Literary drama. See what “Drama (genus of literature)” is in other dictionaries

Drama is a literary genre (along with epic and lyric poetry), which involves the creation art world For stage embodiment in the play. Like the epic, it reproduces the objective world, that is, people, things, natural phenomena.

CHARACTER TRAITS

1. Drama is the most ancient family literature, its main difference from others comes from the same antiquity - syncretism, when different types arts are combined in one (syncretism ancient creativity- in unity artistic content and magic, mythology, morality).

2. Dramatic works are conventional.

Pushkin said: “Of all types of writings, the most improbable are dramatic ones.”

3. At the heart of drama is conflict, an event enacted by action. The plot is formed by events and people's actions.

4. Specifics of drama as literary kind is a member of a special organization artistic speech: unlike epic, there is no narration in drama and the direct speech of the heroes, their dialogues and monologues is of paramount importance.

Drama is not only verbal (replicas “to the side”), but also staged, so the speech of the characters (dialogues, monologues) is important. Even in ancient tragedy, choirs played an important role (singing the author’s opinion), and in the classics this role was played by reasoners.

“You cannot be a playwright without having eloquence” (Diderot).

“The characters in a good play should speak in aphorisms. This tradition has been going on for a long time” (M. Gorky).

5. As a rule, a dramatic work involves stage effects and speed of action.

6. Special dramatic character: unusual (conscious intentions, formed thoughts), established character, as opposed to epic.

7. Dramatic works are small in volume.

Bunin remarked about this: “You have to compress thoughts into precise forms. But this is so exciting!”

8. The drama creates the illusion of the complete absence of the author. From the author's speech in the drama, only stage directions remain - brief indications by the author of the place and time of action, facial expressions, intonation, etc.

9. The behavior of the characters is theatrical. They don’t behave like that in life, and they don’t talk like that.

Let us remember the unnaturalness of Sobakevich’s wife: “Feodulia Ivanovna asked to sit down, also saying: “Please!” and making a movement with her head, like actresses representing queens. Then she sat down on the sofa, covered herself with her merino scarf and no longer moved either her eye or her eyebrow, not even a nose."

TRADITIONAL SCHEME OF THE PLOT OF ANY DRAMATIC WORK: EXPOSITION - presentation of the heroes; TIE - collision; ACTION DEVELOPMENT - a set of scenes, development of an idea; CLIMAX - the apogee of the conflict; DENOUNCATION.

Dramatic gender literature has three main genres: tragedy, comedy and drama in the narrow sense of the word, but it also has such genres as vaudeville, melodrama, tragicomedy.

Tragedy (Greek tragoidia, lit. - goat song) - “ dramatic genre“, based on a tragic collision of heroic characters, its tragic outcome and filled with pathos...”

The tragedy depicts reality as a clot of internal contradictions; it reveals the conflicts of reality in an extremely tense form. This is a dramatic work, which is based on an irreconcilable conflict in life, leading to the suffering and death of the hero. Thus, in a collision with the world of crimes, lies and hypocrisy, the bearer of advanced humanistic ideals tragically dies Danish prince Hamlet, hero tragedy of the same name W. Shakespeare. In the struggle waged by tragic heroes, the heroic traits of human character are revealed with great completeness.

The tragedy genre has long story. It arose from religious cult rituals and was a stage performance of a myth. With the advent of theater, tragedy emerged as an independent genre dramatic arts. The creators of tragedies were ancient Greek playwrights of the 5th century. BC e. Sophocles, Euripides, Aeschylus, who left perfect examples of it. They reflected tragic collision traditions of the tribal system with a new social order. These conflicts were perceived and depicted by playwrights primarily using mythological material. The hero of an ancient tragedy found himself drawn into an insoluble conflict either by the will of an imperious rock (fate) or by the will of the gods. Thus, the hero of Aeschylus’s tragedy “Prometheus Bound” suffers because he violated the will of Zeus when he gave fire to people and taught them crafts. In Sophocles' tragedy "Oedipus the King" the hero is doomed to be a parricide and to marry his own mother. Ancient tragedy usually included five acts and was built in compliance with the “three unities” - place, time, action. The tragedies were written in verse and were distinguished by lofty speech; its hero was a “lofty hero.”

