satirical novel- epic "Fresh memoir on the topic of the day." Memoirs 1 and 2. The novel was published as part of the collected works of Sergei Likhachev, volume 2. The continuation of the novel (memoirs 3 and 4) is already in the publishing house. Subgenres: epic, political satire, absurd. Art direction: new Russian modern. Theme: bosses and people.
Philologists: you can defend dissertations on this novel.
Official portrait of Comrade Bodryashkin, in kind
PRELIMINARY
It was by no means a lust for shabby Nobel laurels or royalties that made me sit down at the keyboard. Not the thirst for laurels, but the tormenting soul of my vision of that abyss into which it threatens to fall. Russian society, if he does not immediately begin to strengthen his own foundation - the selfless love of the people for their superiors. While still a youth and a desperate pioneer, I, Onfim Bodryashkin, like Malchish-Kibalchish, or, at worst, the homeless Gavrosh, longed to fulfill a personal mission in the historical destinies of my Fatherland. And he spent all subsequent fast-flowing table and protracted re-working years in a creative search for some perfect form in which this thirst should be dressed in order to bring to the impoverished Russian society practical benefit. The form has finally been found: from now on, I put myself to the trouble of writing an invigorating memoir, so, at the same time, living the events that have occurred and foreseeing the future, in order, in the desired result, to promote the rapid flowering of the people’s devoted love for their superiors and, if it turns out to be possible, the birth of a reciprocal feeling of deep satisfaction . My edible mind and firm hand, I am sure, will patriotically serve both the Motherland and you, my discerning reader.
Yes, being a memoirist is very interesting: a creative rethinking of life, a monument not made by hands, an accusation of plagiarism, a trial ...
I will only allow myself to note: the need for regularity and order, acquired back in the Suvorov School, forces me to create these notes in strict form. I will start each memoir with a small essay, as if setting another topic or introducing a new unforgettable hero, and stuff it with texture, that is, the actual topic of the day. I am writing my memoir in dynamics - in the pose of a contemporary, not a chronicler - although with imperfective verbs.
Also: since my work is patriotic - and with us it means free of charge - I, in some places, allow myself to neglect obsessive self-censorship and boldly embark on sore digressions, so that you, my grateful reader, behind the inevitable narrowness of each special topic of the memoir, do not overlook the entire the expanse of the nature of a modest author showing through between the lines. By the way, I'm looking for a publisher with the right state concept in a curly head rather than with a hefty fee at the box office. And its continuation will depend on the degree of furor that my opus will arouse in the reader.
And further. Keeping my honor in relation to you, my hopeful reader, and, perhaps even to my own detriment, I will remind you of the first reader's rule: first find out who the author is - then read. So my preview...
I was born in the maternity hospital of Sorvigolovsk, fifty years ago. The city lies - in direct and in figurative sense- in the cold Neproimion side and, due to the presence of a secret factory, at that time it was still closed to foreign spies ... Death to spies! Sorry, it came out randomly. I was born, I'm almost sure, late in the morning, so as not to get angry early in the performance of the duty midwife, nurses and nannies. I didn’t know mamynki-daddy and other alleged relatives from the same late March morning, but grew up and developed on the budget, that is, solely thanks to the care of the native authorities in power. I immediately declare once and to the last line of the memoir: everything bad is biased by me from the media and from non-normative people, everything good was brought into me by the authorities - those still, Soviet. It more than provided me with the Darwinian natural right to survive in an unfavorable environment: and even then - in the abyss of the Daredevil incubator, I never disappeared, contrary to the most favorable prerequisites for that, but later I thoroughly ate at the headquarters of the N-th part Soviet army, received a high military, and later humanitarian, education with all the ensuing scholarships and security, was honored to easily and without any, mind you, blat, defend a dissertation for the degree of candidacy of psychological sciences - my square head turned out to be no obstacle for this! - I received state housing, and three times in my life they gave me lifting - money, furniture and other property and all sorts of personal belongings quite suitable for housekeeping and personal life. And the Soviet authorities never forgot me in small things: I always received all kinds of free vouchers, travel allowances, bonuses, coupons, gifts, underwear props, sensitive food rations, clothing allowance, vehicles from the treasury and funds ... I also omit random income! I got high military rank major. And the major - who forgot Latin - means the main one! True, due to the routine confusion in the documents, personnel officers from the Ministry of Defense have not been able to figure it out for fifteen years now: am I a second-major in the reserve, or have I earned the rank of the most important prime ministers - read: lieutenant colonels? Therefore, when I communicate with acquaintances and with people who are pleasant in all respects, I introduce myself, by innate modesty, for a second, and when I salute the trail in front of strangers or enemies - well, hold on: here I am a real prime minister! I am single, that is, I understand a lot in ladies ... I am very strict with priests of all denominations and mimicry. Priests (with an emphasis on "s") will not work in Russia! I am the author of the sensational capital monograph "Eros in the life of the authorities" - well, this is a separate serious conversation ... I also have not so voluminous, but impressive on an emotional level, printed works: “In a crisis, morality must be economical”, “Fundamentals of the theory of just theft”, “How to reorganize the Russian Orthodox Church into the Museum of the History of Orthodox Culture”, “How to bloodlessly get rid of pseudo-neo-liberals” and dere. In the Russian winter, I titanicly feed the titmouse - here I simply have no equal in Neproimyonsk. My titmouses are not some kind of helicopter birds jump-jump and chirp-chirp, but specific fat-funny ones - it's a pleasure to look at! Like any Russian person, I am strong in good intentions, but also - take my word for it! - I am often very zealous in business. And most importantly, I am a brutal patriot: I serve my native authorities with a smile, walk along the line and keep my tail with a wheel! I am also, in a way, an "officer for special assignments," as they used to say in the nineteenth, my favorite, literary century. Now I serve as a guided grafter at the Institute of Burning Problems: I instill the socially necessary vaccine of love for my superiors in the non-proymen people. I consider myself a learned writer, an expert on politics, society, women and in general. He was awarded a rare medal "For the fification of the country". So far I have not waited for other many promised awards, however, I do not grumble. For me, as a faithful son of Russia, everything is still ahead of me forever!
