Just finishing the planned essay,
we understand why we should
start it. (c) Blaise Pascal
IN classic version distinguish the following parts of the work of art:
- prologue
- exposition
- string
- development
- climax
- epilogue
This article will focus on the final piece of art.
1. Proportionality of parts of the text
2. Crisis
Decisive choice
3. Climax
4. Downward action
denouement
Final Conflict
5. Epilogue
PROPORTIONALITY
An experienced author from a beginner, as a rule, is distinguished by the proportionality of the parts of the work.
A beginner sits down to write in love with his idea. He pretty quickly throws the beginning of the work - intuitively feeling both the exposition and the plot, and then the difficulties begin.
The main reason is that the author did not think through the whole work to the end. And a novice author often does not even know that it needs to be thought through. He has never heard of the elements of composition and believes that everyone writes like him - on a whim. Alas.
The most common flaws in the development of action:
The result is a cephalopod text, eighty percent consisting of an introduction, then a couple of paragraphs about the middle and a sacramental end - "in general, everyone died."
Disproportion - typical mistake emerging authors.
What to do?
Recheck yourself and your creation with the help of arithmetic. Break your thing into semantic parts and count the signs - the result will surprise you.
According to the classical scheme, 20% of the volume is allocated to the introduction, 50% to the main action, 10% to the climax and 20% to the denouement.
Experiments with structure are, of course, possible, but are they always justified?
- to develop the planned plot threads. It is possible to add new, minor ones, but not to the detriment of the main idea of the work.
Develop the main characters. Perhaps - to introduce new characters, but again - taking into account the main idea.
Draw the reader into emotional experiences about what is happening.
“People read books to empathize with the characters, to worry about them. If someone asks you to look for hidden symbolism in novels, vague allusions, consider the nuances of various philosophical views, guess at the subtext, comprehend the meaning of the existential - do not listen. It has ruined many writers and readers. People read books to experience what the characters feel. People want to laugh, cry, suffer with them. If you are a writer, your the main task- make the reader empathize” (c) James N. Frey. How to write a great novel.
The middle of the work is actually the story itself, which the author tells.
This may be a non-standard situation from the life of the characters or, conversely, a standard one, but with an inadequate reaction of the characters.
The plot threads intertwine, complement and mutually adorn each other.
The intensity of passions is growing, the conflict indicated in the plot has reached a boiling point, the problem that confronted the hero at the very beginning must be resolved, or it will destroy him.
The CRISIS is coming.
A crisis is a state of affairs in which a decisive change in one direction or another is inevitable.
Hercule Poirot gathers passengers on the Orient Express to tell them who killed Ratchett.
Bazarov is preparing for a decisive explanation with Odintsova.
The "Water Society" in Kislovodsk relishes with pleasure the insidious slander against Princess Mary, which Grushnitsky and his friend spread.
And here attention! The described crisis should correspond to the chosen genre. For example, in ZHP, the story always plays the role of a backdrop, and the hottest point occurs when the characters stop believing in the possibility of happiness.
The crisis encourages the protagonist to take action - he tries to get rid of the danger and / or get what he wants.
At the same time, the crisis is the flourishing of the reader's feelings towards the hero.
The protagonist faces serious problems. The reader tries them on himself and is horrified.
The reader identifies with the Protagonist and admires his behavior.
The reader understands the motives of the Antagonist, but at the same time does not share his beliefs and does not support his ideology.
Throughout the story, the hero constantly found himself at a fork in the road = plot twists made decisions - what to do next?
And finally, the hero has reached the moment of the main decision, in front of him is the DECISIVE CHOICE.
The hero performs a certain act, leading the plot to a climax.
The decisive choice that the hero is forced to make manifests itself in the form of a CLIMINATION POINT.
For example, a burglar breaks into a house. The decisive choice of the owner of the house is self-defense, and the climax is the moment when the owner punches the robber in the head.
Sometimes the choice and the climax are connected with each other, turning into one action, as it were, in other cases, quite a lot of time can pass between them.
CULMINATION is the pinnacle of the plot, the highest point of the conflict of the work, the point of its resolution, when the reader understands whether the thesis or antithesis wins.
According to James N. Frey:
The climax is the target, and the plot is the arrow flying towards it.
