Drama as a kind of literature. Drama genres

25.04.2019

Characteristics of the hero from the comedy "Minor" D

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The image and characteristics of Mitrofanushka in Fonvizin's "The Minor": the description of Mitrofan Prostakov

- ▲ kind of fiction kind of literature. epic genre. epic. prose fiction story about what l. events. prosaic (#works). fiction. lyrics. drama ... Ideographic Dictionary of the Russian Language

This term has other meanings, see Drama. Not to be confused with Drama (a kind of literature). Drama is a literary (dramatic), stage and cinematic genre. Got a special distribution in the literature of the XVIII XXI centuries, ... ... Wikipedia

In art: Drama is a genus of literature (along with epics and lyrics); Drama is a kind of stage cinematic action; a genre that includes various subgenres, modifications (such as philistine drama, drama of the absurd, etc.); Place name (s): ... ... Wikipedia

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

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

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

Modern encyclopedia

Literary genus- GENERAL LITERARY, one of three groups of works fiction epic, lyrics, drama. The tradition of generic division of literature was laid down by Aristotle. Despite the fragility of the boundaries between genera and the abundance of intermediate forms (lyroepic ... ... Illustrated Encyclopedic Dictionary

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

ROD, a (y), prev. o (in) genus and in (na) genus, pl. s, s, husband. 1. The main social organization of the primitive communal system, united by blood relationship. The elder of the clan. 2. A number of generations descending from one ancestor, as well as a generation in general ... Ozhegov's Explanatory Dictionary

Books

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

Drama (Old Greek drama - action) is a kind of literature that reflects life in actions taking place in the present.

Dramatic works are intended to be performed on stage, this determines the specific features of the drama:

1) lack of a narrative-descriptive image;

3) the main text of the dramatic work is presented in the form of replicas of the heroes (monologue and dialogue);

4) drama as a kind of literature does not have such a variety of artistic and pictorial means as the epic: speech and deed are the main means of creating the image of the hero;

5) the volume of the text and the duration of the action is limited by the stage framework;

6) the requirements of the performing arts dictate such a feature of the drama as a kind of exaggeration (exaggeration): “exaggeration of events, exaggeration of feelings and exaggeration of expressions” (LN Tolstoy) - in other words, theatrical showiness, increased expressiveness; the spectator of the play feels the conventionality of what is happening, which A.S. said very well. Pushkin: “the very essence of dramatic art excludes plausibility ... when reading a poem, a novel, we can often forget and believe that the described incident is not fiction, but the truth. In an ode, in an elegy, we can think that the poet was portraying his real feelings in real circumstances. But where is the plausibility in a building divided into two parts, one of which is filled with spectators who have agreed, etc. "

Drama (ancient Greek δρᾶμα - deed, action) is one of the three types of literature, along with epic and lyric poetry, belongs simultaneously to two types of art: literature and theater. Designed to be played on stage, the drama formally differs from the epic and lyrics in that the text in it is presented in the form of replicas of characters and author's remarks and, as a rule, is divided into actions and phenomena. Any literary work built in a dialogical form, including comedy, tragedy, drama (as a genre), farce, vaudeville, etc., refers to drama in one way or another.

Since ancient times, it has existed in folklore or literary form among different peoples; the ancient Greeks, ancient Indians, Chinese, Japanese, American Indians created their dramatic traditions independently of each other.

Literally translated from ancient Greek, drama means "action."

Types of drama tragedy drama (genre) drama for reading (play for reading)

Melodrama hierodrama mystery comedy vaudeville farce zaju

Drama history The rudiments of drama are in primitive poetry, in which the elements of lyrics, epic and drama that emerged later merged in connection with music and mimic movements. Earlier than among other peoples, drama as a special kind of poetry was formed among the Hindus and Greeks.

Dionysian dances

The Greek drama, developing serious religious and mythological subjects (tragedy) and amusing ones drawn from modern life (comedy), reaches high perfection and in the 16th century is a model for European drama, which until that time had artlessly processed religious and narrative secular subjects (mysteries, school dramas and sideshows, fastnacht games, sottises).

French playwrights, imitating the Greek, strictly adhered to certain provisions, which were considered invariable for the aesthetic dignity of the drama, such are: the unity of time and place; the duration of the episode depicted on the stage should not exceed a day; the action must take place in the same place; the drama should develop correctly in 3-5 acts, from the plot (clarification of the initial position and characters of the heroes) through the middle ups and downs (changes in positions and attitudes) to the denouement (usually a catastrophe); the number of actors is very limited (usually from 3 to 5); these are exclusively the highest representatives of society (kings, queens, princes and princesses) and their closest servants-confidants, who are introduced onto the stage for the convenience of dialogue and delivery of remarks. These are the main features of the French classical drama (Cornel, Racine).

The strictness of the requirements of the classical style was already less observed in comedies (Molière, Lope de Vega, Beaumarchais), which gradually moved from convention to depiction ordinary life(genre). Shakespeare's creativity, free from classical conventions, opened new paths for drama. The end of the 18th century and the first half of the 19th century were marked by the emergence of romantic and national dramas: Lessing, Schiller, Goethe, Hugo, Kleist, Grabbe.

In the second half of the 19th century, realism prevailed in European drama (Dumas the Son, Ogier, Sardoux, Palieron, Ibsen, Sudermann, Schnitzler, Hauptmann, Beyerlein).

In the last quarter of the 19th century, under the influence of Ibsen and Maeterlinck, symbolism began to take over the European scene (Hauptmann, Przybyshevsky, Bar, D'Annunzio, Hoffmansthal).

Dramatic artwork Unlike other prose and poetic works, dramatic works have a rigidly defined structure. A dramatic work consists of alternating blocks of text, each with its own purpose, and highlighted by means of typography in order to make them easier to distinguish from each other. Dramatic text can include the following blocks:

The list of characters is usually located in front of the main text of the work. In it, if necessary, a brief description of the hero is given (age, features of appearance, etc.)

External remarks - a description of the action, setting, the appearance and departure of the characters. Often typed either in reduced size, or in the same font as the replicas, but in a larger format. In the external remark, the names of the heroes can be given, and if the hero appears for the first time, his name is additionally highlighted. Example:

The room that is still called the children's room. One of the doors leads to Ani's room. Dawn, the sun will rise soon. May is already blooming cherry trees but it's cold in the garden, matinee. The windows in the room are closed.

