Best Drama Books. Mandatory List of Dramatic Works

One of the founders of Russian literary criticism was V. G. Belinsky. And although serious steps were taken in antiquity in the development of the concept literary kind(Aristotle), it is Belinsky who owns the scientifically based theory of three literary genera, which you can get acquainted with in detail by reading Belinsky's article "Division of poetry into genera and types".

There are three types of fiction: epic(from the Greek. Epos, narration), lyrical(called the lyre musical instrument, accompanied by sung verses) and dramatic(from Greek Drama, action).

Presenting a particular subject to the reader (meaning the subject of conversation), the author chooses different approaches to it:

First approach: can be detailed tell about the subject, about the events associated with it, about the circumstances of the existence of this subject, etc.; at the same time, the position of the author will be more or less detached, the author will act as a kind of chronicler, narrator, or choose one of the characters as the narrator; the main thing in such a work will be precisely the story, narration about the subject, the leading type of speech will be exactly the narrative; this kind of literature is called epic;

The second approach: you can tell not so much about events, but about impression, which they produced on the author, about those feelings that they called; image inner world, experiences, impressions and will refer to the lyrical genre of literature; exactly experience becomes the main event of the lyrics;

Third approach: you can portray item in action, show him on stage; introduce to the reader and viewer of it, surrounded by other phenomena; this kind of literature is dramatic; in the drama itself, the voice of the author will be the least likely to sound - in remarks, that is, the author's explanations for the action and replicas of the characters.

Consider the following table and try to memorize its contents:

Genres of fiction

Each type of literature in turn includes a number of genres.

GENRE is a historically formed group of works united common features content and form. These groups include novels, stories, poems, elegies, short stories, feuilletons, comedies, etc. In literary criticism, the concept is often introduced literary style, is a broader concept than genre. In this case, the novel will be considered a type of fiction, and genres - various varieties of the novel, for example, adventure, detective, psychological, parable novel, dystopian novel, etc.

Examples genus-species relations in literature:

• Genus: dramatic; view: comedy; genre: sitcom.
• Genus: epic; view: story; genre: fantasy story etc.

Genres being categories historical, appear, develop and eventually "leave" from the "active reserve" of artists, depending on historical era: ancient lyricists did not know the sonnet; in our time, an ode born in antiquity and popular in the 17th-18th centuries has become an archaic genre; romanticism XIX century brought to life detective literature etc.

Consider the following table, which lists the types and genres related to the different kinds of word art:

Genera, types and genres of fiction

Modern literary criticism also highlights fourth, an adjacent genre of literature, combining the features of the epic and lyrical genera: lyrical-epic to which it refers poem. Indeed, by telling the reader a story, the poem manifests itself as an epic; revealing to the reader the depth of feelings, the inner world of the person who tells this story, the poem manifests itself as a lyric.

DRAMA - special kind literary creativity. The drama, in addition to its verbal, textual form, also has a second "life" following the text - staging on stage in the form of a performance, a spectacle. In addition to the author, directors, actors, costume designers, artists, composers, decorators, make-up artists, illuminators, stage workers, etc. participate in the organization of the spectacle. Their common task breaks down into two stages:

2) give a director's interpretation, new interpretation the author's intention in the stage setting of the work.

Since a dramatic work is designed for the obligatory (albeit in most cases "posthumous in absentia") cooperation of the author with the theater, the text of a dramatic work is organized in a special way.

Let's read fragments of the first pages of the text of A. Ostrovsky's drama "Thunderstorm":

Did you notice that, unlike the author of the epic ( narrative work), the author does not tell a lengthy history of the heroes, but indicates them in a "list", giving brief necessary information about each, depending on his own plan: what is their name, how old is who, who is who in that place and in that society where action, who is related to whom, etc. This "list" of actors is called poster.

Ostrovsky further pointed out, Where action takes place how much time passes between certain moments of action, how they are dressed characters; in the notes to the first act it says, who is on the stage, what are you doing characters, what is he doing Each of them. In the following fragments of the text, the author briefly states, in parentheses, to whom heroes apply with a speech, what are they gestures and postures from which intonation they say. These explanations are made primarily for the artists and the director and are called remarks.

What is happening is divided into compositional parts - actions(or acts), which in turn are also subdivided into phenomena(or scenes, or paintings). This is explained by the fact that the stage action is strictly limited in time: the performance usually lasts 2-3 hours, and during this time the author and actors need to express everything for which the work was written and staged.