Comedy, like tragedy, originated in Ancient Greece. The “father” of comedy is considered to be the ancient Greek playwright Aristophanes (V-IV centuries BC). In his works, he ridiculed the greed, bloodthirstiness and immorality of the Athenian aristocracy, and advocated for a peaceful patriarchal life (“Horsemen”, “Clouds”, “Lysistrata”, “Frogs”).

In Russia, folk comedy has existed for a long time. An outstanding comedian of the Russian Enlightenment was D.N. Fonvizin. His comedy “The Minor” mercilessly ridiculed the “wild lordship” that reigns in the Prostakov family. Wrote comedies I.A. Krylov (“Lesson for Daughters,” “Fashion Shop”), ridiculing the admiration for foreigners.

In the 19th century examples of satirical, social realistic comedy create A.S. Griboyedov (“Woe from Wit”), N.V. Gogol (“The Inspector General”), A.N. Ostrovsky (" Plum”, “Our people - we will be numbered”, etc.). Continuing the traditions of N. Gogol, A. Sukhovo-Kobylin in his trilogy (“The Wedding of Krechinsky”, “The Affair”, “The Death of Tarelkin”) showed how the bureaucracy “relaxed” the whole of Russia, bringing it troubles comparable to the damage caused Tatar-Mongol yoke and the invasion of Napoleon. Famous are the comedies of M.E. Saltykov-Shchedrin (“The Death of Pazukhin”) and A.N. Tolstoy (“Fruits of Enlightenment”), which in some ways approached tragedy (they contain elements of tragicomedy).

Tragicomedy abandons the moral absolute of comedy and tragedy. The attitude that underlies it is associated with a sense of the relativity of existing life criteria. Overestimation of moral principles leads to uncertainty and even abandonment of them; subjective and objective principles are blurred; a unclear understanding of reality can cause interest in it or complete indifference and even recognition of the illogicality of the world. The tragicomic worldview dominates in them turning points history, although the tragicomic element was already present in the dramaturgy of Euripides (“Alcestis”, “Ion”).

Drama is a play with an acute conflict, which, unlike the tragic, is not so sublime, more mundane, ordinary and one way or another resolvable. The specificity of the drama lies, firstly, in the fact that it is based on modern, and not on ancient material, and secondly, the drama affirms a new hero who has rebelled against his fate and circumstances. The difference between drama and tragedy lies in the essence of the conflict: tragic conflicts are insoluble, because their resolution does not depend on the personal will of a person. The tragic hero finds himself in a tragic situation involuntarily, and not because of a mistake he made. Dramatic conflicts unlike tragic ones, they are not insurmountable. They are based on the clash of characters with forces, principles, traditions that oppose them from the outside. If the hero of a drama dies, then his death is largely an act of voluntary decision, and not the result of a tragically hopeless situation. Thus, Katerina in “The Thunderstorm” by A. Ostrovsky, acutely worried that she had violated religious and moral standards, not being able to live in the oppressive environment of the Kabanovs’ house, rushes into the Volga. Such a denouement was not mandatory; The obstacles to the rapprochement between Katerina and Boris cannot be considered insurmountable: the heroine’s rebellion could have ended differently.

One of the founders of Russian literary criticism was V.G. Belinsky. And although serious steps were taken in antiquity in developing the concept of literary gender (Aristotle), it was Belinsky who owned the scientifically based theory of three literary families, which you can get acquainted with in detail by reading Belinsky’s article “The Division of Poetry into Genus and Species.”

There are three types fiction: epic(from Greek Epos, narrative), lyrical(it was called a lyre musical instrument, accompanied by chanting poems) and dramatic(from Greek Drama, action).

