that make up its composition. In every tragedy, writes Aristotle, there must be six parts:

* legend ( mythos);

* characters ( ethe);

* speech ( lexis);

* thought ( dianoia);

* spectacle ( opsis);

* musical part ( melos);

The first four parts relate directly to dramaturgy, the last two directly to performance. Aristotle considers the warehouse of events (the legend) to be the most important of all parts. the purpose of imitation is to represent an action, not a quality. In his opinion, characters give people exactly qualities. “Happy or unhappy ... are only [only] as a result of action ... [in tragedy] action is not carried out in order to imitate characters, but, [on the contrary], characters are affected [only] through action; Thus, the purpose of the tragedy is the events(our italics - I.Ch.)”. Denoting the warehouse of events as the most important part of the tragedy, Aristotle considers the principles of organizing events into a single whole as the basis for building a composition.

What should be the store of events? The first condition is that the action must have a "known scope", i.e. be complete, whole, having a beginning, a middle and an end. The warehouse of events, like any thing that consists of parts, not only must "have these parts in order," but the volume must also be non-random. This is the law of unity and wholeness, and it expresses the relation of the part to the whole. As the next principle, Aristotle singled out the position according to which the composition should express the action concentrated not around one person, but the action. “Because with one person an infinite number of events can occur, of which others have no unity.” Theatrical imitation consists in imitation of a single and whole action, which involves all the characters in its zone. Therefore, the warehouse of events is an expression of this general action. Events must be composed in such a way that “with the rearrangement or removal of one of the parts, the whole would change and be upset, because the presence or absence of which is imperceptible, is not part of the whole.” It should be noted here that this is the law of "exclusion of the event", which must be applied in the analysis of the play when highlighting events and separating them from facts. If the excluded changes the plot of the entire play, this is an event; if not, it is a fact that affects the action of a character or several characters, but not the plot of the entire play.

Speaking of the plot, we should understand it as a "story", as defined by Aristotle, which undoubtedly affects the overall composition of the play. Tales are simple and complex (woven). Complex ones differ from simple ones - Aristotle points out - by the presence of a fracture (change of fate) based on recognition (for more details on these concepts, see "Poetics"). Aristotle calls the above mentioned parts generators, because these principles organize and order the warehouse of events in a certain sequence.

Prologue- an introductory monologue, sometimes a whole scene containing a presentation of the plot or the initial situation.

Episody - direct development of the action, dialogic scenes.

Exod - the final song accompanying the solemn departure of the choir.

choral part- it includes stasim (song of the choir without actors), the number and volume of stasims is not the same, but after the third the action moves to the denouement; commos - joint vocal part of the soloist and choir.

These are the parts of the tragedy that make up its composition. Each of these parts contains a different number of events, but there is a definite difference between them. Next, you need to consider each of these parts, and then the types of compositions that they form.

Composition structure

With the development of dramaturgy, the initial division into the middle, beginning and end in the technique of dramaturgy became more complicated, and today these parts of a dramatic work have the following names: exposition, plot, development of action, climax, denouement and epilogue. Each element of the structure has its own functional purpose. But such a scheme was not fixed immediately, in principle, disputes over the name and number of elements continue to this day.

In 1863, Freitag proposed the following scheme for dramatic structure:

1. Introduction (exposition).

2. Exciting moment (string).

3. Increasing (ascending movement of the action from the exciting moment, that is, about the tie to the climax).

4. Punchline.

5. Tragic moment.

6. Downward action (pivot to disaster).

7. The moment of the last tension (before the catastrophe).

8. Disaster.

Of course, some points in this scheme are debatable, however, this is the most interesting scheme in the development of the concept of composition structure. In our country, Freitag was undeservedly forgotten, due to the fact that Stanislavsky's criticisms about the fact that the use of such a concept dries up creativity were misunderstood. This is a fair remark, but a remark actor and not theater theorist. There were several more schemes of dramatic structure, we have noted only the most interesting ones.