The climax is the opposite shore to which you build the bridge of your work.
The climax is the finish of the marathon.
The climax is the finishing blow to the fight that unfolds in your work.
It can be said otherwise.
The plot is a question mark, the climax is an exclamation point.
The plot is hunger, the climax is saturation.
The plot is a throw of the puck, a hand on the hilt, a finger on the trigger, the climax is a bullet between the eyes.
The climax is the end for which the beginning was born.
At the climax, the coward gains courage, the loved one agrees to marry, the loser wins, the winner loses, the saint sins, sinners atone for sins. This is what the definition of climax as "revolutionary change" implies. Things are changing dramatically: everything is turned upside down.
The work lives from the beginning (conflict!) to the culmination (conflict!) - until the moment when it becomes clear: who is who.
IN tragic work The climax is most often the death of the hero.
In dramatic life history heroes in the moment highest voltage pass through difficult situation, after which the voltage drops.
In comedy, as a rule, the climax occurs at the moment when all the secrets are revealed, and the characters find themselves in a ridiculous and awkward position.
In a detective story, the climax is the moment when the name of the killer (kidnapper, robber) is called.
In literary and artistic creations of epic genres, significant in volume, such as Anna Karenina and War and Peace by L.N. Tolstoy, "The Idiot" and "The Brothers Karamazov" by F.M. Dostoevsky, "The Life of Klim Samgin" by M. Gorky, " Quiet Don”and “Virgin Soil Upturned” by M.A. Sholokhov, "Master and Margarita" M.A. Bulgakov, where, as a rule, several storylines are intertwined, not one, but several climaxes are possible, each of which can play a decisive role in the perception of the text by readers.
DOWNLOAD ACTION
However, the climax is not the end of the work.
The author needs to complete the story = collapse the action, show how the narrative environment has changed as a result of conflict resolution.
It is desirable that the speed of plot folding correspond to the speed of unfolding. There are alternatives though, see Plot schemes Here
Usually the pace of the story slows down.
UNLOCKING is coming.
As a rule, it is impossible to determine the boundaries of the climax or denouement. The climax is the specific moment when the reader realizes that the key conflict has been resolved. And the denouement is an event that exhausts the conflict, a period at the end of a sentence, an event that should finally clarify everything.
The unity of the climax and denouement proves the main idea of the work.
FINAL CONFLICT
Occurs after the climax.
His model is directly opposite to the conflict from the beginning of the work - it does not grow, but rather fades away. Its function is to give the reader the impression that the story is told to the end.
“Think of the final conflict as an operation to clear the captured territory of the enemy, after the decisive battle has been won in a long war” (c) James N. Frey
In some works, the final conflict is absent altogether. This is because all conflicts are resolved at the moment of climax.
The ending of the story can be tragic or happy, depending on the ideological tasks of the work.
The ending can be open - like, the hero went through difficult trials, changed internally, but life goes on. This will allow the reader to reflect after they have finished reading. Even if NOTHING happens in the ending, then there should be some meaning to it.
The final must bear semantic load. Let artistic justice be done. Artistic justice is a punishment corresponding to the severity of the crime, or a reward that appreciates virtue.
The villains should get what they deserve, the sufferers should be rewarded. Those who have erred must pay for their mistakes and see the light, or else remain in ignorance. Each of the heroes has changed, made for himself some important findings, which the author wants to present as the main idea of his work.
EPILOGUE
- the final part added to the finished work of art and not necessarily associated with it by the inseparable development of the action.
How the prologue presents actors before the beginning of the action or informs what preceded it, so the epilogue acquaints the reader with the fate of the characters who interested him in the work.
The epilogue differs from the afterword in that the former can be a reflection, while the epilogue is always a story.
Epilogues can be built in different ways, again, it all depends on the goals of the author.
For example, let's analyze the epilogues of Tolstoy and Turgenev
"War and Peace". In such a global novel, it is not easy to fix the ending. Therefore, Tolstoy structurally divides the epilogue into two parts, and gives in it as many as three plans - historical, family and philosophical. Tolstoy's epilogue does not so much end the story about the fate of the heroes as it anticipates their new, so to speak, adventures. So, Pierre's participation in the Decembrist uprising is beyond doubt. As well as his insoluble dispute with Nikolai Rostov - evidence of their future discord. So the life of the heroes of the epilogue is far from over.
