The events of any work of art unfold in a certain time and space.

The depicted space and time are the conditions that determine the nature of events and the logic of their succession one after another. The creation of a unified space-time structure of the hero's world is aimed at the embodiment or transmission of a certain system of values. The categories of space and time differ in relation to speech material works and in relation to the world depicted in the work with the help of this material.

Spatial Models, most used writers in works of art: real, fantastic, psychological, virtual.

• Real(objective, social and subjective reality).
• fantastic(subjects of action can be fantastic characters or abstract persons; all physical characteristics are changed and changeable).
• Psychological(inner world, personal space of a person).
• Virtual(an artificially created environment into which one can penetrate and experience the feeling of real life, combined with real or mythological).

The importance of artistic space in the development of the action of a work is determined by the following provisions:
a) the plot, which is a sequence of events, set out by the author of the work within the framework of cause-and-effect conditionality, develops in the conditions of space and time;
b) the initial presentation of the plot-forming function of the category of space is the title of the work, which can serve as a spatial designation and can not only model the space of the artistic world, but also introduce the main symbol of the work, contain an emotional assessment that gives the reader an idea of ​​the author's concept of the work.

artistic time

This is a phenomenon of the very artistic fabric of a literary work, subordinating both grammatical time and its philosophical understanding by the writer to its artistic tasks.

Any work of art unfolds in time, so time is important for its perception. The writer takes into account the natural, actual time of the work, but the time is also depicted.

The author can depict a short or long period of time, can make time flow slowly or quickly, can depict it as flowing continuously or intermittently, sequentially or inconsistently (with returns back, with "running" forward). He can depict the time of the work in close connection with historical time or in isolation from it - closed in itself; can depict the past, present and future in various combinations.

A work of art makes the subjective perception of time one of the forms of depicting reality.

If the author plays a significant role in the work, if the author creates the image of a fictitious author, the image of a narrator or narrator, then the image of the time of the plot is added to the image of the time of the plot, the image of the time of the performer - in various combinations.

In some cases, the displayed time of the reader or listener can also be added to these two “overlapping” durations.

Author's time can be motionless- concentrated at one point, from which he leads his story, and can move independently, having his own storyline in the work. The author can portray himself as a contemporary of the events, he can follow the events "on the heels", the events can overtake him (as in a diary, in a novel, in letters). The author can portray himself as a participant in the events, not knowing at the beginning of the narrative how they will end, separate himself from the depicted time of the action of the work by a large period of time, can write about them as if from memories - his own or someone else's.

Time in fiction perceived due to the connection of events - causal or psychological, associative. Time in work of art is the correlation of events.

Where there are no events, there is no time: in descriptions of static phenomena, for example - in a landscape or portrait and characterization actor, V philosophical reflections author.
On the one hand, the time of the work can be " closed", closed in itself, taking place only within the plot, and on the other hand, the time of the work can be " open”, included in a wider stream of time, developing against the background of a precisely defined historical era. The “open” time of a work presupposes the presence of other events taking place simultaneously outside the work, its plot.

The transition by the character of the boundaries that separate the parts or spheres of the depicted space and time is an artistic event.

Time and space (chronotope) serve as constructive principles for the organization of a literary work. Since the artistic world in a work is conditional, to the extent that time and space in it are also conditional . In literature, the immateriality of images, discovered by Lessing, gives them, i.e. images, the right to move instantly from one space and time to another. In the work, the author can depict events that occur simultaneously as in different places, as well as in different time, with one caveat: "In the meantime ..." or "And on the other side of the city ...".

In Russia, the problems of formal "spatiality" in art, artistic time and artistic space and their solidity in literature, as well as the forms of time, chronotope in the novel, individual images space, the influence of rhythm on space and time, etc. were consistently dealt with by P.A. Florensky, M.M. Bakhtin, Yu.M. Lotman, V.N. Toporov, a group of scientists from Leningrad, Novosibirsk, etc.

Time in a work of art - the duration, sequence and correlation of its events, based on their causal, linear or associative relationship. The time in the text has clearly defined or rather blurred boundaries, which may or, on the contrary, not be indicated in the work in relation to the historical time or the time set conditionally by the author.

A comparison of real time and artistic time reveals their differences. The topological properties of real time in the macrocosm are one-dimensionality, continuity, irreversibility, orderliness. In artistic time, all these properties are transformed. It may be multidimensional. Two axes can appear in the text - the axis of storytelling and the axis of the events described. This makes temporal shifts possible. Not characteristic of artistic time is also one-pointedness, irreversibility: the text often violates the real sequence of events. Therefore, artistic time multidirectional And reversible . One of the techniques is retrospection, an appeal to the events of the past. In relation to the time depicted in a literary work, researchers use the term discreteness , since literature is able not to reproduce the entire flow of time, but to select the most significant fragments from it, indicating gaps with verbal formulas, such as “Spring has come again ...”, or as it is done in one of the works of I.S. Turgenev: “Lavretsky spent the winter in Moscow, and in the spring of the following year the news reached him that Liza had cut her hair.<…>". The selection of episodes is determined by the aesthetic intentions of the author, hence the possibility of compressing or expanding plot time.