Ultimately, all authors agree on the triadic structure of the underlying dramatic composition. Here, in our opinion, there can be no "universal" scheme, since this is creativity, and its laws remain largely a mystery to us. One way or another, if we try to bring all these schemes together, then the structure of a dramatic work can be expressed as follows:

the result of the struggle

the beginning of the struggle

the course of the struggle

From this scheme, we see that the beginning of the struggle is revealed in the exposition and the beginning of the main conflict. This struggle is realized through specific actions (ups and downs - in the words of Aristotle) ​​and constitutes a general movement from the beginning of the conflict to its resolution. The climax is the highest tension in action. The result of the struggle is shown in the denouement and finale of the play.

Parts of the composition

Prologue currently acting as Foreword - this element is not directly related to the plot of the play. This is a place where the author can express his attitude, it is a demonstration of the author's ideas. It can also be the orientation of the presentation. Following the example of ancient Greek plays, the Prologue can be a direct appeal of the author to the viewer (“The Ordinary Miracle” by E. Schwartz), the choir (“Romeo and Juliet”), the character (“Life of a Man” L, Andreev), a person from the theater.

exposition(from lat. expositio- "statement", "explanation") - part of a dramaturgical work in which the situation preceding the beginning of the action is characterized. Its task is to present all the proposed circumstances of a dramatic work. Even the very title of the play serves as an exposition to a certain extent. In addition, the task of the exposition, in addition to presenting the entire background of the play, includes exposing the action. Depending on the idea, the exhibition can be: straight(special monologue); indirect(disclosure of circumstances in the course of action);

Also in the role of the exposition may lie the display of events that occurred long before the main action of the play (see “Guilty Without Guilt” by A.N. Ostrovsky). The purpose of this part of the composition is to provide information necessary for understanding the upcoming action, a message about the country, time, place of action, a description of some events that preceded the beginning of the play and influenced it. A story about the main alignment of forces, about their grouping to the conflict, about the system of relationships and the relationship of characters in this situation, about the context in which everything must be perceived. The most common type of exposition is showing the last segment of life, the course of which is interrupted by the emergence of a conflict.

The exposition contains an event that occurs at the beginning of the play. The initial situation begins with it, giving impetus to the movement of the whole play. This event is called original. It contributes not only to revealing the fundamental principle of the plot, but effectively prepares eyeballs. The plot and exposition are inextricably linked elements of a single, initial stage of the play, which forms the source of dramatic action. You should not think that the initial event is the exposition - this is not true. In addition to it, several more events and various facts may also be included there. Note that our consideration is dramatic exposition, but there is also theatrical exposition. Its task is to introduce the viewer into the world of the upcoming performance. In this case, the very location of the auditorium, lighting, scenography, and more. others related to the theater, but not to the play, will be a kind of exposition.

tie- the most important element of the composition. Here are the events that violate the original situation. Therefore, in this part of the composition there is the beginning of the main conflict, here it acquires its visible outlines and unfolds as a struggle of characters, as an action. As a rule, two opposite points of view, different interests, worldviews, ways of existence collide. And they do not just collide, but are tied into one conflict knot, the resolution of which is the goal of the play's action. It can even be said that the development of the action of the play is the resolution of the plot.

Regarding what is considered the beginning of an action, Hegel noted that “in empirical reality, each action has a lot of prerequisites, so that it is difficult to determine where the real beginning should be found. But since dramatic action is essentially based on a certain conflict, the appropriate starting point will be toy situation from which this conflict must develop in the future. It is this situation that we call the tie.

Development of action- the most extensive part of the play, its main field of action and development. Almost the entire plot of the play is located here. This part consists of certain episodes, which many authors divide into acts, scenes, phenomena, actions. The number of acts is in principle not limited, but, as a rule, ranges from 3 to 5. Hegel believed that the number of acts should be three:

1st - collision detection;

2nd - disclosure of this collision, "as a live clash of interests, as division, struggle and conflict."