Enter DUNYASHA with a candle and LOPAKHIN with a book in his hand.

Replicas are the words spoken by the characters. Replicas are necessarily preceded by the name of the actor and may include internal remarks. Example:

Dunyasha. I thought you were gone. (Listens.) They seem to be on their way.

LOPAKHIN (listens). No ... Get your baggage, this and that ...

Internal remarks, as opposed to external ones, briefly describe the actions that take place during the utterance of the replica by the hero, or the peculiarities of the pronunciation. If during the utterance of a remark some complex action occurs, it should be described using an external remark, while indicating either in the remark itself or in a remark using an internal remark that the actor continues to speak during the action. An internal remark refers only to a specific replica of a specific character. Separated from the replica by parentheses, it can be typed in italics.

The most common are two ways of decorating dramatic works: book and cinematic. If in a book format, to separate parts of a dramatic work, different font styles, different sizes, etc. can be used, then in cinematic scenarios it is customary to use only a monospace type of a typewriter, and to separate parts of a work, use a skip, set for a different format, set by all capital letters, discharge, etc. - that is, only those tools that are available on a typewriter. This allowed for changes to scripts repeatedly as production progressed while maintaining readability. .

Drama in Russia

Drama in Russia was brought in from the West at the end of the 17th century. Independent dramatic literature appears only at the end of the 18th century. Until the first quarter of the 19th century, the classical direction prevailed in drama, both in tragedy and in comedy and comedy opera; the best authors: Lomonosov, Knyazhnin, Ozerov; I. Lukin's attempt to draw the attention of playwrights to the depiction of Russian life and mores remained in vain: all their plays are lifeless, stilted and alien to Russian reality, except for the famous "Minor" and "Brigadier" by Fonvizin, "Yabeda" by Kapnist and some comedies by I. A. Krylov ...

At the beginning of the 19th century, Shakhovskoy, Khmelnitsky, Zagoskin became imitators of light French drama and comedy, the Puppeteer was a representative of the stilted patriotic drama. Griboyedov's comedy "Woe from Wit", later "The Inspector General", "The Marriage" by Gogol, became the basis of Russian everyday drama. After Gogol, even in vaudeville (D. Lensky, F. Koni, Sollogub, Karatygin), there is a noticeable desire to get closer to life.

Ostrovsky gave a number of wonderful historical chronicles and everyday comedies. After him, the Russian drama took solid ground; the most outstanding playwrights: A. Sukhovo-Kobylin, I. Turgenev, A. Potekhin, A. Palm, V. Dyachenko, I. Chernyshev, V. Krylov, N. Ya. Soloviev, N. Chaev, gr. A. Tolstoy, c. L. Tolstoy, D. Averkiev, P. Boborykin, Prince Sumbatov, Novezhin, N. Gnedich, Shpazhinsky, Evt. Karpov, V. Tikhonov, I. Shcheglov, Vl. Nemirovich-Danchenko, A. Chekhov, M. Gorky, L. Andreev and others.

Drama(ancient Greek δρμα - deed, action) - one of the three types of literature, along with epic and lyric poetry, belongs simultaneously to two types of art: literature and theater. Designed to be played on stage, the drama formally differs from the epic and lyrics in that the text in it is presented in the form of replicas of characters and author's remarks and, as a rule, is divided into actions and phenomena. Any literary work built in a dialogical form, including comedy, tragedy, drama (as a genre), farce, vaudeville, etc., refers to drama in one way or another.

Since ancient times, it has existed in folklore or literary form among different nations; independently of each other, their dramatic traditions have created antique greeks, ancient Indians, Chinese, Japanese, American Indians.

Literally translated from ancient Greek, drama means "action."

The specificity of drama as a literary genus consists in the special organization of artistic speech: unlike the epic, there is no narration in the drama and the direct speech of the characters, their dialogues and monologues is of paramount importance.

Dramatic works are intended to be performed on stage, this determines specific features dramas:

lack of a narrative-descriptive image;
"Auxiliary" of the author's speech (remarks);
the main text of the dramatic work is presented in the form of replicas of the heroes (monologue and dialogue);
drama as a kind of literature does not have such a variety of artistic and pictorial means as the epic: speech and deed are the main means of creating the image of the hero;
the volume of the text and the time of action is limited by the stage framework;
the requirements of the performing arts dictate such a feature of the drama as a kind of exaggeration (exaggeration): “exaggeration of events, exaggeration of feelings and exaggeration of expressions” (LN Tolstoy) - in other words, theatrical showiness, increased expressiveness; the viewer of the play feels the conventionality of what is happening, which A.S. Pushkin: “the very essence of dramatic art excludes plausibility ... when reading a poem, a novel, we can often forget and believe that the described incident is not fiction, but the truth. In an ode, in an elegy, we can think that the poet was portraying his real feelings in real circumstances. But where is the plausibility in a building divided into two parts, one of which is filled with spectators who have agreed, etc. "

The traditional plot scheme for any dramatic work:

EXPOSITION - Heroes Introductions

TIE - collision

DEVELOPMENT ACTION - set of scenes, development of an idea

CULTURE - the climax of the conflict

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Drama history

The rudiments of drama are in primitive poetry, in which the elements of lyrics, epic and drama that emerged later merged in connection with music and mimic movements. Earlier than other peoples, the drama is like special kind poetry was formed among the Hindus and Greeks.

The strictness of the requirements of the classical style was already less observed in comedies (Molière, Lope de Vega, Beaumarchais), which gradually moved from convention to depicting ordinary life (genre). Shakespeare's creativity, free from classical conventions, opened new paths for drama. The end of the 18th century and the first half of the 19th century were marked by the emergence of romantic and national dramas: Lessing, Schiller, Goethe, Hugo, Kleist, Grabbe.

In the second half of the 19th century, realism prevailed in European drama (Dumas the Son, Ogier, Sardoux, Palieron, Ibsen, Sudermann, Schnitzler, Hauptmann, Beyerlein).

In the last quarter of the 19th century, under the influence of Ibsen and Maeterlinck, symbolism began to take over the European scene (Hauptmann, Przybyshevsky, Bar, D'Annunzio, Hoffmansthal).