The nature of the conventionality of time and space depends from the type of literature. Their maximum manifestation is found in lyrics , where the image of space may be completely absent (A.A. Akhmatova “You are my letter, dear, do not crumple ...”), manifest allegorically through other images (A.S. Pushkin “The Prophet”,
M.Yu. Lermontov "Sail"), open up in specific spaces, realities surrounding the hero (for example, a typically Russian landscape in S.A. Yesenin's poem "White Birch"), or in a certain way is built through oppositions that are significant for not only romance: civilization and nature, “crowd” and “I” (I.A. Brodsky “March is coming. I serve again ...”). With the predominance of the grammatical present in the lyrics, which actively interacts with the future and the past (A.A. Akhmatova “The Devil did not betray. I managed everything ...”), the category of tense can become philosophical leitmotif poems (F.I. Tyutchev “Rolling down the mountain, the stone lay down in the valley ...”), is thought of as always existing (F.I. Tyutchev “Wave and Thought”) or momentary and instantaneous (I.F. Annensky “The Longing of Transience” ) - possess abstractness .

Conditional forms of existence real world– time and space – seek to preserve some general properties in drama . Explaining the functioning of these forms in this kind of literature, V.E. Khalizev in a monograph on drama comes to the conclusion: “Whatever significant role in dramatic works no matter how fragmented the depicted action is, no matter how the aloud statements of the characters obey the logic of their inner speech, the drama is committed to pictures closed in space and time ”(Khalizev, V.E. Drama as a kind of literature / V.E. Khalizev. - M., 1986. - S. 46.). IN epic kind of literature fragmentation of time and space, their transitions from one state to another become possible thanks to the narrator - the mediator between the depicted life and readers. The narrator and storytellers can "compress", "stretch" and "stop" time in numerous descriptions and reasoning. Something similar happens in the works of I. Goncharov, N. Gogol,
G. Fielding.

In a work of art are related different aspects artistic time: plot time and plot time, author's time and subjective time of characters. It presents different manifestations (forms) of time - everyday and historical time, personal time and social time. The focus of the writer's attention can be the image of time itself, associated with the motive of movement, development, becoming, with the opposition of the passing and the eternal.

Literary works are permeated with temporal and spatial representations, infinitely diverse and deeply meaningful. Here are images of time biographical (childhood, youth, maturity, old age), historical (major events in the life of society), space (the idea of ​​eternity and universal history), calendar (change of seasons, weekdays and holidays), daily (day and night, morning and evening), as well as the idea of ​​movement and stillness, of the correlation of the past, present and future.

In a literary text, time is not only eventful, but also conceptual: the time stream as a whole and its individual segments are divided, evaluated, comprehended by the author, narrator or characters.

The conceptualization of time manifests itself:

1) in the assessments and comments of the narrator or character;

2) in the use of paths that characterize different signs time;

3) in the subjective perception and division of the temporal flow in accordance with the reference point adopted in the narrative;

4) in contrasting different time plans and aspects of time in the structure of the text.

art space text is the spatial organization of its events, a system of spatial images inextricably linked with the temporal organization of the work.

The space modeled in the text can be open And closed . For example, the opposition of these two types of space in the poem by A.S. Pushkin "The Prisoner". Space can be represented in text as expanding or tapering in relation to the character.

According to the degree of generalization spatial characteristics distinguish concrete space and space abstract (not linked to specific local indicators). An abstract is such an artistic space that can be perceived as universal, without a pronounced characteristic. This is a form of recreating the universal content, extended to the entire "human race", manifested in the genres of parables, fables, fairy tales, as well as in works of utopian or fantastic perception of the world and special genre modifications- dystopias. So, it does not have a significant impact on the characters and behavior of the characters, on the essence of the conflict, the space in the ballads of V. Zhukovsky, F. Schiller, short stories by E. Poe, and literature of modernism is not subject to the author's understanding.

The specific artistic space in the work actively influences the essence of what is depicted. In particular, Moscow in the comedy by A.S. Griboyedov "Woe from Wit", Zamoskvorechye in the dramas of A.N. Ostrovsky and novels by I.S. Shmeleva, Paris in the works of O. de Balzac are artistic images, since they are not only toponyms and urban realities depicted in the works. Here they are a specific artistic space that develops in the works a common psychological picture Moscow nobility; recreating christian world order; revealing different sides life inhabitants of European cities; definite way of life existence is a way of being. Sensually perceived (A.A. Potebnya) space acts as "noble nests" sign of style novels by I. Turgenev, generalized ideas about a provincial Russian city are developed in the prose of A. Chekhov. Symbolization space, underlined by a fictitious toponym, retained the national and historical component in prose
M. Saltykov-Shchedrin (“History of one city”), A. Platonov (“City of Gradov”).

The analysis of spatial relations in a work of art involves:

2) identifying the nature of these positions (dynamic - static) in their connection from a temporal point of view;

3) determination of the main spatial characteristics of the work (the scene and its change, the movement of the character, the type of space, etc.);

4) consideration of the main spatial images of the work;

5) characteristics of speech means expressing spatial relationships.

Awareness of the relationship of space-time made it possible to single out the category of chronotope (M. Bakhtin), reflecting their unity. In the monograph Questions of Literature and Aesthetics, M. Bakhtin wrote the following about the synthesis of space and time: “In the literary and artistic chronotope, there is a fusion of spatial and temporal signs in a meaningful and concrete whole. Time here thickens, condenses, becomes artistically visible; space is intensified, drawn into the movement of time, plot, history. Examples of time are revealed in space, and space is comprehended and measured by time. This intersection of series and mergers of signs is characterized by artistic chronotope. <…>The chronotope as a formally meaningful category determines (to a large extent) the image of a person in literature; this image is always essentially chronotopic.

Consider the ways of expressing spatial relations in I. Bunin's story " Easy breath» (experience of consideration by N.A. Nikolina).

In the structure of the narrative, three main spatial points of view are distinguished - the narrator, Olya Meshcherskaya and cool lady. All points of view in the text are brought closer to each other by the repetition of lexemes. cold, fresh and derivatives from them. Their correlation creates an oxymoron way of life-death. The alternation of heterogeneous time periods is reflected in a change in spatial characteristics and a change in the scene of action.