My credo: Cheer up!
The paper version of the novel is not for sale.―too expensive for the author (publishing layout and typography― 1423 rubles/copy), so only 150 copies were printed. - exclusively for giving to friends, students of my School and for sending to competitions. And I sell the novel in electronic form for 250 rubles, the usual price for similar works in online stores. Please apply (“I want to buy your novel…”) at: [email protected], I will send the number of the Savings Bank card and upon receipt of the money I will immediately send the file with the novel.
Read, write a review to the specified address! Come to my remote School of Writing and Poetry to learn how to write novels and poetry. It will be exciting and interesting!
Sergei Likhachev in front of the Volga and the Zhiguli brewery in Samara
A novel is a large-scale literary work with a complex and branched plot. The French word roman - "novel" arose in the XII-XIII centuries. Initially, it was used as an adjective-definition in the combination conte roman "Roman story" (from the Lat. Romanice - lit. "Roman"; romanus - "Roman"). So called the stories written on one of the Romance languages(French, Italian, Portuguese, etc.), which at that time were perceived as common people. The name conte roman distinguished novels from works that in the Middle Ages were usually written in classical Latin, the language of science. Starting from the XVI century. the adjective roman "romance" came to be taken as a noun denoting a work of a large form of epic or narrative literature.
Here I will consider the subgenres of the novel according to certain criteria. In fact, there can be a great many criteria, but it is these three criteria that I consider the main ones for the purposes of training novice writers. The names of the subgenres within each criterion are in alphabetical order.
I. Novel subgenres by thematic criterion
(this is the main criterion for systematizing the subgenres of the novel)
1. Absurdist novel(F. Kafka"Lock"; R.Domal"Great binge"; Yan Lianke"Kisses of Lenin")
2. Biographical novel, Autobiographical novel (Y. Tynyanov"Death of Vazir-Mukhtar"; Irving Stone"Lust for Life")
3. War romance (K.Simonov"The Living and the Dead"; E.M. Remark"On Western front no change")
4. Gothic novel(as a thematic complex) (Bram Stoker"Dracula"; E.T. Hoffman"Elixirs of Satan"; W.Golding"Spire")
5. Detective novel (A. Christie"Murder on the Orient Express"; "Ten Little Indians"; F.D. James"The Nightingale Mystery", "Tricks and Desires")
6. Ideological novel (F. Dostoevsky"The Brothers Karamazov", "The Idiot"; T.Mann"Magic Mountain")
7. Historical romance (A.N. Tolstoy"Peter the First"; W. Scott"Rob Roy", "Quentin Dorward")
8. Love story (novels Barbara Cartland And Cecilia Ahern; G. Shcherbakova"Women in a game without rules")
9. Magic romance (G.G. Marquez"One Hundred Years of Solitude"; S. Rushdie"Children of the Midnight")
10. Marine romance (G.Melville"Moby Dick"; D.F. Cooper"Pilot", "Red Corsair"; D.London"Sea Wolf")
11. Science fiction novel (S.Lem"Magellan cloud"; A. Belyaev"Amphibian Man")
12. Political romance (L. White"Rafferty"; Yu.Dubov"Big ration")
13. Adventure novel (F. Cooper"The Last of the Mohicans"; V. Bogomolov"In August forty-four")
14. Production romance (A. Hailey"Airport", "Wheels"; G. Nikolaeva"Battle on the Road"
15. Psychological novel (socio-psychological) (B. Constant"Adolf"; G. Flaubert"Education of the Senses"
16. Religious and moral novel(G. Green"The heart of the matter"; P. Coelho"The Alchemist", "Veronica Decides to Die", "The Devil and Senorita Prim")
17. Novel parenting (I. Goethe"Years of teaching Wilhelm Meister"; I. Bunin"The Life of Arseniev")
18. Roman test (by construction type, according to M. Bakhtin) (all novels F.Dostoevsky; W.Golding"Lord of the Flies")
19. A novel of self-improvement(S.Sharma"The Monk Who Sold His Ferrari"; Lee Carroll"Journey Home")
20. Roman-fate (R. Rolland"Jean-Christophe"; M. Gorky"Life of Klim Samgin")
21. Utopian novel (O. Huxley"Island"; I. Efremov"Andromeda's nebula")
22. Epic novel (L. Tolstoy"War and Peace"; M. Sholokhov"Quiet Don")
23. Chivalric romance (as a subgenre historical novel ) (W. Scott"Ivanhoe"; A.Conan Doyle"Sir Nigel", "White Squad")
24. Satirical novel (D. Swift"Gulliver's Travels"; M.E. Saltykov-Shchedrin"History of a City"
25. Family romance, family saga (N. Leskov"Old years in the village of Plodomasovo"; J. Galsworthy"The Forsyte Saga"; T.Mann"Buddenbrooks"; R.M. du Gard"The Thibault Family")