When presenting this or that subject to the reader (meaning the subject of conversation), the author chooses different approaches to it:

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

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

Third approach: you can depict item in action, show him on stage; introduce to the reader and viewer of it surrounded by other phenomena; this kind of literature is dramatic; In a drama, the author's voice will be heard least often - in stage directions, that is, the author's explanations of the actions and remarks of the characters.

Look at the following table and try to remember its contents:

Types of fiction

EPOS	DRAMA	LYRICS
(Greek - narrative) story about events, the fate of the heroes, their actions and adventures, a depiction of the external side of what is happening (even feelings are shown from their external manifestation). The author can directly express his attitude to what is happening.	(Greek - action) image events and relationships between characters on the stage(a special way of writing text). The direct expression of the author's point of view in the text is contained in the stage directions.	(from the name of the musical instrument) experience events; depiction of feelings, inner world, emotional state; the feeling becomes the main event.

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

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

Examples of genus-species relationships in the literature:

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

Genres being categories historical, appear, develop and eventually “leave” from “ active stock"artists depending on historical era: ancient lyricists did not know the sonnet; in our time, an archaic genre has become one that was born in ancient times and popular in XVII-XVIII centuries Oh yeah; romanticism XIX century brought to life detective literature, etc.

Consider the following table, which presents the types and genres related to the various types of word art:

Genera, types and genres of artistic literature

EPOS		DRAMA		LYRICS
People's	Author's	Folk	Author's	Folk	Author's
Myth Poem (epic): Heroic Strogovoinskaya Fabulous- legendary Historical... Fairy tale Bylina Thought Legend Tradition Ballad Parable Small genres: proverbs sayings puzzles nursery rhymes...	EpicNovel: Historical Fantastic. Adventurous Psychological R.-parable Utopian Social... Small genres: Tale Story Novella Fable Parable Ballad Lit. fairy tale...	A game Ritual Folk drama Raek Nativity scene...	Tragedy Comedy: provisions, characters, masks... Drama: philosophical social historical social-philosophical Vaudeville Farce Tragifarce...	Song	Oh yeah Hymn Elegy Sonnet Message Madrigal Romance Rondo Epigram...

Modern literary criticism also highlights fourth, a related genre of literature that combines the features of the epic and lyrical genres: lyric-epic, which refers to poem. And indeed, by telling the reader a story, the poem manifests itself as an epic; revealing to the reader the depth of feelings, inner world person telling this story, the poem manifests itself as lyric poetry.

DRAMA - special kind literary creativity. Drama, in addition to its verbal, textual form, also has a second “life” that follows the text - production on stage in the form of a performance, a spectacle. In addition to the author, directors, actors, costume designers, artists, composers, decorators, make-up artists, lighting technicians, stagehands, etc. are involved in organizing the spectacle. Their common task seems to fall into two stages:

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

Since a dramatic work is designed for obligatory (even if in most cases “posthumously in absentia”) collaboration of the author with the theater, the text dramatic work in a special way organized.

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

STORM Drama in five acts Faces:

S avel P r o k o f i c h D i k o y, merchant, significant person in the city. B o r i s G r i g o r e vi c h, his nephew, a decently educated young man. Marfa Ignatyevna Kabanova (Kabanikha), rich merchant's wife, widow. Tikhon Ivanych Kabanov, her son. Katherina, his wife. Varvara, Tikhon’s sister. Kuligin, tradesman, self-taught watchmaker, searching for a perpetual motion machine. (…)

The action takes place in the city of Kalinov, on the banks of the Volga, in the summer. 10 days pass between the 3rd and 4th actions. All the faces, except Boris, are dressed in Russian.