All phenomena, as you can see, are also divided into small (or sometimes large!) Fragments, which are words - monologues and dialogues - characters. At the same time, the author always indicates which of the heroes they belong to, calling the hero by name, as if giving him a "microphone". These words of the characters in the drama are called replicas. As you have already noticed, the words of the heroes are often accompanied by remarks.

So,
The organization of the text of a dramatic work and the necessary terms:

POSTER- this is a list of actors with author's explanations;

REPLICA- these are the words of the characters of a dramatic work; replicas organize stage dialogues of characters;

PHENOMENON(or a picture, or a scene) is a plot-complete fragment of the text of a dramatic work; each phenomenon (or scene, or picture) is a separate complete moment stage action in other words, an episode.

Since drama is a stage action, a theatrical spectacle, it is designed not so much for the communication of one reader with the author's text (like novels, stories, poems, poems, where the reader and the work "communicate" tete-a-tete, alone with each other ), how much for the mass contact of the work with the audience. Hundreds and thousands of people come to theaters. And keeping their attention is very, very difficult. Therefore, the foundation of any performance is the author's literary work- should be based on the audience's interest and tenaciously "keep" it. The dramatist helps the playwright in this intrigue.

INTRIGUE(from lat. Intricare, "to confuse") - 1) intrigues, hidden actions, usually unseemly, to achieve something; 2) the ratio of characters and circumstances, ensuring the development of action in work of art. (Dictionary foreign words, 1988.)

In other words, intrigue is a kind of mystery, a riddle, often organized by one of the characters in own purposes, the solution of which is the basis of dramatic action. Not a single play can do without intrigue, because otherwise it will not be interesting to readers and viewers.

Now let's turn to content dramatic works . It is first of all associated with the type and genre of drama. There are three types of dramatic works: tragedy, comedy and drama (do not get confused, the name of the type is the same as the name of the genre of literature, but these are different terms).

An important aspect of a dramatic work is composition. There are several types of composition of drama as a kind of literature. Let's consider some of them:

Story composition- This the totality of all character relationships, a system of their speech-gestures and deeds-actions, connected by a single authorial goal, that is, the main theme of a dramatic work. This set is aimed at revealing the characters' characters, the reasons for their dependence on everyday and psychological characteristics.

Dynamic composition- organized by the author linking all sharp points of dramatic action(exposure --> increase in action --> conflict --> resolution --> increase --> climax --> decline, etc.). Dynamic composition is characteristic both for the whole work and for its individual components: actions, acts, phenomena, scenes, paintings, etc.

• Each hero leads his own theme and has his own emotional mood(a variety of topics);
• Topics change periodically: from cue to cue, from episode to episode, from action to action (topic change);
• The theme is developed in the dialogue by one character and picked up by another (theme pickup);
• The theme of one hero in the dialogue is interrupted by another, but does not leave the dialogue (interruption of the topic);
• Characters move away from the topic, and then return to it;
• A theme abandoned in one dialogue is revisited by the characters in another;
• The topic can be interrupted without completion (topic break).

Since a dramatic work is designed to be staged in a theater where hundreds of spectators come, the range of life phenomena considered by the author ( subject matter) must be relevant to the viewer - otherwise the viewer will leave the theater. Therefore, the playwright chooses for the play themes determined either by the era or by eternal human needs, primarily spiritual, Certainly. The same can be said about issues, that is, about those issues that bother the author and which he brings to the reader's and viewers' court.

A.N. Ostrovsky he turned to topics from the life of the Russian merchants, small and large officials, townspeople, creative, first of all, theatrical public - that is, those sections of Russian society that were well known to him and studied both from positive and negative sides. And the problems raised by the playwright also concerned public spheres:

• How to break through in the life of a young smart, talented person, but who, due to poverty and origin, does not have the strong support of a rich and influential relative or acquaintance? ("There is enough simplicity for every wise man")
• Where did the conscience of the Russian merchants go? How did it happen that in the pursuit of profit, both the daughter and the son-in-law are ready to rob the father-in-law and leave him in a debtor's prison, so as not to pay his debts? ("Own people - let's settle!")
• Why does a mother sell her daughter's beauty? ("Dowry")
• What should a beautiful, but poor and unprotected girl do, so that her love and honor are not ruined? ("Dowry")
• How can a person who feels, loves and longs for freedom live among the "dark kingdom" of ignoramuses and tyrants? ("Thunderstorm"), etc.