26. Social novel (L. Tolstoy"Anna Karenina" G. Flaubert"Madam Bovary"
27. Socio-ideological novel (N.G. Chernyshevsky"What to do?"; A.I. Herzen"Who is guilty?")
28. social romance (L. Tolstoy"Resurrection"; T. Dreiser"The Financier", "Sister Kerry")
29. Philological novel(Y. Tynyanov"Pushkin"; V. Nabokov"Gift"; A. Terts "Walks with Pushkin";Y. Karabchievsky "The Resurrection of Mayakovsky";Vl. Novikov "An Affair with Language, or Sentimental Discourse"
30. Philosophical novel(Voltaire"Candide"; Diderot"Ramo's nephew"; Rousseau"New Eloise"; V. Odoevsky"Russian nights")
31. Futuristic romance (N. Stevenson"Diamond Age"; V.Sorokin"Telluria")
32. Fantasy novel (J. Tolkien"Lord of the Rings"; M. Semyonova"Wolfhound")
33. Existential romance (J.-P. Sartre"Nausea"; I.A. Goncharov"Break"; A. Camus"Plague")
34. Experimental novel (L. Stern"The Life and Opinions of Tristram Shandy, Gentleman"; E. Zola"The Career of the Rougons"; J.Fowles Magus, French Lieutenant's Woman)
II. Novel subgenres by target reader
1. Ladies' romance(novels Cecilia Ahern; G. Shcherbakova"Women in a game without rules")
2. Children's novel (Jan Larry"The Extraordinary Adventures of Karik and Vali"; F.E. Burnett"Secret Garden"
3. Youth romance (S. Mayer"Twilight"; L. Oliver"Delirium")
4. Romance for teenagers (J. Verne"The Children of Captain Grant"; L. Bussenard"Captain Rip-Head"; I.Frolov"What is what")
III. Sub-genres of the novel by temporal criterion, or by belonging to different stages of developmentiterations
1. Antique romance (Khariton Aphrodisiac“The Tale of the Love of Kherey and Kalliroi” is the first novel in the world, the beginning of the 2nd century BC. AD); Long"Daphnis and Chloe"; Petronius"Satyricon")
2. Gothic novel(between sentimentalism and early romanticism) (Anna Radcliffe"Udolf secrets"; M.Lewis"Monk"; Ch.Maturin"Melmoth the Wanderer")
3. Decadent romance(including Novel of the Silver Age (O. Wilde"The Picture of Dorian Grey"; V. Bryusov"Silver Angel")
4. Classic realistic novel(Novel " critical realism» ) I.Turgenev"Fathers and Sons"; Ch. Dickens"Bleak House", "David Copperfield")
5. postmodern novel (M. Pavich"Khazar Dictionary"; J. Barnes"History of the World in 10 1/2 Chapters")
6. Modernist novel(M. Proust"In Search of Lost Time"; D. Joyce"Ulysses", "Finnegans Wake"; F. Kafka"Castle", "Process"; A. Bely Petersburg)
7. Romantic novel (F.R. Chateaubriand"Rene", "Atala"; novels V. Hugo; M. Zagoskin"Roslavlev or the Russians in 1812")
8. A novel of socialist realism(M. Sholokhov"Virgin Soil Upturned"; M. Gorky"Mother"; F.Gladkov"Cement"; A. Serafimovich"Iron Stream"
9. Romanbaroque era: 1) picaresquenovel(G.Ya.K. von Grimmelshausen"Simplicissimus";L.V. de Guevara"Lame demon"; 2) pastoral romance(O. d'Urfe"Astrea")
10. Roman erasand Renaissance (F. Rabelais"Gargantua and Pantagruel";J.Sannazzaro"Arcadia")
11. Sentimentalist novel (J.-J. Rousseau"Julia, or New Eloise"; S.Richardson"Pamela")
12. Medieval romance(the main body of the Medieval novel is Romance or courtly romance) (Chretien de Troy"Erec and Enida", "The Legend of the Grail, or Perceval", "Knight of the Cart, or Lancelot"; Montalvo"Amadis of Gali"; Eilhart von Oberg"Tristan and Isolde")
Some clarifications about decadence
As a literary movement, decadence is a transitional stage between romanticism and modernism. Decadence (fr. decadent - decadent) - decline, cultural regression; originally used as a historical term for cultural phenomena Roman Empire to. II-IV centuries. Also, this term refers to the modernist direction in fine arts, music, literature and architecture, in creative thought, self-expression as such - of the late XIX - early XX centuries, characterized by perverted aestheticism, individualism, immoralism. Its founders acted primarily as opponents of the old trends in art, mainly academicism. The principles proclaimed by them were at first purely formal in nature: the decadents demanded the creation of new forms in art, more flexible and more in line with the complicated worldview of modern man.
