Dramatic genres

Name of parameter	Value
Theme of article:	Dramatic genres
Rubric (thematic category)	Literature

Waterville (from Franz. VAUDEVILLE from VAU de Vire - called. in Normandy, where he originated given genre), One of the genres of the dramatic work, a light play with an entertaining intrigue, with songs-purchasing and dancing. At first, Waterville called song-couplets in the fair comedies of the first half of the XVIII century. As an independent theatrical genre, during the years of the Great French Revolution, subsequently, losing political topionally, the water waters became an entertaining genre and received pan-European distribution. Classics Franz. Waterville - O.E. Skrib, E. Labish - Save many features of the genre'Kak popular work French'ran'': Line fun, topical hints. In the second half of the XIX century, the operetta is displaced. In Russia, Waterville was distributed at the beginning of the XIX century, inheriting from comic Opera XVIII century Interest in national plots. Known Watervili N.I. Khmelnitsky, A.S. Griboedova, A.A. Shakhovsky, D.T. Lensky. Name-acting plays A.P. Chekhov continued the tradition of Waterville (without couplets).

Drama(from Greek. Drama - letters. Action) 1) One of the birth of literature. It belongs to both the literature and the theater, being the first-axis performance, at the same time perceived in reading. Intended for collective perception, the drama of all pervious and the most acute social problems and in the brightest samples became folk: its basis is social and historical contradictions or eternal human anti-rigs (see conflict art); 2) one of the basic drama genres as literary rhodation Along with the tragedy and comedy. Like a comedy, reproduces mainly private life People, but her main goal is not ridicuing morals, but an image of a person in her dramatic relations with society. Like the tragedy, the drama is to recreation of sharp contradictions; At the same time, its conflicts are not so inevitable and tense and in principle admit the possibility of safe permission, and the characters are not so exceptional. As an independent genre of drama, there was a second half of the 18th century in the educator (Meshchansk Drama in France and Germany), its interest in the social defendance and everyday life, the moral ideals of the democratic environment, to the psychology of the Middle Human, contributed to the strengthening of realistic began in European art. In the process of developing the drama, its inner drama is condensed, a prosperous junction is less common, the hero usually remains in the disaster with society and himself ('GROZ''''mbespridnitsa'''n. Ostrovsky, Ibsen's play, Chekhov, Gorky).

Intermedia(from lat. Intermedius - located in the middle), a small comic play or a scene, playing between the acts of the main play. Originated in the XV century as household scene-farce, which was part of the Mystery, then the school drama ( later tragedy and comedy). In England was called Interlude (from Lat. Inter - between and Ludus - game). Got spread in zap. Europe XVI - XVII centuries (in Spain as an independent genre people's Theater.), in the Russian Theater of the XVII - XVIII centuries. Intermedia has been preserved as a plug-in comic or musical scene in the performance.

Comedy (lat. Comoedia, Greek. Komodia, from Komos - a fun procession and ODE - song), a kind of drama, in which characters, situations and action are presented in funny forms Or imbued with comic. Up to classicism under the comedy, the work was implied, the opposite tragedy, with a mandatory happy ending; Her heroes were, as a rule, from the lowest estate. In many poetics (including N. Balo), the comedy was defined as the lowest genre.
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In the literature of Enlightenment, this ratio was violated by the recognition of the average genre - the so-called Meshchansky drama.

The comedy fixed before it was to ridiculed the ugly (short, contrary to the public ideal or norm), the heroes of the comedy are internally untenable, unlikely, do not correspond to their position, purposeful and this is sacrificed to a laugh, which will divert them, thereby fulfilling their''idal'''''''' Mission . The comedy range is extremely wide - from political satire to a light water watery humor. '''Cho person''''a every comedy - laughter. There are comedy character, comedy provisions, household comedy, intrigue comedy, lyrical comedy, satirical comedy.

The most important means of the comic effect is the speech comic comic (alogyrism, inconsistency with the situation, parody, irony, in the newest comedy - wit and the game of paradoxes). The father of the comedy considers Aristofan, the creator of the socio-political satirical comedy.

In Russia, the comedy is presented in the works of Fonvizin, Griboedov, Gogol, Ostrovsky.

Melodrama(from Greek. Melos - Song, Drama - Action), 1) Genre of drama, play with acute intrigue, exaggerated emotionality, sharp oppression of good and evil, moral and instructive tendency. Melodrama arose in the 90s years of XVIII. century in France (Piesen J.M. Monvel). In Russia, the melodrama appeared at the end of the 20s of the XIX century (Piesen N.V. Kupollyan, N.A. Polevoy).

Tragedy(from Greek. TRAGODIA, letters. Goat Song), dramaturgical genrebased on the tragic collision of heroic characters, its tragic outcome, performed by pathetics. The tragedy is marked by severe seriousness, depicts validity of the most pointed as a clot of internal contradictions, reveal the deepest conflicts of reality in the extremely tense and rich form that acquires the value of the artistic symbol; It is not by chance that most tragedies are written by verses. Historically, the tragedy existed in different manifestations, but the very essence of the tragedy, like aesthetic category tragic, was asked European literature ancient Greek tragedy and poetic.

Greek. The tragedy originated from religious and cult rites, was a reproduction, scenic playing of myth; She joined the auditor to one for the whole people and his historical fate of reality. Perfect samples of completed, organic works of tragic art were given Eschyl, sofokl; The unconditional reality of what is happening, it shams the viewer, causing the strongest internal conflicts and solving them in higher harmony (through Qatarsis).

New flourishing The tragedy occurs in the crisis era of the late Renaissance and Baroque. Shakespeare tragedy depicts infinite reality, deep crisis of the human world. Shakespeare's tragedy does not fit into the framework of a separate (conflict or character character of the hero), but hugs in itself, as well as reality itself; The identity of the hero internally open is not determined to the end, capable of changes, even sharp shifts.

Samples of the tragedy of classicism are represented by works by P. Cornel, J. Rasin. These are high-style tragedies in compliance with three unity; Aesthetic perfection acts as a result of conscious self-restriction of the poet as a virtuoso-developed pure life conflict formula.

At the turn of the XVIII-XIX centuries, F. Schiller creates a tragedy, updating the''Klassical'''' style. In the era of the romanticism of the tragedy, "the pledge of the substantial content becomes not the world, but an individual with his soul.

The tragedy means the possibility of a person to join the fight against unsatisfying source position.

Dramatic genres - concept and types. Classification and features of the category "Dramatic genres" 2017, 2018.

Dramatic genres - Total genresarising and developing within the drama as a literary race.

Drama specifically depicts, as a rule, a person's privacy and his social conflicts. At the same time, the emphasis is often done on universal contradictions embodied in the behavior and actions of specific characters. Drama - literary workwhich depicts a serious conflict, the struggle between the actors

As a genre of drama drama adds in the middle of the 19th century. This is an intermediate genre between comedy and tragedy.