A. Chekhov dedicated his plays to people of other circles: the Russian intelligentsia, the last "shards" noble families and people of art. But Chekhov's intellectuals get too deeply entangled in "eternal" questions that deprive them of the ability to make decisions; his landlords, idolizing the cherry orchard as an all-Russian treasure, do nothing to save it and are preparing to leave just when the orchard is being cut down; and Chekhov's actors, artists and writers on the stage are completely different from the "stars", "idols" who are applauded by the public: they are petty, stingy, swear over the ruble, quarrel with loved ones, cowardly endure the already extinct and now not at all loving, but a boring and burdensome connection... And the problems of Chekhov's plays are also largely due to time:

• Is it possible to save the passing life and how to do it? ("Uncle Vanya", "The Cherry Orchard")
• But will it be so reverently expected by Chekhov's heroes "tomorrow", "later", "someday"? ("Three sisters")
• Why time is running, and the person does not change? ("The Seagull", "Three Sisters", "Uncle Vanya")
• Will there ever be a happy ending that path, those wanderings that fall to the lot of a born person? ("The Cherry Orchard")
• What is happiness, glory, greatness? ("Gull")
• Why does a person have to suffer in order to free himself from delusions and reveal his own talent? ("Gull")
• Why does art require such terrible victims? ("Gull")
• Is a person able to get out of that routine rut into which he has driven himself? ("Three Sisters", "The Cherry Orchard", "The Seagull")
• How to preserve the beautiful "cherry garden" - our Russia - the way we love and remember it? ("The Cherry Orchard"), etc.

Chekhov's plays introduced a new specificity of stage action into Russian dramaturgy: no special events, "adventures" take place on the stage. Even out-of-the-ordinary events (for example, the suicide attempt and Treplev's suicide in The Seagull) occur only "behind the scenes". On the stage, the characters only talk: they quarrel over trifles, sort out relationships that are already clear to everyone, talk about meaningless things, get bored and discuss what happened "behind the scenes". But their dialogues are filled with a powerful energy of internal action: behind insignificant remarks lies a heavy human loneliness, awareness of one's own restlessness, something not done, but very important, without which life will never get better. This property of Chekhov's plays made it possible to consider them as plays of internal dynamics and became a new step in the development of Russian dramaturgy.

Many people often ask: why when posing such problems and developing the plots of the play "The Cherry Orchard" and "The Seagull" are comedies? Do not forget that they were not defined by critics, but by the author himself. Return to the table. What is creative task comedy?

That's right, ridicule vice. Chekhov, on the other hand, ridicules, or rather, chuckles - subtly, ironically, beautifully and sadly - not so much at the vices as at the incongruities, "irregularities" of the life of a contemporary person, be it a landowner, a writer, a doctor or someone else: great actress- greedy; famous writer- henpecked; "to Moscow, to Moscow" - and we will spend our whole lives in the provincial wilderness; a landowner from a noble and wealthy family - and is going to go to the bank as an ordinary employee, knowing nothing about banking; there is no money - and we give gold to a beggar rogue; we are going to transform the world - and we fall down the stairs ... This is exactly discrepancy, overflowing Chekhov's plays(in fact, fundamental basis comic), and makes them comedies in the highest, ancient sense words: these are real "comedies of life".

The milestone era (the end of the 19th-beginning of the 20th centuries) demanded from playwrights attention to new topics and, first of all, attention to the very phenomenon of "man". M. Gorky in the play "At the bottom" draws a terrible model of the "bottom" human society, creating on the stage a kind of rooming-cave, as if accommodating the whole world of contemporary human relations in it. But the "bottom" for Gorky is not only poverty and restlessness. The soul also has a “bottom”, and the revelation of the deaf dark secrets of this soul was embodied in the images of the Baron, Kleshch, Actor, Kostylev, Ash ... darkness, that negativity that has accumulated in their souls throughout their real, actual life. No one will make your life different, except for yourself - this is the result of the author's observations of the heroes of the drama. And therefore, Gorky's drama "At the Bottom" is determined by genre affiliation as a socio-philosophical one. The key problems for Gorky were:

• What is the real truth of life?
• To what extent is a person capable of taking control of his own destiny? What have you done to make your life different, the way you would like it to be?
• Who's to blame that trying to "jump off the tram" and start new life failed?
• How should one see a person today, contemporary author, moment?
• Pity or condemn? What really helps a person?
• How responsible is society and the environment for human life? And etc.

When analyzing a dramatic work, you will need the skills that you received when performing tasks on the analysis of an episode of a work.