Traditional art history considers decadence as a general definition of the crisis phenomena of European culture of the 2nd half of the 19th - early 20th centuries, marked by moods of despondency, pessimism, pain, hopelessness, rejection of life, extreme subjectivism (with similar, close to tendentious, shocking formulas and clichés - stylistic techniques, plasticity, compositional constructions, accentuations, etc.). This complex and contradictory phenomenon in creativity in general, has a source of crisis public consciousness, the confusion of many artists in the face of sharp social contrasts - loneliness, soullessness and antagonisms of reality. Art's rejection of political and civic themes was considered by decadent artists to be a manifestation and an indispensable condition for freedom of creativity. Constant themes are the motives of non-existence and death, the denial of historically established spiritual ideals and values.
The main issue of delimitation decadence becomes sharing it with symbolism. There are quite a few answers, but there are two dominant ones: the first one speaks of the difference between these trends in art, a great supporter and inventor of it was J. Moreas, the second - about the impossibility of their separation or the absence of the need for such.
K. Balmont in the article "Elementary words about symbolic poetry" speaks of the trinity of decadence, symbolism and impressionism, calling them "psychological lyrics" that change "in constituent parts but always one in its essence. In fact, these three currents either run in parallel, or diverge, or merge into one stream, but, in any case, they tend in the same direction, and there is no difference between them, which exists between the waters of the river and the waters of the ocean. He characterizes the decadent as a refined artist, "perishing by virtue of his refinement", existing on the change of two periods "one completed, the other not yet born". That is why the decadents debunk everything old and obsolete, they look for new forms, new meanings, but they cannot find them, because they have grown up on the old soil.
F. Sologub calls decadence method to distinguish a character, an artistic form for the symbolist content, "worldview": "decadence is the best, perhaps the only, instrument of conscious symbolism."
The Russian Symbolists of the second wave (Young Symbolists) defined the difference between decadence and symbolism in terms of their worldview: decadence is subjective, and symbolism overcomes the individualistic isolation of aesthetics by the supra-personal truth of catholicity. Andrey Bely in the book "The Beginning" describes it this way: "symbolists" are those who, decomposing in the conditions of the old culture together with the whole culture, strive to overcome their decline in themselves, realizing it, and, leaving it, are renewed; in the "decadent" its decline is the final dissolution; in the "symbolist" decadentism is only a stage; so that we thought: there are decadents, there are "decadents and symbolists" (that is, in whom decadence struggles with rebirth), there are "symbolists", but not "decadents"; and so we willed to make ourselves.”
According to B. Mikhailovsky (Literary Encyclopedia 1929-1939), “symbolism” as a term is broader than the term “decadentism”, which in fact is one of the varieties of symbolism. The term "symbolism" - an art history category - successfully denotes one of the most important style features arising on the basis of the psyche of decadence. But you can distinguish other styles that arise on the same soil (for example, impressionism). And at the same time, “symbolism” can also be freed from decadence (for example, the struggle against decadence in Russian symbolism).
However Mikhailovsky contradicts F. P. Schiller(“History of Western European Literature of Modern Times”): “The names of groups and trends themselves have changed: starting with the novel“ On the contrary ”(1884) Huysmans, the most popular of them was "decadent" (a magazine was published under the same title), then later the name "symbolist" was widely used. And here the difference is not only in some names. If, for example, all the Symbolists were decadents, then it cannot be said that all the decadents of the “end of the century” were symbolists in the narrow sense of the word. Decadence is a broader concept than symbolism (if we ignore small group poets united around the Decadent magazine).
What is called "decadence style", wrote Gauthier, "there is nothing but art that has come to such a degree of extreme maturity that aging civilizations cause with their slanting sun." Omri Ronen generally takes decadence beyond the framework of the current in art and even art itself: “decadence found artistic expression their themes in different styles: in symbolism, in the poetics of the Parnassians, in late romanticism - "Victorian" in England, "Biedermeier" in Central Europe, and in late realism - naturalism. Decadence, therefore, was not a style or even literary movement, A mood And theme which equally colored both art and scientific, philosophical, religious and social thought of their time.
Symbolist novel Andrey Bely I put "Petersburg" in the subgenre "Novel of the period of modernism." But this novel, unusual in style, has the right to be in the subgenres of both decadence and silver age, and symbolism. But symbolism was included in the composition of a broader direction - modernism.
There is considerable discrepancy in the definition of the subgenre "Knight's novel". But more about that another time.
Remember this at the right time!
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The word "composition" goes back to the Latin words "compositio" (drawing up) and "compositus" - well-placed, slender, correct. Any work of art in all its forms and genres must create a complete image of the depicted. If the artist's goal is to depict a person at work, he will definitely show both the tools of labor, the processing material, and the working movement of the worker. If the subject of the image is the character of a person, his inner essence - sometimes it is enough for an artist to depict only one person's face. Recall, for example, famous portrait Rembrandt "The Old Man" The person is not depicted here in its entirety, but the integrity of the image was not only not affected by this, but, on the contrary, won. After all, the subject of the image in this case is not the figure of the old man, but his character. Depicting the face of an old man, Rembrandt creates typical image human character, characteristic of old people who have lived a long life filled with experiences. The image of the notes is quite complete, complete.
The subject of the image in a dramaturgical work is, as we already know, social conflict(of one scale or another), personified in the heroes of the work.