« Noble Nest". The epilogue is built on a completely different principle. Eight years later, Lavretsky visits the estate. He is sad, but the turning point in him has already happened, the past is closed to him.
His heart felt sad, but not heavy and not regrettable: he had something to regret, nothing to be ashamed of. “Play, have fun, grow up, young strength,” he thought, and there was no bitterness in his thoughts, “you have your life ahead of you, and it will be easier for you to live: you don’t have to, like us, find your way, fight, fall and get up in the midst of darkness; we were busy trying to survive - and how many of us did not survive! - but you need to do business, work, and the blessing of our brother, the old man, will be with you. And to me, after today, after these sensations, left to give you last bow- and, although with sadness, but without envy, without any dark feelings, say, in view of the end, in view of the awaiting god: "Hello, lonely old age! Burn out, useless life!"
Lavretsky quietly got up and quietly withdrew; no one noticed him, no one held him back; merry cries resounded stronger than before in the garden behind a solid green wall of tall lindens. He got into the carriage and ordered the coachman to go home and not drive the horses. (Turgenev. Noble Nest)
© Copyright: Copyright Contest -K2, 2013
Publication Certificate No. 213101300161
reviews
Offers several definitions of the concept of "plot". According to Ozhegov, the plot in literature is the order and connection of events. Ushakov's dictionary proposes to consider them a set of actions, the sequence and motivation for the deployment of what is happening in the work.
Relationship with the plot
In modern Russian criticism, the plot has a completely different definition. The plot in the literature is understood as the course of events, against which the confrontation is revealed. The plot is the main artistic conflict.
However, other points of view on this issue have existed and continue to exist in the past. Russian critics mid-nineteenth centuries, supported by Veselovsky and Gorky, considered the compositional side as the plot, that is, how exactly the author communicates the content of his work. And the plot in literature is, in their opinion, the actions and relationships of characters.
This interpretation is directly opposite to that in Ushakov's dictionary, in which the plot is the content of events in their sequential connection.
Finally, there is a third point of view. Those who adhere to it believe that the concept of "plot" independent value does not, and in the analysis it is quite sufficient to use the terms "plot", "composition" and "plot scheme".
Types and variants of product schemes
Modern analysts distinguish two main types of plot: chronicle and concentric. They differ from each other in the nature of the connections between events. The main factor, so to speak, - time. The chronic type reproduces its natural course. Concentric - focuses no longer on the physical, but on the mental.
The concentric plot in literature is detectives, thrillers, social and psychological novels, drama. Chronicle is more common in memoirs, sagas, adventure works.
Concentric plot and its features
In the case of this type of course of events, a clear causal relationship of episodes can be traced. The development of the plot in the literature of this type is consistent and logical. Here it is easy to distinguish the tie and the denouement. Previous actions are the causes of subsequent ones, all events seem to be pulled together into one node. The writer explores one conflict.
Moreover, the work can be both linear and multilinear - the causal relationship is preserved just as clearly, moreover, any new storylines appear as a result of past events. All parts of a detective, thriller or story are built on a clearly expressed conflict.
chronicle plot
It can be contrasted with concentric, although in fact there is not an opposite, but a completely different principle of construction. These types of plots in literature can interpenetrate each other, but most often either one or the other is decisive.
The change of events in a work built according to the chronicle principle is tied to time. There may be no pronounced plot, no strict logical causal relationship (or at least this relationship is not obvious).
In such a work, we can talk about many episodes, which have in common only that they happen in chronological order. chronicle plot in literature, it is a multi-conflict and multi-component canvas, where contradictions arise and go out, one is replaced by another.
Ending, climax, denouement
In works whose plot is based on conflict, it is essentially a scheme, a formula. It can be divided into constituent parts. Plot elements in literature include exposition, opening, conflict, rising action, crisis, climax, falling action, and denouement.
Of course, not all of these elements are present in every work. More often you can meet several of them, for example, the plot, the conflict, the development of the action, the crisis, the climax and the denouement. On the other hand, it matters how exactly the work is analyzed.