Types of drama (dramatic genres)

• Tragedy

  The tragedy is a dramatic work, in which the main acting person (and sometimes other characters - in side clashes), distinguished by the maximum of the power of will, mind and feelings for a person, violating some kind of conscious (from the point of view of the author) and an irresistible law; At the same time, the hero of the tragedy may or at all do not realize their guilt - or not to conscious of it for a long time - acting either for predominates of over (for example, an antique tragedy), or being in the power of blinding passion (for example, Shakespeare). The fight against an ingredient law is conjugate with great suffering and inevitably ends the death of the tragic hero; The fight against an ingredient law is his revaluation at the inevitable celebration - it causes spiritual enlightenment in us - Qatarsis.

  The hero of any dramatic work is steadily striving for its purpose: this is aspiration, a single action, encounters to the counter effect of the environment. No need to forget that the tragedy developed from religious cult; The initial content of the tragedy is the resistance of rock, its convincing and inevitable presenters, which neither death or gods can get around. Such, for example, the construction of "Edipa" of Sofokla. In the Christian theater, the tragic effect is the fight against God; Such, for example, "worship the cross" Calderon. In some Shakespeare tragedies, for example, in "Julia Cesar", an antique rock is reborn, fate, in the form of cosmic forces who take terrible participation in the dramatic struggle. In German tragedies, usually, violation of the Divine Law, German tragedies of religious - and religious on Christian. Such in most of its tragedies Schiller (in the "Robber" - God very often takes the features of Jewish, here affects the influence of the Bible), Claysta, Goebbel, and others. The Christian worldview is felt in the tragedy sketches of Pushkin, as, for example, in "Pira during plague. " "Dramatic Wine" - Violation of the norms of a certain life; "Tragic Wines" is a violation of the law of absolute. On the other hand, a tragedy, developing in socio-government, devoid of religious pathos in the narrow sense of the word; The hero of the tragedy may not fight with God, but with the "historical necessity", etc.

  The Hero of the Social Tragedy encroaches the main foundations social Life. The protest of the household drama hero is caused by household conditions; In another environment, he may calm down. In a society, where a woman is equal with a man, Nora ibsen must show a lot of calm, on the contrary, the hero of the social tragedy - like any tragedy - with any conditions - rebar. He does not find a place and the framework of sociality. Such, for example, Coriolian Shakespeare; In any environment, its indomitable arrogance should be manifested. He rebels against the immutable requirements of citizenship. There is no tragedy if the hero is not strong enough.

  (That's why the "thunderstorm" is not a tragedy. Katerina is too weak; barely feeling his sin, his tragic religious guilt - she cums up with him; she is unable to deal with God).

  The counter-action of other characters of the tragedy should also be maximum; All the main characters of the tragedy should be gifted by emergency energy and intellectual acute. The tragic hero acts without evil intention - this is the third mandatory sign of the tragedy. Edipa His murder and the healing is destined over; Macbeth implements the witch predictions. The hero of the tragedy - without guilt to blame, doomed. At the same time, he is humane, he is capable of deep suffering, he acts on his suffering. The heroes of the tragedy are richly gifted in the power of their passions. Topics of tragedy - mythologous. In myth, an effective primary priority of human relations, not darkened by household healing. The historical images of the tragedy uses as images of a folk legend, and not as a scientific material. She is interested in history - legend, not history - science. True tragedy is the truth of passion, and not an accurate realistic image. The tragedy enlightens our spiritual consciousness; In addition to artistic imagery, it is inherent in the patos of philosophical penetration. The tragedy inevitably ends the death of the hero. His passion is directed against the fate itself and with the other way; The death of the hero is the only possible outcome of the tragedy. However, the daring power of the hero initiates in the moments of sympathy, the insane hope of his victory.

• Drama (genre)

  the drama appears at the end of 18. This is a play with modern household themes. The difference from the melodrama is that the drama does not seek to swear. The task is to describe a plot of modern life with all the details and show some drawback, vice. It can solve in a comedy character. Drama modgets mix with melodrama.

• Criminal drama
• Existential drama
• drama in verse
• 
  Melodrama

  appeared in France. Melodrama - play, which directly addresses the emotions of the audience, causing compassion, fear, hatred of IPR. Unfortunately, as a rule, occur due to external reasons: natural disasters, sudden death, villains acting from mercenary motives. In the tragedy, such a villain is encouraged: he doubts and suffer. In melodrama, a person is intended and involved in a single emotional gust. The plots are taken from the life of ordinary people, the final is usually prosperous.

  Melodrama is a drama, which is increasing not so much seriousness of the dramatic struggle and the detailed image of the life, in which this struggle is developing as sharpness of scenic positions. The sharpness of the scenic provisions arises in part as a consequence of complex and spectacular circumstances (dramatic node), in which melodrama arises, partly as a consequence of the ingenuity and resourcefulness of its characters. The heroes of the melodrama are planting in an isolated prison chamber, stitching and thrown into the water (A. Duma), and they still saves. Sometimes they save them and happy randomness; The authors of meloders in the desire to all new and new effects, are sometimes greatly abused by such random turns in the fate of their heroes. The main interest of melodrama, therefore, purely fablystic. This interest is often intensified in melodramas sudden "recognition" (term Aristotle); Many heroes of melodrama have been acting under the fictional name for a long time, the dramatic struggle is conducted between close relatives, for a long time about it, etc. In connection with the superficial image of life, the melodrama is developing under the sign of "tragic guilt" (see "Tragedy") . However, the melodrama is far from the tragedy, there is no spiritual deepening in it; Characteristics of melodrama are more schematic than in any other dramatic work. In melodrames often encounter villains, noble adventurers, helpless-touching characters ("Two orphans"), etc.

• hierodrama
• mystery
• Comedy

  The comedy developed from the ritual cult that had a serious and solemn character. Greek word κω? Μος of one root with the word κω? Μη - village. Therefore, it is necessary to assume that these funny songs are comedy - appeared in the village. And indeed, the Greek writers have guidance on the fact that the villages of this type of works arose in the villages, called the mimes (μι? Μος, imitation). The etymological significance of this word also points to the source where the content for mimes was obtained. If the tragedy borrowed its content from the testes about Dionysse, the gods and heroes, that is. From the world of fiction, then mime this content took from household life. Mimes were singing during the festivities dedicated to a known time of the year and associated with sowing, harvest, vintage, etc.