When the beginning of the play remains its most interesting part and further development proceeds from the beginning not “up” but “down”, its author is forced to throw new “logs” into his fading fire, replacing the development of this conflict from its initial situation by tying some new ones. , additional collisions. This path excludes the completion of the play by resolving the conflict with which it began, and leads, as a rule, to an artificial conclusion by way of the author's volitional command over the destinies of his characters. Basically, due to the compositional complexity of creating a dramatic work, a fair belief appeared that dramaturgy is the most complex kind of literature. Add to this: good dramaturgy. For seventy pages of a bad play are easier to write than nine hundred pages of a bad novel.
In order to cope with compositional difficulties, the playwright needs to have a good understanding of his artistic task, to know the basic elements of a dramatic composition and to imagine the “typical structure” of constructing a dramatic work. The word structure is not accidentally placed here in quotation marks. Of course, no work of art is written according to a predetermined pattern. The more original this essay, the better. The "scheme" in no way encroaches either on the individual originality of each given play, or on the infinite variety of works of dramatic art as a whole. It is conditional in nature and serves to clearly explain what compositional requirements are in question. It will also be useful for analyzing the structure of dramatic works. At the same time. the proposed "typical structure" objectively reflects the composition of a dramatic work as such and, therefore, has some obligation. The ratio between convention and obligation here is as follows: the content of the play and the ratio of the sizes of its parts in each this work different. According to their presence and sequence of location for all works are required.
Exposure - initial part dramatic work. Its purpose is to provide the viewer with the information necessary to understand the upcoming action of the play. It lasts until the beginning of the tie - the tie of the main conflict of the play. It is extremely important to emphasize that we are talking about the beginning of the main conflict, the development of which is the subject of the image in this play. Sometimes the exposure is combined with the plot. That is how it is done in The Inspector II. In Gogol. The outcome of the conflict is possible only if the unity of action is preserved, the main conflict that began in the plot is preserved. From this follows the requirement: this outcome of the conflict must be contained as one of the possibilities for its resolution already in the plot. In the denouement, or rather, as a result of it, a new situation is created, but in comparison with the one that took place in the plot, expressed with a new relationship between the characters. This new attitude can be quite varied. One of the heroes may die as a result of the conflict. The final is the emotional and semantic completion of the work. "Emotionally" - this means that we are talking not only about the semantic result, not just about the conclusion from the work.
Where does the play begin? Where does the performance start? From the first act? From the opening of the curtain?
“Composition (from the Latin compo - sitio - composition, composition, connection, binding) - construction artwork conditioned by its content, character, purpose and largely determining its perception. Composition is the most important element art form which gives unity and integrity to the work, subordinating its components to each other and to the whole.
In drama, as in any genre of fiction, composition is the motivated arrangement of the components (characterization, dialogue, etc.) of a literary work.
Drama has a beginning, middle and end.
Hegel considers the starting point of the drama to be the situation from which the conflict begins to develop, “and the guest end is achieved only when the goal and interest of the action around which the whole revolves turns out to be identical with individuals and completely connected with them.” In the finale, a comprehensive denouement of the conflict and complexity is carried out. In the middle between the outcome and the end will fit the struggle of goals and the dispute of clashing characters. These different links, being in the drama the moments of action, are themselves the essence of action, to which, therefore, the name of acts fully corresponds. According to Hegel, each drama should have three acts (1 - the detection of collisions, which is revealed in the second act "as a live clash of interests, as separation, struggle and conflict, and, finally, in the utmost aggravation of its contradiction, it is necessarily resolved in act 3 ").
According to Aristotle, drama consists of six interconnected parts:
ü Stage environment
ü Characters
ü Intelligence
There are stories "simple" And "woven" .
Simple plots consist of pictures and episodes "unnecessarily", poorly connected with each other. Actions in them pass without twists and turns and recognition. Such works, in the words of Aristotle, are written by bad writers. In a twisted (complex) plot, the action takes place with recognition and ups and downs.
Peripetia - "there is a change of events" to the opposite ... according to the laws of probability or necessity.
Recognition is the transition from ignorance to knowledge. So, the two Nastya plots are reduced to ups and downs and recognition, the third part is suffering, because suffering is the peak of action, “causing death and pain, such as, for example, any kind of death on stage, severe pain, wounding and all the like.”
The requirements for character in Aristotle follow from the rules that apply to tragedy:
1. The character must be noble (a noble direction can be in every person, no matter what social ladder he stands on).
2. The character must be suitable (that is, suitable for the quality that we represent: courageous, formidable, arrogant, proud, etc.).
3. The character must be believable.
4. The character must be consistent, i.e. he must consistently act within the framework of the assumed circumstances set by the author. “Nothing contrary to meaning should be in the course of events,” writes Aristotle.
reasonableness- "the ability to say what relates to the essence and circumstances of the case, which is achieved in speeches with the help of politics and rhetoric."
“The realm of thoughts,” writes Aristotle, includes everything that must be achieved by the word. This includes proofs, refutations, the excitation of mental movements, for example, suffering, fear, anger, and the like.
Verbal expression also includes a specific type of speech, which is called scenic. Mastering it is a complex matter of acting art, in which great attention metaphor, hyperbole, comparison of "long" (with a longer vowel than it should be) and "shortened" (if something was taken away from it).
musical part Aristotle calls "the most important of ornaments."
