Prologue -Capped - Development of action - Culmination - Epilogue - Epilogue. Composite solution of performance

The topic of drama is its single action. The topic "Macbeth" is ambition. Theme "Romeo and Juliet" - love. The topic primarily forms drama.

The plot is the topic in a more concrete design. The plot of "Macbeth": Macbeth seeks power and makes the sake of this atrocity. The plot "Romeo and Juliet": Romeo and Juliet love each other; Montextures and cabins interfere with their love. - In other words, the plot determines the main line of dramatic struggle.

Fabul drama is a system of essential circumstances and the sequence of the most significant events that determine the dramatic struggle. (When retelling Fabules should be noted "dramatic node" and the most sharp moments of the dramatic struggle)

The intrigue in the drama is sometimes called consecutive subordinate to the conscious plan of action of one of the actors. For example, in "Othello", the intrigue leads Yago. Sometimes the intrigue of the drama is called all the interactions of the participants of the drama, the relationship of individual intrigues. In extremely general form, the plot is a kind of basic scheme of the work, including the sequence of the characters existing in it in it. Typically, the plot includes the following elements: exposure (exposure (lat. Expositio - napochase, presentation) in literary studies and folkloristic - part of the work preceding the beginning of the development of units of the work structure, in particular, part of the work in drama, epic, lyrics, which precedes The beginning of the plot. In the exhibition, the alignment of the acting persons should be taken shape, the reasons that "launch" the story conflict are shown. The exposure can follow both the string and after. In folklore, also part of the cumulative product prior to the beginning of the deployment of the cumulation elements.

The exposition is the beginning of the main events in the work), the rigging (the tie is an event that is the beginning of the action. She or discovers the already occurring contradictions, or herself creates ("tying") conflicts.

So, in the tragedy of William Shakespeare "Hamlet, Prince Danish" string is the meeting of Hamlet (the main character of the tragedy) with the ghost, and the decision that followed her to take revenge on the treacherous king for killing his father.

The tie is one of the key elements of the plot.), Development of action, culmination, junction (the plot of the plot is the outcome of events, the decision of the plot.) And postposition, as well as in some works, prologue and epiralogue. The main prerequisite of the plot deployment is the time, and as in the historical plan (historical period of the work), so in the physical (flow of time during the work).

Plot and Fabul. The concept of the plot is closely related to the concept of the fabul of the work. In modern Russian literary criticism (as well as in the practice of school teaching of literature), the term "plot" is usually called the course of events in the work, and under the fabul understand the main artistic conflict, which in the course of these events is developing. Historically existed and continue to exist, and other, different from the above, views on the ratio of Fabul and the plot. For example:

The Explanatory Dictionary of Ushakov determines the plot as "a set of action, events in which the main content of the artwork is revealed," and Fabul as "the content of the events depicted in the literary work in their consistent relationship". Thus, Fabul, in contrast to the plot, is attributed to the mandatory presentation of the work events in their time sequence.

The previous interpretation was supported in the 1920s by representatives of the oboza, which offered to distinguish the two sides of the story: the development of events in the world of the work they called "Stabula", and how these events are depicted by the author - "plot".

Another interpretation comes from Russian critics of the middle of the XIX century and A. N. Veselovsky and M. Gorky was also supported: they called the plot of the development of the work of the work, adding the relationships of the characters, and under Fabulu understood the composition of the work, that is, how exactly The author reports the content of the plot. It is easy to see that the values \u200b\u200bof the terms "plot" and "Fabul" in this interpretation, compared with the previous, change in places.

Finally, there is also a point of view that the concept of "Fabul" has no independent value, and for the analysis of the work it is quite enough to operate with the concepts of the "plot", the "plot" scheme "(that is, Fabul in the sense of the first two of the above options)," Composition of the plot " (how events from the plot scheme sets out the author).

Typology of plots. There were repeated attempts to classify the plots of literary works, divide them on various features, allocate the most typical. The analysis allowed, in particular, to allocate a large group of so-called "stray plots" - plots, which repeatedly repeated in various designs from different peoples and in different regions, mostly - in folk creativity (fairy tales, myths, legends).

According to A. E. Namtsu, from the whole variety of traditional plots, four main genetic groups can be distinguished: mythological, folklore, historical and literary.

As noted by prof. E. M. Meltellin, "Most traditional plots rises in the west to biblical and antique myths."

It is known several attempts to reduce the variety of plots to a small one, but at the same time a comprehensive set of scene schemes. In the famous novel "four cycles", Borges argues that all the plots are reduced to only four options:

On the storming and defense of the fortified city (Troy)

About long return (Odyssey)

About search (Jason)

About the suicide of God (one, attis)

Peripetia (Greek. Peripe'teia - "Sudden Turn") by definition of Aristotle ("Poetics", Ch. XI) - "Transformation of the action in its opposite", one of the essential elements of the complication of the tragic fabul. Examples illustrating this definition (so in the "Tsar Edipa" the shepherd, which is to open its origin and thereby dispel its fear, reaches its exposure of the opposite effect), allow you to compare the Aristotelian Peripetia with the "tragic irony" of modern aesthetics, but, in general Speaking, the term "Peripetia" is used by Aristotle wider, denoting any unexpected turn in the development of the plot. Lessing and many other tragedy theorists attributed an aristotle understanding of this term and understood him in the sense of that turning point of tragic action (and not a specific "action", the act that he had in mind aristotle), which determines the beginning of the downlink " (cm.).

