The method of conversation used in the study of epic and lyrical works, effective for dramaturgy. Most methodologists recommend using it mainly in the analysis of the development of action, clarification of the conflict, problems and ideological sense dramatic works. One cannot but agree with this, since the conversation makes it possible to widely involve the text of the work, to use the facts obtained by students as a result of independent work on the work.

Of particular importance in the analysis of dramatic works is independent work students over the text of the work. An analysis of the speech and actions of the characters helps students to understand the essence of their characters and create in their imagination a concrete idea of ​​their appearance. In this case, the students' analysis of a particular phenomenon or scene dramatic work to some extent will resemble the work of an actor on a role.

The experience of perceiving the dramatic genre, acquired by students in the process of studying literature, is the most important help for the perception of a dramatic work. This refers to the student's certain knowledge of the specifics of the genre - its structure, elements, features of recreating characters, etc.

Another thing is the circle of historical and everyday realities, human relations, linguistic idioms.

So, merchant life, shown by Ostrovsky, or a certain "freedom" with which the wife and daughter of Gogol's Governor perceive Khlestakov's courtship, will certainly require a special comment.

Sometimes, to activate the imagination of students, you need to turn to historical commentary. This is done in those cases when students, far from the era depicted in the drama, do not have the necessary ideas and knowledge and cannot recreate in their imagination the details of the external appearance of the protagonist of the play, for example: the uniform of the mayor, the clothes of the Kabanikh, etc. If the students are not helped, then they will not have the appropriate ideas and they will learn only the meaning of the word.

The action of the drama is manifested in the characters entering into conflict. This means that when analyzing the drama, one must consider the development of the action and the disclosure of characters in an organic unity. More V.P. Ostrogorsky suggested that the teacher, analyzing a dramatic work, pose the following questions to the students: Do the actions of people fully agree with their characters? What motivates the hero to act? Does he have an idea or a passion? What obstacles does he meet? Are they within it or outside of it?

“Some methodologists and practicing teachers believe that the first stage of work is the commented reading of each action, either completely or selectively. The selection of phenomena depends on the tasks set by the teacher.

From the point of view of other researchers and teachers, before proceeding to work on actions, it is necessary that an idea of ​​the play as a whole appears in the minds of the students. Therefore, the first questions should fix the attention of schoolchildren on the whole play, help to comprehend it. The questions that are posed in this lesson should make students feel the main conflict, its occurrence. It could be, for example, a question about the title of a play.

On initial stage study dramatic work Simultaneously with the clarification of the main conflict, the first acquaintance of the students with the actors, with what role they play in the struggle, should take place. You can ask about their grouping. To this end, in some cases, the teacher stops at the list of characters, especially in those plays in which the names and surnames hint at the character’s character, speak about the author’s attitude towards them (“Undergrowth”, “Woe from Wit”, “Thunderstorm”, etc. .). The title of the play often helps to clarify the main conflict (“Thunderstorm”, “Woe from Wit”, “ The Cherry Orchard" etc.). The path to clarifying the main conflict is also paved by establishing the boundaries of the play - how it began and how it ended.

The correlation of the beginning in a dramatic work and the end contributes to the appearance of a general view of the play.

It is essential to draw the attention of the class to the time covered by the play. What we see on stage is always happening in the present. The time of the spectator and the time of the action of the play seem to be combined, but days, weeks, and sometimes even years pass between the phenomena and actions.

The action of "Woe from Wit" covers the time from morning to evening, but in the theater it is compressed to a few hours. Two weeks elapse between Acts III and IV of The Thunderstorm, but they directly determine the climax of the play.

The emergence of a conflict, its true causes, the foundations of existing relationships, the origins of characters are usually due to life phenomena that occur outside the play. Thus, at the first stage, as it were, those questions are outlined on which the students will think further, the angle from which they will consider the play.

In preparing for the analysis of a particular action, the teacher determines for himself central problem work on it.