The stage setting includes everything that is given by the decorator (finishing the scenery, furniture, furnishings, props, costumes, etc.) and lies "... completely outside the field of the art of poetry and less characteristic of it."
K.S. Stanislavsky singled out five levels of drama: action, plot - canvas, characters, time and space. The play, according to K.S. Stanislavsky, is limited in time and space, in which the author is forced to impose an immeasurably greater load on structural elements compared to the novel: exposition, plot, development of action, climax and denouement . Drama is dominated by the law of tightness of the series of events.
The most important element of art - the concept of personality - finds direct and complete expression precisely in the system actors .
Of great importance in the composition of the performance is time category because the theater is a space-time art.
Having chosen a play, the director determines the idea of the author, outlines the style and image of the future performance. Now all these elements that exist only in thoughts must be found in the text of the play, in the characteristics and behavior of the characters in the development of the plot, in the scenography and musical noise design of the performance. The director must visually imagine the composition - the drawing of his future performance. Like a builder, who outlines in the drawing all the components and parts of the building: here main entrance, side gate, stairs, passages, rooms, here is the roof that crowns the whole building - the director must correctly and harmoniously compose the composition of the performance. The main entrance to the performance will be exposition , the stairs on which they will climb up - action development , his plot will lead all the characters in " central hall» the main events and, finally, the idea of the author and the work, i.e. lead to a climax and a denouement.
Performance composition - the form of existence of the idea, expressed through the ratio of parts and the whole.
The whole is a performance, a part of a performance is an act, a part of an act is an episode, an event. Compositionally solving a performance means dividing the play into events that determine the actions of the actors, setting the director's accents (plastic, lighting, musical, color, etc.), finding the place of each character in creating an effective spring and atmosphere of the performance.
“The director needs,” writes N.M. Gonchakov, - to clearly identify the exposition of the play, to correctly arrange all the individual parts of the performance along the line of increasing action, to highlight the episodes necessary both in ideological and plot terms, to find the dynamics of the relationship between the characters of the play, and finally, to clearly see visually (the whole) the plastic image of the performance (mise-en-scene) . All this combined into one whole (in the name of the idea - the "super task" of the play), and makes up the composition of the performance.
From the foregoing, it follows that the composition of the performance includes such components as the theme, idea, super-task, through action, logical chain of events, characters of the characters, genre and style, mise-en-scene, rhythm and tempo, stage atmosphere, artistic (decorative) and musical design. .
Thus, relying on these components, a single whole is created - a directorial, stage composition, the expression of which is the life of an actor on stage.
To build, to compose a performance means to guess what was in front of the playwright's spiritual gaze and convey it to the audience through all the expressive means of the theater.
So, composition in directing practice is understood as the arrangement of parts of the whole in an episode, in a picture, in an event, in an act or in a whole performance. The director divides the play into parts in such a way as to make one of them more significant, the other secondary: he emphasizes one, bringing it to the fore, as it were, relegates the other to the background, and talks about the third in passing.
Thus, highlighting the most important, the most essential in the composition of the performance, the director must convey to the viewer the meaning of what is contained in the content of the play.
Work on the composition of the performance involves the establishment of regular connections between its individual events (episodes) and individual elements within the events.
A dramatic work, as a rule, is based on the struggle of opposites, connected in the unity of the conflict. This polarity and strength of contrast illuminate the content of the work of art, revealing its deep meaning.
“If in a work of art (in this case, a play or performance), writes M.A. Chekhov - really happens beginning to end , that is, if there is an organic action in the play, then it, obeying the law of polarity , is expressed in the fact that the beginning (immediately or gradually) turns into its end at the end opposite. The polarity of beginning and end in a play or performance creates the right composition and enhances their aesthetic value.
The power of the conflict, illuminating the content of a work of art, gives it dynamism, relieves the reader or viewer from monotony, monotony and boredom.
Dramatic action, whole and complete in internal logic development of the conflict, is a reflection of only some, artificially limited part of the real life action. In the exposition, it is necessary to restore effective links between the past and the present.
The display elements are: the name of the play, its genre definition, the list of characters, the so-called speaking surnames(especially classics), prologue, exposition gives a picture public environment and characterization of the actors involved in the struggle. She is really preparing the plot.
The plot covers events that took place outside the play and some of those that are in it. It implements the conflict possibilities given in the exposition. Exposure and plot - the source of a dramatic conflict, preparing material for the development of action. IN action development each play has a certain milestone that marks a decisive turn that changes the nature of the struggle. The denouement is unstoppable. This milestone is the climax.
The length of the climax and its place in each individual case is determined not only by the stylistic and genre appearance of the performance, but, above all, by the semantic task. After climax the action must not move downward. To enhance the action, the director must find technological methods of tension. One of the most important tricks Such amplification is the introduction of new plot or plot devices, for example, the introduction of new opposing forces through "director's pauses", the solution of space or atmosphere, the introduction of musical counterpoint. With the help of directorial techniques and calls, completing the action of the performance, it is possible to achieve the necessary denouement, which contributes (in contrast) to a further increase in tension.
denouement – the finale of the performance. Only the final gives an idea of the director's intention, reveals the ideological meaning and moral pathos of the play and production.
Sometimes the performance ends with an epilogue, which was invented by the director as a figurative move that marks the point of the performance.
Epilogue - a special form of the finale of a performance or drama - sums up the action, shows the distant (previous) result of the dramatic struggle.