Types of drama

Tragedy - genre artwork, intended for staging, in which the plot leads the characters to a disastrous outcome. The tragedy is marked by severe seriousness, depicts reality in the most acute way, as a clot of internal contradictions, reveals the deepest conflicts of reality in an extremely tense and rich form that takes on the meaning of an artistic symbol. Most of the tragedies are written in verse. The works are often filled with pathos. The opposite genre is comedy.
Drama (psychological, criminal, existential) is a literary (dramatic), stage and cinematic genre. It became especially widespread in the literature of the 18th-21st centuries, gradually replacing another genre of drama - tragedy, opposing it mainly with a household plot and a stylistics closer to everyday reality. With the emergence of cinema, he also moved into this art form, becoming one of its most widespread genres (see the corresponding category).

Dramas specifically depict, as a rule, the private life of a person and his social conflicts... At the same time, the emphasis is often placed on universal human contradictions embodied in the behavior and actions of specific characters.

The concept of "drama as a genre" (different from the concept of "drama as a kind of literature") is known in Russian literary criticism. So, B.V. Tomashevsky writes:

In the XVIII century. number<драматических>genres is increasing. Along with strict theatrical genres, lower, “fairground” genres come to the fore: Italian buffoonery comedy, vaudeville, parody, etc. These genres are sources of modern farce, grotesque, operetta, and miniatures. Comedy splits, singling out from itself a "drama", that is, a play with modern everyday themes, but without a specific "comedy" situation ("bourgeois tragedy" or "tearful comedy").<...>Drama decisively supplants other genres in the 19th century, harmonizing with the evolution of the psychological and everyday novel.

On the other hand, drama as a genre in literary history breaks down into several distinct modifications:

Thus, the 18th century was the time of the philistine drama (J. Lillot, D. Diderot, P.-O. Beaumarchais, G.E. Lessing, early F. Schiller).
In the 19th century, realistic and naturalistic drama developed (A. N. Ostrovsky, G. Ibsen, G. Hauptmann, A. Strindberg, A. P. Chekhov).
At the turn of the 19th and 20th centuries, the symbolist drama developed (M. Maeterlink).
In the XX century - surrealist drama, expressionist drama (F. Werfel, V. Gazenklever), absurd drama (S. Beckett, E. Ionesco, E. Olby, V. Gombrowicz), etc.

Many playwrights of the 19th and 20th centuries used the word “drama” as a designation for the genre of their stage works.

Drama in verse - everything is the same, only in poetic form.
Melodrama is a genre of fiction, theatrical art and cinema, the works of which reveal the spiritual and sensual world heroes in especially vivid emotional circumstances based on contrasts: good and evil, love and hate, etc.
Hierodrama - in France of the old order (second half of the 18th century), the name of vocal compositions for two or more voices on biblical stories.
Unlike the oratorio and the mystery, the hierodramas did not use the words of the Latin psalms, but the texts of modern French poets, and they were performed not in temples, but at sacred concerts in the Tuileries palace.
In particular, the words of Voltaire were presented in 1780 "The Sacrifice of Abraham" (music by Cambini) and in 1783 "Samson". Impressed by the revolution, Desogier composed his cantata Hierodrama.
Mystery is one of the genres of European medieval theater associated with religion.
The plot of the mystery was usually taken from the Bible or the Gospel and was interspersed with various everyday comic scenes. From the middle of the 15th century, the mysteries began to increase in volume. The Mystery of the Acts of the Apostles contains more than 60,000 verses, and its presentation at Bourges in 1536 lasted, according to testimonies, 40 days.
If in Italy the mystery died naturally, in a number of other countries it was banned during the Counter-Reformation; in particular, in France - November 17, 1548 by order of the Paris Parliament; in Protestant England in 1672 the bishop of Chester banned the mystery, and three years later the prohibition was repeated by the archbishop of York. In Catholic Spain, mystery performances continued until the middle of the 18th century; they were composed by Lope de Vega, Tirso de Molina, and Calderon de la Barca, Pedro; only in 1756 they were officially banned by the decree of Charles III.
Comedy is a genre of fiction characterized by a humorous or satirical approach, as well as a type of drama in which the moment of an effective conflict or struggle of antagonistic characters is specifically resolved.
Aristotle defined comedy as "imitation worst people, but not in all their depravity, but in a ridiculous form ”(“ Poetics ”, Ch. V). The earliest surviving comedies were created in Ancient Athens and belong to the pen of Aristophanes.
Distinguish sitcom and comedy of characters.
Sitcom (comedy of situations, situational comedy) Is a comedy in which events and circumstances are the source of the funny.
Comedy of characters (comedy of manners) Is a comedy in which the source of the funny is the inner essence of characters (morals), funny and ugly one-sidedness, a hypertrophied trait or passion (vice, lack). Very often the comedy of manners is satirical comedy, makes fun of all these human qualities.
Vaudeville- a comedy piece with verses and dances, as well as a genre of dramatic art. In Russia, the prototype of vaudeville was a small comic opera late XVII century, retained in the repertoire of the Russian theater and by the beginning of the XIX century.
Farce- a comedy of light content with purely external comic techniques.
In the Middle Ages, a farce was also called a species folk theater and literature, widespread in the XIV-XVI centuries in Western European countries. Having matured within the mystery, farce in the 15th century gains its independence, and in the next century it becomes the dominant genre in theater and literature. The techniques of farcical buffoonery have been preserved in circus clownery.
The main element of the farce was not conscious political satire, but a relaxed and carefree image of urban life with all its scandalous incidents, obscenity, rudeness and fun. In the French farce, the theme of the scandal between the spouses was often varied.
In modern Russian, a farce is usually called profanation, an imitation of a process, for example, a judicial one.

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

Tragedy (Greek.

Tragoidia, lit. - goat song) - "a dramatic genre based on the tragic collision of heroic characters, its tragic outcome and full of pathos ..." 266.

The tragedy depicts reality as a bunch of internal contradictions, it reveals the conflicts of reality in an extremely tense form. it dramatic work, which is based on an irreconcilable life conflict, leading to the suffering and death of the hero. So, in a collision with the world of crime, lies and hypocrisy, the bearer of advanced humanistic ideals tragically dies Danish prince Hamlet, the hero of the tragedy of the same name by W. Shakespeare.

