Olga Valentinovna VIKTOROVA - senior lecturer at the Moscow State University of Culture and Arts.

literary composition on the school stage

N most common theatrical genre on the school stage - this, of course, is a literary composition. It is popular because it is the most accessible to work, as many teachers believe. The form of literary composition allows you to react vividly to events taking place in the modern world, to speak out, as they say, “on the topic of the day.” The idea, the main idea can be expressed especially clearly and concisely precisely by means of literary and artistic composition, which allows it to be used as an effective pedagogical technique in solving problems. school education. It is believed that the literary composition is more accessible in work and more preferable for staging, since it does not require a large rehearsal work with the performers, allows you to combine almost any literary material and not “fence a garden” of scenery on the stage, as when staging a dramatic performance. This is roughly the general opinion. All this is so... and not so. Let's try to figure it out.

Features of the genre of "artistic reading" were formed for a long time. Among the ancient Hellenes, the art of declamation was especially respected - a genre in which a rigid framework of the melody of speech and obligatory conditional gestures were defined. The form of the pronunciation of the text was obligatory and subjugated the content. Some ideal classical role model was created. Declamatory rules evolved over several centuries. Thus, a special theatrical performing genre was formed. However, the strictness of the canon greatly limited the creative nature of the actor, since deviation from the rules was considered a rebellion against culture. Only at the beginning of the 19th century, the lifeless rules of declamation began to recede under the onslaught of the new theatrical truth, the basis of which was laid by the great French tragedian Talma. Having begun his studies at the Royal School of Recitation and Singing, he subsequently overcame the established rules of melodiousness of speech and external gesture. Formalism and illustrativeness were replaced by emotionality and passion, a varied intonation of life. The content of the spoken text has become no less important for the performer than the form.

The foundation of the Russian school of artistic expression was laid in the 1830s at the first public readings of writers and actors. At the origins of this undertaking were A.S. Pushkin and N.V. Gogol, recognized as gifted readers. They also made the first theoretical generalizations in the art of the artistic word. Simplicity and truthful intonation of life - this is what should underlie the art of sound literature. In the book “Selected passages from correspondence with friends,” Gogol wrote in the chapter “Reading Russian poets to the public”: “We are somehow more willing to act together, even to read ... flaunt in chambers and parliaments, but there are many people who are capable of everything sympathize”.

So, it turns out that there is the main thing in the sounding word - not an ideal role model, empty and cold, but living word, capable of evoking sympathy from the audience, the author's thoughts and feelings lived by the performer on stage, as if they were his own. Only through a natural lively intonation can one achieve a reciprocal empathy of the listener.

In the 20th century, the genre of the artistic word reached its apogee and multiplied into a number of related performing genres. First of all, this is the author's reading at meetings with readers, which was very fond of, for example, Yesenin and Mayakovsky. At the beginning of the 20th century, reading evenings by A.Ya. Zakushnyak and V.I. Kachalov, where the actors acted as readers-storytellers. A little later, the “one-actor theater” genre emerged, one of the founders of which was the actor V.N. Yakhontov, and the genre of “living portrait” by I.L. Andronikov. "The Theater of one actor" combined the features of artistic reading, artistic storytelling and, in part, laws drama theater. Within this genre, a literary and artistic composition appeared, wedged between literature and the theater.

Irakli Andronikov wrote about Vladimir Yakhontov: “What Yakhontov did was fusion of artistic reading with theatrical action". That is, the composition should combine simplicity and vitality of intonation with theatrical action, built according to the laws of dramatic art. Only if this symbiosis is observed, the literary and artistic composition will be integral and influencing the viewer. Thus, the myth about the simplicity of staging a literary composition has been noticeably shaken. Still, you will have to “enclose the garden”, only more thoughtful and selected than in a dramatic performance, and there is no less work with the performers than with the role. The search for that very natural intonation, understanding and living the events of the composition by the student, and not by the teacher - the work is very painstaking and not fast.