ACT ONE Public garden on the high bank of the Volga; beyond the Volga there is a rural view. There are two benches and several bushes on the stage. First appearance

Kuligin sits on a bench and looks across the river. Kudryash and Shapkin are walking. K u l i g i n (sings). "In the middle of a flat valley, at a smooth height..." (Stops singing.) Miracles, truly it must be said, miracles! Curly! Here, my brother, for fifty years I have been looking at the Volga every day and I still can’t get enough of it. K u d r i sh. And what? K u l i g i n. The view is extraordinary! Beauty! The soul rejoices! (…) B o r i s. Holiday; what to do at home! D i k o y. You will find a job if you want. I told you once, I told you twice: “Don’t you dare come across me”; you're itching for everything! Not enough space for you? Wherever you go, here you are! Ugh, damn you! Why are you standing there like a pillar! They tell you, or no? B o r i s. I’m listening, what else should I do! D i k o y (looking at Boris). Fail! I don’t even want to talk to you, the Jesuit. (Leaving.) I imposed myself! (Spits and leaves.)

Have you noticed that, unlike the author of the epic ( narrative work), the author does not tell the story of the heroes at length, but indicates them in a “list”, providing brief necessary information about each, depending on his own plan: what is whose name, how old is someone, who is who in the place and in the society where it happens action, who is related to whom, etc. This "list" characters called posters.

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

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

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

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

POSTER- this is a list of characters with author’s explanations;

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

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

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

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

In other words, intrigue is a kind of secret, a riddle, often organized by one of the characters for their own purposes, the solution of which is the basis of dramatic action. Not a single play is complete without intrigue, since otherwise it will not be interesting to readers and viewers.

Now let's turn to content dramatic works . It comes first associated with the type and genre of drama. There are three types of dramatic works: tragedy, comedy and drama (don’t get confused, the name of the type coincides with the name of the type of literature, but these are different terms).

	Tragedy	Comedy	Drama
Epoch and culture of appearance:	Ancient Greece. Arose from ritual priestly festivals dedicated to the gods and heroes of myths	Ancient Greece. It arose from folk calendar holiday processions.	Western Europe, XVIII century. It has become a kind of “intermediate” genre between tragedy and comedy.
Plot basics:	Originally: mythological and historical subjects. Later - turning points, climaxes, moments of history and human destiny	Household stories, Related everyday life person and relationships in the family, with neighbors, co-workers, etc.	Can use plot basics, character tragedies and comedies
Main characters:	Initially: gods, heroes of myths, historical figures; Later - strong, non-trivial personalities, powerful characters, carrying a certain idea, in the name of which they agree to sacrifice everything.	Ordinary people, city dwellers, villagers with their everyday worries, sorrows and joys, scams, successes and failures.	Any heroes.
Conflict:	Tragic, or insoluble. At its core are the great “eternal” questions of existence.	Comic, or resolvable through the correct (from the author’s point of view) actions of the heroes.	Dramatic: The depth of the contradictions is close to tragic, but the heroes are not carriers of the idea.
Creative goals:	Show the struggle of man and circumstances, man and fate, man and society in the severity of contradictions, the power of the human spirit in rightness or error.	To ridicule vice, to show its powerlessness and defeat in front of the true life values a simple person.	Show the complexity and inconsistency of human life, the imperfection of society, the imperfection of human nature
Examples:	Sophocles Oedipus the King W. Shakespeare. Hamlet V. Vishnevsky. Optimistic tragedy	Aristophanes. Clouds Moliere. Tartuffe N. Gogol. Auditor A. Ostrovsky. Our people - let's count! M. Bulgakov. Ivan Vasilievich	H. Ibsen. Dollhouse A. Ostrovsky. Storm M. Gorky. At the bottom

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

Subject composition- This the totality of all character relationships, a system of their speeches, gestures and actions, connected by a single author’s goal, that is, the main theme of a dramatic work. This set is aimed at revealing the characters’ characters, the reasons for their dependence on everyday and psychological characteristics.

Dynamic composition- this is organized by the author connecting all the sharp points of dramatic action(exposition --> rising action --> conflict --> resolution --> rising --> climax --> falling, etc.). Dynamic composition is characteristic both of the entire work and of its individual components: actions, acts, phenomena, scenes, paintings, etc.