Cemetery - gymnasium garden - cathedral street– boss’s office – station – garden – glass porch – cathedral street - cemetery - gymnasium garden . Repetitions organize the beginning and end of the work, form a ring composition of the plot. At the same time, the elements of this series enter into antonymic relations. First of all, open space and closed space are opposed. Spatial images are also opposed to each other: the grave, the cross on it, the cemetery (they develop the motive of death) - the spring wind (an image traditionally associated with the motives of will, life, open space).

Bunin uses the technique of comparing narrowing and expanding spaces. tragic events in the life of the heroine are connected with the space narrowing around her (see, for example: ... a Cossack officer, ugly and of a plebeian appearance ... shot her on the platform of the station, among a large crowd of people ...). The end-to-end images of the story, which dominate the text, are the images of the wind and easy breathing are connected with the expanding (finally to infinity) space ( Now that light breath has dissipated again in the world, in this cloudy world, in this cold spring wind.).

The plot and composition of the text

The plot is the dynamic side of the form of a literary work.

Conflict is an artistic contradiction.

The plot is one of the characteristics of the artistic world of the text, but not only it will take a list of signs by which one can quite accurately describe the thin. the world of the work is quite wide - spatio-temporal coordinates - chronotope, figurative structure, dynamics of the development of the action, speech characteristics and others.

Art world- subjective model of objective reality.

Hood. the world of each work is unique. It is a complexly mediated display of the author's temperament and worldview.

Hood. world- display of all facets of creative individuality.

The specificity of literary representation is movement. And the most adequate form of expression is the verb.

Action, as an event unfolding in time and space or a lyrical experience, is what constitutes the basis of the poetic world. This action can be more or less dynamic, deployed, physical, intellectual or mediated, BUT it must be present.

conflict as the main driving force text.

Hood. the world in its entirety (with spatial and temporal parameters, population, elemental nature and general phenomena, the expression and experience of the character, the author's consciousness) does not exist as a disorderly heap .... but as a harmonious expedient cosmos in which the core is organized. COLLISION or CONFLICT is considered to be such a universal core.

Conflict is a confrontation of a contradiction either between characters, or between characters and circumstances, or within a character, underlying the action.

It is the conflict that forms the core of the theme.

If we are dealing with a small epic form, then the action develops on the basis of a single conflict. In works of large volume, the number of conflicts increases.

PLOT = /PLOT (not equal)

Plot elements:

Conflict- an integrating rod around which everything revolves.

The plot least of all resembles a solid, continuous line connecting the beginning and end of the series of events.

Plots break down into various elements:

Basic (canonical);

Optional (grouped in a strictly defined order).

The canonical elements are:

exposure;

climax;

Action development;

vicissitudes;

Interchange.

The optional ones are:

Title;

• Retreat;

  ending;

exposition(lat. - presentation, explanation) - a description of the events preceding the plot.

Main functions:

Introducing the reader to the action;

Orientation in space;

Presentation of actors;

Depiction of the situation before the conflict.

Outset - an event or group of events that directly leads to a conflict situation. It can grow out of exposure.

The development of action is the whole system of sequential deployment of that part of the event plan from the beginning to the denouement, which directs the conflict. It can be calm or unexpected turns (ups and downs).

The moment of the highest tension of the conflict is decisive for its resolution. After that, the development of the action turns to the denouement.

In "Crime and Punishment" the climax - Porfiry comes to visit! Talk! That's what Dostoevsky himself said.

The number of climaxes can be large. It depends on the storylines.

Resolution is an event that resolves a conflict. Tells together with the finale of dramas. or epic. Works. Most often, the ending and the denouement coincide. In the case of an open ending, the denouement may recede.

The importance of the final final chord is realized by all writers.

"Strength, artistic, the blow comes to an end"!

The denouement, as a rule, correlates with the plot, echoes it with some kind of parallelism, completing a certain compositional circle.

Optional plot elements(not the most important):

Title (only in fiction);

Most often, the main conflict is encoded in the title (Fathers and Sons, Thick and Thin)

The title does not leave the bright field of our consciousness.

Epigraph (from Greek - inscription) - can stand at the beginning of the work, or parts of the work.

The epigraph establishes hypertextual relations.

An aura of related works is formed.

Retreat is an element with a negative sign. There are lyrical, journalistic, etc. used to slow down, inhibit the development of action, switching from one storyline to another.

Internal monologues - play a similar role, as they are turned to themselves, to the side; reasoning of the characters, the author.

Plug-in numbers - play a similar role (in Eugene Onegin - songs of girls);

Insert stories - (about Captain Kopeikin) their role is an additional screen that expands the panorama of the artistic world of the work;

The final. As a rule, it coincides with the denouement. Finishes the work. Or replaces the junction. Texts from open finals get along without decoupling.

Prologue, epilogue (from Greek - before and after what has been said). They are not directly related to the action. They are separated either by a period of time, by graphic means of separation. Sometimes they can be wedged into the main text.

Epos and drama - plot; and lyrical works do without a plot.

Subjective organization of the text

Bakhtin considered this topic for the first time.

Any text is a system. This system involves something that seems to defy systematization: the consciousness of a person, the personality of the author.

The consciousness of the author in the work receives a certain form, and the form can already be touched, described. In other words, Bakhtin gives us an idea of ​​the unity of spatial and temporal relations in a text. It gives an understanding of one’s own and another’s word, their equality, an idea of ​​“an endless and final dialogue in which not a single meaning dies, the concepts of form and content converge, through understanding the concept of worldview. The concepts of text and context converge, and affirms the integrity human culture in space and time of earthly existence.