Be careful, strictly adhere to the analysis plan.

Topics 15 and 16 are closely related, so the successful completion of the work is possible only with a detailed study theoretical materials on these topics.

• A.S.Griboyedov. Comedy "Woe from Wit"
• N. Gogol. Comedy "Inspector"
• A.N. Ostrovsky. Comedy "Own people - let's settle!"; dramas "Thunderstorm", "Dowry"
• A.P. Chekhov. The play "The Cherry Orchard"
• M. Gorky. The play "At the Bottom"

Andreev L. Human life. Thought (comparative analysis of the play "Thought" with the story of the same name). Ekaterina Ivanovna. (The concept of panpsychism).

Anuy J. Antigone. Medea. Lark. (Woman's Theme)

Arbuzov A.N. Tanya. Tales of the Old Arbat.

Aristophanes. Clouds. Lysistrata. (Absolute comedy)

Beckett S. The sound of steps. Waiting for Godot. (Dramaturgy of the "stream of consciousness")

Brecht b. Threepenny Opera. Mother Courage and her children. (Epic drama)

Beaumarchais. Marriage of Figaro. (The ideal canon of a classic play)

Bulgakov M.A. Days of the Turbins. Run. Zoya's apartment.

Volodin A. Five evenings. Elder sister. Lizard.

Vampilov A. Eldest son. Last summer in Chulimsk. Duck hunting.

Goethe J.-G. Faust. ("Eternal drama" or the ideal "play-to-read")

Gogol N.V. Auditor. Marriage. Players. (Mystical symbolism of the fantasy of reality)

Gorin G. A plague on both your houses. The house that Swift built. (Game reminiscence)

Gorky M. At the bottom. Philistines. ( social drama)

Griboyedov A. Woe from the mind. (The ideal canon of classicism)

Euripides. Medea. (Women's theme)

Ibsen H. Ghosts. Dollhouse. Peer Gynt. (" new drama»)

Ionesco E. Bald singer.Rhinoceros. (Anti-piece and anti-theatre)

Calderon. Worship of the Cross. Life is a dream. Persistent prince.

Cornell P. Sid. (The tragedy of the ideal hero)

Lermontov M.Yu. Masquerade. (Drama of romantic tragedy)

Lope de Vega. Dog in the manger. Sheep source. (Genre polyphonism)

Maeterlinck M. Blind. Miracle of Saint Anthony. Blue bird.

Moliere J.-B. Tradesman in the nobility. Tartuffe. Don Juan. Scapin's tricks.

Ostrovsky A.N. Dowry. Snow Maiden. Forest. Guilty without guilt. Warm heart. (" extra people Russia" on stage Russian theater)

Pushkin A.S. Boris Godunov. Little tragedy.

Radzinsky E. Theater of the times of Nero and Seneca. Conversations with Socrates.

Racine J. Phaedra. (" Psychological tragedy»)

Rozov V.S. Forever alive. ("Paphos without pathos")

Pirandello L. Six characters in search of an author. ("Theatricality of the play")

Sophocles. Oedipus the king. Oedipus in Colon. Antigone. (" golden ratio» dramas)

Stoppard T. Rosencrantz and Guildenstern are dead. (Tragedy little man)

Sukhovo-Kobylin A.V. Krechinsky's wedding. Case. Death of Tarelkin. (Dramaturgy of Russian cosmism)

Turgenev I.S. month in the village. Freeloader. (Nuances of psychologism)

Chekhov A.P. Gull. Three sisters. Uncle Ivan. The Cherry Orchard. (Comedy human life)

Shakespeare W. Hamlet. King Lear. Macbeth. A dream in a summer night.

Show B. Pygmalion. The house that breaks hearts.

Aeschylus. Persians. Prometheus Bound. ("tragic myth")

V. TOPICS AND QUESTIONS FOR THE COURSE "THORY OF DRAMA"

(with indication of personalities)

1. The balance of visual and expressive principles in drama: the dialectic of "epos" and "lyros" ("musicality" as rhythm and polyphony). Personalities: Hegel, Belinsky, Wagner, Nietzsche.