Dialogue composition- This techniques for creating dramatic dialogue, of which there can be many:

• Each character has his own theme and has his own emotional mood (diversity of themes);
• Topics change periodically: from line to line, from episode to episode, from action to action (change of topic);
• The theme is developed in dialogue by one character and picked up by another (theme pick-up);
• The theme of one character in the dialogue is interrupted by another, but does not leave the dialogue (topic interruption);
• Characters go off topic and then return to it;
• The characters return to a topic left in one dialogue in another;
• The topic can be interrupted without completion (topic failure).

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

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

• How can a smart young man make his way in life? talented person, but who, due to poverty and origin, does not have the strong support of a rich and influential relative or acquaintance? ("Simplicity is enough for every wise man")
• Where has the conscience of the Russian merchants gone? How did it happen that, in pursuit of profit, both daughter and son-in-law are ready to rob their father-in-law and leave him in debtor’s prison, just so as not to pay his debts? ("Our people - we will be numbered!")
• Why does a mother sell her daughter's beauty? ("Dowry")
• What should a beautiful, but poor and unprotected girl do so that her love and honor are not destroyed? ("Dowry")
• How can a person who feels, loves and strives for freedom live among the “dark kingdom” of ignoramuses and tyrants? (“Thunderstorm”), etc.

A. Chekhov dedicated his plays to people in other circles: the Russian intelligentsia, the last “splinters” of noble families and people of art. But Chekhov’s intellectuals get too deeply entangled in “eternal” questions, depriving them of the ability to make decisions; his landowners, idolizing the cherry orchard as a national treasure, do nothing to save it and are preparing to leave just when the orchard begins to be cut down; and Chekhov’s actors, artists and writers on stage are completely different from the “stars”, “idols” whom the public applauds: they are petty, stingy, quarrel over the ruble, quarrel with loved ones, cowardly endure an already faded and now not at all love, but a boring and burdensome connection... And the problems of Chekhov’s plays are also largely due to time:

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

Chekhov's plays introduced a new specificity of stage action into Russian drama: no special events, “adventures,” happen on stage. Even out-of-the-ordinary events (for example, Treplev’s suicide attempt and suicide in “The Seagull”) occur only “behind the scenes.” On stage, the characters only talk: they quarrel over trifles, sort out relationships that are already clear to everyone, talk about meaningless things, get bored and discuss what happened “behind the scenes.” But their dialogues are filled with powerful energy internal action: behind insignificant remarks hides a heavy human loneliness, an awareness of one’s own restlessness, of something undone, but very important, without which life will never get better. This property of Chekhov's plays made it possible to consider them plays of internal dynamics and became a new step in the development of Russian drama.

Many people often have a question: why when posing such problems and such development of the plots of the play "The Cherry Orchard" and "The Seagull" are comedies? Don’t forget, they were defined this way not by critics, but by the author himself. Return to the table. What is the creative task of comedy?

That's right, make fun of vice. Chekhov makes fun, or better yet, laughs - subtly, ironically, beautifully and sadly - not so much at the vices, but at the incongruities, “irregularities” of the life of the person of his time, be it a landowner, a writer, a doctor or someone else: great actress- greedy; famous writer- henpecked; “to Moscow, to Moscow” - and we’ll spend our whole lives in the provincial wilderness; a landowner from a noble and wealthy family - and is going to go to the bank as an ordinary employee, not knowing anything about banking; there is no money - and we give the gold to a beggar rogue; we are going to transform the world - and we are falling down the stairs... This is exactly what inconsistency, overflowing Chekhov's plays (in fact, the fundamental basis of the comic), and makes them comedies in the highest, in the ancient sense words: these are real “comedies of life”.