Korman B. O. 60-70s 20th century developed ideas. He established a theoretical unity between terms and concepts, such as: author, subject, object, point of view, someone else's word, and others.

The difficulty lies not in the selection of the narrator and the narrator, but in UNDERSTANDING THE UNITY BETWEEN CONSCIOUSNESS. And the interpretation of unity as the final author's consciousness.

Consequently, in addition to understanding the importance of the conceptual author, a synthesizing view of the work and the system was required and appeared, in which everything is interdependent and finds expression primarily in formal language.

Subjective organization is the correlation of all the objects of the narrative (those to whom the text is assigned) with the subjects of speech and the subjects of consciousness (that is, those whose consciousness is expressed in the text), this is the ratio of the horizons of consciousness expressed in the text.

At the same time, it is important to take into account 3 point of view plan:

Phraseological;

Space-time;

Ideological.

Phraseological plan:

As a rule, it helps to determine the nature of the speaker of the statement (I, you, he, we or their absence)

Ideological plan:

It is important to elucidate the correlation of each point of view with the artistic world in which it occupies a certain place from another point of view.

Space-time plan:

(See Canine Heart Analysis)

It is necessary to allocate distance and contact 9 according to the degree of remoteness), external and internal.

In characterizing the subjective organization, we inevitably come to the problem of the author and the hero. Considering different aspects, we come to the ambiguity of the author. Using the concept of "author" we mean a biographical author, the author, as a subject of the creative process, the author in his artistic embodiment (the image of the author).

Narration is a sequence of speech fragments of text containing various messages. The subject of the story is the narrator.

The narrator is an indirect form of the author's presence inside the work, performing an intermediary function between the fictional world and the recipient.

The speech zone of the hero is a collection of fragments of his direct speech, various forms indirect transmission of speech, fragments of phrases that fell into the author's zone, characteristic phrases, emotional assessments characteristic of the hero.

Important features:

Motive - repetitive text elements having a semantic load.

Chronotope - the unity of space and time in a work of art;

Anachrony - violation of the direct sequence of events;

Retrospection - shifting events into the past;

Prospection - a look into the future of events;

Ups and downs - a sudden sharp shift in the fate of the character;

Landscape - a description of the external, in relation to the person of the world;

Portrait - an image of the hero's appearance (figure, posture, clothes, facial features, facial expressions, gestures);

Distinguish between a description of a portrait, a portrait of comparison, a portrait of an impression.

- The composition of a literary work.

This is the ratio and arrangement of parts, elements in the composition of the work. Architectonics.

Gusev "The Art of Prose": a composition of reverse time ("Easy breathing" by Bunin). Composition of direct time. Retrospective (“Ulysses” by Joyce, “The Master and Margarita” by Bulgakov) - different eras become independent objects of the image. Forcing phenomena - often in lyrical texts - Lermontov.

Compositional contrast (“War and Peace”) is an antithesis. Plot-compositional inversion ("Onegin", " Dead Souls"). The principle of parallelism is in the lyrics, "Thunderstorm" by Ostrovsky. Composite ring - "Inspector".

Composition of figurative structure. The character is in interaction. There are main, secondary, off-stage, real and historical characters. Ekaterina - Pugachev are bound together through an act of mercy.

Composition. This is the composition and a certain position of parts of the elements and images of works in time sequence. Carries meaningful and semantic load. External composition- the division of the work into books, volumes / is of an auxiliary nature and serves for reading. More meaningful nature elements: prefaces, epigraphs, prologues, / they help to reveal the main idea of ​​the work or identify the main problem of the work. Internal- includes various types of descriptions (portraits, landscapes, interiors), non-plot elements, set episodes, all kinds of digressions, various forms of characters' speech and points of view. The main task of the composition- the decency of the image of the artistic world. This decency is achieved through a kind of compositional techniques - repeat- one of the most simple and real, it makes it easy to round off the work, especially the ring composition, when a roll call is established between the beginning and end of the work, it has a special artistic meaning. Composition of motives: 1. motives(in music), 2. opposition(union of repetition, opposition give mirror compositions), 3. details, installation. 4. default,5. point of view - the position from which stories are told or from which the events of the characters or the narrative are perceived. Viewpoint types Key words: ideal-integral, linguistic, temporal-temporal, psychological, external and internal. Composition types: simple and complex.

Plot and plot. Categories of material and reception (material and form) in the concept of VB Shklovsky and their modern understanding. Automation and removal. Correlation of concepts "plot" And "plot" in the structure of the artistic world. The significance of the distinction between these concepts for the interpretation of the work. Stages in the development of the plot.

The composition of a work as its construction, as its organization figurative system according to the concept of the author. The subordination of the composition to the author's intention. Reflection in the composition of the tension of the conflict. Art of composition, composition center. The criterion of artistry is the correspondence of the form to the concept.

Artistic space and time. For the first time, Aristotle connected "space and time" with the meaning of a work of art. Then ideas about these categories were carried out: Likhachev, Bakhtin. Thanks to their work, "space and time" has established itself as the foundation of literary categories. In any thin work, is inevitably reflected real time and space. As a result, a whole system of spatio-temporal relations is formed in the work. The analysis of "space and time" can become a source of study, the author's worldview, his aesthetic relations in reality, his artistic world, artistic principles and his creativity. In science, there are three types of "space and time": real, conceptual, perceptual.

.Artistic time and space (chronotope).