To solve this problem, phenomena are selected and basic questions are posed. Of course, work on actions includes clarification of incomprehensible words and historical and theatrical commentary, but all this is subordinated to main task. Therefore, it is necessary to give yourself a clear account of what phenomena should be singled out for detailed analysis. The selection of phenomena for reading in the classroom depends on the tasks that, according to the teacher's intention, should be solved both when studying the entire play and when working on individual actions. This selection is determined in the process pre-training teacher to study the entire play. It is then that the teacher outlines at what lesson and why it is necessary to turn to the reading of certain phenomena. In addition, in the process of preparation, he must decide what is more appropriate to read himself, when to turn on the audio recording, what and for what purpose the students will read. in-t on specialty No. 2101 “Rus. lang. and Literature” / Ed. Z.Ya. Rez - M.: Enlightenment, 1977, p. 234-235..

But it is especially important to encourage the guys to imagine what is happening on stage. One of the methodological techniques that encourage students to penetrate the text of the play is the creation of imaginary mise-en-scenes, in other words, in the process of analysis, they are invited to think about how they would arrange the characters at a certain moment of the action, to imagine their positions, gestures, movements.

At the same time, the teacher makes sure that the students, working on a separate act, perceive it as part of the whole, occupying a certain place in the development of the action, in its forward movement to the finale of the play; so that they understand how the main elements of the plot are realized and how they are prepared in separate acts: exposition, plot, climax, denouement.

Children's observation of the development of the action should be inseparable from a deep penetration into the characters of the characters.

Observing the behavior, actions, experiences of the character in all changing situations, students gradually clarify the essence of the character of various actors.

The nature of the character, his social face, state of mind reveals speech. Therefore, when analyzing the drama by the subject constant attention there should be a character's speech, its originality.

The ignorance and rudeness of Prostakova are manifested in her every remark. The uncertainty of Khlestakov's thought affects the construction of his monologue ( III act comedy).

Of great importance in the analysis of the play is the clarification of the subtext of the replicas of the characters. Work on clarifying the subtext of the heroes' speech can be carried out already in the 8th grade when studying "Woe from Wit" (action 1, phenomenon 7, - Chatsky's meeting with Sophia).

In the process of analysis, the obtained observations of schoolchildren are generalized. For this, Z.Ya. Rez suggests that after separate, especially significant phenomena and endings of the action, the so-called summing questions should be posed: “For example, after reading the I and II phenomena of the Inspector General, one can ask questions: what have we learned about the life of the county town? What were the officials of the city like? What is the nature of the measures taken by the mayor?

After the first act of "Thunderstorm" one can ask: what is common in the characters of the Wild and Boar and what is their difference? How is Katerina different from all the Kabanovs? Why is the conflict between Katerina and the world of the Kabanovs inevitable? To establish a connection between activities great importance have so-called perspective questions that ask students to imagine themselves as spectators who do not know how the action will unfold next. How does it seem to you further fate Katerina (after the end of Act II)? the teacher will ask. Is it possible to predict who will be the winner in the world of the Famusovs - Chatsky or Molchalin (after Act I "Woe from Wit")? The teacher asks the class a question.

It is preferable to start the analysis of a drama with the analysis of a small fragment of it, an episode (phenomena, scenes, etc.). The analysis of an episode of a dramatic work is carried out practically according to the same scheme as the analysis of an episode of an epic work, with the only difference that the reasoning should be supplemented with an analysis of the dynamic and dialogic compositions of the episode.

So,

ANALYSIS OF THE EPISODE OF A DRAMATIC WORK

The boundaries of the episode are already defined by the very structure of the drama (the phenomenon is separated from other components of the drama); name the episode.

Describe the event underlying the episode: what place does it take in the course of the development of the action? (Is this an exposition, a climax, a denouement, an episode in the development of the action of the whole work?)

Name the main (or only) participants in the episode and briefly explain:

Who are they?

what is their place in the system of characters (main, title, secondary, off-stage)?

Reveal the features of the beginning and ending of the episode.

Formulate a question, a problem that is in the center of attention:

Identify and characterize the theme and contradiction (in other words, a mini-conflict) underlying the episode.

Describe the characters in the episode:

their attitude to the event;

to the question (problem);

to each other;

briefly analyze the speech of the participants in the dialogue;

identify the features of the behavior of characters, the motivation of actions (author's or reader's);

determine the alignment of forces, grouping or regrouping of heroes depending on the course of events in the episode.

characterize dynamic composition episode (its exposition, plot, climax, denouement; in other words, according to what scheme the emotional tension develops in the episode).

To characterize the dialogical composition of the episode: what is the principle of covering the theme of the dialogue?