"Art expressive reading” as an academic subject was introduced in the 19th century into the curricula of gymnasiums and lyceums in Russia, France, Germany and America. His need was explained simply - he taught to express the content of what was said, he taught to draw sound pictures using words so that the audience could see them. For what? To evoke the expected response from the listener. This is our goal, our the main task when composing. How to achieve this? Create a “film reel of visions” of the events that are being narrated, as K.S. wrote. Stanislavsky, and convey it to the viewer, thereby evoking his emotion, his empathy for the events taking place in the composition. When dealing with students with an artistic word, the teacher must certainly remember one thing. interesting discovery - artistic word forms figurative thinking. Agree, this is especially important today, when the culture of reading is declining, being replaced by other forms of leisure - cinema, computer games, the Internet, where the video sequence is already set from the very beginning. Such a task will be more important than simply obtaining information about the author or about the time. Often, teachers take on the production of a literary composition, seeing in it only a continuation. curriculum, filed in an innovative form, and set exclusively informational tasks.

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Now a few words about the ideological orientation in literary composition. The genre took shape in the 1920s and 1930s. In Russia, it was an era of rigid ideological priorities. The word expresses the spirit of the time and transmits it to the ages. The word in the artistic compositions of the 20-30s expressed the spirit of that time very definitely, categorically. Apparently, this served to ensure that the cliché “on the topic of the day” became attached to the genre of literary and artistic composition and became a kind of “classic ideal” of its time, to which one should strive. The ideological orientation in the composition became canonical, which eventually became a “noose” for the genre.

Let art word in the composition it expresses the spirit of its time, and is not a teacher's pointer, as is often the case today. The ideal cannot be imposed from the outside, it must be formed in a person independently, born in him through the development of empathy (feeling), through independent comprehension of good and evil with the help of good literature with a variety of vital intonation. So it turns out that the literary composition is not so accessible and easy to work with, as it seemed. Populism is not the popularity of the genre, and the harm from it is much greater than the supposed benefits, because clichéd judgments are no better than no judgments at all. Cliche in figurative thinking no better than no imaginative thinking at all. So why do we need school theatrical “achievements” that achieve nothing - neither speech hearing, nor taste for the artistic word and literature in general, nor developed figurative thinking, nor developed creative imagination of the student? We will remember these “pitfalls” and try to get around them, we will correctly determine priorities and choose really important goals when working with children, and not solve private educational problems.

If, nevertheless, you decide to take on the production of a literary composition, then knowledge of some theatrical laws and rules for creating a literary and artistic composition will help you. You need to treat them as recommendations that do not limit your creative nature, but, on the contrary, help to reveal it.

What is literary composition? This is an independent work of art created by the director on the basis of non-dramatic material used in whole or in part, such as: poetry, prose, journalism, memoirs, excerpts from plays (as an addition, a shade of thought), scientific literature, criticism, documents. The composition may include music, songs, photos and videos.

Do not confuse staging and editing with composition. A dramatization is a translation of prose literary material into the language of dramaturgy, that is, the writing of a play. Montage is a way of selecting, building and connecting parts of a composition through which the action develops. Montage is a special method of artistic thinking, a way of creating artwork. An example is the novel "The Master and Margarita": here are the chapters where the events unfold modern history, are mounted with chapters telling about the events of the Sacred History. With this construction method artistic text the smooth development of the storyline is interrupted. Why did Bulgakov need this? By answering this question, we will understand why montage is needed in a work of art. This is a clash of through and counter-through action, this is also a way to turn on the associative series in the viewer (this method was often used by F. Fellini and A. A. Tarkovsky in their films), it can also be a way of constructing an event series when the event is not directly called, but is embodied in another musical or literary material. For example: documentary chronicle of the events of Pushkin's duel is interrupted by a poetic text - this is not an illustration of the event, but its comprehension. The verse used is the author's position in relation to the event, a judgment.

The first to use the method of artistic montage in composition was V.N. Yakhontov and brought it to the highest level of artistry - he synthesized modern and historical material, combined various authors and various genres. You can read about how he created his compositions from the choice of material to the embodiment on stage in his book One Actor Theatre.