In the struggle waged by tragic heroes, heroic traits of the human character are revealed with great completeness.

The genre of tragedy has long history... It arose out of religious cult rites, was a stage enactment of a myth. With the advent of the theater, tragedy took shape as an independent genre of dramatic art. The creators of the tragedies were the ancient Greek playwrights of the 5th century. BC NS. Sophocles, Euripides, Aeschylus, who left her perfect examples. They reflected tragic collision traditions of the tribal system with a new social order. These conflicts were perceived and portrayed by playwrights mainly on mythological material. The hero of an ancient tragedy found himself drawn into an insoluble conflict either by the will of the imperious fate (fate), or by the will of the gods. So, the hero of the tragedy Aeschylus "Prometheus the Chained" suffers because he violated the will of Zeus when he gave fire to people and taught them crafts. In the tragedy of Sophocles "King Oedipus" the hero is doomed to be a paricide, to marry his own mother. An ancient tragedy usually consisted of five acts and was built in compliance with the "three unities" - place, time, action. Tragedies were written in verse and were distinguished by the loftiness of speech, its hero was the "tall hero".

The founder of modern tragedy is rightfully considered the great English playwright William Shakespeare. His tragedies "Romeo and Juliet", "Hamlet", "Othello", "King Lear", "Macbeth" are based on the most acute conflicts. Shakespeare's characters are no longer heroes of myths, but real people fighting real, not mythical, forces and circumstances. Striving for the maximum truthfulness and completeness of the reproduction of life, Shakespeare developed all the best aspects of ancient tragedy, at the same time freeing this genre from those conventions that had lost their meaning in his era ( mythological plot, observance of the rule of "three unities"). The characters of Shakespeare's tragedies are striking in their vital persuasiveness. Formally Shakespearean tragedy far from antiquity. Shakespeare's tragedy embraces all aspects of reality. The personality of the hero of his tragedies is open, not fully determined, capable of changes.

The next stage in the development of the genre of tragedy is associated with the work of the French playwrights P. Corneille (Medea, Horace, Death of Pompey, Oedipus, etc.) and J. Racine (Andromache, Iphigenia, Fed - ra "etc.) * They have created brilliant examples of the tragedy of classicism - the tragedy of" high style "with the obligatory observance of the rule of" three unities ".

At the turn of the XVIII-XIX centuries. F. Schiller updated the "classical" style of tragedy, creating the tragedies "Don Carlos", "Mary Stuart", "The Maid of Orleans".

In the era of romanticism, the content of the tragedy becomes the life of a person with his spiritual quest. Tragic dramas were created by V. Hugo (Hernani, Lucrezia Borgia, Ruy Blaz, The King Amuses himself, etc.), J. Byron (Two Fascari), M. Lermontov (Masquerade).

In Russia, the first tragedies within the framework of the poetics of classicism were created in the 18th century. A. Sumarokov ("Khorev"), M. Kheraskov ("Flame"), V. Ozerov ("Polyxena"), Y. Knyazhnin ("Dido").

In the XIX century. Russian realism also provided convincing examples of tragedy. The creator of a new type of tragedy was A.

C. Pushkin. The protagonist of his tragedy "Boris Godunov", in which all the requirements of classicism were violated, became the people, shown as the driving force of history. The comprehension of the tragic conflicts of reality was continued by A.N. Ostrovsky (“Guilty Without Guilt”, etc.) and L.N. Tolstoy ("The Power of Darkness").

At the end of the XIX - beginning of the XX century. the tragedy "in a high style" is reviving: in Russia - in the works of L. Andreev ("Life of a Man", "Tsar-Hunger"), Vyach. Ivanov ("Prometheus"), in the West - in the works of T.-S. Elliot (Murder in the Cathedral), P. Claudel (Annunciation), G. Hauptmann (Rats). Later, in the XX century, - in the works of J.-P. Sartre ("The Flies"), J. Anuya ("Antigone").

Tragic conflicts in Russian literature of the XX century. found reflection in the drama of M. Bulgakov ("Days of the Turbins", "Run"). In the literature of socialist realism, they acquired a peculiar interpretation, since the conflict based on an irreconcilable clash of class enemies became dominant in them, and the main character died in the name of an idea ("Optimistic tragedy" by Vs. Vishnevsky, "Storm" by B.

N. Bill-Belotserkovsky, "Invasion" by L. Leonov, "Eagle on his shoulder" by I. Selvinsky, etc.). On the present stage In the development of Russian drama, the genre of tragedy is almost forgotten, but tragic conflicts are interpreted in many plays.

Comedy (Latin sotoesia, Greek kotosia, from kotoe - a cheerful procession and 6s1ё - a song) is a type of drama in which characters, situations and actions are presented in funny forms or imbued with comic1.

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

In modern European literature, comedy continued the traditions of ancient literature, enriching them. In European literature, there are stable types of comedies. For example, the comedy of masks, the comedy dell'arte (comteca (lelré), which appeared in Italy in the 16th century. Its characters were typical masks (Harlequin, Pulcinella, etc.). This genre influenced the work of J.-B. Moliere, K. Goldoni, K. Gozzi.

In Spain, the comedy “cloak and sword” was popular in the works of Lope de Vega (“The Sheep's Spring”), Tirso de Molina (“Don Gil Green Pants”), Calderon (“They don’t joke with love”).

Art theorists have resolved the question of the social purpose of comedy in different ways. During the Renaissance, her role was limited to the correction of morals. In the XIX century. V. Belinsky noted that the comedy not only denies, but also asserts: "True indignation at the contradictions and vulgarity of society is an ailment of a deep and noble soul, which stands above its society and carries within itself the ideal of a different, better society." First of all, the comedy was supposed to be aimed at ridiculing the ugly. But, along with laughter, the invisible "honest face" of the comedy (according to N.V. Gogol, the only honest face of his comedy "The Inspector General" was laughter), there could be "noble comic" in it, symbolizing a positive beginning, represented, for example, in the image of Chatsky in Griboyedov, Figaro in Beaumarchais, Falstaff in Shakespeare.

The art of comedy achieved significant success in the works of W. Shakespeare ("Twelfth Night", "The Taming of the Shrew", etc.). The playwright expressed in them the Renaissance idea of the irresistible power of nature over human heart... The ugliness in his comedies was funny, fun reigned in them, they had solid characters strong people who know how to love. Shakespeare's comedies still do not leave the theaters of the world.