It exists objectively, but it is also subjectively experienced in different people. We perceive the world differently than the ancient Greeks. artistic time And artistic space, it's character artistic image that provide a holistic view artistic reality and organize the composition. artistic space represents a model of the world of the given author in the language of his space of representations. In the novel Dostoevsky this is ladder. At symbolists mirror, in lyrics Pasternak window. Characteristics artistic time And space. Is them discreteness. Literature does not perceive the entire flow of time, but only certain essential moments. discreteness spaces are usually not described in detail, but are indicated using individual details. In lyrics, space can be allegorical. The lyrics are characterized by the imposition of different time plans of the present, past, future, etc. artistic time And space symbolically. Basic spatial symbols: house(image of a closed space), space(image of open space), threshold, window, door(border). In modern literature: railway station, airport(places of decisive meetings). artistic space May be: dotted, voluminous. artistic space Romano Dostoevsky- This stage platform. Time moves very fast in his novels, and Chekhov time stopped. Renowned physiologist Wow Tomsky combines two Greek words: chronos- time, topos- place. In concept chronotope- a spatio-temporal complex and believed that this complex is reproduced by us as a single whole. These ideas had a great influence on M. Bakhtin, who in the work “Forms of time and chronotope” in the novel explores chronotope in novels different eras since antiquity, he has shown that chronotopes different authors and different eras differ from each other. Sometimes the author violates the time sequence “for example, the Captain's daughter”. X character traitschronotope in 20th century literature: 1. Abstract space instead of a concrete one having a symbol, meaning. 2. Uncertain place and time of action. 3. The character's memory as the internal space of unfolded events. The structure of space is built on opposition: top-bottom, sky-earth, earth-underworld, north-south, left-right, etc. Time structure: day-night, spring autumn, light-darkness, etc.

2. Lyrical digression - expression by the author of feelings and thoughts in connection with the depicted in the work. These digressions allow readers to take a deeper look at the work. Digressions slow down the development of the action, but lyrical digressions naturally enter the work, imbued with the same feeling as artistic images.

Opening episodes - stories or short stories that are indirectly related to the main plot or not related to it at all

Artistic appeal - a word or phrase used to name persons or objects to which speech is specifically addressed. Can be used on its own or as part of a sentence.

INTRODUCTION

Subject thesis"Features of the spatio-temporal organization of the plays of Botho Strauss".

Relevance and novelty works are that the German playwright, novelist and essayist Boto Strauss, representative new drama, practically unknown in Russia. One book was published with translations of 6 of his plays (“So big - and so small”, “Time and Room”, “Ithaca”, “Hypochondriacs”, “Spectators”, “Park”) and introductory remarks Vladimir Kolyazin. Also in the dissertation work of I.S. Roganova, Strauss is mentioned as the author with whom the German postmodern drama begins. The production of his plays in Russia was carried out only once - by Oleg Rybkin in 1995 in the Red Torch, the play "Time and Room". Interest in this author began with a note about this performance in one of the Novosibirsk newspapers.

Target- identification and description of the features of the spatio-temporal organization of the author's plays.

Tasks: analysis of the spatial and temporal organization of each play; detection common features, regularities in the organization.

object are the following plays by Strauss: "The Hypochondriacs", "So Big - and So Small", "Park", "Time and Room".

Subject are the features of the spatio-temporal organization of the plays.

This work consists of an introduction, two chapters, a conclusion and a bibliography.

The introduction indicates the topic, relevance, object, subject, goals and objectives of the work.

The first chapter consists of two paragraphs: the concept of artistic time and space, artistic time and artistic space in drama, changes in the reflection of these categories that have arisen in the twentieth century, and part of the second paragraph is devoted to the influence of cinema on the composition and spatio-temporal organization of the new drama. .

The second chapter consists of two paragraphs: the organization of space in plays, the organization of time. The first paragraph reveals such features of the organization as the closedness of space, the relevance of indicators of the boundaries of this closeness, the shift in emphasis from external to internal space - memory, associations, installation in the organization. In the second paragraph, the following features of the organization of the category of time are revealed: montage, fragmentation associated with the relevance of the motive of recollection, retrospectiveness. Thus, montage becomes the main principle in the spatio-temporal organization of the plays under study.

In the study, we relied on the work of Yu.N. Tynyanov, O.V. Zhurcheva, V. Kolyazina, Yu.M. Lotman, M.M. Bakhtin, P. Pavi.

The volume of work - 60 pages. The list of sources used includes 54 names.

CATEGORIES OF SPACE AND TIME IN DRAMA

SPACE AND TIME IN A ARTWORK

Space and time - categories that include ideas, knowledge about the world order, the place and role of a person in it, give grounds for describing and analyzing the ways of their speech expression and representation in the fabric of a work of art. Understood in this way, these categories can be considered as means of interpreting a literary text.

IN literary encyclopedia we will find the following definition for these categories, written by I. Rodnyanskaya: “artistic time and artistic space are the most important characteristics of an artistic image, organizing the composition of a work and ensuring its perception as an integral and original artistic reality. <…>Its very content [of the literary and poetic image] necessarily reproduces the spatio-temporal picture of the world (transmitted by indirect means of storytelling) and, moreover, in its symbolic and ideological aspect” [Rodnyanskaya I. Artistic Time and Artistic Space. http://feb-web.ru/feb/kle/Kle-abc/ke9/ke9-7721.htm].

In the space-time picture of the world, reproduced by art, including dramaturgy, there are images of biographical time (childhood, youth), historical, cosmic (the idea of ​​eternity and universal history), calendar, daily, as well as ideas about movement and immobility, about the relationship between past, present and future. Spatial pictures are represented by images of closed and open space, terrestrial and cosmic, really visible and imaginary, ideas about objectivity near and far. At the same time, any, as a rule, indicator, marker of this picture of the world in a work of art acquires a symbolic, iconic character. According to D.S. Likhachev, from epoch to epoch, as the understanding of the changeability of the world becomes wider and deeper, the images of time become increasingly important in literature: writers are more and more clearly aware of the “variety of forms of movement”, “mastering the world in its time dimensions”.