The exposition in this regard is the most static part. Her task is to introduce some of the characters and the setting of the action.
The opening describes one or more events that trigger the main action. The development of the plot in literature goes through conflict, growing action, crisis to climax. She is also the peak of the work, playing a significant role in revealing the characters of the characters and in the development of the conflict. The denouement adds the final touches to the story told and to the characters of the characters.
In the literature, a certain plot construction scheme has developed, psychologically justified from the point of view of influencing the reader. Each described element has its place and meaning.
If the story does not fit into the scheme, it seems sluggish, incomprehensible, illogical. In order for a work to be interesting, for readers to empathize with the characters and delve into what is happening to them, everything in it must have its place and develop according to these psychological laws.
Plots of Old Russian Literature
Ancient Russian literature, according to D.S. Likhachev, is “the literature of one theme and one plot.” World history and meaning human life- these are the main, deep motives and themes of the writers of those times.
Plots ancient Russian literature are revealed to us in lives, epistles, walks (descriptions of travel), chronicles. The names of the authors of most of them are unknown. According to the time interval, the Old Russian group includes works written in the 11th-17th centuries.
The diversity of modern literature
Attempts to classify and describe the plots used have been made more than once. In his book The Four Cycles, Jorge Luis Borges suggested that there are only four types of cycles in world literature:
- about the search;
- about the suicide of a god;
- about a long return;
- about the assault and defense of the fortified city.
Christopher Booker singled out seven: "rags to riches" (or vice versa), adventure, "there and back" (Tolkien's "The Hobbit" comes to mind here), comedy, tragedy, resurrection, and victory over the monster. Georges Polti reduced the entire experience of world literature to 36 plot collisions, and Kipling singled out 69 of their variants.
Even experts of a different profile did not remain indifferent to this issue. According to Jung, the famous Swiss psychiatrist and founder of analytical psychology, the main plots of literature are archetypal, and there are only six of them - this is the shadow, anima, animus, mother, old man and child.
Folk tale index
Most of all, perhaps, the Aarne-Thompson-Uther system “allocated” opportunities to writers - it recognizes the existence of approximately 2500 options.
However, this is about folklore. This system is a directory, an index fairy tales, known to science at the time of the writing of this monumental work.
There is only one definition for the course of events. The plot in the literature of such a plan is as follows: “The persecuted stepdaughter is taken to the forest and thrown there. Baba Yaga, or Morozko, or Goblin, or 12 months, or Winter, test her and reward her. native daughter stepmother also wants to receive a gift, but does not pass the test and dies.
In fact, Aarne himself established no more than a thousand options for the development of events in a fairy tale, however, he allowed the possibility of the emergence of new ones and left a place for them in his original classification. It was the first pointer that came into scientific use and was recognized by the majority. Subsequently, scientists from many countries made their additions to it.
In 2004, an edition of the handbook appeared, in which the descriptions of fabulous types were updated and made more accurate. This version of the pointer contained 250 new types.
I talked about these things in my previous articles in some detail. But questions, oddly enough, all remain. Okay, then I'll explain more clearly.
The plot - development and climax - denouement - these are the four constituent elements of any plot in literature. Since I am dealing with the theater - I will tell you how these four elements are embodied in stage space, when interpreting a dramaturgical work (dramaturgy) by the director.
Dramaturgy is (to put it simply) a kind of prose literature, which is created according to certain principles stage action existing in the theatre. Any drama is built on a dialogue between characters, which has (or should have) a pronounced effective (target) nature.
Oh yes. Here and there, I encounter a misunderstanding of what prose is and what its role is in literature. Many people confuse them, many do not understand at all what's what. Remember: everything we read is literature. Literature is conditionally divided into two main types or directions: poetry (rhythmic presentation) and prose (non-rhythmic or free (not having a clear rhythmic structure) presentation of the author's thoughts). Prose, in turn, has many varieties, there is both oral and written prose. There is a certain “cunning” prose, which many still do not understand where to attribute it. This is dramaturgy.
Ancient thinkers (from the time of Aristotle, for example) attributed dramaturgy to a form of poetry. However, “why” they did this is completely understandable. For the dramaturgy of those times strongly resembled poetic forms (and was rarely presented in direct “non-rhythmic” speech in the way that it exists now).