Where to start composing? With the choice and precise definition of the topic and the selection of material. To decide on a theme, first of all, you need to analyze the capabilities and interests of your future performers and the audience to whom you will show it. The formulated theme and the selected material should correspond to the age of the performers, the depth of understanding of the problem, the complexity of the literary material, and their interests. The language of the composition must correspond to the language of the audience, it must be understood by this audience and find an internal response from it. Your technical capabilities when arranging a composition are also important: how many people can fit on your stage without compromising perception? What are the capabilities of your sound, lighting and video equipment? All these little things can be decisive in the implementation of what has already been written. literary script. If your solution is based on lighting or video effects, and there is no possibility for implementation, then the solution will have to be changed during rehearsals, which is not always possible.

When selecting material, we should already in general terms represent the structure of the future composition, its storyline. Try to answer yourself the question: “What will I talk about history? And why am I going to tell it here, today, to these people?” An example of the plot of one composition: a girl lives in her beloved city, which she is proud of, among her beloved people. The war begins, and everything that was dear and loved since childhood begins to collapse before our eyes. To stop the destruction, the girl and all the remaining residents of the city are doing everything possible and impossible. As a result, by common efforts they stop the enemy and win. The theme of the composition is the Leningrad blockade. The composition used blockade diaries, poems by A. Akhmatova and O. Berggolts.

When working on one author, it is better to limit the topic to a problem. It often happens that the exact theme (about what?) and the idea (for what?) are formulated only in the process of working with the composition, and not in advance, they are refined and checked. When working with many authors and diverse works, the selection will depend on your construction. The composition should have a dramatic development, it will depend on your plot. From the abundance of selected material, we begin to assemble the composition, taking into account the pieces-events, using the method of artistic editing: exposition - the beginning of beginnings, the ancients called it attack, it reveals your inner motives for addressing this topic; plot - this is the event from which the intrigue begins to develop; action development - this is the development of the narrative, a series of events and their consequences, obstacles to the development of the plot, which lead to the highest point of intensity in the composition, that is, to the climax; climax - this is the highest point of tension of the conflict, after which life cannot go on as before and tends to denouement conflict; conclusion - this is your position, your assessment of what happened. The composition does not always have a plot, but in a plotless associative composition, the load on the performer increases. He must carry the development of intrigue, and only a good, experienced actor can do this. But in any case, without taking into account the dramatic construction, the composition may turn out to be “about nothing”. Using the montage method, we build not only events and facts, but also confront conflicting views and thoughts with each other. Consistent and peacefully developing events can be combined with episodes that are contrasting in form and content. V.N. Yakhontov in the composition "Petersburg" combined excerpts from Pushkin's poem " Bronze Horseman", Gogol's stories "The Overcoat" and "White Nights" by Dostoevsky. Thanks to the combination of the images of Bashmachkin, Evgeny and the Dreamer, opposing the “elements”, each with his own, a generalized image of the Little Man was fashioned.

In from some basic ways of constructing material in literary compositions. They do not necessarily exist separately, most often they are mixed with each other.

• Historical (chronological) way of constructing the material. It is more common in biographies or when reporting events of a historical nature. The link here is dates or significant events. With such a construction of the material, there is a causal relationship.
• Spatial way of construction. There is a wide temporal or geographical scope of events here. One of the compositions on the theme of love and creativity was built from the Song of Songs, included the love story of Dante and Beatrice (Boccaccio's commentary and Dante's sonnets were used), the love story of Mayakovsky and Lily Brik (Mayakovsky's letters and poems were used) and ended with Shakespeare's sonnet.
• The stepwise method of construction uses a consistent presentation of the topic - a chain of premises and consequences, when one follows from the other. Often this is a combination of external speech (letters and memories) with internal speech (poems as an experience lyrical hero).
• Construction based on the principle of repetition. In poetry, this is a single image or rhythmic figure, a plot or melodic element is used several times, develops and emphasizes the significance of the problem posed. In cinema, this is the repeated repetition of a plot or frame.
• The concentric way of presenting material is when the presentation is built around a single center. Other used literary works are perceived through the prism of one work. Through B. Pasternak's poem "Hamlet", which was the basis of the literary composition, a story was told about the events and poets of that era, poems and documentary materials were used.
• The deductive method of presenting material is built from general provisions to specific examples and conclusions. Many readers' agitations were based on this principle. Soviet era, for example, Yakhontov's composition about Lenin: the actor began the narration with documents - the first decrees of the Bolsheviks, and ended with excerpts from Mayakovsky's poem "Vladimir Ilyich Lenin".
• The inductive way of presenting material is built, on the contrary, from particulars to general conclusions.