Artistic space can be dotted, linear, planar or volumetric. The second and third can also have a horizontal or vertical orientation. Linear space may or may not include the concept of directionality. In the presence of this sign (the image of a linear directed space, characterized by the relevance of the sign of length and the irrelevance of the sign of width, in art is often the road), linear space becomes convenient. artistic language for modeling temporal categories (" life path”, “road” as a means of deploying character in time). To describe a point space, one has to turn to the concept of delimitation. The artistic space in a literary work is the continuum in which the characters are placed and the action takes place. Naive perception constantly pushes the reader to identify artistic and physical space.

However, the idea that an artistic space is always a model of some natural space is not always justified. Space in a work of art models different connections pictures of the world: temporary, social, ethical, etc. This can happen because in one or another model of the world the category of space is intricately merged with certain concepts that exist in our picture of the world as separate or opposite. However, there may be another reason: art model"space" of the world sometimes metaphorically assumes the expression of completely non-spatial relations in the modeling structure of the world.

Thus, the artistic space is a model of the world this author, expressed in the language of its spatial representations. At the same time, as often happens in other matters, this language, taken by itself, is much less individual and more belongs to time, era, social and artistic groups than what the artist says in that language - than his individual model of the world.

In particular, artistic space can be the basis for interpreting the artistic world, since spatial relationships:

Can determine the nature of the "resistance of the environment inner world"(D.S. Likhachev);

They are one of the main ways of realizing the worldview of the characters, their relationships, the degree of freedom / lack of freedom;

They serve as one of the main ways of embodying the author's point of view.

Space and its properties are inseparable from the things that fill it. Therefore, the analysis of artistic space and the artistic world is closely connected with the analysis of the features of the material world that fills it.

Time is introduced into the work by a cinematic technique, that is, by dividing it into separate moments of rest. This is a common approach fine arts, and none of them can do without it. The reflection of time in the work is fragmentary due to the fact that continuously flowing homogeneous time is not able to give a rhythm. The latter involves pulsation, condensation and rarefaction, deceleration and acceleration, steps and stops. Hence, figurative means Those that give rhythm must have a certain dissection in themselves, with some of their elements detaining attention and the eye, while others, intermediate, advancing one and the other from element to another. In other words, the lines that form the main scheme pictorial work, it is necessary to permeate or lower the alternating elements of rest and jump.

But it is not enough to decompose time into resting moments: it is necessary to link them into a single series, and this presupposes some internal unity. individual moments, which gives the possibility and even the need to move from element to element and in this transition to recognize in the new element something from the element just left. Dismemberment is a condition for facilitated analysis; but the condition of facilitated synthesis is also required.

It can be said in another way: the organization of time is always and inevitably achieved by dismemberment, that is, by discontinuity. With the activity and synthetic nature of the mind, this discontinuity is given clearly and decisively. Then the synthesis itself, if it can only be within the power of the spectator, will be extremely complete and sublime, it will be able to embrace big times and be full of movement.

The simplest and at the same time the most open method of cinematic analysis is achieved by a simple sequence of images whose spaces physically have nothing in common, are not coordinated with each other and are not even connected. In essence, this is the same cinematographic tape, but not cut in many places and therefore does not in the least condone the passive linking of images to each other.

An important characteristic of any art world is statics/dynamics. In its embodiment, the most important role belongs to space. Statics assumes time to be stopped, frozen, not turning forward, but statically oriented towards the past, that is, there can be no real life in a closed space. Movement in a static world has the character of "mobile immobility". Dynamics is living, absorbing the present into the future. The continuation of life is possible only outside of isolation. And the character is perceived and evaluated in unity with his location, he, as it were, merges with space into an indivisible whole, becomes a part of it. The dynamics of a character depends on whether he has his own individual space, his own path relative to the world around him, or whether he remains, according to Lotman, the same type of environment. Kruglikov V.A. even makes it possible "to use the designations of individuality and personality as an analogue of space and time of a person." “Then it is appropriate to present individuality as a semantic image of the unfolding of the “I” in the space of a person. At the same time, individuality designates and indicates the location of personality in a person. In turn, a personality can be represented as a semantic image of the development of the “I” in a person’s time, as that subjective time in which movements, displacements and changes in individuality take place.<…>The absolute fullness of individuality is tragic for a person, as well as the absolute fullness of the personality ”[ Kruglikov V.A. Space and time of the "man of culture"//Culture, man and picture of the world. Ed. Arnoldov A.I., Kruglikov V.A. M., 1987].

V. Rudnev singles out three key parameters of the characteristics of artistic space: closedness/openness, straightness/curvature, greatness/smallness. They are explained in the psychoanalytic terms of Otto Rank's theory of birth trauma: at birth, there is a painful transition from the closed, small, crooked space of the mother's womb to the vast, direct and open space of the external world. In the pragmatics of space, the most important role play the concepts of "here" and "there": they model the position of the speaker and listener in relation to each other and in relation to the outside world. Rudnev proposes to distinguish here, there, nowhere with a capital and small letter:

“The word “here” with a small letter means the space that is in relation to the sensory reachability of the speaker, that is, the objects located “here” he can see, hear or touch.

The word "there" with a small letter means a space "located beyond the border or on the border of sensory reach from the side of the speaker. The boundary can be considered such a state of affairs when an object can be perceived by only one sense organ, for example, it can be seen, but not heard (it is there, at the other end of the room) or, conversely, heard, but not seen (it is there, behind partition).