Techniques for the composition of the performance:
retrospective, circular composition.
M.A. Chekhov, in his staging practice, turned to the technique of the so-called "triangularity"
. He urged the director, by repeatedly playing the play in the imagination, to get used to it so that it could appear to the inner eye all at once.
Only then can all actions be seen together as a three-membered whole. M.A. Chekhov wrote: Start
you experience like a seed from which a plant develops; end
like a ripe fruit middle
- as a process of turning a grain into a mature plant, from beginning to end. Each of these parts has its own task and its own specific character in the composition of the whole.
Their relationship can give the director right direction when staging a play.
The concept of "composition" refers to all kinds, types and genres of art. For drama, this concept is especially important in connection with its very aesthetic nature.
The real life model, as a rule, serves only as an initial outline of the plan of any work of art, while its final design depends on the artist.
Term composition came to the theory of drama from the theory of painting in the 19th century. What is now meant by the term composition, Diderot was designated by the concept of "plan". And Diderot stated that there are far more plays with good dialogue than well-constructed plays. "Talent for the arrangement of scenes" he considered the rarest quality of a playwright. Even Moliere from this point of view, in his opinion, is far from perfect.
“First of all, I must praise the composition and liveliness of the action, and this is more than can be said about any modern German drama,” K. Marx wrote to Lassalle about his play “Franz von Sickingen”.
Arguing that the drama is a single whole, Aristotle was the first to single out three main points in its construction:
"Start- that which itself does not necessarily follow another, but, on the contrary, something else exists or occurs after it according to the law of nature; vice versa, end- that which, of necessity or custom, necessarily follows another, and after it there is nothing else; A middle- that which itself follows another, and after it another.
Explaining this statement of Aristotle, Hegel in his "Aesthetics" says that dramatic action is essentially based on a certain collision. The appropriate starting point lies in the situation from which this contradiction must subsequently develop, although it has not yet emerged. “The end will be reached when in all respects the discord and its vicissitudes have been resolved. In the middle between the outcome and the end will fit the struggle of goals and the dispute of clashing characters. These different links, being moments of action in the drama, are themselves the essence of action...
Therefore, one can understand drama as a system of actions that, in their unity, form the process of becoming. Within this complex system, one action follows from another and leads to a third, different action. But at the same time, it must be remembered that the sequence in the development of action in a drama may not correspond to the temporal sequence and other features of a really developing life phenomenon.
Thus, both Aristotle and Hegel determined the possibility of approaching the problem of drama composition through the feature
dramatic action.
There can be no recipes by which a "flawless" play is built. But the laws governing the construction of drama do exist, and world aesthetic thought, beginning with Aristotle, has worked hard and fruitfully to elucidate them.
Exposure and connection. Since a dramatic action is a reflection of only a certain, artificially limited part of a real life action, one of the primary tasks of the playwright is the task of correctly defining the initial situation - as the fundamental basis of the collision, from which the dramatic conflict should unfold. In this situation, the conflict "has not yet erupted, but is planned in the future" as
collision.
By reproducing the initial situation, the playwright exhibits(literally - exposes, shows) the beginning
The first part of the Aristotelian definition of the plot: "...usually embraces events that are outside [the drama], and some of those that lie in itself" - refers, in essence, to the exposition.
The very title of the play serves to a certain extent as an exposing moment. genre definition, given by the author, also exhibits the play, being a kind of emotional tuning fork for the viewer. Modern playwrights often expand the meaning of the genre subtitle - it rises from pure information to a generalization of the figurative structure. In some cases, the genre subtitle even becomes, as it were, an ideological manifesto. Thus, in the subtitle of Schiller's "The Fiesco Conspiracy in Genoa" - "Republican Tragedy" - a political meaning that does not require commentary is reflected.
An important expositional function is performed by the so-called poster (list of characters), because the name itself often characterizes the character in a general way.
According to Diderot, the first act of a drama is its most difficult part: it must open the action, develop, sometimes expound, and always connect. The playwright has much to say and relate. He must exhibit not only the life circumstances that are the fundamental basis of the conflict and serve as a further breeding ground for him, but also the characters of the characters and their complex relationships.
The playwright can merge the exposition of circumstances, characters and relationships together or dissect it. He is free to give, first, a detailed picture of historical, social, everyday circumstances, and then expose the character of the protagonist (as Gogol did in The Inspector General), or first clarify the character of the hero for the audience, and then acquaint them with the details of the situation in which the hero you have to act (as in Ibsen's drama "Nora, or a Doll's House").
There are many ways to display. But ultimately they can all be subdivided into two main types - direct And indirect exposure.
In the first case, the task is to bring the viewer into the course of previously occurring events, to acquaint actors expressed with complete frankness, solved straightforwardly.
By resorting to indirect exposition, the playwright introduces the necessary expositional data in the course of the action, including them in the conversations of the characters. The exposition is made up of a set of gradually accumulating information. The viewer receives them in a veiled form, they are given as if by accident, unintentionally - in the course of an exchange of remarks between characters.
For the dramaturgy of great social sounding, the role of the exposition is not limited to revealing the fundamental principle of the plot. It is intended to give a picture of the social milieu in which the dramatic struggle unfolds and, in close connection with the milieu, an analysis of the characters entering into this struggle. That is why Ostrovsky, Ibsen, Chekhov, Gorky and their great predecessors, including Shakespeare, consummate master dramatic dynamics, never skimp on the space given to the exposition.