  All these household songs were improvisations of jokingly satirical content, with the character of the malice of the day. Same diharic songs, so. With two singers, were known to the Romans under the name of Atellan and the fencerrrian. The content of these songs was changeable, but, despite this variability, they enhanced in a certain form and accounted for something a whole, which was sometimes part of the Greek tetralogy, consisting of three tragedies about one hero ("Oresthey" of Eschila consisted of tragedies "Agamemnon", "Hoeofors", "Evmenia") and the fourth satirical play. More or less defined form in the VI century. to R. Kh. In V c. Prior to R. H., according to Aristotle, he enjoyed fame to the comedian chionide, from which only the names of some plays were preserved. Aristophane is t. O. The successor of this type of creativity. Aristophane Although in his comedies and climbs Eurypid, his contemporary, but his comedies are building on the same plan, which was developed by Eurypid in his tragedies, and even the external comedy construction is no different from the tragedy. In IV century R. Kh. Menander Greek is put forward. . We have already told about the float, since his comedies imitate Menander comedies. In addition to this, we add that the Float has a lovely intrigue. In the Comedy of Float and Terrence there is no choir; At Aristophan, he had more important than in the tragedy of Eurypid and his predecessors. Choir in his parabazisis, so. Retreats from the development of action, applied to the audience to interpret and clarify them the meaning of the dialogues of the actors. The next writer after the Float was terents. He just like the Float, imitates Meander and another Greek writer Apollodore. Comedy Terentation was not intended for mass, but for the elected aristocratic society, therefore he does not have the obscenity and rudeness, which in abundance we find at the Float. Comedy Terentation is characterized by a moral character. If the Float has the fathers fooling up with their sons, then the terence they are managers family life. Semitted girls in terenation in contrast to the Float married their seductors. In the falselycical comedy, the moral element (vice is punished, virtue triumphs) comes from the terenation. In addition, the comedy of this comedian is distinguished by a greater thoroughness in the outcome of the acting persons than in Float and Menandra, as well as the elegance of the syllable. In the era of Renaissance in Italy, a special kind of comedy was developed:

  ComMedia Dell'Arte All'improvviso. - The comedy, played by professional Italian actors not on the written text, but according to the scenario (ITAL. SCENARIO or SOGGETTO) which only places the milestones of the content of the plot, providing the actor himself to climb the role in those words that his stage experience will be prompting, gaining, inspiration or education. This genus of the game bloomed in Italy around the middle of the XVI century. Strictly delimit the improvised comedy from the literature (Sostenuta Erudita) is difficult: both genres were in undoubted interaction and differed mainly by execution; The written comedy was sometimes turned into a script and back, a literary comedy was written according to the scenario; There are explicit similarities between the characters of the same. But in the implied they are even more than in writing, frozen in certain, fixed types. Such are the greedy, in love and invariably fouritted pantalon; Dr. Graziano, sometimes a lawyer, sometimes a medic, a scientist, pedant, is an amicing incredible etymology of words (like Pedante from Pede Ante, since the teacher makes students of ITTU ahead); Captain, hero in words and coward in practice, confident in its irresistible for any woman; In addition, two types of servants (Zanni): one - smart and cunning, Master at all sorts of intrigue (Pedrolino, Brigalla, Skapino), the other is a foolish harlequin or even more stupid medical care, representatives of an involuntary comiability. Several apart from all these comic shapes are lovers (Innamorati). Each actors elected some one role and remained faithful to her, often all his life; Thanks to this, he got off with his role and reached perfection in it, putting his personality imprint on her. This prevented masks finally frozen in immobility. Good actors They had a great stock of own or borrowed Tirara (CONCETTI), which they kept in memory to use one or another at the right moment, depending on circumstances and inspiration. Lovers had a concentti, jealousy, reproaches, enthusias, and so on; Much, they have turned in Petrarch. In each troupe there were about 10-12 actors and, accordingly, in each scenario, as much roles. Various combination These almost unchanged elements creates a variety of plots. Intrigue usually comes down to the fact that parents from greed or rivalry interfere with young people to love in their choice, but the first Zannt on the side of youth and holding all the yarn of intrigue in their hands, eliminates obstacles to marriage. The form is almost without exception trick. Scene in C. d. Arte, as in the literary Italian and ancient Roman comedy, depicts the area and the two or three houses of acting persons who go on it, and all conversations occur at this amazing square without passersby, dates .. In the comedy there is nothing to look for a rich psychology of passions, in Its conditional world is the truthful reflection of life there is no place. The advantage of her in motion. The action develops easily and quickly, without long, with the help of conventional conventional eaves, disguise, unrecognizing each other in the dark, etc. It was precisely this in the Italians of the Moliere. The time of the highest flourishing of the comedy masks falls on the first half of the XVII century.

  By 19 century, the comedy of characters becomes greater importance.

  COMEDY.The comedy depicts a dramatic struggle, exciting laughter, causing a negative attitude towards the aspirations, passions of acting persons or to the receptions of their struggle. Analysis of the comedy is associated with laughing nature analysis. On Bergson, funny any human manifestation which is due to its refinery contradicts public requirements. Funny in a lively man Sight car, automatism; For life requires "tensions" and "elasticity". Another sign of funny: "The shock depicted should not hardly hit our feelings, for laughter is incompatible with mental excitement." Bergson points to the following moments of comedy "automatism", causing laughter: 1) Mix "handling people, as with puppets"; 2) Mix the mechanization of life affecting repeated stage positions; 3) Figure the automatism of the acting persons blindly following its idea. However, Bergson overlooks that every dramatic work, both comedy and tragedy, is formed by a single, one-piece desire of the main acting person (or the person leading the intrigue) - and that this desire in its continuous activity acquires the nature of automatic. Signs specified by Bergson, we find both tragedy. Not only Figaro addresses people as with puppets, but also Yago; However, this appeal is not mixed, but terrifies. Talking by the Bergson language - "tensions", devoid of "elasticity", flexibility - can be tragic; Strong passion - not "elastic". Determining the signs of the comedy, it should be noted that the perception of funny changeable; That one cares, the other can be mixed. Then: There is quite a lot of plays, where the dramatic (tragic) scenes and replicas alternate with comedy. Such, for example, "grief from the mind", some plays of Ostrovsky and so on. These considerations should not, however, to interfere with the establishment of comedy - comedy style. This style is not determined by those targets to which colliding, fighting the aspirations of the acting persons are directed: stamina can be depicted in the comedy and tragedy plan ("stingy" Moliere and the "miser knight" Pushkin). Don Quixote is ridiculous, despite all the elevation of his aspirations. The dramatic struggle is mixed when it does not cause compassion. In other words, comedy characters should not suffer so much so that it did it. Bergson rightly indicates incompatibility of laughter with mental excitement. The comedy struggle should not be cruel, in the net-style comedy should not be terrifying scenic provisions. As soon as the comedy hero begins to suffer, the comedy goes into the drama. Since our ability to compassion is associated with our sympathies and antipathies, it is possible to establish the following relative rule: the more disgusting the Hero of the comedy, the more he may suffer without causing pity, without leaving the comedy plan. The very character of the heroes of comedy to suffering is not predisposed. The comedic hero differs from either extreme trebleness, rapid resourcefulness, saving it in the most ambiguous positions - as, for example, Figaro - either animal stupidity relieving it from the excessive-acute consciousness of his position (for example, Kaliban). This category of comedic characters includes all heroes of household satire. Another sign of the comedy: Comedy struggle is conducted by means of awkward, ridiculous or humiliating - or at the same time ridiculous and humiliating. Comedy struggle characterize: an erroneous assessment of the situation, inept recognition of persons and facts leading to incredible and long-term delusions (for example, Hellekova is adopted for the auditor), helpless at least stubborn resistance; The tricks are ineptful, unattainable goals - with the fact that devoid of all sorts of scrupulousness, the means of small deception, a flattery, bribe (eg, tactics of officials in the "auditor"); Fighting pathetic, ridiculous, humiliating, Schutovskaya (moreover, not cruel) is such a pure type of comedy struggle. A strong effect produces a mixing replica when it gives a funny face.