The idea of ​​constructing a composition is born from the idea of ​​composition, the goal set by the director. You also need to remember the proportionality of the parts of your composition. The exposition and conclusion (ending) are the shortest parts, and the climax (main event) is most often located a little further than the middle of your composition. When compiling a composition, it is often necessary to sacrifice some selected material in the name of the integrity and completeness of the work.

The literary material is collected, you can proceed to its embodiment on the stage. The performer in the composition is not a dramatic actor, but an actor-reader. He does not reincarnate as the characters of the composition, but talks about them and the events taking place, living the thoughts and feelings of the author in his own way, drawing his own conclusions and placing his own accents. The task of the director is to correctly determine the position of the reader: maybe reader-author who is in the center of events and evaluates them in his own way; reader-character , standing on the positions of one of the heroes, interpreting the events taking place from the position of the character; or reader - lyrical hero narrating about his personal experiences, reflections.

For the performer, the action in the composition develops before the beginning of the narrative. In a dramatic performance, the actor “does not know” what will happen to him in a minute and how the performance will end, his reaction is immediate and momentary; the performer in the composition knows what will happen next and how it will end, thereby putting accents in the events taking place and leading the viewer to its logical conclusion stage action. The performer does not transform into an “image”, that is, he does not play a character, but conveys his author's attitude to him, since reincarnation will not allow him to express the author's idea. Such unnecessary reincarnation in "images" is often found in the inept reading of fables. The performer, it seems, played for all the characters, but what the fable is about is not clear. Communication with the audience in a literary composition occurs directly, in contrast to a dramatic performance, in which there is a “fourth wall”, that is, the auditorium is not combined with the stage into a single play space. The viewer in the composition becomes an interlocutor and partner, a participant in the action.

We talked about speech work with performers and priorities at the beginning of the article, now let's talk about non-verbal means of expression: music, mise-en-scene, gesture, costume, props and stage lighting. Careful selection of expressive means is important here. The composition requires the utmost conciseness of means with their maximum expressiveness. Unskillfully or excessively used means become your enemies, interfere with the performer and the spectator, distracting them from the main thing, from the main stage action. Here is how the master of creating literary compositions V. Yakhontov says about this: “The essence of theatrical charm and the mechanics of illusions, sometimes the most unpretentious, I already held in my hands - based on that great law that a boy’s wand turns into a war horse, and he convinces This is not only about myself, but, even more surprisingly, about the audience around me... By embarking on this path, I forced my simple, unremarkable objects to create a series of additional representations. I had to assure the audience that I was not raising a stick, but the pistol of Dantes, who killed Pushkin ... The viewer was convinced by my acting faith in these transformations.

mise-en-scene in literary composition is the meanest, but also the most expressive and precise means. The figure of a person on the stage is very expressive in itself, and there is no need to add unnecessary fussy movements. Often only a change in the performer's gesture is akin to changing a major mise-en-scène in a dramatic performance. Remember how the heroine Viya Artmane, actress Julia Lambert, spoke about this in the film "Theater", based on the novel by S. Maugham. A change in mise-en-scene can lead to a change in the idea of ​​a production. And, of course, the stage pause, which is often more eloquent than subtext, is the main means of expression in verbal action. In life, we are used to fussing in words and gestures, and they sometimes reveal internal state performer and are very important for understanding what is happening. Let the viewer see and understand them, take your time.