In modern literature, the term "P." It is sometimes used and not to dramatic species of verbal art, for example. To the deployment of the epic fabul (see) and the novel (see).

Prologueit assumes to set up children to the upcoming lesson content, enter them into a certain emotional state. Transferring to the language of choral acts, it can be said about this, the task of the prolobe is to lead to a total tone, i.e. Set the tonality, the properties of the sound, make an auftact.

Dramaturgical vazkait gives the most important impulse to action, determines the move, pace, activity of all active heroes. In the racing of the lesson, its main tasks are put, the material is determined with which the methods of actions of all subjects have to be worked out, the preparedness of students to the upcoming activity or direct inclusion in activities is being carried out.

Further, according to artistic drama, occur certain events that make concrete action. There are many techniques for the development of action: repetition of the main thought, contrasting comparison, comparison, variation.

The result of development becomes culmination. Culmination- Higher point of experience. Experiences are always associated with emotions.

Act junitesbuilt on generalization, conclusion, approval of the main thought. In the junction, the main points of the content are emphasized, new methods of action are fixed, control is carried out. An interchange in the lesson completes the subject to the subject matter. If the lesson was associated with the disclosure of the topic, then the disclosure means the moment of completion of the disclosure of the topic.

Epilogue happens after all events have already accomplished. The actions of the epilogue can be associated with the estimation, analysis of self-sustainment, etc.

Thus, according to the patterns of dramaturgical development, the contents of the music lesson unfolds like immersion in any topic, problem, image, creative process of creating a musical work.

Organizational direction

Associated with targeted actions of the teacher on planning and organizing the educational process. This selection of educational material, the organization of various forms of educational and educational work, planning their own actions and actions of students during the lesson of music and in extracurricular work.

The organization of the educational process in the lesson of music includes.

1. Efficiency of entry and exit organization. Greeting. Working with the magazine. Working with students' diaries. Working with the diaries of musical impressions.

2. Organization of testing of knowledge, homework.

3. The effectiveness of the use of the Cabinet and the material base of the lesson.

4. Performing psychological and hygienic requirements for the lesson.

4. Organization of cognitive activity of students in the lesson: listening to music, analyze it; improvisation;

5. Implementation of various types of practical work of students in the lesson: singing of pools; singing on notes; motor-rhythmic activities; elements of choreography, plastic intonation; listening music, plot role-playing games; improvisation, writing music; Written work with various tasks.

6. Organization of independent activities of students written reflection on music, the fulfillment of creative tasks I.T.D.

7. Organization of control of learned knowledge in the lesson.

8. The combination of collective and individual work in the lesson, a differentiated approach.

8. Preparing for homework.

In the construction of the lesson, flexibility is needed, a creative approach to the choice of paths, funds, methods with a constant support for general-dictational principles and on the principles of unity of emotional and conscious, artistic and technical.

Who incorrectly fastened the first button,
No longer walked as follows.
Goethe

Start of work. Prologue, exposure, tie

1. Prologue
2. Exposition
Exposure functions
Deployed and rapid exposition
Elements of exposure
Direct and indirect exposure
Introduction of the main character
3. Proportion
Trigger
4. The first paragraph

The beginning of the work is often likened to a small pebble, which, having rushing from the mountain, carries out others and leads to a stonepad.
The success of the work depends on how clever the author will launch the initial stone.
This will be discussed in this article.

In the classic version, the following parts of the artwork are distinguished:
- Prologue
- Exposition
- Vagazka
- Development
- Culmination
- Epilogue

This list and order are not mandatory. Prologue and epilogue may not be present in the narration, and the exposition can accommodate anywhere and is not necessarily the whole part.
The plots of modern works are often built on a lightweight scheme: the tie - the development of action - the culmination - the disconnection or by an even more lightweight label - the action is climax (it is the same an omission).

The classic scheme is more suitable for solid, slowly developing plots. The lighting scheme is used where the rapid development of the plot is necessary.

There is more than half the beginning.
Aristotle

PROLOGUE
- introductory (initial) part of the literary and artistic, literary-critical, journalistic work that precedes the general meaning, the pilot-scene basis or the main motives of the work, or briefly set out the events that precede the main content.
In the narrative genres (novel, story, story, etc.), the prologue always has artistic and aesthetic importance, becoming a kind of prehistory of the plot, and in literary criticism, journalism and other documentary genres can be perceived as a preface.