2. Action as an internal and external form of drama: "imitation of action by action." Persons: Aristotle, Brecht.

3. External and internal architectonics of a dramatic work: act-picture-phenomenon; monologue-dialogue-remark-pause.

5. Figurative and event modeling of action in drama. Personalities: Aeschylus, Sophocles, Shakespeare, Pushkin, Chekhov.

6. The nature of the dramatic conflict: external and internal conflict.

7. Typology of dramatic conflict.

8. Ways of organizing a dramatic conflict along the line: image - idea - character (character).

9. Collision and intrigue in plot development plays.

10. Structure-forming and structurally meaningful elements of the plot: "twisting", "recognition", "motive of choice" and "motive of decision".

11. Dramatic character: image - hero - character - character - role - image.

12. Character and deep levels of action development: "motive", "actant models", "typical" and "archetypal".

13. Discourse and character: levels and zones of dramatic expression.

14. Poetics dramatic composition: structural analysis.

15. The problem of the correlation of the compositional elements of the drama with the effective (event) analysis of the play.

16. genre nature dramaturgy: comic and tragic.

17. Genre evolution: comedy. Persons: Aristophanes, Dante, Shakespeare, Moliere, Chekhov.

18. Genre evolution: tragedy. Personalities: Aeschylus, Sophocles, Euripides, Seneca, Shakespeare, Calderon, Corneille, Racine, Schiller.

19. Integration processes in mixed dramatic genres: melodrama, tragicomedy, tragic farce.

20. The evolution of the genre: drama - from "satire" and "naturalistic" to "epic". Persons: Diderot, Ibsen, Chekhov, Shaw, Brecht.

21. The evolution of the genre: symbolist drama - from "liturgical" to "mystical". Persons: Ibsen, Maeterlinck, Andreev.

22. General evolution of the genre: from drama to "anti-drama" of existentialism and absurdity. Personalities: Sartre, Anouil, Beckett, Ionesco, Pinter, Mrozhek.

23. Form, style and stylization in dramatic art: era - direction - author.

24. Text, subtext, context in drama. Persons: Chekhov, Stanislavsky, Nemirovich-Danchenko, Butkevich.

25. "Monodramatic" principle of unfolding action in classic tragedy. Personalities: Sophocles ("Oedipus the King"), Shakespeare ("Hamlet"), Calderon ("The Steadfast Prince"), Corneille ("Sid"), Racine ("Phaedra").

26. The free principle of self-developing action in a dramatic work. Personalities: Shakespeare ("King Lear"), Pushkin ("Boris Godunov").

27. Dramatic character in a comic situation: sitcoms, comedies of errors, comedies of characters. Personalities: Menander, Terence, Shakespeare, Moliere, Gozzi, Goldoni, Beaumarchais.

28. Principles of action deployment in comedy: tempo-rhythmic organization of the play. Personalities: Shakespeare ("The Taming of the Shrew"), Molière ("The Scamin's Rogues"), Beaumarchais ("The Marriages of Figaro").

29. Paradoxes and contradictions in the drama of romanticism (Musset).

thirty. " fantasy realism"in Russian drama: from the grotesque to the phantasmagoria of "cosmism". Personalities: Gogol ("Inspector"), Sukhovo-Kobylin ("Death of Tarelkin").

31. Comparative analysis research method of naturalism (Zola, Daudet, Boborykin) and artistic method Russian " natural school"(Gogol, Turgenev, Sukhovo-Kobylin).

32. Organization of action in symbolist drama. Personalities: Maeterlinck ("Sister Beatrice"), Andreev ("The Life of a Man").

33. Retrospective organization of action in the analytical drama. Persons: Sophocles ("Oedipus Rex"), Ibsen ("Ghosts").

34. Principles of building an epic drama (the concept of a double system). Persons: Brecht ("Mother Courage is her children").

35. Correlation between theme and idea in intellectual drama. On the example of analysis works of the same name: "Medea" by Euripides and Anouil; Antigone by Sophocles and Anouil.

37. Principles of interaction between plot and plot in Griboyedov's comedy "Woe from Wit". (On the example of the production of V.E. Meyerhold "Woe to the mind")

38. Compositional principles in the drama of the absurd. Persons: Beckett ("Waiting for Godot"), Ionesco ("The Bald Singer").

39. Myth, fairy tale, reality in the plays of Schwartz. "Dragon", "Ordinary Miracle".

40. Myth, history, reality and personality in the plays of Radzinsky ("The Theater of the Times of Nero and Seneca", "Conversations with Socrates").

41. Internal conflict as a way of poetizing heroism and everyday life in Soviet dramaturgy. Personalities: Vishnevsky ("Optimistic Tragedy"), Volodin ("Five Evenings"), Vampilov ("Duck Hunt").