Analyze the plot, figurative and ideological connection of this episode with other episodes of the drama.

Now let's move on to a comprehensive analysis of the dramatic work. The success of this work is possible only if you understand the theory dramatic kind literature (see topic number 15).

So,

The time of creation of the work, the history of the idea, a brief description of era.

The connection of the play with any literary movement or cultural era(antiquity, Renaissance, classicism, Enlightenment, sentimentalism, romanticism, critical realism, symbolism, etc.). How did the features of this trend appear in the work?

Type and genre of a dramatic work: tragedy, comedy (of manners, characters, positions, cloak and sword; satirical, everyday, lyrical, buffoonery, etc.), drama (social, everyday, philosophical, etc.), vaudeville, farce, etc. Specify the meaning of these terms in the reference literature.

The specifics of the organization of the action of the drama: division into actions, scenes, acts, phenomena, etc. Author's original components of the drama (for example, "dreams" instead of acts or actions in M. Bulgakov's drama "Running").

Playbill ( characters). Features of names (for example, "speaking" names). Main, secondary and off-stage characters.

Features of the dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.

Features of dramatic action: external - internal; "on stage" - "behind the stage", dynamic (actively developing) - static, etc.

Features of the composition of the play. The presence and specificity of the main elements: exposition, an increase in emotional tension, a conflict and its resolution, a new increase in emotional tension, culminations, etc. How are all the "sharp points" (especially emotional scenes) of the work connected? What is the composition of the individual components of the play (acts, actions, phenomena)? Here it is necessary to name specific episodes that are these "sharp glasses" of action.

The specifics of creating dialogue in a play. Features of the sound theme of each character in dialogues and monologues. ( Brief analysis dialogue composition of one episode of your choice).

The theme of the play. Leading themes. Key episodes (scenes, phenomena) that help to reveal the theme of the work.

The problem of the work. Leading problems and key episodes (scenes, phenomena), in which the problems are especially acutely stated. The author's vision of solving the problems posed.

actions of characters (play of actors);

stage setting, costumes and scenery;

the mood and idea of ​​a scene or phenomenon.

Meaning of the play's title.

1. This point is revealed if such features are clearly expressed in the work (for example, in the classic comedies by D. Fonvizin or in A. Griboedov's comedy "Woe from Wit", which combined the features of three directions at once: classicism, romanticism and realism).

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"

The manual discusses generic and genre features, as well as style-forming features of literary works. The periodization of the literary process, the characteristics of literary trends are given. All materials of the manual are connected with the analysis of prose and poetry according to the school curriculum. The publication includes samples of the analysis of works, test questions, a dictionary of literary concepts.

For high school students, language teachers, applicants and students of philology.

Asiya Yanovna Esalnek
Fundamentals of literary criticism. Analysis of a work of art

Introduction

Literature is one of the art forms along with painting, sculpture, music, etc. At the same time, the place of literature among other types of art is especially significant, in particular because it exists not only in the form of stories, novels, novels, poems, poems , plays intended to be read, but also forms the basis theatrical performances, screenplays, television films.

From literary works you can learn a lot of new and interesting things about the life of people in modern and previous eras. Therefore, the need for reading for many arises very early and continues throughout life. Of course, works of art can be perceived in different ways. In some cases, getting acquainted with other people's destinies reproduced by the writer, readers actively experience what is happening, but do not seek to understand and even more so explain to themselves why they have certain emotions, and in addition, they perceive the characters as living people, and not as a result of fiction. In other cases, there is a need to realize what is the source of emotions and aesthetic impact of a particular work. IN school age when the main moral principles and the ability to think, reflect, understand the subject being studied is laid - be it literature, physics, biology - a thoughtful attitude to what is read is especially important.

The concept of "literature" in school practice means both the subject itself and the method of studying it. In this work, under the term literature only the object itself is understood, that is, the totality of works verbal art to be read and studied. scientific discipline, helping their understanding and offering ways to comprehend them, is called literary criticism.

Fiction in general, this is a very broad concept, including works written in different time and on different languages: Russian, English, French, Chinese, etc. Many ancient languages ​​are known thanks to the preserved monuments of verbal art, although not always highly artistic. Understand and know everything world literature beyond the power of any scientist. Therefore, the study of literature at school begins with the study native literature, in our case - Russian, very often in relationship with other national literatures.