The French comedian of the 17th century achieved brilliant success. Moliere is the author of the world famous "Tartuffe", "Bourgeois in the nobility", "The Covetous". Beaumarchais became a renowned comedian (“ Barber of seville"," The Marriage of Figaro ").

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

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

Comedy has spawned different genre varieties. Distinguish between a sitcom, a comedy of intrigue, a comedy of characters, a comedy of mores (everyday comedy), a comedy-buffoonery. There is no clear border between these genres. Most comedies combine elements of different genres, which deepens the comedic character, diversifies and expands the very palette of the comic image. This is clearly demonstrated by Gogol in The Inspector General. On the one hand, he created a "sitcom" based on a chain of ridiculous misunderstandings, of which the main one was the absurd mistake of six district officials, who mistook Khlestakov's "elistress", "kestrel" for a powerful auditor, which served as the source of many comic situations. On the other hand, the comic effect generated by various absurd life positions by no means exhausts the content of The Inspector General. After all, the reason for the error of the district officials lies in their personal qualities? - in their cowardice, spiritual rudeness, mental limitation - and in the essence of the character of Khlestakov, who, while living in St. Petersburg, learned the manner of behavior of officials. Before us is a vivid "comedy of characters", or rather, a comedy of realistically written social types, presented in typical circumstances.

In terms of genre, they also distinguish between satirical comedies ("The Minor" by Fonvizin, "The Inspector General" by Gogol) and tall ones, close to drama. The action of these comedies does not contain funny situations. In Russian drama, this is primarily "Woe from Wit" by A. Griboyedov. V unrequited love Chatsky to Sophia there is nothing comic, but the situation in which the romantic young man put himself is comic. The position of the educated and progressive-minded Chatsky in the society of the Famusovs and the silent is dramatic. There are also lyrical comedies, an example of which is “ The Cherry Orchard»A.P. Chekhov.

At the end of the XIX - beginning of the XX century. comedies appear, characterized by increased psychologism, a setting for the image of complicated characters. These include "comedies of ideas" by B. Shaw ("Pygmalion", "Millionaire", etc.), "comedies of moods" by A.P. Chekhov ("The Cherry Orchard"), tragicomedy by L. Pirandello ("Six Characters in Search of the Author "), J. Anuya (" The Wild Woman ").

In the XX century. Russian avant-gardism is making itself felt, including in the field of drama, whose roots undoubtedly go back to folklore. However, the folklore origin is found already in the plays of V. Kapnist, D. Fonvizin, in the satire of I. Krylov, N. Gogol, M. Saltykov-Shchedrin, whose traditions in the XX century. continued by M. Bulgakov ("Crimson Island", "Zoykina's apartment", "Adam and Eve"), N. Erdman ("The Suicide", "Mandate"), A. Platonov ("Sharmanka").

In the Russian avant-garde of the XX century. conventionally, three stages are distinguished: futuristic ("Zangezi" by V. Khlebnikov, "Victory over the Sun" by A. Kruchenykh, "Mystery-Buff" by V. Mayakovsky), post-futuristic (theater of absurdity of the Oberiuts: "Elizaveta Vam" by D. Kharms, "Christmas tree at the Ivanovs" by A. Vvedensky) and modern avant-garde drama (A. Artaud, N. Sadur, A. Shipenko, A. Slapovsky, A. Zheleztsov, I. Savelyev, L. Petrushevskaya, E. Gremina, etc.).

Avant-garde trends in modern drama are the subject of literary research. For example, M.I. Gromova, sees the origins of this phenomenon in the fact that in the 20s of the XX century. attempts to create an "alternative" art (Oberiut theater) were suppressed, which on long years went underground, giving rise to "samizdat" and "dissidence", and in the 70s (years of stagnation) formed on the stages of numerous "underground" studios, which received the right to work legally in the 90s (years of perestroika), when it became possible to get acquainted with Western European avant-garde dramaturgy of all types: "theater of the absurd", "theater of cruelty", "theater of paradox", "happening", etc. On the stage of the studio "Laboratory" was staged play by V. Denisov "Six ghosts on the piano" (her the content is inspired by a painting by Salvador Dali). Critics were struck by the cruel absurd reality of the plays by A. Galin (Stars in the Morning Sky, Sorry, Title), A. Dudarev (The Dump), E. Radzinsky (Sports Games 1981, Our Decameron "," I am standing at the restaurant "), N. Sadur (" Moon Wolves "),

A. Kazantsev ("Eugenia's Dreams"), A. Zheleztsov ("Askold's Grave", "Nail"), A. Buravsky ("Russian Teacher"). Plays of this kind gave rise to criticism of E. Sokolyansky to conclude: “It seems that the only thing that a dramatic writer can convey in the current conditions is a certain madness of the moment. That is, the feeling of a turning point in history with the triumph of chaos ”267. All these plays have elements of tragicomedy. Tragicomedy is a type of dramatic works (drama as a genus) that has signs of both tragedy and comedy, which distinguishes tragicomedy from forms intermediate between tragedy and comedy, that is, from drama as a type.

Tragicomedy rejects the moral absolute of comedy and tragedy. The perception of the world underlying it is associated with a sense of the relativity of the existing criteria of life. Overestimating moral principles leads to uncertainty and even abandonment of them; subjective and objective principles are blurred; an 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 at the turning points of history, although the tragicomic beginning was already present in the drama of Euripides ("Alkestida", "Ion").

The "pure" type of tragicomedy became characteristic of the drama of the Baroque and Mannerism (F. Beaumont, J. Fletcher). Its signs are a combination of funny and serious episodes, a mixture of sublime and comic characters, the presence of pastoral motives, the idealization of friendship and love, an intricate action with unexpected situations, the predominant role of chance in the fate of the characters, the heroes are not endowed with constancy of character, but their images are often emphasized one trait that turns a character into a type.

In drama late XIX v. in the works of G. Ibsen, Yu.A. Strindberg, G. Hauptmann, A. Chekhov, L. Pirandello, in the XX century. - G. Lorca, J. Girodoux, J. Anouil, E. Ionesco, S. Beckett, the tragicomic element is increasing, as in the Russian avant-garde drama of the 20th century.