The turning point era (the end of the 19th and the beginning of the 20th centuries) demanded that playwrights pay attention to new themes and, first of all, attention to the very phenomenon of “man.” M. Gorky in the play "At the Bottom" he draws a terrible model of the "bottom" human society, creating on stage a kind of shelter-cave, as if containing in it the whole world of his contemporaries human relations. But the “bottom” for Gorky is not only poverty and restlessness. The soul also has a “bottom,” and the revelation of the deep dark secrets of this soul was embodied in the images of the Baron, Kleshch, Actor, Kostylevs, Ashes... The appearance of Luka revealed to the night shelters not only the illusory possibilities of another, “better” life, it highlighted in them the impossibility of resisting that darkness, the negativity that has accumulated in their souls throughout their real, actual life. No one will make your life different except yourself - this is the result of the author’s observations of the characters in the drama. And therefore Gorky’s drama “At the Lower Depths” is defined by genre affiliation as social and philosophical. The key problems for Gorky were:

• What is the real truth of life?
• How capable is a person himself of taking his destiny into his hands? What have you done to make your life different, the way you would like it to be?
• Who is to blame for the attempt to “jump off the tram” and start new life failed?
• How should a person be seen today? contemporary author, moment?
• Regret or stigmatize? - what really helps a person?
• How responsible is society and the environment for human life? And etc.

When analyzing a dramatic work, you will need the skills that you acquired while completing tasks to analyze an episode of the work.

Be careful and strictly adhere to the analysis plan.

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

• A.S. Griboyedov. Comedy "Woe from Wit"
• N. Gogol. Comedy "The Inspector General"
• A.N. Ostrovsky. Comedy "Our people - we will be numbered!"; dramas "The Thunderstorm", "Dowry"
• A.P. Chekhov. Play "The Cherry Orchard"
• M. Gorky. The play "At the Bottom"

Which allows short story show the conflicts of society, the feelings and relationships of the characters, reveal moral issues. Tragedy, comedy and even modern sketches are all varieties of this art, which originated in Ancient Greece.

Drama: a book with a complex character

Translated from Greek, the word "drama" means "to act." Drama (definition in literature) is a work that exposes the conflict between characters. The character of the characters is revealed through actions, and the soul - through dialogues. Works of this genre have a dynamic plot, composed through dialogues of the characters, less often - monologues or polylogues.

In the 60s, the chronicle appeared as a drama. Examples of Ostrovsky's works "Minin-Sukhoruk", "Voevoda", "Vasilisa Melentyevna" are the brightest examples this rare genre. The trilogy of Count A.K. Tolstoy: “The Death of Ivan the Terrible”, “Tsar Feodor Ioannovich” and “Tsar Boris”, as well as the chronicles of Chaev (“Tsar Vasily Shuisky”) are distinguished by the same advantages. Crackling drama is inherent in Averkin's works: " Mamayevo massacre", "Comedy about Russian nobleman Frol Skobeev", "Kashira Antiquity".

Modern dramaturgy

Today, drama continues to develop, but at the same time it is built according to all the classical laws of the genre.

In today's Russia, drama in literature includes names such as Nikolai Erdman, Mikhail Chusov. As boundaries and conventions blur, lyrical and conflictual themes come to the fore, explored by Wisten Auden, Thomas Bernhard and Martin McDonagh.

Drama - (ancient Greek action, action) – one of literary movements. Drama as a type of literature, in contrast to lyrics and like epic, drama reproduces, first of all, the world external to the author - actions, relationships between people, conflicts. Unlike the epic, it has not a narrative, but a dialogic form. As a rule, there are no internal monologues, author's characteristics of characters and direct author's comments of the person depicted. In Aristotle's Poetics, drama is described as the imitation of action through action and not through telling. This provision is still not outdated. Dramatic works are characterized by acute conflict situations that encourage characters to verbally physical actions. The author's speech can sometimes be in the drama, but it is of an auxiliary nature. Sometimes the author briefly comments on the remarks of his characters, points out their gestures and intonation.

Drama is closely related to theatrical art and must meet the needs of the theater.

Drama is seen as the crown of literary creativity. Examples of drama are the play “The Thunderstorm” by Ostrovsky and “At the Bottom” by Gorkov.