Props in the composition it does not carry the meaning of everyday things, as in a dramatic performance (just like a costume). It carries a deep image, a certain meaning, a generalization. In one of the compositions about the life of A.S. Pushkin's libel, written on the poet, rolls up into a tube and becomes the muzzle of a pistol, from which the poet is killed. In V. Yakhontov's composition "Petersburg" different colors of umbrellas designate male and female characters. He often has one object throughout the entire composition is transformed into various images.

music should be used very carefully in the composition. It focuses the viewer's attention on the main theme. In musical selection, it is better to adhere to a single style and solution - it can be illustrative, it can reveal internal or upcoming events, it can be used, on the contrary, in contrast with ongoing events and maintain the internal rhythm of the production. Often the music performs the function internal monologue and takes action. One of the most common mistakes new filmmakers make is using music while reading. Music, by its nature, can be stronger than the semantic load in the word, or the performer turns out to be insolvent with strong musical accompaniment, and the word becomes small and unnecessary. Reading music is very difficult.

As the ancients said, the road will be mastered by the walking one. Understanding comes with experience, and mistakes cannot be avoided the first time. But experience is gained not only with independent productions. Read more special literature - books by Vladimir Yakhontov, Suren Kocharyan, Sergei Yursky, Alexander Kravtsov ... See more literary and artistic productions in professional and amateur theaters. Learn from your own and others' experience.

Composition - the structure, arrangement and ratio of the constituent parts of the text, due to its content, issues, genre and purpose.

The composition of the text is a way of constructing it, connecting its parts, facts, images.

The famous Roman scholar Marcus Fabius Quintilian is credited with developing the theory of speech composition. Quintilian singled out eight parts in the orator's speech. The composition of speech, developed by him, entered the practice of later rhetoric.

So, eight parts of the composition according to Quintilian.

1. Appeal. Its purpose is to attract the attention of the audience and position it towards the speaker.

2. Naming the topic. The speaker names what he will be talking about, sets the listeners on the subject, makes them remember what they know, and prepares them to delve into the subject.

3. Narration consists of a description of the history of the subject (how the issue to be resolved arose, and how the case itself developed).

4. Description. Talk about what's going on at the moment.

5. Proof consists of logical arguments that justify the solution to the problem.

6. Refutation. Proof by contradiction. A different point of view on the subject is allowed, which the speaker refutes.

7. Appeal. Appeal to the feelings of the listeners. The goal is to evoke an emotional response from the audience. Occupies the penultimate place in the structure of speech, because people are usually more likely to make judgments based on emotions, rather than on logic.

8. Conclusion. Summary of what has been said and the conclusions on the case under discussion.

• linear composition is a sequential statement of facts and events and is usually built on a chronological basis (autobiography, report);

• stepped - involves an accentuated transition from one position to another (lecture, report),

• parallel - is based on a comparison of two or more provisions, facts, events (for example, school essays, the topics of which are

"Chatsky and Molchalin", "Onegin and Lensky", "Sisters Larina"

• discrete - suggests a pass individual moments presentation of events. This complex type organization is characteristic of literary texts. (For example, such a solution often underlies detective stories);

• ring composition - contains a repetition of the beginning and ending of the text. This type of structure makes it possible to return to what has already been said in the beginning at a new level of comprehension of the text.

So, for example, the incomplete repetition of the beginning in A. Blok's poem "Night, street, lamp, pharmacy" makes it possible to comprehend what the poet said as a vital contradiction to the words "And everything will be repeated as of old" in the end of the text.);

• contrast - based on a sharp contrast between the two parts of the text.

Genre types of composition

Depending on the genre of the text, it can be:

• tough- obligatory for all texts of the genre (references, informational notes, statements, memorandums);
• variable- the approximate order of the parts of the text is known, but the author has the opportunity to vary it (textbook, answer in the lesson, letter);
• non-rigid- assuming sufficient freedom of the author, despite the fact that he is guided by existing examples of the genre (story, essay, essay);

In texts:

• built on the basis of combining elements, a linear, stepped, parallel, concentric composition is used,
• in artistic texts, its organization is often more complex - it arranges the time and space of a work of art in its own way.