  Shakespeare's power in the Falstaff image is in combination: a funny joker. The comedy does not care deeply, however, we do not think of life without death and suffering; Therefore, by the subtle comment Bergson, the comedy produces an impression unreal. Moreover, it needs a convincing household color, in particular, in a well-developed language characteristics. Comedy fantasy is also different if it can be expressed, rich in household development: there are specific details of the legend, so to speak, life of mythological creatures (for example, Scene of Caliban in Shakespeare). However, comedy characters are not types similar to the types of household drama. Since the net style comedy is characterized by the struggle. Finally inept and humiliating, its characters are not types, but caricatures, and what they are caricatured brighter comedy. Laughter is hostile to tears (buoystone). It should also be added that the junction of the comedy struggle, in view of its non-rigid nature, is not significant. The comedy victory of vulgarity, lowness, stupidity - as we climbed the winners, - it touches us a little. The defeat of Chatsky or Nesilitylessness does not cause bitterness in us; Laughter in itself is satisfaction for us. Therefore, the comedy is permissible and random junction - at least by interference with the police. But where the defeat threatens to someone with a real suffering (for example, Figaro and his beloved), such a finale, of course, is unacceptable. As far as in the comedy, the interchange itself is insignificant, it is clear from the fact that there are comedies, where it can be foreseen in advance. These are countless comedies, where in love is prevented by the marriage of their brutal and funny relatives; Here is a marriage isolation predefined. We are fascinated in the comedy process of ridiculous; However, interest rises if the junction is difficult to foresee. An omission is positive, happy.

  Distinguish:
  1) Satira, a high-style comedy, aimed against defects, dangerous for society,
  2) household comedyridicuing the characteristic shortcomings of a certain society
  3) the comedy of provisions entertaining funny scenic provisions devoid of serious social significance.

• Vaudeville

  Waterville call a dramatic collision in comedy plan (see comedy). If the comedy dramatic struggle should not be cruel, then it is even more applied to the water waters. Here, usually, a comedy violation of any very minor social norm, for example, the norms of hospitality, good-neighborly relations, etc. Due to the insignificance of the violated norm, waterville is usually reduced to a sharp short collision - sometimes to one scene.

  History of waterville. Etymology of this word (VAUX-DE-VIRE, Virgin Valley) gives an indication of the initial birth of this type of dramatic creativity (G. Vir is in Normandy); Subsequently, this word through the distortion was comprehended by Voix De Ville - a rustic voice. Under the hydroevil began to understand such works in which the phenomena of life are determined from the point of view of naive rustic views. The light character of the content is a distinctive feature of the waterville. The creator of waterville, characterizing these works from its content, was french poet The XV century Le-Gu, who was subsequently mixed with another poet Olivier wishes. Le-Gu issued a collection of poems Vaux de Vire Nouveaux. These light comic songs in the spirit of the Le-Gu and the Bolshal were made in Paris the property of wide urban masses, thanks to the fact that they were on the bridge of the Pon Negmeni. In the XVIII century, the woodwork, the fuselier and Durneal in the imitation of these water waters began to make plays of the same content. The text of waterville is accompanied by music from the beginning of the second half of the XVIII century. Musical execution Waterville contributed to the fact that all the text was written in verses ("Melnik" Ableximov). But soon, with the fulfillment of water waters, artists began to be made to the text in the prosaic form of change - improvisation on the current malice of the day. This gave the opportunity to the authors themselves alternate verse with prose. From that time, the branching of the water waters begins for two types: on the actual water and operetta. In Waterville, conversation prevails, and in operetta - singing. However, the operetta began to differ in its content from waterville. After this differentiation of the water waters, it remains at first a humorous image of life in general urban class, and then medium and minor bin.
• Farce

  farca called, usually, comedy, in which the hero violates the socio-physical norms public Life. So in Lysistrate Aristofhan Heroine seeks to force men to stop the war, encouraging women to refuse them in love affairs. So, Argan ("Mnimy Patient" of Moliere) brings the interests of their family to sacrifice the interests of his imaginary stomach. The area of \u200b\u200bthe farce is the advantage of erotic and digestion. From here on the one hand, the extraordinary danger for the farce is to fall into the greatest vulgarity, on the other - the extreme acuteness of the farce, directly hitting our vital organs. In connection with the physical elements of the farce, it scenicly, it is natural, characterizes the abundance of external-efficient movements, collisions, embraces, fights. Farc by nature of its peripheralic, eccentric is an eccentric comedy.

  History of farce. Farcey developed from domestic scenes introduced as independent intermenids into medieval plays of a religious or moralistic nature. Farcey supported the tradition of comic ideas coming from the Greco-Roman scene, and gradually transformed into a comedy of new centuries, preserved as a special kind of easy comedy. Artists in former times were usually lovers.

Dramaturgia has its advantages over Epos. There is no author's comment here. This construction gives the illusion of objectivity. The reaction of the viewer is always emotional than the reader's reaction. The action continuously, the rate of perception is dictated by the performance. The main impact of the dramatic kind is emotional. Since ancient times there is a concept caresisa - peculiar "cleansing" fear and compassion.

The admission of dramatic genus is generally conflict where the action is built. It can be defined as "oppositely directed human will." In drama, the goal is never achieved calmly. Obstacles can be both material and psychological. The conflict depends not only on the will of the playwright, but also from social reality.

End of the 19th century - European New drama . Representatives: Motherlink, Hauptman, Chekhov. Their innovation is that the external conflict is eliminated in the plays. However, a steady conflict state remains.

Drama means "action", the sequence of the events depicted depending on the actions of the heroes. Action is any change on stage, incl. and psychological. Action is associated with conflict

The words in the drama are not like epic, here they are part of the action, an image of actions. The word tends to become action. Performative - A special type of statement, in which the word coincides with the act. ("I declare war", "I curse"). The word in the theater is always directed to someone \u003d replica. Either herself is a response to someone's speech. Continuous dialogue creates a reality effect.

In the drama, unlike the epic, the transfer of thoughts and feelings of heroes from the author's face is impossible. We will only learn about them from monologues and dialogues, or from auto-speakers, or from the characteristics of other actors.

In the 20th century, drama seeks to get close to the epic. IN " Epic Theater"Bertold Brecht at the end of the play is a direct score: a moment when the actors take off the masks. Thus, the actor does not merge with the hero. The viewer here should not empathize with the hero (like in a classic drama), but to think.

Epos differs from the drama story, work with heroes; Epos is to a monologue, drama - to the dialogue.

Article V.E. Khalizheva:

Dramatic works, like epic recreating the event rows, actions of people and their relationship. The playwright is subordinate to the "law of developing actions", but there are no narrative image in the drama. (per say. rare cases when there is a prologue in the drama).