Modern tragicomedy lacks clear genre characteristics and is characterized by a "tragicomic effect", which is created by showing reality simultaneously in both tragic and comic coverage, the discrepancy between the hero and the situation (a tragic situation is a comic hero, or vice versa, as in Griboyedov comedy"Woe from Wit"); undecidability internal conflict(the plot assumes the continuation of the action; the author refrains from the final assessment), a feeling of the absurdity of being.

A special kind of entertaining comedy is vaudeville (fr. Vaudeville from Vau de Vire - the name of the valley in Normandy, where this genre of theatrical art appeared at the beginning of the 15th century) - a play of everyday content with an entertaining development of action, in which witty dialogue alternates with dancing and - Senki-couplets.

In France, vaudeville was written by E. Labiche, O. Scribe. In Russia, vaudeville appeared at the beginning of the 19th century. He inherited from the comic opera of the 18th century. interest in national subjects. Vaudeville wrote to A.S. Griboyedov ("Feigned Infidelity"), D.T. Lensky ("Lev Gurych Sinichkin"), V.A. Sollogub ("The coachman, or the Prank of a hussar officer"), P.A. Karatygin ("The Borrowed Wives", "The Dead Man"), N.А. Nekrasov ("Petersburg Moneylender"), A.P. Chekhov ("The Bear", "The Proposal", "Wedding", "On the Dangers of Tobacco"). In the second half of the XIX century.

Vaudeville was superseded by the operetta. Interest in him returned at the end of the 20th century.

V theater arts XIX-XX centuries. comedies with light content with external comic devices began to be called farces. Fars (fr. farce, from lat. farcio - I start: Middle-century mysteries "began" with comedy inserts) - a type of folk theater and literature of Western European countries XIV- XVI centuries, primarily France. He was distinguished by a comic, often satirical orientation, realistic concreteness, free-thinking; saturated with buffoonery. The townspeople were his heroes. The images-masks of the farce were devoid of individual origin (farce is close to the comedy of masks), although they were the first attempt to create social types.

Means of creating a comic (satirical) effect are a speech comedian - illogism, incongruity of situations, parody, playing with paradoxes, irony, in newest comedy- humor, irony, sarcasm, grotesque, wit, sharpness, pun.

Wit is based on a sense of humor (in fact, it is one and the same) - a special associative ability, the ability to critically approach an object, notice absurdities, and quickly react to it269. The paradox “expresses a thought that is absurd at first glance, but, as it turns out later, to a certain extent fair” 1. For example, in Gogol's "Marriage" after the shameful flight of Podkolesina, Arina Panteleimonovna reprimands Kochkarev: Yes, I live in my sixties, and I have not yet acquired such a passion. Yes, I’m for that, father, I’ll spit in your face if you fair man... After that you are a scoundrel if you are an honest man. Disgrace the girl in front of the whole world!

Traits of a grotesque style are characteristic of many comedies created in Russian literature of the 20th century. ("The Suicide" by N. Erdman, "Zoykina's Apartment" by M. Bulgakov, "The House That Swift Built" by G. Gorin). E. Schwartz ("Dragon", "Shadow") used comic allegory and satirical symbol in his fairy-tale plays.

Drama as a genre appeared later than tragedy and comedy. Like tragedy, it tends to recreate acute contradictions. As a kind of dramatic kind, it became widespread in Europe during the Enlightenment and at the same time was understood as a genre. The drama became an independent genre in the second half of the 18th century. among the educators (bourgeois drama appeared in France and Germany). It showed an interest in the social way of life, to moral ideals democratic environment, to the psychology of the "average man".

During this period, tragic thinking is going through a crisis, and it is being replaced by a different view of the world, which affirms the social activity of the individual. In the process of development of the drama, its inner drama thickens, a successful outcome is encountered less and less often, the hero is at odds with society and with himself (for example, the plays of G. Ibsen, B. Shaw, M. Gorky, A. Chekhov).

Drama is a play with acute conflict, which, in contrast to the tragic, is not so sublime, more mundane, ordinary and somehow resolvable. The specificity of the drama lies, firstly, in the fact that it is based on modern and not on antique material, and secondly, the drama asserts a new hero who rebelled against his fate and circumstances. The difference between drama and tragedy is in the essence of conflict: conflicts of a tragic plan are insoluble, because their resolution does not depend on the personal will of a person. Tragic hero finds himself in a tragic situation involuntarily, and not because of a mistake he made. Dramatic conflicts, unlike tragic ones, are not insurmountable. They are based on the clash of characters with such forces, principles, traditions that oppose them from the outside. If the hero of the drama dies, then his death is in many ways an act of a voluntary decision, and not the result of a tragically hopeless situation. So, Katerina in "The Thunder" by A. Ostrovsky, acutely worried that she had violated religious and moral norms, unable to live in the oppressive atmosphere of the Kabanovs' house, rushes into the Volga. This denouement was not necessary; the obstacles to the rapprochement between Katerina and Boris cannot be considered insurmountable: the heroine's rebellion could have ended differently.

The flowering of the drama begins in the late 19th and early 20th centuries. In the era of romanticism, tragedy reigned in drama. The birth of drama is associated with the appeal of writers to contemporary social themes. Tragedy, as a rule, was based on historical material. The main character was played by a large historical personality fighting in extremely unfavorable circumstances for herself. The emergence of the dramatic genre characterized the increased interest in the knowledge of modern social life, dramatic fate"Private" person.

The range of the drama is unusually wide. The playwright depicts the everyday private life of people, their relationships, clashes caused by class, property, class differences. In the realistic drama of the 19th century. predominantly psychological drama developed (dramas by A.N. Ostrovsky, G. Ibsen, and others). At the turn of the century, the drama changed in the work of A.P. Chekhov (Ivanov, Three Sisters) with his mournful and ironic lyricism, with the use of subtext. Similar tendencies are observed in the work of M. Maeterlinck with his hidden "tragedy of everyday life" ("The Blind", "Monna Witta").

In the literature of the XX century. the horizons of the drama have expanded significantly, its conflicts have become more complex. In the dramatics of M. Gorky ("Bourgeois", "Enemies", "Children of the Sun", "Barbarians") the problem of the responsibility of the intelligentsia for the fate of the people is posed, but it is considered mainly on the basis of family and everyday material.