But a lot of time has passed since then. And now - dramatic work has (almost) nothing to do with poetry.
It is believed that any dramaturgy has a written embodiment (in the form of a play) and a stage (in the form of the director's interpretation). It is both so and not so at the same time. For - being formed in specific work, which has four elements of the plot, it and, as a result, it (the work) can and should be called a kind of prose (literature). How the director will then retell the play - God knows. But initially - dramatic work There is a kind of prose. Which, in turn, is the "pillar" (direction) of literature itself.
Of course, dramaturgy is very dependent as a variety or genre, because it is "sharpened" - not for descriptive, but for effective perception, which is so in demand in the theater. But this does not negate its literary "roots".
Yes, any play is originally a literary (prose) work, which is written according to the laws of stage action. Explicit or implicit.
I hope I haven't clouded your brain too much. No? This is good. What to do, without a clear definition of such rules of the game, unfortunately, it makes no sense to write about anything else. For - then we just get confused in particulars. And you won't understand anything. And I - I will throw information - like peas against the wall. Do we need it? Hardly.
So, let's get down to my favorite details so much. I note that I will consider “the plot, development, climax and denouement” through the prism of dramatic works.
So, what is a "tie"? This is where the story began. Let's take a play as an example. "The Seagull" A.P. Chekhov.
What exactly does The Seagull start with? From the fact that Kostya Treplev with his beloved - Nina Zarechnaya - is preparing to show a performance for her mother - who occasionally comes to the estate of her brother Sorin - Arkadina, where Kostya lives. The most important starting point of this story (“the plot”) is the arrival of Arkadina. And that's why. "Prima" arrives, " socialite". And for Kostya, the performance is a reason to return (or earn) the respect of his mother.
WITH difficult relationship Bones with his mother, which will be visually confirmed in the scene with the performance, and the this story. By the way, during the performance, the mother behaves disrespectfully, constantly commenting on certain plot moves and mocking their ineptitude.
"Development" consists of several turning points and events. This is the maturation process of the main conflict of the play. PROCESS. Remember development does not consist of one moment, it is always a complex of moments that intensifies the conflict. What is the main conflict in the play "The Seagull" - each director must understand for himself.
Chekhov, in the sense of defining the conflict of his plays, is not a simple author. More precisely, there are some of his plays in which the conflict is multilevel. "The Seagull" is just one of those. In this play you can look for a conflict between the needs and interests of generations (both creative and - age - "fathers and children"). It is possible - a conflict in the area of \u200b\u200bthe "price of success" (to what extent it is possible and possible to reach in order to obtain success). You can even formulate a conflict in the area of the junction of times(this is not an age conflict, it is rather a technotronic conflict).
And that “tie” that I wrote about above stems from the age conflict between fathers and children. But if you are looking for (using) another conflict for the selection of production decisions, you will it is useful to define "setting, development, climax, denouement" based on the conflict. I will talk about this in more detail later.
Which turning points and events can be called "development" in the play "The Seagull"? This is the actual break in relations between Treplev and Nina Zarechnaya in the scene with the dead seagull. And Kostya's failed suicide attempt some time later (the scene when Arkadina bandages her son's head). And the challenge of Kostya to a duel by the wife of Arkadina, the writer Trigorin, which the latter does not accept.
The culmination of the plot in the event that we define the conflict in the field of “fathers and children” is the departure (and in fact, the escape) of the mother and her husband from the estate of her brother, Sorin. "We didn't agree." Generations did not understand each other and decided to disperse in order to prevent something very bad.
"Decoupling" - the death of Kostya Treplev in the finale. The younger generation loses to the older one - in courage, determination, will - in everything. “Decoupling” is what ends the conflict in the end..
And finally - I will tell you how best to formulate the “setting, development, climax and denouement”, taking into account the generational conflict I have chosen.
At the beginning of our history there is a clash of generations. So let's call the "tie" - "collision". In "development" we observe the struggle and the possibility (attempts) of adaptation of generations to each other. Let's call it "confrontation" or tug of war. The culmination - "did not agree." "Decoupling" - being out of confrontation - the younger generation destroys itself (Kostya commits suicide, and Nina - is lost in the endless life and professional hardships). "Death".