Russian literature began to develop in the 10th century. This means that it has existed for more than ten centuries. During this time she experienced different stages, the first of which, the longest in time (X-XVII centuries), is called Old Russian literature, then the literature of the 18th century stands out, after which, naturally, the 19th century follows, whose literature is especially rich, diverse and accessible to the perception of any reader. Therefore, a serious acquaintance with Russian literature in high school begins with reading the poems of V. L. Zhukovsky, plays by A.S. Griboyedov, and then various works of our brilliant poet A.S. Pushkin.

It follows from what has been said that the existence of Russian literature is literary process developing from the 10th century to the present. This process involves writers who create works of art and readers who "consume" them. school curriculum works are offered that are called classics due to the fact that they are highly artistic and, as a rule, give readers aesthetic pleasure. Since the duty of schoolchildren is to learn, to comprehend the meaning of what you learn, the study of literature, as well as physics, for example, presupposes the knowledge of certain scientific approaches and provisions used in the comprehension of works of art.

This manual does not set the task of once again presenting certain facts from the history of Russian literature in their connection with each other (there are special textbooks for this), it explains and demonstrates the principles and approaches to the study individual works, a system of concepts that are useful and necessary in the analysis artwork, which helps in preparing for the composition and oral exam in literature. The introduced concepts are explained with the involvement of a specific literary material, and examples illustrating theses and provisions are taken in the vast majority of cases from program works, so they unfold to the extent that is necessary to understand one or another situation.

Ways to analyze a work of art

Which way is the most productive in considering a work of art and mastering the principles of its analysis? When choosing a methodology for such consideration, the first thing to keep in mind is that in the vast world of literary works, there are three types - epic, dramatic and lyrical. These types of literary works are called kinds of literature.

In literary criticism, several versions of the origin of the genres of literature have been put forward. Two of them seem to be the most convincing. One version belongs to the Russian scientist A.N. Veselovsky (1838-1906), who believed that the epic, lyrics and drama had one common source- folklore ritual choreic song. An example of it would be Russian ritual songs that were used in calendar and wedding ceremonies, round dances, etc. and were performed by the choir.

According to modern researchers, "the choir was an active participant in the rites, it acted as if in the role of a director ... The choir turned to one of the participants in the rite, and as a result of such an appeal, a dramatic situation was created: there was a lively dialogue between the choir and other participants in the rite, necessary ritual actions. The rites combined the song or recitative of the singer (leader, luminary) and the choir as a whole, which entered into a dialogue with the singer with some mimic actions or lyrical refrain. As the singer’s part was separated from the choir, it became possible to narrate events or heroes, which gradually led to the formation of an epic; from the refrains of the choir the lyric grew just as gradually; and moments of dialogue and action evolved over time into a dramatic performance.

According to another version, the possibility of the origin of the epic and lyrics is allowed in an independent way, without the participation of choreic songs in this process. Prose tales about animals or the simplest labor songs discovered by scientists and not related to ritual songs can serve as proof of this.

But no matter how the origin of the epic, lyrics and drama is explained, they have been known since very ancient times. Already in Ancient Greece, and then in all European countries we meet works of both epic, and dramatic, and lyric types, which even then had many varieties and survived to our time. The reason for the inclination of works to one or another kind of literature lies in the need to express different type content that defines different way expressions. Let's start the conversation by thinking about the first two types of works, that is, epic and dramatic.

I

Epic and dramatic works

From this paragraph, the reader will learn what are the specifics of epic and dramatic works, get acquainted with the concepts used in the analysis of such works: the protagonist, hero, character, off-stage character, narrator, character, type, typification.

Plan for the analysis of a work of art.

1. History of creation.
2. Subject.
3. Issues.
4. Ideological orientation works and its emotional pathos.
5. Genre originality.
6. Basic artistic images in their system and internal communications.
7. Central characters.
8. The plot and features of the structure of the conflict.
9. Landscape, portrait, dialogues and monologues of characters, interior, setting of the action.
10. The speech structure of the work (author's description, narration, digressions, reasoning).
11. The composition of the plot and individual images, as well as the general architectonics of the work.
12. The place of the work in the work of the writer.
13. Place of the work in the history of Russian and world literature.

Overall plan answering the question about the meaning of the writer's work.