The word "Here" with a capital letter means the space that unites the speaker with the object about which in question. It can be really very far. “He is here in America” (in this case, the speaker may be in California, and the one in question may be in Florida or Wisconsin).

Extremely connected with the pragmatics of space interesting paradox. It is natural to assume that if an object is here, then it is not somewhere there (or nowhere). But if this logic is made modal, that is, the operator “maybe” is assigned to both parts of the statement, then the following will be obtained.

It is possible that the object is here, but perhaps not here. All plots connected with space are built on this paradox. For example, Hamlet in Shakespeare's tragedy kills Polonius by mistake. This error lurks in the structure of the pragmatic space. Hamlet thinks that there, behind the curtain, hides the king, whom he was going to kill. The space there is a place of uncertainty. But even here there can be a place of uncertainty, for example, when a double of the one you are waiting for comes to you, and you think that someone is here, but in fact he is somewhere there or he was completely killed (Nowhere) ”[ Rudnev V.P. Dictionary of culture of the twentieth century. - M.: Agraf, 1997. - 384 p.].

The idea of ​​the unity of time and space arose in connection with the advent of Einstein's theory of relativity. This idea is also confirmed by the fact that quite often words with a spatial meaning acquire temporal semantics, or have syncretic semantics, denoting both time and space. No object of reality exists only in space outside of time or only in time outside of space. Time is understood as the fourth dimension, the main difference of which from the first three (space) is that time is irreversible (anisotropic). Here is how Hans Reichenbach, a researcher of the philosophy of time of the 20th century, puts it:

1. The past does not return;

2. The past cannot be changed, but the future can;

3. It is impossible to have a reliable protocol about the future [ibid.].

The term chronotope, introduced by Einstein in his theory of relativity, was used by M.M. Bakhtin in the study of the novel [Bakhtin M.M. Epic and novel. St. Petersburg, 2000]. Chronotope (literally - time-space) - a significant relationship of temporal and spatial relations, artistically mastered in literature; the continuity of space and time, when time acts as the fourth dimension of space. Time condenses, becomes artistically visible; space is drawn into the movement of time, plot. Signs of time are revealed in space, and space is comprehended and measured by time. This intersection of rows and the merging of signs characterizes the artistic chronotope.

The chronotope determines the artistic unity of a literary work in its relation to reality. All temporal-spatial definitions in art and literature are inseparable from each other and are always emotionally-value-based.

Chronotope is the most important characteristic artistic image and at the same time a way of creating artistic reality. MM. Bakhtin writes that "every entry into the sphere of meanings is accomplished only through the gates of chronotopes." The chronotope, on the one hand, reflects the worldview of its era, on the other hand, the measure of the development of the author's self-awareness, the process of the emergence of points of view on space and time. As the most general, universal category of culture, artistic space-time is capable of embodying "the worldview of the era, people's behavior, their consciousness, the rhythm of life, their attitude to things" (Gurevich). Chronotopic start literary works, - Khalizev writes, - is able to give them a philosophical character, to “bring” the verbal fabric to the image of being as a whole, to the picture of the world [Khalizev V.E. Theory of Literature. M., 2005].

In the space-time organization of the works of the twentieth century, as well as modern literature side by side (and fighting) diverse, sometimes extreme, tendencies - an extraordinary expansion or, on the contrary, a concentrated compression of the boundaries of artistic reality, a tendency to increase conventionality or, conversely, to emphasized documentary chronological and topographic landmarks, isolation and openness, deployment and illegality. Among these trends, the following are the most obvious:

Striving for nameless or fictitious topography: City, instead of Kyiv, at Bulgakov (this casts a certain legendary reflection on historically specific events); the unmistakably recognizable but never named Cologne in H. Böll's prose; the story of Macondo in García Márquez's carnivalized national epic One Hundred Years of Solitude. It is significant, however, that artistic time-space here it requires real historical-geographical identification, or at least rapprochement, without which the work cannot be understood at all; widely used is the artistic time of a fairy tale or parable, closed, excluded from the historical account - "The Trial" by F. Kafka, "The Plague" by A. Camus, "Watt" by S. Beckett. The fabulous and parable “once”, “once”, equal to “always” and “whenever” corresponds to the eternal “conditions human existence”, and is also used with the aim that the habitually modern coloring does not distract the reader in search of historical correlations, does not raise a “naive” question: “when did this happen?”; topography eludes identification, localization in the real world.

Having two different unmerged spaces in one the art world: real, that is, physical, surrounding the heroes, and "romantic", created by the imagination of the hero himself, caused by the collision of the romantic ideal with the coming era of huckstering, put forward by bourgeois development. Moreover, the emphasis from the space of the outer world moves to the inner space of human consciousness. Under the internal space of the development of events is meant the memory of the character; the intermittent, reverse and direct course of plot time is motivated not by the author's initiative, but by the psychology of recall. Time "stratifies"; in extreme cases (for example, in M. Proust), the narrative “here and now” is left with the role of a frame or a material reason for the excitation of a memory that freely flies through space and time in pursuit of the desired moment of the experienced. In connection with the discovery of the compositional possibilities of "remembering", the original correlation in importance between moving and "attached to the place" characters often changes: spiritual path, were, as a rule, mobile, and the extras merged with the everyday background into a motionless whole, now, on the contrary, the “remembering” hero, who belongs to central characters, being endowed with its own subjective sphere, the right to demonstrate its inner world (the position "at the window" of the heroine of the novel by V. Wolfe "A trip to the lighthouse"). This position allows you to compress own time actions down to a few days and hours, while the time and space of an entire human life. The content of the character's memory here plays the same role as the collective knowledge of the legend in relation to ancient epic, - it frees from the exposition, the epilogue, and in general any explanatory moments provided by the initiative intervention of the author-narrator.