The Tale of Igor's Campaign is one of the most ancient and controversial monuments of ancient Russian literature. Researchers put forward about the authorship, composition, literary genre, interpretation of the plot, the time of writing this work. All this happens because the “Word” was written almost ten centuries ago, during which time the manuscript has undergone many trials (fires, floods, wars) and corrections (each monk added something of his own when copying). We can only guess about the history of this legend and enjoy reading it. To make the understanding of the text as complete as possible, we briefly described its compositional elements: what is what, and where is it located?
- Lyrical introduction. "The Tale of Igor's Campaign" begins with a lyrical introduction in which the author emphasizes the priority of the authenticity of his work. He turns to the ancient storyteller Boyan, showing him respect, but abandoning his literary method.
- exposure serves as a characteristic of Igor. In the same place we will find the reasons that prompted the prince, together with his brother Vsevolod, to go on a campaign against the Polovtsy. Unknown author emphasizes that the ruler made this decision, guided by the desire for personal glory, and not the interests of Rus'.
- tie talks about the performance of Igor's troops. Bad sign – solar eclipse- did not embarrass the reckless prince, but this event tells readers what the outcome of the campaign will be. Despite the fact that the author claims the priority of reliability, historical information, numbers, details are not here, for the narrator it is more important to convey the idea and atmosphere.
- Development of action shown in the description of the battles of Russians and Polovtsians. The first battle was victorious, it intoxicated the warriors. The next day there was another sign of nature - bloody dawns and black clouds with blue lightning. And the khans Gzak and Konchak rush to the battlefield.
- climax- This is the second battle with the Polovtsy, which ended in the defeat of the Russians. And how fatal this loss is, how important it would be for Igor to humble his pride and listen to the Grand Duke Svyatoslav, shows a short digression into history. Igor's grandfather, Oleg Svyatoslavich, nicknamed Gorislavich, began strife, making the Russian land defenseless in the face of the enemy. Only under Svyatoslav did the situation normalize, but the willfulness of his sons Igor and Svyatoslav nullified all efforts.
- The transition from climax to denouement is insert episodes: the dream of Svyatoslav and his "golden word", as well as the lamentation of Yaroslavna. Through a dream, the experiences of the prince for native land, sons. It is filled with symbols: pearls, a tower without a prince on the roof, the cawing of ravens. " golden word"contains journalistic pathos, in it Svyatoslav once again emphasizes the recklessness of Igor's act, calls for unity. Yaroslavna's cry is the exact opposite, it is filled with sadness and love, she asks all the forces of nature for mercy to her beloved husband.
- denouement- Igor's escape from captivity. faithful man Ovlur got the prince a horse, the captive, despite the chase, ends up in his native land. He overcomes everything to be at home. The Russian land welcomes him, he realized his mistakes, which means that everything can be corrected.
- Epilogue- "Glory", which the author sings to the Russian rulers. He praises the princes, past and present, for fighting against the enemy, though not always successfully. What is the success? The answer to this question is obvious, it is the leitmotif of the Lay: strength in unity.
The Tale of Igor's Campaign is an ancient Russian epic novel that reflects all the aspirations of the Russian people, their way of life and feelings. The author glorifies the Motherland, cheers for her soul, wants to make her stronger and better, so she screams about main problem- civil strife, which, after about a hundred years, will lead the Russian land to the Tatar-Mongol yoke.
Interesting? Save it on your wall!Composition - this is a comparison, co-location of individual parts of a work (play, script, performance). That is, the composition is "responsible" for the construction of the work, taking direct part in this process.
Each work has its own “order of construction”. It is determined by the generally accepted, known to us, conditional division into “main points of the action”: the plot (where the initial event is), the climax (where the main event is), the denouement (where the final “resolution” of the through action / plot takes place).
The composition establishes certain patterns of connection between the individual parts of the work - the main points of the action, episodes, scenes and, if necessary, within them. That is, the establishment of a certain relationship and interdependence between the previous and subsequent actions, events - how and how they affect each other - this is the "establishment of patterns of communication between the individual parts of the work", which should be the main "concern" of the composition.
In the classical version of dramaturgy, the following parts of a work of art are distinguished: prologue, exposition, plot, development, climax, epilogue.