In the West, dramas were created by R. Rolland, J. Priestley, J.O. Neil, A. Miller, F. Dürrenmatt, E. Albee, T. Williams.

The "element" of drama is modernity, private life people, situations based on resolvable conflicts concerning the fate of individuals, not affecting problems of public importance.

Such varieties of drama as the lyric drama by M. Maeterlinck and A. Blok ("Balaganchik", "The Rose and the Cross"), the intellectual drama by J.-P. Sartre, J. Anouil, drama of the absurd by E. Ionesco ("The Bald Singer", "Chairs"), S. Beckett ("Waiting for Godot", "End of the Game"), oratorical, meeting theater - B. Brecht's political theater with his "epic" plays ("What is this soldier, what is this").

In history Soviet theater political theater, the traditions of which were laid by V. Mayakovsky, V. Kirshon, A. Afinogenov, B. Lavrenev, K. Simonov, characterized by a pronounced author's position, took an important place. In the 60s - 90s of the XX century. publicistic dramas appeared ("A Man from the Side" by I. Dvoretsky, "Minutes of a Session" by A. Gelman, "Interview in Buenos Aires" by G. Borovik, "More ... more ... more" by M. Shatrov) and documentary dramas ("Leaders" by G. Sokolovsky, "Joseph and Hope" by O. Kuchkina, "Black Man, or I, Poor Soso Dzhugashvili" by V. Korkia, "Sixth of July" and "Blue Horses on Red Grass" by M. Shatrov , "Anna Ivanovna" by V. Shalamov, "Republic of Labor" by A. Solzhenitsyn, etc.). In the genre of drama, such varieties as debate plays, dialogue plays, chronicle plays, parable plays, fairy tale plays and "new drama" have appeared.

Certain varieties of drama merge with adjacent genres, using their means of expressiveness: with tragicomedy, farce, theater of masks.

There is also such a genre as melodrama. Melodrama (from the Greek m? Los - song, melody and drama - action, drama) - 1) genre of drama, a play with acute intrigue, exaggerated emotionality, a sharp opposition of good and evil, a moral and educational tendency; 2) a musical and dramatic work in which the monologues and dialogues of the characters are accompanied by music. J.J. Rousseau developed the principles of this genre and created its model - "Pygmalion"; a sample of Russian melodrama - "Orpheus" by E. Fomin.

Melodrama originated in the 18th century. in France (plays by J.-M. Monvel and G. de Picserecourt), it flourished in the 30s-40s of the XIX century, later external amusement began to prevail in it. In Russia, melodrama appeared in the 20s of the 19th century. (plays by N.V. Kukolnik, N.A. Polevoy, etc.), interest in her revived in the 20s of the XX century. There are elements of melodrama in the works of A. Arbuzov ("Old-Fashioned Comedy", "Tales of the Old Arbat") 270. Dramatic genres turned out to be very mobile.

Summing up what has been said about the genera, types and genres of literature, it should be noted that there are intergeneric and extrageneric forms. According to B.O. Korman, it is possible to single out works in which the properties of two generic forms are combined - “two-genus formations” 271.

For example, the epic beginning, according to V. Khalizev, is in the plays of A.N. Ostrovsky and B. Brecht, M. Maeterlink and A. Blok created "lyric dramas", the lyrical beginning in the poems has become a well-known fact. Out-of-line forms in literary criticism include essays, literature of the "stream of consciousness", essays, for example, "Experiments" by M. Montaigne, "Fallen Leaves" and "Solitary" by V. Rozanov (she gravitates towards syncretism: philosophical, as in the works of AM Remizov "The Ambassador" and M. Prishvin "The Eyes of the Earth").

So, V.E. Khalizev, “... the proper generic forms are distinguishable, traditional and reigning supreme in literary creation for many centuries, and the forms are "extra-clan", unconventional, rooted in the "post-mantic" art. The former interact with the latter very actively, complementing each other. Nowadays, the Platonic-Aristotelian-Hegelian triad (epic, lyric, drama), as you can see, is largely shaken and needs to be corrected. At the same time, there is no reason to declare the habitually distinguished three types of literature obsolete, as is sometimes done with light hand the Italian philosopher and art theorist B. Croce. Among Russian literary scholars, A.I. Beletsky: “For antique literatures the terms epic, lyric, drama were not yet abstract. They designated special, external ways of transmitting the work to the listening audience. Having passed into a book, poetry abandoned these modes of transmission, and gradually<...>species (meaning the kinds of literature. - V.Kh.) became more and more fiction. Is it necessary to continue the scientific existence of these fictions further? " "Stream of consciousness", essay). Generic affiliation (or, on the contrary, the involvement of one of the "non-genus" forms) largely determines the organization of the work, its formal, structural features... Therefore, the concept of "kind of literature" in the composition theoretical poetics inalienable and essential ”2. ? Control questions and tasks I 1.

What served as the basis for identifying three types of literature. What are the signs of an epic, lyrical, dramatic way of reproducing reality? 2.

Name the types of literary literature, give their characteristics. Tell us about the connection between genera, species, genres of literary works. 3.

How is a story different from a novel and a story? Give examples. 4.

What are features short stories? Give examples. 1 Beletsky A.I. Selected works on the theory of literature. G. 342.2

V.E. Khalizev Literature theory. S. 318 - 319.

Control questions and tasks 5.

Why, in your opinion, the novel and the story became the leading genres realistic literature? Their differences. 6.

Outline the article by M.M. Bakhtin "Epos and Novel: On the Methodology of Studying the Novel" (Appendix 1, p. 667). Complete the assignments and answer the questions suggested after the article. 7.

Gogol initially called Dead Souls a "novel", then - "a small epic." Why did he stop at defining the genre of his work as a "poem"? eight.

Define the features of the epic novel in the works "War and Peace" by L. Tolstoy and "Quiet Don" by M. Sholokhov. nine.

Give a genre definition to the work of N. Shmelev "Summer of the Lord" and justify it (fairy tale novel, myth novel, legend novel, true story, fiction myth, free epic, spiritual novel). ten.