A. The place of the writer in the development of Russian literature.
B. The place of the writer in the development of European (world) literature.
1. The main problems of the era and the attitude of the writer to them.
2. Traditions and innovation of the writer in the field:
a) ideas
b) topics, problems;
V) creative method and style;
d) genre;
e) speech style.
B. Evaluation of the writer's work by the classics of literature, criticism.

Sample Plan characteristics of the artistic image-character.

Introduction. The place of the character in the system of images of the work.
Main part. characterization of a character as defined social type.
1. Social and financial situation.
2. Appearance.
3. The originality of world perception and worldview, the range of mental interests, inclinations and habits:
a) the nature of the activity and the main life aspirations;
b) impact on others (main area, types and types of impact).
4. Area of ​​feelings:
a) the type of relationship to others;
b) features of internal experiences.
5. Author's attitude to the character.
6. What personality traits of the hero are revealed in the work:
a) with the help of a portrait;
b) c author's description;
c) through the characteristics of other actors;
d) with the help of background or biography;
e) through a chain of actions;
e) in speech characteristic;
g) through "neighborhood" with other characters;
h) through environment.
Conclusion. Which public problem led the author to create this image.

Parsing plan lyric poem.

I. Date of writing.
II. Real-biographical and factual commentary.
III. Genre originality.
IV. Idea content:
1. Leading theme.
2. Main idea.
3. Emotional coloring of feelings expressed in a poem in their dynamics or statics.
4. External impression and internal reaction to it.
5. The predominance of public or private intonations.
V. The structure of the poem:
1. Comparison and development of the main verbal images:
a) by similarity;
b) in contrast;
c) by adjacency;
d) by association;
d) by inference.
2. Basic figurative means allegories used by the author: metaphor, metonymy, comparison, allegory, symbol, hyperbole, litote, irony (as a trope), sarcasm, paraphrase.
3. Speech Features: epithet, repetition, antithesis, inversion, ellipse, parallelism, rhetorical question, appeal and exclamation.
4. The main features of rhythm:
a) tonic, syllabic, syllabo-tonic, dolnik, free verse;
b) iambic, trochee, pyrrhic, sponde, dactyl, amphibrach, anapaest.
5. Rhyme (masculine, feminine, dactylic, exact, inaccurate, rich; simple, compound) and rhyming methods (pair, cross, ring),
6. Strophic (double-line, three-line, five-line, quatrain, sextine, seventh, octave, sonnet, Onegin stanza).
7. Euphony (euphony) and sound recording (alliteration, assonance), other types of sound instrumentation.

Complex analysis dramatic work.

1. The time of creation of the work, the history of the idea, a brief description of the era.

2. To what literary direction belongs to a dramatic work? How did the features of this trend appear in the work? 1

3. Type and genre of a dramatic work

4. The specifics of the organization of the action of the drama: actions, scenes, acts, phenomena, etc. Author's original components of the drama (for example, "dreams" instead of acts or actions in M. Bulgakov's drama "Running").

5. Playbill of the play (characters). Features of names (for example, "speaking" names). Main, secondary and non-stage characters.

6. Features of the dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.

7. Features of dramatic action: external - internal; "on stage" - "behind the stage", dynamic (actively developing) - static, etc.

8. Features of the composition of the play. The presence and specificity of the main elements: exposition, an increase in emotional tension, a conflict and its resolution, a new increase in emotional tension, culminations, etc. How are all the "sharp points" (especially emotional scenes) of the work connected? What is the composition of the individual components of the play (acts, actions, phenomena)? Here it is necessary to name specific episodes that are these "sharp glasses" of action.

9. The specifics of creating a dialogue in a play. Features of the sound theme of each character in dialogues and monologues. (A brief analysis of the dialogic composition of one episode of your choice).

10. The theme of the play. Leading themes. Key episodes (scenes, phenomena) that help to reveal the theme of the work.

11. Problems of the work. Leading problems and key episodes (scenes, phenomena), in which the problems are especially acutely stated. The author's vision of solving the problems posed.

the actions of the characters (the acting of the actors);

stage setting, costumes and scenery;

The mood and idea of ​​a scene or phenomenon.

13. The meaning of the title of the play.

Fundamentals of literary criticism. Analysis of a work of art [ tutorial] Esalnek Asiya Yanovna

Epic and dramatic works