This list and order are not binding. The prologue and epilogue may not be present in the narrative, and the exposition may be located anywhere and not necessarily as a whole part.
The plots of modern works are often built according to a lightweight scheme: plot - development of action - climax - denouement, or according to an even lighter plot - action - climax (aka denouement).
Prologue - the introductory (initial) part of a literary and artistic work, which anticipates the general meaning, plot-plot basis or main motives of the work, or briefly outlines the events that precede the main content.
prologue function - convey the events that prepare the main action. However, the prologue is not the first episode of the narrative that was forcibly cut off from it.
The events of the prologue should not duplicate the events of the initial episode, but should generate intrigue precisely in combination with it.
exposition - depiction of the arrangement of characters and circumstances immediately preceding the unfolding of the plot action.
Exposure functions:
Determine the place and time of the described events;
Introduce actors;
Show the circumstances that will be the prerequisites for the conflict.
tie - the moment at which the plot begins to move. The plot is the first clash of the conflicting parties.
The event can be global or small, or the hero at the first moment may not appreciate its importance at all, but for anyone, the event changes the lives of the heroes. Heroes begin to develop according to the idea of the work.
climax - the pinnacle of the plot, the highest point of the conflict of the work, the point of its resolution.
Plot denouement - the outcome of events, the solution of the contradictions of the plot.
Epilogue - the final part, added to the finished work of art and not necessarily connected with it by the inseparable development of the action.
Just as the prologue introduces the characters before the beginning of the action or reports what preceded it, so the epilogue introduces the fate of the characters who interested him in the work.
M.A. Chekhov defined the composition of the performance as a three-membered whole. “You will experience the beginning like a seed from which a plant develops; the end is like a ripened fruit, and the middle is like the process of turning a grain into a mature plant, the beginning is like an end. He argued that “in a well-constructed play (or performance) there are three climaxes, in accordance with the three main parts. They are in the same relationship with each other as these parts themselves (setting, development, denouement). Then each of the three main parts of the whole can be subdivided into any number of smaller ones with their culminations, auxiliary. In addition, in other tense moments, it is necessary to place accents that allow the director not to deviate from the main idea and at the same time realize his own directorial intention.
Composition is the main thing that distinguishes the work of one director from another. The composition should never be artificially composed, a kind of invented microchip. It is the biography of space, emerging from the actors, from the air, and from the particular scene, from the relationships around the play. Composition - the mass of incarnations in real circumstances.
The composition of the play "Masha and Vitya against the Wild Guitars":
Exposition: The sorceress begins to tell, "create" a fairy tale.
She introduces auditorium with the main characters - Masha, who believes in fairy tales and Vitya, who does not believe in them. The guys have a dispute, as a result of which Masha decides to prove her case - the fairy tale exists.
Plot: Masha and Vitya learn about the kidnapping of the Snow Maiden.
Santa Claus tells the children that Koschey stole the Snow Maiden and now the New Year will never come. Primary school students decide to go to the fairy forest, and by all means, save the granddaughter of Santa Claus.
Plot development: schoolchildren, having got into a fairy forest, meet with evil spirits, which they can cope with, friendship and courage help them.
Having learned that the guys are going to rescue the Snow Maiden, the evil spirit decides to separate them and defeat them one by one. Their main task is to prevent the children from finding Koshchei's Kingdom. However, offended by evil spirits forest dwellers come to the aid of Masha and Vita, who are rescued by the students along the way. In gratitude for their salvation, the "goodies" help the children find their way to Koshchei.
Culmination: The release of the Snow Maiden from captivity.
Masha, once in the Kingdom of Koshcheyevo, makes a deal with the main villain - she exchanges a “magic” recipe for toothache (Koshchey has been “toiling” with his teeth for a long time) for the Snow Maiden.
Resolution: Victory over evil spirits.
Vitya, saving Masha from the clutches of Koshchei, enters into a fight with him, in which he wins. Baba Yaga, Goblin, Wild Cat Matvey and other evil spirits set off in pursuit of children. The Sorceress and the auditorium come to the aid of the children.
Epilogue: The children return to school, where Father Frost and the Snow Maiden are waiting for them.
The performance ends with general fun - the New Year has come.