The author's speech is auxiliary and episodic. List of actors, sometimes with brief characteristics; denote time and place of action; Description of the stage atmosphere; Remarks. All this is adverse text of a dramatic work. The main text is a chain of the statements of characters consisting of replicas and monologues \u003d\u003e a limited set of fine means, compared with the epic.

The time of action in the drama should fit into the strict framework of the scenic time. The chain of dialogs and monologues gives the illusion of the present time. "All narrative forms," \u200b\u200bwrote Schiller, "tolerate the present in the past, all dramatic do the past.

The appointment of the drama, according to Pushkin - "Act into many, occupy his curiosity," and for the sake of this to capture the "Truth of Passion": "The drama was born on the square and was a folk suffering<…>people require severe sensations<…> Laughter, pity and horror The essence of three strings of our imagination, shaded by dramatic art. "

Especially close Uzami is associated with dramatic genus with a laughter sphere, for the theater is being protected and develops within the mass festival, in the atmosphere of the game and fun.

The drama is to externally spectacularly filtered. Her imagery, as a rule, turns out to be hyperbolic, throw, theatrically bright (for this, for example, the Tolstoy reproached Shakespeare?).

In the 19-20th centuries, when the desire for everyday reliability prevailed in the literature, the conventional drema became less bright. At the origins of this phenomenon, the so-called "Meshchansk Drama", the creators of which were Didro and Lessing. Works of the largest Russian playwrights 19 - 20 V. - Ostrovsky, Gorky, Chekhov - are distinguished by the reliability of recreated life forms. And yet, in their work, psychological and speech hyperboles are preserved.

The most responsible role in dramatic works belongs to the conventions of speech self-discharge of heroes, dialogues and monologues. Conditions of replica "to the side" who, as it were, for others, not on the stage of characters, but are well audible to the viewer, as well as monologues, pronounced by heroes alone, which are a purely stage receipt of the outward speech internal. Speech in the dramatic work often acquires similarity with the speech of artistic-lyrical or oratory. Therefore, hegel is partly due to the drama as a synthesis of the epic beginning (events) and lyrical (speech expression).

The drama has in art as if two lives: theatrical and actually literary. But the dramatic work is not always perceived by the audience reading. The emancipation of drama from the scene was carried out gradually, for a number of centuries and ended quite recently: in the 18th - 19th centuries. Worldwide significant patterns of dramaturgy (from antiquity and up to 18 century) at the time of their creation practically did not realize as literary works: they were only part of scenic art. Neither Shakespeare, no Moliere was perceived by contemporaries as writers. "Opening" in the 18th century Shakespeare as a great dramatic poet played a decisive role in the purpose of drama not only for the production, but also for reading. In the 19th century, the literary advantages of the play sometimes put the above scenic. He got the distribution of the so-called LEDRAMA (drama for reading). These are "Faust" Goethe, dramatic works of Bairon, small tragedies of Pushkin. Dramas created for reading are often potentially scenic.

The creation of a performance on the basis of a dramatic work is associated with its creative advantages: the actors create an intonational-plastic drawings of executable roles, the artist declares the stage space, the director develops miceanssen. In this regard, the concept of the play slightly changes, often specifically specified and summarized: the stage formulation contributes to the drama new semantic shades. At the same time, the principle of loyalty to read literature is primarily important for the theater. The director and actors are called upon to convey the made work to the viewer with the highest possible. The loyalty of the stage reading takes place where the actors deeply comprehend the literary work in its main substantive, genre, style features and match it as people of their era with their own views and tastes.

In the classic aesthetics of the 18th - 19th centuries, in particular, Hegel, Belinsky, drama (especially the tragedy) is considered as the highest form of literary creativity: like the "crown of poetry". A number of epochs and in fact imprinted itself to the advantage of dramatic art. Eschil and Sophokl during the period of slave-owned democracy, Moliere, Cornel and Rasin at the time of classicism.

Up until the 18th century, the drama not only successfully competed with the epic, but also often became the leading form of reproducing life in space and time. The reasons:

And although in the 19-20th century, the socio-psychological romance (the genre of the epic kind of literature, the Genre of the epic kind of literature, was still put forward by the dramatic work of the Honorary Place.

One of the founders of Russian literature was VG Belinsky. And although there were also serious steps in the antiquity in the development of the concept of literary soda (Aristotle), it was Belinsky who belongs to a scientifically based theory of three literary birthWith which you can get acquainted in detail by reading the article by Belinsky "Separation of poetry for childbirth and species."

Three kind are distinguished fiction: epic (from Greek. Epos, narration), lyrical (Liru was called musical instrument, accompanied by the versatile verses) and dramatic (from Greek. Drama, action).

Introducing the reader one or another subject (meaning the subject of the conversation), the author chooses different approaches to him:

First approach: you can detail tell about the subject, about events, with it related, the circumstances of the existence of this subject and I.T.; At the same time, the position of the author will be in one degree or another removed, the author will act as a kind of chronist, the narrator, or choose someone from the characters with a storyteller; The main thing will be the story in this work, narration About the subject, the leading type of speech will be the narration; such a genus of literature is referred to as epic;

Second approach: you can not tell so much about events as impresswhich they produced on the author about those feelingsthey caused; picture inner world, experiences, impressions and will relate to lyrical related literature; exactly experience becomes the main event lyrics;

Third approach: you can pictitate thing in action, show him on stage; imagine his reader and the viewer is surrounded by other phenomena; Such a genus of literature is dramatic; In Drama, the author's voice directly will be less common to sound - in remarks, that is, copyright explanations to the action and replica of heroes.

Consider the following table and try to remember its content:

Birth of fiction

Epos.	DRAMA	LYRICS
(Greek - narration) story On the events, fate of the heroes, their actions and adventures, the image of the outside of what is happening (even feelings are shown on the part of their external manifestation). The author can directly express his attitude towards what is happening.	(Greek - action) picture events and relationships between heroes on the stage (special way Text records). A direct expression of the author's point of view in the text is contained in remarks.	(from the name of the music tool) experience events; An image of feelings, inner world, emotional state; the feeling becomes the main event.

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

GENRE - This is a historically established group of works united by general signs of content and form. Such groups include novels, stories, poems, elegances, stories, feuethons, comedies, etc. In literature, the concept is often introduced literary speciesThis is a wider concept than genre. In this case, the novel will be considered a type of fiction, and genres - various varieties of novel, for example, adventure, detective, psychological, novel-parable, novel-antiutopia, etc.

Examples rodo-species relations in literature:

• Rod: dramatic; view: comedy; genre: sitcom.
• Rod: epic; view: tale; genre: Fantastic story, etc.

Genres being categories historical, appear, develop and eventually "go" from the "active stock" artists depending on the historical era: antique lyrics did not know the sonnet; Nowadays, the archaic genre has become born in antiquity and popular in the XVII-XVIII centuries. Romanticism of the XIX century caused to life detective literature etc.