The exposition effectively prepares eyeball. The plot realizes the conflict possibilities laid down and more or less tangibly developed in the exposition.
Consequently, the exposition and the plot are inextricably merged elements of a single initial stage drama, form the source of dramatic action.
In the normative theory of drama, the exposition is seen as a stage that necessarily precedes the plot. Meanwhile, the ancient Greeks already knew another principle of the beginning of a drama. In Sophocles' tragedy Oedipus Rex, for example, the opening precedes the exposition.
In bourgeois art criticism, normativity was especially persistently manifested precisely in matters relating to the initial stage of dramatic action. In this sense, theory followed practice, unjustifiably absolutizing the stereotyped techniques with which exposition and plot were constructed in many plays. Here it is necessary to proceed from the fact that the initial stage has its own, special aesthetic tasks. The very specific form of articulation of the play gives rise to a constant need for exposing information, which is presented in one way or another in each scene. And it depends on the author's intention, on the vital material reflected in the play, on the style of the work, and so on.
Action development, climax, denouement. The development of action is the most difficult stage in the construction of drama. It covers the main action array. One battle leads another, the scales tilt first to one side, then to the other, new forces are introduced into the battle, insurmountable obstacles arise.
The dynamics of the drama is generated by the variability of success, the uncertainty of the result of a particular dramatic collision. But each of these "cycles of action", which can be distinguished with varying degrees of distinctness in the works of any playwright, should mark a higher stage in the development of the conflict in comparison with the previous stage, sharpen the contradictions up to the last stage - the denouement. That is, the action in the drama develops in ascending order, the tension intensifies as the action develops. This pattern is noted by the vast majority of art theorists.
Consequently, a constructively single action in a drama is built from a set of "action cycles" that have all the features of a dramatic composition: each of them has an exposition, an outset, a climax, a denouement.
In the development of the unified action of each play there is a milestone that marks a decisive turn, after which the nature of the struggle changes and the denouement is irresistibly approaching. This border is called climax
Aristotle attached great importance to the climax, calling it "the limit from which the transition to happiness begins.<от несчастья или от счастья к несчастью>».
Despite the seeming archaism, this definition most deeply and accurately expresses the essence of the climax. Only by understanding the internal conditioning of the ideological and compositional structure drama, you can unmistakably find the climax, the turning point in the development of the action.
The architectonics of the climax can be quite complex, the climax can consist of several scenes. Attempts to theoretically establish its place in the dramatic composition, as a rule, are fruitless. Both the length of the climax and its place in each individual case are determined by the style and genre of the play, but above all by the semantic task. Only one thing is invariable - the aesthetic essence of the climax, which marks fracture during the dramatic struggle.
The construction of action in ascending order (“increase in action”), according to theorists, is a general pattern that knows no exceptions. It manifests itself equally in plays of all genres, in works of any compositional structure, up to plays that reverse the action. Departure from this immutable regularity, which is rooted in the very essence of the drama and in the structure of the action, means the introduction of a lyrical or epic element into the drama.
But even after the climax, the tension does not subside at all, the action does not move downward.
The problem of the compositional completion of the drama, the problem interchanges closely related to the moral effect required of it. This was first noticed by Aristotle, who put forward the concept catharsis- tragic cleansing. But since Aristotle did not give a detailed definition of this concept, disputes over the interpretation of the latter have centuries-old traditions and have not stopped to this day. Nevertheless, one thing is certain: catharsis, according to Aristotle, indicates the connection between aesthetic and ethical principles, recognizing a certain moral effect as the highest goal of tragedy. This effect is prepared by the entire deployment tragic conflict, is finally realized by the denouement, the resolution of the conflict. It is in the denouement that the focus of the moral and emotional pathos of the drama lies.
The denouement takes us to a new moral height, from which we re-examine the entire course of the dramatic battle, overestimating the ideas and principles that moved the heroes, or rather, discovering the measure of their true value.
The more diverse vital connections that form a dramatic conflict, the wider the possibilities of its various resolutions. The widespread opinion that the consistent development of a collision automatically leads to a certain denouement is theoretically unjustified, but in practice it is rejected by the experience of dramaturgy.
The choice of denouement is dictated not only (and sometimes not so much) by the objective logic of characters and circumstances, but also by a subjective factor - the will of the author, directed by his worldview, the essence of the moral task. Yes, Sun. Vishnevsky "cost nothing" to save the Commissar. But the Commissar dies - dies, by his very death affirming the greatness of his work, the unbroken spirit of the Bolsheviks. The great, tragic time, in the opinion of the playwright, required such a denouement.
The difficulties that the playwright faces when isolating the initial dramatic situation, the plot, from "empirical reality" (Hegel's expression) arise again when it is necessary to find a resolution to the conflict. The point is not only to understand, based on one's view of the world, how the collision discovered in reality will end - one has yet to find the stage that will complete it with the greatest probability, and the specific form in which the outcome will be realized.
Consequently, the denouement restores the balance that was disturbed in the plot: the conflict is settled, the opposition of one of the contending parties is broken, and victory is won. For a given dramatic action, the significance of this victory is absolute, although in its real life content it can be transient, temporary.
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A. I. Chechetin
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