42. play theater in Gorin's plays ("The House That Swift Built", "A Plague on Both Your Houses", "Jester Balakirev").

43. Dramatic transformations " women's theme"(from the tragedy of Euripides to the plays of Petrushevskaya, Razumovskaya, Sadur).

14 rules to help you be yourself Rules to help you be your best version of yourself, not on other people's terms, but on your own. Be yourself. When you try to be someone else, you simply lose yourself. Keep your individuality - your ideas, beliefs, beauty. No one else has it, so why lose them? Be the way you know yourself - the best version of yourself possible, and not on other people's terms, but on your own. Above all, be true to yourself. Start today…1. Get your priorities right. In fact, twenty years from now, you won't care what shoes you wore, what your hair looked like, or what brand of jeans you bought. What will really matter is how you loved what you learned and how you applied that knowledge.2. Take responsibility for your goals. If you want good things to happen in your life, you must contribute to their accomplishment yourself. You can not sit still and hope for someone's help. Do not think that your destiny depends on the activities of other people. Undoubtedly, there is a connection, but only we ourselves decide our future.3. Know your worth. Some people may treat others as a tool to solve their problems. Behind the request for help lies the desire to relieve oneself of tasks or obligations. That is why you need to look closely at people in order to understand whether you mean as much to a person as he means to you. Don't let anyone take advantage of you. Do not be afraid to refuse - this is not pride, but self-respect. If you surround yourself with selfish, negative people, don't expect positive changes in your life. Know the value of yourself and what you offer people. Never settle for less than you deserve.4. Choose the right perspective. Perspective is in everything. A good example: we often encounter long queues and long traffic jams. Waiting all this time, a person can go two ways. The first option is to get upset, disappointed, or even furious. The second option is to perceive this situation as an occasion to think about your life, dream, or simply concentrate on contemplating the world around you, because in the daily bustle it is not so often possible to admire the same clouds. As a result, in the first case, a person's blood pressure will rise from negative emotions, and in the second - the mood, at the same time the consciousness will expand.5. Don't let old problems get in the way of your dreams. Learn to let go of what you can't control. Avoid outbursts of anger - reckless spontaneous actions can cross out dreams forever. Every time you feel like thinking about an unfair situation, try to redirect your thoughts in a different direction. Don't let problems overwhelm you and you will be on a straight path to a brighter future.6. Focus on what's really important. Some things don't really have the value we can attribute to them. For example, the contents of the car we drive. Does it play any role in your life plan? Not at all. What about the contents of your heart? Plays. And so it is with everything. The problem with most people is that they, realizing what is really important in life, do not attach any importance to it. Instead, they focus on the little things, distracted from real life.7. Love yourself. Let you be loved the way you are. People often mistakenly consider themselves unattractive, feel that they are not worthy of anyone's attention. Whatever flaws you have, remember that you are worthy of love. Let someone give it to you. At first, this someone will be you yourself, then the circle of admirers will expand 8. Accept your strengths and weak sides as it is. Don't be afraid to be yourself. We often spend time analyzing other people and comparing ourselves to them, wanting to become something we are not. Each person has both advantages and disadvantages, so there is no need to look for an ideal in someone. You yourself must become an ideal, but this will only succeed after you accept yourself as you are.9. Rise for yourself. You were born to be real, not perfect. Each of us is here to be ourselves, not what others want us to be. Do not let others change this setting. Don't be afraid to stand up and fight back. Boldly look into the eyes of your enemies and say: “Do not judge me until you know me. Don't underestimate me until you challenge me. Don't talk about me until you talk to me.”10. Learn from others and move on when needed. Never expect people to change. You either accept them as they are, or start your life without them. Don't be afraid to end a relationship. If something in life ends, then it must be so. Do not be sad because of this - it is better to perceive it as a valuable experience. Any event that is both good and not very enriches you with experience and makes you wiser. It is the same with people: someone comes into your life to bless, and someone to teach a lesson.11. Be honest in your dealings. Don't cheat. When you are truly in love, loyalty is not a sacrifice, but a pleasure. If you are dissatisfied, have the courage to say so directly - this is the only sure way.12. Learn to find a way out of uncomfortable situations. Everyone knows that life is an unpredictable thing and can change dramatically at the most unexpected moment. Communication that does not foreshadow warm relations, may develop into strong friendship, the most important career in life may be lost along with the hope of rehabilitation. Some situations can make you feel uncomfortable, frustrated and devastated, but remember, this is temporary. You won't always feel out of sorts, but it takes effort to get rid of it. Do not be afraid of change, get rid of what causes you discomfort and your life will change.13. Be who you were born to be. It is important to understand as early as possible that life path has not only length but also width. No matter how many years we live long life will not make sense if it is empty. In order not to regret later on wasted years, do not deny yourself your desires. Live the way you want. It's better to live short life according to their own rules, rather than long according to someone else's. Follow your heart, but don't forget your mind.14. Never give up. This is your life and you can only live it once. So why let someone decide for you? Be strong and stand up for your interests. Strength lies not only in holding on to your dreams and goals. Strength is also in the ability to start all over again if previous attempts have failed. It is very important to find strength in ourselves and take revenge, because everything we dream about is achievable. Realization of a dream is only a matter of time, so do not try to give up, referring to failures, bad luck or "middle-aged" age. Remember: it's never too late to become who you could be. Keep learning, working, fighting every day, every minute. Maybe you will not immediately find yourself at the goal, but you will be closer to it than you were yesterday.