Consider the following table in which views and genres related to various types of art of the word are presented:

Births, species and genres of artistic literature

Epos.		DRAMA		LYRICS
National	Author's	National	Author	National	Author
Myth Poem (Epos): Heroic Strying Fabulous legendary Historical ... Story Epics Thought Legend Tradition Ballad Parable Small genres: Proverbs Sayings puzzles Fees ...	Epopersman: History. Fantastic. Adventurous Psychological. R.-Prithcha Utopian Social... Small genres: Tale Story Novella Fable Parable Ballad Lit. story...	The game Ritual Folk drama Raek Vertpets....	Tragedy Comedy: provisions characters Masks ... Drama: philosophical Social historical Social-Filos. Vaudeville Farce Tragifars...	Song	Oh yeah Anthem Elegy Sonnet Message Madrigal Romance Rondo Epigram...

Modern literary studies also distinguishes fourth, concentration of literature, combining the features of epic and lyrical childbirth: laro-epicTo which belongs poem. And indeed, telling the reader some story, the poem manifests itself as an epos; Opening the depth of feelings in front of the reader, inner world Persons telling this story, the poem manifests itself as a lyrics.

DRAMA - A special type of literary creativity. Drama, besides her verbal, text form, there is also the second, following the text "Life" - setting on the stage in the form of a performance, spectacle. In addition to the author, directors, actors, costumes, artists, composers, decorators, makeup artists, illuminators, work scenes, etc. participate in the organization of spectacles Their overall task decays as if two stages:

2) give a director's interpretation, new interpretation Copyright in the scenic formulation of the work.

Since the dramatic work is calculated for compulsory (let in most cases "posthumous-correspondence") the author's cooperation with the theater, the text of the dramatic work is in a special way organized.

Read fragments of the first pages of the drama of A.OSostrovsky "Thunderstorm":

STORM Drama in five actions Persons:

S and in the l l and h d and k about y, merchant, significant in the town. B about r and c r and g o r b and h, his nephew him, the young man is decent educated. Ma R F A and Mr. A T L E V N A K A B A N O V A (K A B A N AND H A), rich landing, widow. T and x about n and a n y h k a b a n o in, her son. K a t e r and n a, his wife. In a r in a r a, sister Tikhon. K in l and g and n, tradesman, wurster self-taught, looking for an eternal engine. (…)

The action takes place in the city of Kalinov, on the bank of the Volga, in the summer. Between the 3rd and 4th actions takes 10 days. All persons other than Boris are dressed in Russian.

First action Public garden on the high bank of the Volga; Behind the Volga Rural View. On stage two benches and several bushes. Phenomenon first

Kuligin sits on a bench and looks at the river. Kudryash and Shapkin walks. K u l and g and n (sings). "Among the valley is flat, on a smooth height ..." (Stops singing.) Miracles, truly need to say that miracles! Kudryash! Here, the brother you are my, fifty years I look at the Volga every day and I can not see everything. K U d R I What? K in l and g and n. The kind of extraordinary! Beauty! Soul rejoices! (…) B o p and s. Holiday; What to do at home! D and k about th. You will find a business, I want to want. Since you told you, two you told you: "Do not dare to meet me"; You all neat! Do you have little place? Wherever go, here you are here! Ugh you, damned! What are you like a pillar cost something! Are you talking, al no? B o p and s. I listen to what I still do! D and k about th (Looking at Boris). You got! I'm with you and I don't want to speak, with Yezuita. (Leaving.) So imposed! (Splashes and goes.)

You noticed that, unlike the author of the epic (narrative work), the author does not tell the extensive history of heroes, but indicates their "list", telling the brief necessary information about each, depending on his own intention: what is the name of how many years old who is who is in the place and in the society where the action comes, who someone else comes. This "list of" actors is called athens.

Next, the island indicated where Action takes place what time is it passes between certain points of action, as dressed Characters; In the marks to the first action says who is on the stage, what are busy Characters, what is he doing Each of them. In the following text fragments, the author in brackets briefly reports to whom Heroes appeals With speech, what are their gestures and poseswith what intonation they speak. These explanations are made primarily for artists and director and are called remarks.

What is happening is divided into composite parts - actions (or acts), which in turn also crush - on phenomena (or scenes, or pictures). This is explained by the fact that the stage action is rigidly limited in time: the performance usually continues for 2-3 hours, and during this time the author and actors need to express everything, for which the work is written and delivered.

All phenomena, as you see, are also broken into small (or sometimes big!) Fragments representing words - monologues and dialogues - characters. At the same time, the author always indicates who from the heroes they belong, calling the hero by name, as if giving it a "microphone". These words of characters drama are called replica. As you have already noticed, the words of heroes are often accompanied by remarks.

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

POSTER - this is a list of actors with the author's explanations;

REPLICA - these are words of characters of a dramatic work; Replicas are organized scenic dialogs of heroes;

PHENOMENON (or picture, or scene) - this is a plug-in fragment of the text of the dramatic work; Each phenomenon (or scene, or picture) represents a separate completed moment of stage action, in other words, the episode.

Since the drama is a stage action, theatrical sight, it is designed not so much on the communication of one reader with the author's text (like novels, stories, poems, poems, where the reader and the work "communicate" aunt-a-tet, alone with each other ), how much is on the mass contact of the work with the audience. Hundreds and thousands of people come to theaters. And to keep their attention is very, very difficult. Therefore, the foundation of any performance is the author's literary work - should be based on the audience and challenge it to "hold." In this dramatiturgule helps dramatic intrigue.

INTRIGUE (from lat. Intricare, "confuse") - 1) miscarions, hidden actions, usually unlapping, to achieve something; 2) the ratio of characters and circumstances to ensure the development of action in the artistic work. (Vocabulary foreign words, 1988.)

In other words, Intrigue is a certain mystery, a mystery, often organized by someone from characters for its own purposes, solving which is the basis of dramaturgical action. No intrigue does not do any play, since otherwise it will not be interesting to readers and viewers.

Now let's turn to content of dramaturgical works. It first associated with the type and genre of the drama. There are three types of dramatic works: tragedy, comedy and drama (do not confuse, the name of the species coincides with the name of the kind of literature, but these are different terms).

	Tragedy	Comedy	Drama
Epoch and culture of appearance:	Antique Greece. Originated from the ritual priests festivals dedicated to the gods and heroes of myths	Antique Greece. Originated from folk calendar festive processions.	Western Europe, XVIII century. I became a kind of "intermediate" genre between the tragedy and comedy.
Subject base:	Initially: mythological and historical plots. Later - swivel, culmination, moments of history and fate of man	Household stories related to everyday life a person and family relationships, with neighbors, colleagues, etc.	Can use scene basics, characteristic and tragedy, and comedy
Main characters:	Initially: gods, heroes of myths, historical personals; later - strong, nontrivial personalities, the mighty characters carrying a certain idea, in the name of which agrees to sacrifice everything.	Ordinary people, Citizens, villagers with their everyday worries, sadness and joy, plows, luck and failures.	Any heroes.
Conflict:	Tragic, or unresolved. Based on the great "eternal" questions of being.	Comic, or permitted during the right (from the point of view of the author) of the actions of heroes.	Dramatic: In the depths of contradictions close to the tragic, but the heroes are not carriers of the idea.
Creative goals:	Show the struggle of the man and circumstances, man and fate, man and society in the sharpness of the contradictions, the power of the human spirit is right or delusions.	Make a vice, show his powerlessness and loss before true life values Simple man.	Show the complexity and inconsistency of human life, the imperfection of society, the imperfection of human nature
Examples:	Sofokl. Tsar Oedip W. Schepir. Hamlet V. Vishnevsky. Optimistic tragedy	Aristophanes. Clouds Moliere. Tartuf. N.Gogol. Auditor A.OSostrovsky. His people to think! M. Bulgakov. Ivan Vasilyevich	H. Ibsen. Dollhouse A.OSostrovsky. Storm M.Gorky. At the bottom

An important aspect of the dramatic work is composition. There are several types of drama composition as a kind of literature. Consider some of them:

Scene composition - this is a combination of all the relationships of characters, the system of their speech-gestures and actions associated with a single author's goal, that is, the main theme of the dramatic work. This aggregate is aimed at disclosing the characters characteristics, the reasons for their dependence on domestic and psychological features.