3rd - resolution in the utmost aggravation of its contradiction;

But almost all European drama adheres to a 5-act structure:

1st - exposure;

2,3,4th - development of action;

5th - final;

It should be noted that in action development find and climax- another structural element of the composition. It is independent and functionally different from action development. That is why we define it as an independent (by function) element.

climax- by a general definition, this is the pinnacle of the development of the action of the play. In each play there is a certain milestone, which marks a decisive turn in the course of events, after which the very nature of the struggle changes. The denouement begins to rapidly approach, It is this moment that is commonly called - climax. At the core of the climax is central event, which is a radical change in the action of the play, in favor of one or another side involved in the conflict. In its structure, the culmination, as an element of the composition, can be complex, that is, it can consist of several scenes.

denouement- here the main (plot) action of the play traditionally ends. The main content of this part of the composition is the resolution of the main conflict, the cessation of side conflicts, other contradictions that make up and complement the action of the play. The denouement is logically associated with the tie. The distance from one to the other is the plot zone. It is here that the through action of the play ends and the characters come to one or another result, as they say in the theory of Sanskrit drama - “gaining fruit”, but it is not always sweet. In European tragedy, this is the moment of the death of the hero.

Epilogue - (epilogos) - part of the composition that produces the semantic completion of the work as a whole (and not the storyline). The epilogue can be considered a kind of afterword, a summary in which the author sums up the semantic results of the play. In dramaturgy, it can be expressed as the final scene of the play, following the denouement. Not only the content, style, form, but also its very purpose has changed in the history of drama. In antiquity, an epilogue was an appeal by the choir to the viewer, which commented on the events that had taken place and explained the author's intention. In the Renaissance, the epilogue acts as an appeal to the viewer in the form of a monologue, containing the author's interpretation of events, summarizing the idea of ​​the play. In the dramaturgy of Classicism, please be kind to the actors and the author. In the realistic dramaturgy of the 19th century, the epilogue takes on the features of an additional scene, revealing the patterns that determine the fate of the characters. Very often, therefore, the epilogue depicted the life of the characters, many years later. In the 20th century, there is polyphony in the understanding and use of the epilogue. It often occurs at the beginning of the play, and in the course of the play it is explained how the characters came to a similar ending. Chekhov was constantly preoccupied with the question of the "original" finale of the play. He wrote: “I have an interesting plot for a comedy, but I haven’t figured out the end yet. Whoever invents new endings for plays will invent a new era! There are no mean endings! A hero either get married or shoot yourself, there is no other way out.

Volkenstein, on the contrary, believed that "an epilogue is usually a statistical stage situation: a sign of the author's inability to give an exhaustive resolution of the "dramatic struggle" in the last act. A very controversial definition, but still not without its meaning. Indeed, some playwrights overuse the epilogue to express not so much their ideas, but to complete the action. How important is the problem of the finale of the play and the epilogue that follows from the entire content of the play, emphasizes the following opinion. “The problem of the last act is first of all an ideological problem and only then a technological one. It is in the last act, as a rule, that the resolution of the dramatic conflict is given, therefore, it is here that the ideological position of the dramatic writer most actively and definitely declares itself. An epilogue can also be understood as a kind of look into the future, answering the question: what will happen to the characters of the play in the future?

An example of an artistically solved epilogue is the "silent scene" in Gogol's "Inspector General", the reconciliation of clans in Shakespeare's "Romeo and Juliet", Tikhon's rebellion against Kabanikhi in Ostrovsky's "Thunderstorm".

Laws of composition

We will not dwell on this topic in detail, it is enough to note that there is enough literature on this issue. Moreover, in music, painting, architecture, they are developed with such care that, really, theater theorists should be envied. Therefore, it is difficult in this case to come up with something new, we will limit ourselves to a simple enumeration of these laws.

* Integrity;

* Interrelation and subordination;

* proportionality;

* Contrast;

* Unity of content and form;

* Typification and generalization;

"Drama? one of the main genres of fiction… encompassing works usually 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 highlights tension and conflict 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 special genre 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 meaningfully significant form verbal art- this 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, the "theory of drama" explores and considers the 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 certainly not the highest form of 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 judgment takes place on the stage, theatrical performance etc., and some of the actors contemplate the performance together with the 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 have generated a number of very interesting directions ( epic theater Brecht, 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). The 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 topics. 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 the rational will to intense 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 the moments of collisions, growing towards a catastrophe.

obligatory scene, climax. The unflagging 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.

IN denouement the destinies of all the main characters must be completed.