On the one hand, when working on a drama, the means that are in the writer's arsenal are used, but, on the other hand, the work should not be literary. The author describes the events in such a way that the person who will read the test can see everything that happens in his imagination. For example, instead of "they sat at the bar for a very long time" you can write "they drank six beers each", etc.

In drama, what is happening is shown not through inner reflections, but through an external action. Moreover, all events take place in the present time.

Also, certain restrictions are imposed on the volume of the work, because. it must be presented on stage within the allotted time (up to a maximum of 3-4 hours).

The requirements of drama, as a stage art, leave their mark on the behavior, gestures, words of the characters, which are often exaggerated. What cannot happen in life in a few hours, in drama it can very well. At the same time, the audience will not be surprised by the conventionality, implausibility, because this genre initially allows them to a certain extent.

In the days of books that were expensive and inaccessible to many, drama (as a public performance) was the leading form of artistic reproduction of life. However, with the development of printing technology, it lost its primacy epic genres. Nevertheless, even today, dramatic works remain in demand among society. The main audience of the drama is, of course, theatergoers and moviegoers. Moreover, the number of the latter exceeds the number of readers.

Depending on the method of staging, dramatic works can be in the form of plays and scripts. All dramatic works intended to be performed with theater stage, are called plays (French pi èce). Dramatic works on which films are made - scripts. Both plays and scripts contain author's notes to indicate the time and place of action, indicate age, appearance heroes, etc.

The structure of the play or script follows the structure of the story. Usually, parts of a play are designated as an act (action), a phenomenon, an episode, a picture.

The main genres of dramatic works:

- drama,

- tragedy

- comedy

- tragicomedy

- farce

- vaudeville

- sketch.

Drama

Drama is a literary work that depicts serious conflict between actors or between actors and society. The relationship between characters (heroes and society) in works of this genre is always full of drama. In the course of the development of the plot, there is an intense struggle both within the individual characters and between them.

Although the conflict is very serious in the drama, it can nevertheless be resolved. This circumstance explains the intrigue, the tense expectation of the audience: whether the hero (heroes) will be able to get out of the situation or not.

Drama is characterized by a description of the real Everyday life, the formulation of "mortal" questions of human existence, a deep disclosure of characters, the inner world of characters.

There are such types of drama as historical, social, philosophical. Drama is a melodrama. In it, the characters are clearly divided into positive and negative.

Wide famous dramas: "Othello" by W. Shakespeare, "At the Bottom" by M. Gorky, "Cat on a Hot Roof" by T. Williams.

Tragedy

Tragedy (from the Greek tragos ode - “goat song”) is a literary dramatic work based on an irreconcilable life conflict. Tragedy is characterized by a tense struggle of strong characters and passions, which ends in a catastrophic outcome for the characters (usually death).

The conflict of a tragedy is usually very deep, has a universal meaning and can be symbolic. Main character, as a rule, suffers deeply (including from hopelessness), his fate is unhappy.

The text of the tragedy often sounds pathetic. Many tragedies are written in verse.

Wide famous tragedies: "Chained Prometheus" by Aeschylus, "Romeo and Juliet" by W. Shakespeare, "Thunderstorm" by A. Ostrovsky.

Comedy

Comedy (from the Greek komos ode - "merry song") is a literary dramatic work in which characters, situations and actions are presented comically, using humor and satire. At the same time, the characters can be quite sad or sad.