Dynamic composition - This is an organized by the author binding of all sharp points of dramaturgical action (Exposure -\u003e Actions -\u003e Conflict -\u003e Resolution -\u003e Ascending -\u003e Culmination -\u003e Spoon, etc.). The dynamic composition is characteristic of both its work and for individual components: actions, acts, phenomena, scenes, paintings, etc.

Dialogic composition - this is receptions for creating a dramatic dialoguewhich can be a lot:

• Each hero leads its own theme and has its own emotional attitude (disagreement of topics);
• The topics change periodically: from a replica to a replica, from episode to episode, from action to action (change of the topic);
• The topic is developing in a dialogue with one character and picked up by another (pickup themes);
• The topic of one hero in the dialog is interrupted by others, but it does not leave the dialogue (interruption of the topic);
• Characters leave the topic, and then return to it;
• To the topic left in one dialogue, the characters return in the other;
• The topic can be interrupted without completion (breaking the topic).

Since the dramatic work is designed for setting in the theater, where hundreds of viewers come, the circle of life phenomena considered by the author ( theme of the work) There must be relevant for the viewer - otherwise the viewer will leave the theater. Therefore, the playwright chooses for the play themes caused by either era or eternal human needs, first of all, spiritual, sure. The same can be said about problematics, that is, about the questions that are worried about the author and which he makes it on the reader and spectator court.

A.N.ostrovsky Approached topics from the life of Russian merchants, small and large-scale boring, citizens, creative, first of all, theatrical public - that is, those layers of Russian society, who were familiar well and studied both with positive and negative parties. And the problems raised by the playwright also concerned public areas:

• How to break through in the life of a young clever, talented person, but not having a strong support of a rich and influential relative or acquaintance in the poverty and origin? ("On all sages of pretty simplicity")
• Where did the conscience of the Russian merchant? How it happened that in pursuit of profit and daughter, and the son-in-law are ready to scream the test and leave him in a debt prison, just not to pay debts for him? ("His people will tear!")
• Why is the mother sells the beauty of his daughter? ("Idleness")
• What to do a beautiful but poor and not protected by a girl so that her love and honor was empty? ("Idleness")
• How to live a person to a sensing, loving and drawn to freedom among the "Dark Kingdom" of ignorant and self-king? ("Thunderstorm"), etc.

A. Chekhov devoted his plays to people of other circles: Russian intelligentsia, the last "fragments" of noble families and people of art. But Chekhov's intellectuals are too deeply entangled in the "eternal" issues depriving them of their ability to make decisions; His landowners, mooring cherry garden as a all-Russian heritage, do nothing for his salvation and are preparing for departure just when the garden starts to cut down; And Chekhovsky actors, artists and writers on the stage are not at all similar to the "stars", "idols", which the public applies: they are small, stingy, swearing from the ruble, scandaling with loved ones, causally suffer from the already outstanding and no longer love And a boring and burdensome relationship ... And the problems of Chekhov's plays are also largely due to time:

• Is it possible to keep the outgoing life and how to do it? ("Uncle Ivan", " The Cherry Orchard")
• Will it be so reverently expected by Chekhov heroes "Tomorrow", "then", "ever"? ("Three sisters")
• Why is time going, and man does not change? ("Seagull", "Three Sisters", "Uncle Vanya")
• Will there ever be a happy ending of that path, those walkers that fall into the share of a man born? ("The Cherry Orchard")
• What is generally happiness, glory, greatness? ("Gull")
• Why, in order to get rid of delusions and reveal your own talent, a person must be pronounced? ("Gull")
• Why does art demand from man of such terrible victims? ("Gull")
• Is a person get out of the routine rut that drove himself? ("Three sisters", "Cherry Garden", "Seagull")
• How to preserve the wonderful "cherry garden" - our Russia is that we love her and remember? ("Cherry Garden"), etc.

Chekhov's plays brought to Russian playwright a new specificity of the stage action: no special events, "adventures", does not occur on the scene. Even out of a number of Won, the emerging events (for example, the attempt of suicide and suicide Trepleva in the "Seika") occur only "behind the scenes". On the stage, the heroes only talk: they quarrel on trifles, find out the relationship, which and so everyone is understandable, they talk about anything meaningless things, they miss and discuss what has happened "behind the scene". But their dialogues are filled with powerful inner action energy: heavy human loneliness is hidden behind unambiguous replicas, the awareness of his own inequality, something not made, but very important, without which life will never work. This property of Chekhov's play made it possible to consider their plays internal dynamics and became a new step in the development of Russian drama.

Many often have a question: why When setting such problems and such development of the plots of play "Cherry Garden" and "Seagull" are comedies? Do not forget, so they were determined not critics, but the author himself. Return to the table. What is the creative task of comedy?

Right, ridiculous vice. Czechs same ridicules, and it is better to say that it is thin, ironically, beautiful and sad - not so much above the vices, how much of the inconsistencies, the "irregularities" of the life of the modern person, whether it is a landowner, a writer, doctor or someone else: a great actress - Garden; The famous writer - Podkinnik; "To Moscow, to Moscow" - and ask all my life in the provincial wilderness; A landowner from a notable and rich kind - and is going to go to the bank by an ordinary employee, nothing is sense in banking; There is no money - and let the Golden Podmentan; We are going to transform the world - and fall from the stairs ... that's what inconsistency, overwhelming Chekhov plays (in fact, the fundamental basis of comic), and makes them comedies in the highest ancient sense Words: These are real "comedies of life."

Rubezhnaya era (the end of the XIX-beginning of the XX century) demanded attention from playwrights to new topics and first of all attention to the very phenomenon of "man". M.Gorky In the play "On the bottom" draws a terrible model "DNA" human societyBy creating a scene, a scene-free cave, as if, in the whole world of modern human relations in it, the whole world. But the "bottom" for Gorky is not only poverty and inaccessible. The soul also has a "bottom", and the disclosure of the deaf dark secrets This soul was embodied in the images of Baron, a tick, actor, crutuminous, ashes ... The appearance of Luke opened the nightnings not only the ghost opportunities of the other, the "best" life, it highlighted in them the inability to confront to that darkness, the negative that was accumulated in their souls throughout their Real, actual life. No one will make your life another, except you, is the result of the author's observations for the heroes of the drama. And because the Drama of Gorky "on the bottom" is determined by genre supplies As a socio-philosophical. Key steel for a bitter problem:

• What is the actual truth of life?
• How much is the person himself take his destiny? What did you do that your life becomes another, what you would like to see her?
• Who blame that an attempt to "jump off the tram" and start a new life failed?
• What should be seen today's, modern author, moment?
• Regret or brand? - What really helps a person?
• How responsible society and environment for man's life are? And etc.