Our short presentation on this topic

Materials are published with the personal permission of the author - Ph.D. O.A. Maznevoy (see "Our Library")

Composition (lat. sotropère - to fold, build) - construction, arrangement and ratio of parts, episodes, characters, means artistic expressiveness in a literary work. The composition holds together all the elements of the work, subordinating them to the author's idea. The constituent elements of the composition: characters, ongoing events, artistic details, monologues and dialogues, portraits, landscapes, interiors, lyrical digressions, inserted episodes, artistic previews and framing. V. Khalizev singles out such links of the composition as repetitions and variations that become motifs, omissions and recognition. There are different types of compositions. Yes, composition. lyrical works can be linear (the poem "Winter. What should we do in the village? I meet ..." A.S. Pushkin), amoeba (regular, symmetrical alternation of two voices or themes - Russian folk songs); it can also often be based on the reception of antithesis (the poem "Demon" by A.S. Pushkin); ring (coincidence of the beginning and ending - a poem by S.A. Yesenin "Honey, let's sit next to ..."); hidden ring (the same theme is given at the beginning and at the end of the work - the theme of a blizzard, both a natural phenomenon and a life cycle in the poem “Snow memory is crushed and pricked ...” by S.A. Yesenin). Prose works are characterized by a wide variety of compositional techniques. There is a linear composition (successive deployment of events and the gradual discovery of the psychological motivations for the actions of the characters - the novel " ordinary story» I.A. Goncharov), ring composition (the action ends where it began, - the story " Captain's daughter» A.S. Pushkin), reverse composition (the work opens with the last event, which gradually begins to be explained to the reader - the novel “What is to be done?” by N.G. Chernyshevsky), mirror composition (images are symmetrical, episodes - the novel in verse “Eugene Onegin” by A.S. Pushkin ), associative composition (the author uses the technique of default, the technique of retrospection, the technique of "a story within a story" (the story "Bela" in "A Hero of Our Time" by M.Yu. Lermontov, the story "Asya" by I.S. Turgenev), dotted composition ( discontinuity in the description of ongoing events and psychological motivations is characteristic, the narrative suddenly breaks off, intriguing the reader, the next chapter begins with a different episode - the novel "Crime and Punishment" by F. M. Dostoevsky).

Composition is the arrangement of parts literary work in a certain order, a set of forms and ways artistic expression by the author according to his intention. Translated from Latin means "composition", "construction". The composition builds all parts of the work into a single finished whole.

It helps the reader to better understand the content of the works, maintains interest in the book and helps to draw the necessary conclusions in the final. Sometimes the composition of the book intrigues the reader and he is looking for a continuation of the book or other works of this writer.

Composite elements

Among such elements are narration, description, dialogue, monologue, insert stories and lyrical digressions:

1. Narration- the main element of the composition, the story of the author, revealing the content of the work of art. Occupies most the volume of the entire work. It conveys the dynamics of events, it can be retold or illustrated with drawings.
2. Description. This is a static element. During the description, events do not occur, it serves as a picture, a background for the events of the work. The description is a portrait, an interior, a landscape. The landscape is not necessarily an image of nature, it can be a landscape of a city, lunar landscape, description of fantastic cities, planets, galaxies or description fictional worlds.
3. Dialogue- a conversation between two people. It helps to reveal the plot, deepen the characters actors. Through the dialogue of two heroes, the reader learns about the events of the past of the heroes of the works, about their plans, begins to better understand the characters of the heroes.
4. Monologue- the speech of one character. In the comedy by A. S. Griboyedov, through the monologues of Chatsky, the author conveys thoughts advanced people of his generation and the experience of the hero himself, who learned about the betrayal of his beloved.
5. Image system. All images of the work that interact in connection with the author's intention. These are images of people fairy tale characters, mythical, toponymic and subject. There are absurd images invented by the author, for example, "The Nose" from Gogol's story of the same name. The authors simply invented many images, and their names became common.
6. Insert stories, a story within a story. Many authors use this technique to set up intrigue in a work or at a denouement. There may be several insert stories in the work, the events in which take place in different time. Bulgakov's "The Master and Margarita" uses the novel-in-novel technique.
7. Author's or lyrical digressions. A lot of digressions Gogol's Dead Souls. Because of them, the genre of the work has changed. It's big prose work called the poem "Dead Souls". And "Eugene Onegin" is called a novel in verse because of a large number author's digressions, thanks to which an impressive picture appears before readers Russian life early 19th century.
8. Author's characteristic . In it, the author talks about the character of the hero and does not hide his positive or negative attitude towards him. Gogol in his works often gives ironic characteristics to his heroes - so accurate and capacious that his heroes often become household characters.
9. The plot of the story is a chain of events that take place in a work. The plot is the content of the literary text.
10. plot- all events, circumstances and actions that are described in the text. The main difference from the plot is the chronological sequence.
11. Scenery- description of nature, real and imaginary world, cities, planets, galaxies, existing and fictional. landscape is artistic technique, thanks to which the character of the characters is more deeply revealed and an assessment of events is given. You can remember how it changes seascape in Pushkin's "The Tale of the Fisherman and the Fish", when the old man again and again comes to the Golden Fish with another request.
12. Portrait This description is not only appearance hero, but also inner world. Thanks to the talent of the author, the portrait is so accurate that all readers have the same image of the hero of the book they read: what Natasha Rostova looks like, Prince Andrei, Sherlock Holmes. Sometimes the author draws the reader's attention to some feature hero, for example, the mustache of Poirot in the books of Agatha Christie.