The character also begins to be thought of as a kind of space. G. Gachev writes that “Space and Time are not objective categories of being, but subjective forms of the human mind: a priori forms of our sensibility, that is, orientation outward, outward (Space) and inward (Time)” [Gachev G.D. European images of Space and Time//Culture, man and picture of the world. Ed. Arnoldov A.I., Kruglikov V.A. M., 1987]. Yampolsky writes that "the body forms its own space," which, for clarity, he calls "place." This gathering of spaces into a whole, according to Heidegger, is the property of a thing. A thing embodies a certain collective nature, a collective energy, and it creates a place. The collection of space introduces boundaries into it, boundaries give life to space. The place becomes a cast from a person, his mask, the boundary in which he himself acquires being, moves and changes. “The human body is also a thing. It also deforms the space around it, giving it the individuality of the place. The human body needs a localization, a place where it can place itself and find a home in which it can stay. As Edward Casey noted, “the body as such is an intermediary between my consciousness of a place and the place itself, moving me between places and introducing me into the intimate cracks of each given place [Yampolsky M. The Demon and the Labyrinth].

Thanks to the elimination of the author as a narrator, wide possibilities opened up before the montage, a kind of spatio-temporal mosaic, when various "action theaters", panoramic and close-ups are juxtaposed without motivations and comments as a "documentary" face of reality itself.

In the twentieth century there were concepts of multidimensional time. They originated in the mainstream of absolute idealism, the British philosophy of the early twentieth century. 20th century culture was influenced by W. John Wilm Dunn's serial concept ("Experiment with Time"). Dunn analyzed the well-known phenomenon of prophetic dreams, when at one end of the planet a person dreams of an event that happens a year later in full reality at the other end of the planet. Explaining it mysterious phenomenon, Dunn came to the conclusion that time has at least two dimensions for one person. In one dimension a person lives, and in another he observes. And this second dimension is space-like, it is possible to move through it into the past and into the future. This dimension manifests itself in altered states of consciousness, when the intellect does not put pressure on a person, that is, first of all, in a dream.

The phenomenon of neo-mythological consciousness at the beginning of the 20th century actualized the mythological cyclic model of time, in which not a single postulate of Reichenbach works. This cyclical time of the agrarian cult is familiar to everyone. After winter, spring comes, nature comes to life, and the cycle repeats itself. In the literature and philosophy of the twentieth century, the archaic myth of the eternal return becomes popular.

In contrast to this, the human consciousness of the late twentieth century, based on the idea of ​​linear time, which presupposes the existence of a certain end, just postulates the beginning of this end. And it turns out that time no longer moves in the usual direction; to understand what is happening, a person turns to the past. Baudrillard writes about it this way: “We use the concepts of the past, present and future, which are very conditional, when discussing the beginning and the end. However, today we find ourselves embroiled in a kind of perpetual process, which no longer has any final.

The end is also the ultimate goal, the goal that makes this or that movement purposeful. From now on, our history has neither purpose nor direction: it has lost them, lost them irrevocably. Staying on the other side of truth and error, on the other side of good and evil, we are no longer able to go back. Apparently, for any process there is a specific point of no return, after passing which it loses its finiteness forever. If completion is absent, then everything exists only by being dissolved in endless story, an endless crisis, an endless series of processes.

Having lost sight of the end, we desperately try to fix the beginning, this is our aspiration to find the origins. But these efforts are in vain: both anthropologists and paleontologists discover that all origins disappear in the depths of time, they are lost in the past, as infinite as the future.

We have already passed the point of no return and are fully involved in a non-stop process in which everything is immersed in an infinite vacuum and has lost its human dimension, and which deprives us of both the memory of the past, and the focus on the future, and the ability to integrate this future into the present. From now on, our world is a universe of abstract, incorporeal things that continue to live by inertia, which have become simulacra of themselves, but not those who know death: infinite existence is guaranteed to them because they are only artificial formations.

And yet, we are still in the thrall of the illusion that certain processes will necessarily reveal their finiteness, and with it their direction, will allow us to retrospectively establish their origins, and as a result we will be able to comprehend the movement of interest to us using the concepts of cause. and consequences.

The absence of an end creates a situation in which it is difficult to get rid of the impression that all the information we receive does not contain anything new, that everything we are told about has already happened. Since now there is no completion, no ultimate goal, since humanity has gained immortality, the subject has ceased to understand what he is. And this acquired immortality is the last fantasy born of our technologies” [Baudrillard Jean Paroli from fragment to fragment Ekaterinburg, 2006] .

It should be added that the past is available only in the form of memories, dreams. This is an ongoing attempt to embody once again what has already been, what has already happened once and should not happen again. In the center - the fate of a man who found himself "at the end of time". Often used in a work of art is the motive of expectation: the hope for a miracle, or longing for a better life, or the expectation of trouble, a premonition of disaster.

In Deja Loer's play "Olga's Room" there is a phrase that illustrates well this tendency to turn to the past: "Only if I can reproduce the past with absolute accuracy, can I see the future."

The concept of running backwards time comes into contact with the same idea. “Time introduces a completely understandable metaphysical confusion: it appears together with a person, but precedes eternity. Another obscurity, no less important and no less expressive, prevents us from determining the direction of time. They say that it flows from the past into the future: but the opposite is no less logical, as the Spanish poet Miguel de Unamuno wrote about ”(Borges). Unamuno does not mean a simple countdown, time here is a metaphor for a person. Dying, a person begins to consistently lose what he managed to do and survive, all his experience, he unwinds like a ball to a state of non-existence.