When analyzing a dramatic work, you will use those skills that you received when performing tasks for analyzing the episode of the work.

Be careful, strictly follow the analysis plan.

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

• A.S.Griboyedov. Comedy "grief from mind"
• N.Gogol. Comedy "Auditor"
• A.N.ostrovsky. Comedy "Your people - to think!"; Drama "Thunderstorm", "Dustpannica"
• A.P.Chekhov. Piece "Cherry Garden"
• M.Gorky. Piece "On the bottom"

Which allows in a brief story to show the conflicts of society, feelings and relationships of heroes, reveal moral issues. Tragedy, comedy and even modern sketches - all this species of this art that has arisen in ancient Greece.

Drama: a book with a complex character

Translated by S. greek word "Drama" means "act". The drama (definition in the literature) is a work that is implancing the conflict between heroes. The character of the characters is revealed through actions, and the soul - through the dialogs. The works of this genre have a dynamic plot, prepared through the dialogues of the actors, less often - monologues or pollogs.

In the 60s, a chronicle appears as a drama. Examples of works of Ostrovsky "Minin-Sukhuk", "Voevoda", "Vasilisa Melentievna" - this brightest examples of this rare genre. The same advantages are the trilogy of Count A. K. Tolstoy: "Death of John Grozny", "Tsar Feodor John" and "Tsar Boris", as well as chronicles of tea ("King Vasily Shuisky"). Casting drama inherent in the works of Averkin: " Mamaevo Beach"," Comedy about the Russian Nobleman Frole Skobeev "," Kashirskaya Starina ".

Modern drama

Today, dramaturgy continues to develop, but at the same time is built in all classical laws of the genre.

In today's Russia, drama in literature is such names as Nikolai Erdman, Mikhail Chusov. As the boundaries and conventions are erasing, lyrical and conflict topics come to the fore, which touches the estenden Oden, Thomas Bernhard and Martin McDonakh.

Movie genres

Drama

Again drama! - exclaimed Zosya. She caught his hat and headed for the exit. Alexander Ivanovich moved behind her, although I understood that it would not be necessary to go.

Ilf and Petrov, "Golden Callery"

Drama - Literary and cinematic genre that appeared in the eighteenth century and almost immediately received universal recognition, quite popular also in the modern world. It is distinguished by the predominance of plots from household life, close to ordinary reality. She quickly becomes one of the most common genres not only in the literature, but also in cinema since its appearance at the end of the nineteenth - early twentieth century.

A little drama story

Dramawhat we know now, really appeared in the eighteenth century, but if you move to the theater Antique GreeceYou can meet such genres as tragedy and comedy. If in the sense to summarize these two directions, then the drama would have turned out. Later, in medieval Europe, the drama was considered not only as the theater statement, but also as an independent, neutral genre, intermediate between the tragedy and comedy, however, during numerous mods of fashion, interests and other things to the eighteenth century, the drama completely absorbs most of the other genres.

What is the deep meaning of the drama?

Essence drama It consists in the inevitability of the collision of the characters of various beliefs on the border of opinions and interests, which, as a rule, differ sharply. And everything would be wonderful, but sometimes unnecessary pride and confidence in their own rightness can lead to very deprecious consequences for heroes. Meanwhile, unlike the tragedy, the sad end of the drama is not at all predetermined, which causes additional interest to the public.

Drama in literature

Drama is primarily a genus of literature (along with epic and lyrics), which is based on any action. At the same time, the proximity of the drama to the epic is emphasized: and there and there an objective mapping of reality occurs through the collisions of the interests of the heroes, struggle, events, actions, and other actions.

But those events that are described in the epic are narrated as something that has already happened, they are understood in the drama as a living, unfolding in the present. However, one should not make conclusions about the superiority of one literary genre Over the other, they are all unique. The drama is endowed with characteristic only for her artistic means. The playwright, as a rule, relies on the process of action itself, during which the viewer or reader becomes a living witness of what is happening. Heroes of the work characterize themselves with their actions, tongue, causing various emotions from the viewer: sympathy and understanding or hatred and indignation, respect or pity.

As for the drama in the theater, the most diverse methods are combined: music, architecture, painting, facial expressions, dancing ... This is the result of the well-coordinated efforts of the producer: playwright, actors, director, artists, etc. theatrical formulation Dramas should be taken into account specific, only her characteristic features: the construction of the plot, the peculiarity of the characters characteristics. Drama is designed for collective emotional influence, tries to hit the viewer of the urgente conflict and the increasing tension between the parties.

Drama is customary to share on the mesh and symbolist. Meshchanskaya depicts the life of a particular person, conflict setting is usually closely associated with contradictions inside the family or one at home. Such dramas were created by famous domestic and foreign classics: Balzac, Ostrovsky, Tolstoy, Dumas and others.

The discoverer of the symbolist drama is the Belgian playwright M. Meterlink. In fact, it is a drama, which is based on philosophical teachings, attraction to mysticism, transition to the region of illusory perceptions.

In the twentieth century, the drama genre is complemented by the techniques of the so-called literature of the absurd, it begins to depict the absurd reality, the actions and actions of the heroes are often illogical.

Drama in cinema

As rather noted above, starting from the 20th century, the cinema began to develop a shock pace, literally in two decades, films became colored instead of black and white, instead of the "stick and rods" method, began to be used for shooting the latest, latest technology. And with this there is growing the need and popularity of films of various genres, among which the drama has a special place.

As a rule, the movie relating to the drama genre contains extraordinary life situations, difficult in moral and psychological for the heroes of the plan, the final of which is often unpredictable and it is rarely predicted directly to the junction, again, unlike the tragedy. Special attention in such films is paid to not creating colorful special effects and entertainment, but feelings and experiences of heroes. This is the most significant difference from the comedy: the drama is a serious genre that has a deep meaning. This seriousness most viewers attracts and causes interest and the desire to imbued in all the subtleties of the work (film), but there are those who believe that in the cinema is inappropriate excessive seriousness, which is so too much in real life. Drama as a cytoman does not have a clear definition, borders and limits. It includes a lot of subsoine, including, for example, a melodrama, where less seriousness and more emotions, or a thriller, where there is a place of passion and constant psychological tension. No wonder the "thriller" in English means "calling the thrill" and its goal is to create a sense of stress experience in the viewer, excitement. For lovers of completely sharp emotions and sensations, there is another subsoance of drama - "horrors", found in most of its own filmmate. A good horror movie is a film that can scare the viewer, call in it a wide variety of emotions, fears.