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Compositional techniques

Story composition

In the development of the plot there are stages of development. Conflict is always at the center of the plot, but the reader does not immediately learn about it.

Story composition depends on the genre of the work. For example, a fable necessarily ends with a moral. The dramatic works of classicism had their own laws of composition, for example, they had to have five acts.

The composition of works is distinguished by its unshakable features. folklore. Songs, fairy tales, epics were created according to their own laws of construction.

The composition of the fairy tale begins with a saying: "Like on the sea-ocean, but on the island of Buyan ...". The saying was often composed in poetic form and sometimes was far from the content of the fairy tale. The storyteller attracted the attention of the listeners with a saying and waited for them to listen without being distracted. Then he said: “This is a saying, not a fairy tale. The story will come."

Then came the beginning. The most famous of them begins with the words: "Once upon a time there were" or "In a certain kingdom, in a thirtieth state ...". Then the storyteller moved on to the tale itself, to its heroes, to miraculous events.

Techniques of a fairy-tale composition, a three-fold repetition of events: the hero fights three times with the Serpent Gorynych, three times the princess sits at the window of the tower, and Ivanushka flies to her on horseback and rips off the ring, three times the Tsar tests daughters-in-law in the fairy tale "The Frog Princess".

The ending of the fairy tale is also traditional, they say about the heroes of the fairy tale: "They live - they live and make good things." Sometimes the ending hints at a treat: "You have a fairy tale, and I knit bagels."

Literary composition is the arrangement of parts of a work in a certain sequence, this complete system forms artistic image. The means and techniques of composition deepen the meaning of the depicted, reveal the characteristics of the characters. Each work of art has its own unique composition, but there are its traditional laws that are observed in some genres.

In the days of classicism, there was a system of rules that prescribed certain rules for writing texts to authors, and they could not be violated. This is the rule of three unities: time, place, plot. This is a five-act structure dramatic works. This speaking surnames and a clear division into negative and goodies. Features of the composition of works of classicism are a thing of the past.

Compositional techniques in literature depend on the genre of a work of art and on the talent of the author, who has the types, elements, techniques of composition, knows its features and knows how to use these artistic methods.

The composition of a literary work, constituting the crown of its form, is the mutual correlation and arrangement of units of the depicted and artistic and speech means, "a system of connecting signs, elements of a work." Compositional techniques serve to place the accents necessary for the author and in a certain way, purposefully “give” the reader a recreated objectivity and verbal “flesh”. They have a unique energy of aesthetic impact.

The term comes from the Latin verb componere, which means to fold, build, decorate. The word "composition" in its application to the fruits literary creativity to a greater or lesser extent, such words as “construction”, “disposition”, “layout”, “organization”, “plan” are synonymous.