ABOUT dramatic genres we must say without forgetting that drama itself is a genre that arose at the intersection of literature and theater. It is impossible to analyze them separately from each other. We have already talked about drama enough, however, we have not yet given the meaning of drama as a theatrical performance.

In order for any work to be called a drama, it must at least contain a conflict, or conflict situation. Conflict has the right to be both comical and tragic. Often drama contains a lot of both. This is probably why it is often interpreted in specialized literature as an intermediate genre.

Drama can be psychological (both on stage and in literature), social, philosophical, based on everyday or historical conflict, and a combination of the above types is also often found, this will be especially typical for literary drama. Drama can also be national, for example, Spanish drama can be distinguished - it is sometimes also called the “drama of honor” or “the comedy of the cloak and sword”, here everything entirely depends on what kind of conflict is developed in the drama. Drama genres can only appear in literature. There really aren't too many of them:

Play (a narrative in prose or poetic form, in which the characters, the author, and stage directions appear)

Comedy

Sideshow

Tragedy

Burlesque

Chronicle (historical, psychological, retrospective)

Scenario

Dramatic prose differs from ordinary prose primarily in that it contains many constantly changing events, while a large number of characters, much more than we say in a regular story, although the volume of the story may be the same. It is believed that the reader is able to remember no more than 5-7 acting characters, drama often violates this law; the reader of a dramatic work always has the opportunity to look at the flyleaf and see who exactly the hero is that he completely forgot about.

- ▲ type of fiction, types of literature. epic genre. epic. prose fictional story about which l. events. prose (# works). fiction. lyrics. drama... Ideographic Dictionary of the Russian Language

This term has other meanings, see Drama. Not to be confused with Drama (a type of literature). Drama is a literary (dramatic), stage and cinematic genre. Received particular popularity in XVIII literature XXI centuries,... ... Wikipedia

In art: Drama is a type of literature (along with epic and lyric poetry); Drama is a type of stage cinematic action; a genre that includes various subgenres, modifications (such as bourgeois drama, drama of the absurd, etc.); Toponym(s): ... ... Wikipedia

D. as a poetic genus Origin D. Eastern D. Ancient D. Medieval D. D. Renaissance From Renaissance to Classicism Elizabethan D. Spanish D. Classical D. Bourgeois D. Ro ... Literary encyclopedia

Epic, lyric, drama. Determined by different signs: from the point of view of methods of imitation of reality (Aristotle), types of content (F. Schiller, F. Schelling), categories of epistemology (objective subjective in G.V.F. Hegel), formal... ... encyclopedic Dictionary

Drama (Greek dráma, literally - action), 1) one of the three types of literature (along with epic and lyric poetry; see literary genre). D. belongs simultaneously to theater and literature: being the fundamental basis of the performance, it is at the same time perceived in... ... Great Soviet Encyclopedia

Modern encyclopedia

Literary gender- GENUS LITERARY, one of the three groups of works of fiction: epic, lyricism, drama. The tradition of generic division of literature was founded by Aristotle. Despite the fragility of the boundaries between genera and the abundance of intermediate forms (lyric epic ... ... Illustrated Encyclopedic Dictionary

Epic, lyric, drama. It is determined according to various criteria: from the point of view of methods of imitation of reality (Aristotle), types of content (F. Schiller, F. Schelling), categories of epistemology (objective subjective in G. Hegel), formal characteristics... ... Big Encyclopedic Dictionary

ROD, a (y), prev. about (in) gender and in (on) gender, plural. s, ov, husband. 1. Main public organization primitive communal system, united by blood kinship. The elder of the clan. 2. A number of generations descending from one ancestor, as well as a generation in general... Dictionary Ozhegova

Books

• Pushkin, Tynyanov Yuri Nikolaevich. Yuri Nikolaevich Tynyanov (1894-1943) - an outstanding prose writer and literary critic - looked like Pushkin, which was what he was told about student years. Who knows, maybe it was this similarity that helped...