Read the article by O. Mandelstam "The End of the Novel". SMMandelstam O. Works: In 2 volumes. M., 1990. S. 201-205). Using the example of Boris Pasternak's novel Doctor Zhivago, explain the innovative approach of 20th century writers. to the problem modern novel... Can it be argued that "... the compositional measure of the novel is a human biography"? I. How do you define the genre of Bulgakov's work "The Master and Margarita", in which history and feuilleton, lyrics and myth, everyday life and fantasy (novel, comic epic, satirical utopia) are freely combined?

What are the features of lyrics as a kind of literature? 2.

Outline the article by V.E. Khalizeva "Lyrics" (Appendix 1, p. 682). Prepare answers to the proposed questions. 3.

Based on the article by L.Ya. Ginzburg "On the lyrics" (Appendix 1, p. 693) prepare a message "Stylish features of the lyrics." Name the main lyric and lyroepic genres, indicate their differences. What is the classification of lyrics based on thematic principle? 4.

Explain what is meant by suggestive lyrics and meditative lyrics. Give examples. 5.

Read the article by A.N. Pashkurova “Poetics of the pre-romantic elegy:“ Time ”by M.N. Muravyov "(Appendix 1, p. 704). Prepare the message “What path has the Russian elegy traveled in its development from pre-romanticism to romanticism?”. 6.

Tell us about the history of the development of the sonnet genre. 7.

Read the article by G.N. Esipenko "Studying the sonnet as a genre" (Literature at school. 2005. No. 8. P. 29-33) and complete the tasks proposed in it related to the analysis of the sonnets of N. Gumilyov, I. Severyanin, I. Bunin (optional), and also write a poem in the form of a sonnet (it is permissible to imitate any poet). eight.

What ways of depicting life does A. Pushkin use in the poem "Gypsies"? nine.

What works are called lyroepic? Using the example of one of the poems by V. Mayakovsky ("Man", "Good!"), S. Yesenin ("Anna Onegin") or A. Tvardovsky ("By the Right of Memory"), analyze how they combine lyric and epic elements. ten.

What is the image of the lyrical heroine of the “Denisiev cycle” F.I. Tyutchev? 13.

Identify the features of the lyric heroine in the poetry of M. Tsvetaeva and A. Akhmatova. fourteen.

Can we talk about a kind of "passivity" lyric hero B. Pasternak, as R. Jacobson believed? 15.

How is the biography of A. Blok connected with his work? What evolution has the image of the lyrical hero undergone? 16.

Why modern poetry has lost most of the traditional genres?

Describe the division into genres in a dramatic manner. 2.

Outline the article by V.E. Khalizev "Drama" (Appendix 1, p. 713). Prepare answers to the proposed questions. 3.

Tell us about the main stages in the development of the genre of tragedy. 4.

How is drama different from tragedy? 5.

What are the types of comedy? Give examples. 6.

Describe the "small" dramatic genres. Give examples. 7.

How do you understand the genre definition of A. Ostrovsky's plays? Can the dramas "Thunderstorm", "Dowry" be called classic tragedies? eight.

Define the genre of "The Cherry Orchard" by A.P. Chekhov (comedy, tragedy, farce, melodrama). nine.

Using the example of one of the plays, analyze Chekhov's new approaches to organizing dramatic action (decentralization of plot lines, refusal to divide characters into major and minor) and methods of creating individual characters (self-characterization, monologues, remarks, building a speech part of an image based on a change in stylistic tonality; “random »Dialogue lines emphasizing instability psychological state characters, etc.). ten.

Read and analyze one of the plays by a contemporary playwright (optional). eleven.

Give a definition of the concept of "subtext" (see: Literary encyclopedia of terms and concepts. M., 2001. S. 755; Literary encyclopedic dictionary. M., 1987. S. 284). Give examples of lyrical and psychological implications in the plays of A.P. Chekhov (optional), in the novels of E. Hemingway, in the poems of M. Tsvetaeva ("Longing for the Motherland! Long time ago ...") and O. Mandelstam ("Slate Ode").

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

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

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

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

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

Depending on the method of production, dramatic works can be in the form of a play and a script. All dramatic works intended to be performed with theatrical stage, are called plays (French pi èce). Dramatic works, which are used to make films, are scripts. Both the plays and the scripts contain the author's remarks to indicate the time and place of the action, indicating the age, appearance heroes, etc.

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

The main genres of dramatic works:

- drama,

- tragedy,

- comedy,

- tragicomedy,

- farce,

- vaudeville,

- sketch.

Drama

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

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

Drama is characterized by a description of real everyday life, the posing of "mortal" questions of human existence, a deep disclosure of characters, inner peace characters.

There are such types of drama as historical, social, philosophical. A kind of drama is melodrama. In it, acting faces are clearly divided into positive and negative.

Well-known dramas: "Othello" by V. Shakespeare, "At the Bottom" by M. Gorky, "Cat on a Hot Tin Roof" by T. Williams.

Tragedy

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

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

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

Well-known tragedies: "Chained Prometheus" by Aeschylus, "Romeo and Juliet" by V. Shakespeare, "The Thunderstorm" by A. Ostrovsky.

Comedy

A comedy (from the Greek komos ode - "funny song") is a literary dramatic work in which characters, situations and actions are presented comically, using humor and satire. In this case, the characters can be quite sad or sad.

Usually comedy presents everything that is ugly and ridiculous, funny and absurd, ridicules social or everyday vices.

Comedy is subdivided into comedy of masks, positions, characters. This genre also includes farce, vaudeville, interlude, sketch.

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

A comedy of characters (a comedy of morals) is a dramatic comedy work in which the source of the funny is the inner essence of characters (morals), funny and ugly one-sidedness, a hypertrophied trait or passion (vice, lack).
Farce is a light comedy using simple comic techniques and designed for rough tastes. Usually slapstick is used in circus to lownade.

Vaudeville is a light comedy with an entertaining intrigue, in which there are a large number of dance numbers and songs. In the United States, vaudeville is called a musical. V modern Russia it is also commonly said "musical," meaning vaudeville.

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

A sketch is a short comedic work with two or three characters. Typically, sketches are presented on stage and television.

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

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

Tragicomedy

Tragicomedy is a literary dramatic work in which a tragic plot is depicted in a comic form or is a disorderly heap of tragic and comic elements. In a tragicomedy, serious episodes are combined with funny, sublime characters are set off by comic characters. The main technique of tragicomedy is grotesque.

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

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

More detailed information on this topic can be found in the books by A. Nazaykin