Composition provides unity and integrity artistic creations. This, says P.V. Palievsky, “the disciplining force and the organizer of the work. She is instructed to ensure that nothing breaks out to the side, into its own law, namely, it is mated into a whole. Her goal is to arrange all the pieces so that they are closed in the full expression of the idea.

To the above, we add that the totality of compositional techniques and means stimulates and organizes the perception of a literary work. A.K. Zholkovsky and Yu.K. Shcheglov, relying on the term “expressive technique” proposed by them. According to these scholars, art (including verbal art) "reveals the world through the prism of expressive techniques" that control the reader's reactions, subordinate him to himself, and thereby to the creative will of the author. There are not many of these methods of expressiveness, and they can be systematized, a kind of alphabet can be compiled. The experiments of systematization of compositional means as "techniques of expressiveness" are still preliminary and very promising.

The foundation of the composition is the organization (orderliness) of the reality that is fictional and depicted by the writer, i.e., the structural aspects of the world of the work itself. But the main and specific beginning artistic construction- these are ways of "presenting" the depicted, as well as speech units.

Compositional techniques have, above all, expressive energy. “An expressive effect,” notes the music theorist, “is usually achieved in a work with the help of not any one means, but several means aimed at the same goal.” The same is true in literature. Composite means here they constitute a kind of system, to the “terms” (elements) of which we will turn.

COMPOSITION

The composition and sequence of episodes, parts and elements of a literary work, as well as the relationship between individual artistic images.

So, in the poem by M. Yu. Lermontov "How often, surrounded by a motley crowd ..." the basis of the composition is the opposition (see Antithesis) between the soulless light and the lyrical hero's memories of the "wonderful kingdom"; in Leo Tolstoy's novel "War and Peace" - a contradiction between the false and the true; in "Ionych" by A.P. Chekhov - the process of spiritual degradation of the protagonist, etc.

In epic, dramatic, and partly in lyrical epic works, the plot is the main part of the composition. Such a composition includes obligatory plot-compositional elements (outset, action development, climax and denouement) and additional (exposition, prologue, epilogue), as well as the so-called extra-plot composition elements (inserted episodes, author's digressions and descriptions).

At the same time, the compositional design of the plot is different.

The plot composition can be:

- sequential(events unfold in chronological order)

- reverse(events are given to the reader in reverse chronological order),

- retrospective(sequentially presented events are connected with digressions into the past), etc. (See also Fabula.)

In epic and lyrical-epic works important role non-plot elements play in the composition: author's digressions, descriptions, introductory (plug-in) episodes. The ratio of plot and beyond plot elements is an essential feature of the composition of the work, which must be noted. Thus, the composition of M. Yu. Lermontov's poems "The Song about the Merchant Kalashnikov" and "Mtsyri" is characterized by the predominance of plot elements, and for "Eugene Onegin" by A. S. Pushkin, "Dead Souls" by N. V. Gogol, "To whom Rus' to live well" N. A. Nekrasova is indicative of a significant number of extra-plot elements.

An important role in the composition is played by the system of characters, as well as the system of images (for example, the sequence of images in A. S. Pushkin's poem "The Prophet", expressing the process spiritual development poet; or the interaction of such symbolic details-images as the cross, the ax, the Gospel, the resurrection of Lazarus, etc. in F. M. Dostoevsky's novel "Crime and Punishment").

For composition epic work the organization of the narrative plays an important role: for example, in the novel by M. Yu. Lermontov "A Hero of Our Time", at the beginning, the narration is conducted by the rustic but observant Maxim Maksimych, then the "author" who publishes "Pechorin's diary", a person of the same circle as him, and finally, myself
Pechorin. This allows the author to reveal the character of the hero, going from outside to inside.

The composition of the work may also include dreams ("Crime and Punishment", "War and Peace" by L. N. Tolstoy), letters ("Eugene Onegin", "Hero of Our Time"), genre inclusions, for example, songs ("Eugene Onegin "," To whom it is good to live in Rus' "), a story (in " Dead souls- "The Tale of Captain Kopeikin").