Usually comedy presents everything ugly and ridiculous, funny and awkward, ridicules social or domestic vices.

Comedy is subdivided into the comedy of masks, positions, characters. Also this genre includes farce, vaudeville, sideshow, sketch.

Sitcom (situation comedy, situational comedy) is a dramatic comedy work in which events and circumstances are the source of the funny.

A comedy of characters (comedy of manners) is a dramatic comedy work in which the source of humor is the inner essence of characters (morals), funny and ugly one-sidedness, an exaggerated trait or passion (vice, defect).
farce is light comedy using simple comic tricks and designed for a rough taste. Usually a farce is used in a circus lunade.

Vaudeville is a light comedy with entertaining intrigue, which has a large number of dance numbers and songs. In the US, vaudeville is called a musical. IN modern Russia it is also commonly said "musical", implying vaudeville.

An interlude is a small comic scene that is played between the actions of the main performance or performance.

Sketch (English sketch - “sketch, sketch, sketch”) is a short comedy work with two or three characters. Usually, the presentation of sketches is resorted to on the stage and television.

Wide famous comedies: "Frogs" by Aristophanes, "Inspector General" by N. Gogol, "Woe from Wit" by A. Griboyedov.

Famous TV sketch shows: "Our Russia", "Town", "Monty Python's Flying Circus".

Tragicomedy

Tragicomedy is a literary dramatic work in which a tragic plot is depicted in a comic form or is a random jumble of tragic and comical elements. In tragicomedy, serious episodes are combined with funny ones, sublime characters are set off by comic characters. The main method of tragicomedy is the grotesque.

We can say that "tragicomedy is the funny in the tragic" or vice versa, "the tragic in the funny."

Widely known tragicomedies: "Alcestis" by Euripides, "The Tempest" by V. Shakespeare, "The Cherry Orchard" by A. Chekhov, the films "Forrest Gump", "The Great Dictator", "The Same Munchazen".

More detailed information on this topic can be found in the books of A. Nazaikin

Many of us book lovers have been to the theater at least once. Actually, have you noticed how the theater begins? As a prominent theatrical figure said, that the theater begins with a hanger. This time we will allow ourselves to disagree with him. Theater begins with writing a script for a play.

In other words, theater begins with dramaturgy. This word is translated from Greek as composing or staging dramatic works. Dramaturgy is one of the main genres of literature. Theatrical performances They have always been popular and are still in demand today.

What is the nature of dramaturgy?

Picking up a play, you will immediately notice a number of features that distinguish dramaturgy from fiction. . Let's consider just a few of them:

1.Text theatrical production consists of two parts - the dialogue of the characters and the author's explanations (remarks).
2. The work is based on conflict.
3. The audience likes fast paced events, so the plot usually develops dynamically.
4. Quantity acting characters unlike book epics is limited.
5. In addition to the main storyline, there is a secondary one, on which the author focuses more attention.

What are the genres of dramaturgy?

• Drama;
• Tragedy;
• Comedy;
• Melodrama;
• Mystery;
• Vaudeville;
• Farce.

How did drama develop?

Theatrical productions were loved by the ancient Egyptians. The Egyptian mystery about Osiris has survived to this day. Dramaturgy reached its peak in Ancient Greece . Its prominent representatives: Aeschylus, Euripides, Aristophanes, Sophocles. IN Ancient Rome the productions of Seneca, Terence, Plautus shone. In eastern countries such as India, Japan, China, drama was also developed.

The ancient Greeks and Romans, so the origin of the genre of dramaturgy can be considered ancient times. After the decline of antiquity European culture“took a break for several centuries. Dramaturgy began to “wake up” during the Renaissance at the beginning of the 14th century. . Her the brightest representatives Shakespeare, Lope de Vega.

The Age of Enlightenment (XVII century) again pushed dramaturgy into the background. Drama flourished at the turn of the 18th century. In Russia in the 19th century, such famous writers and playwrights as Pushkin, Griboedov, Gogol and others gave the drama a "second wind". In the heyday of the dominance of realism, Henrik Ibsen, Gregart Hauptmann, Victorien Sardou and other playwrights are working on scripts.

What is drama?

This is one of the main genres of literature, a kind of dramaturgy. Such books reflect the dramatic life and actions of people, their difficult relationships with society and difficult experiences.

Dramatic works are intended both for performance on the stage and those not designed for stage performance. Dramatic works do not always end tragically, it is possible successful outcome events. In our electronic library online for free you can read such works of modern playwrights.