Prologue
From our class I had memories and one photo. Group portrait with a cool leader in the center, girls around and boys around the edges. The photo was blocked, and since the photographer diligently suggested at the teacher, then the edges, lubricated while shooting, now finally broke up; Sometimes it seems to me that they broke out because the boys of our class have long moved into oblivion, and not having time to grow up, and their traits dissolved.
<…>
For some reason, I don't want to remember how we ran away from the lessons, smoked in the boiler room and arranged a crowded in the locker room, so that at least a moment to touch the one that they loved so secretly that they did not admit to themselves. I watch for hours on a faded photo, on already spanging faces of those who are not on this earth: I want to understand. After all, no one wanted to die, right?
And we did not know that death was duty behind the threshold of our class. We were young, and ignorance of youth is replenished by faith in their own immortality. But from all the boys, which look at me from the photo, four are survived.
How young we were. (B.Vasiliev. Tomorrow was war)

Through Prolog, the author introduces the reader into the world of his memories of his youth, introduces his former classmates and teachers, with a school and parents. At the same time, the writer as it may reflect on, thinking and overestimating everything that happened to him forty years ago.

Another example of a prologue is the film "Pokrovsky Gate", remember?
Director Mikhail Cossacks carelessly rides in Moscow 70s. It approaches the old dilapidated house in which his youth passed. Ranger text and the very fact that the house is destroyed, adjusts the viewer to a nostalgic note.

Thus, the prolog function is to transfer events that prepare the main action.

However, the prologue is not the first episode of the narrative, forcibly cut off.
Prolog events should not duplicate the events of the initial episode, but must generate intrigue in combination with it.
The error is the creation of an intriguing prolobe, which is not associated with the beginning or time, nor a place nor heroes or ideas. The relationship between the prologue and the beginning of the narrative can be explicit, it may be hidden, but it must be necessary.

Prologue is needed if:

1. The author wants to start a narrative leisurely, and then make a sharp transition to dynamics and drama. In this case, several phrases hinting into culmination are inserted into the prologue, but, of course, not revealing it.

An example is the same story Vasilyeva "And tomorrow was war"

2. The author wants to be deployed to describe the preceding events - who in which year did what and what came of it. This type of prologue allows you to conduct a non-refining sequential story with the deployed exposure.
In this case, the maximum temporary gap between the prologue and the main narrative, which performs the function of the pause, and the exposure becomes minimal and serves only those events that give an impetus to action, not the entire novel.

An example is a fairy tale of Volkova "Yellow Fog", in the prologue of which the author reproduces the continuous continuity of the narration - the history of the magic country and the sleep of the sorcerer of Aranes in five millennia.

3. Set the reader to a certain emotional wave.
In this case, allocations and allegories are possible in the prologue.
Example - Roman Andrei White "Petersburg"

PROLOGUE
Your Excellency, Held, Honor, Citizens!
What is our Russian empire?
Our Russian Empire is a geographical unity, which means: part
famous planet. And the Russian Empire concludes: first - the Great, Small, White and Chervonny Rus; secondly - Georgian, Polish, Kazan and Astrakhan kingdom; Thirdly, it concludes ... but - other, so on, so on.

(In this phrase, the White parodirs the full official title of the Russian emperor, which included about 60 titles of land subject to him ("Emperor and Autocrat of All-Russian, Moscow, Kiev, Vladimir, Novgorod, King Kazan, King Astrakhan, King Polish, Tsar Khersonis Tavrichesky", etc. d.) And the words ended: "and other, and so on, and so on")

<…> And we will not spread about it.
Spread more about St. Petersburg: yes - Petersburg, or
St. Petersburg, or Peter (what is the same). Based on the same judgments
Nevsky Prospect is St. Petersburg Prospect.
Nevsky Prospect has a striking property: it consists of
spaces for circulation of the public; numbered houses limit it; The numbering goes in the order of houses - and the search for the desired home is very facilitated.
<…>
If you continue to approve the absurd legend - the existence of a half-andpilled Moscow population - it will have to confess that Moscow will have to be the capital, because only in the capitals there can be one and a half million people; And in the cities of the provincial one and a half million people no, there was no, there will be no. And according to a ridiculous legend, it turns out that the capital is not Petersburg.
If Petersburg is not the capital, then there is no St. Petersburg. It only seems that it exists

(Approve the motive of "unreality" of St. Petersburg, White follows the poetic tradition of the city's image in Gogol's works (see the final of the story "Nevsky Prospect") and Dostoevsky ("Teen", Part I, Ch. 8, I).

"The topic of" Petersburg "Andrei White has grown from the two hundred years of the mythology of St. Petersburg, the beginning of the creation of which refers to the time of booking of the city. In the most acute form of Peterburg, the White confronts Pushkin's "copper rider" and at the same time, as it should continue and develops his ideas<…> Petersburg in the "Petersburg" white - not between East and West, and East and West at the same time, i.e. the whole world "(c) D. Likhachev

Laying all the beginning, and you will understand a lot.
Goat rods

Exposition
- An image of the arrangement of characters and circumstances, directly anticipating the deployment of the headquarters.

Exposure functions:

Determine the place and time of the events described,
- submit actors,
- Show the circumstances that will enlone the premises of the conflict.

Didro wrote: "The first act of drama, perhaps, the most difficult part of it: he must open an action, develop, sometimes express and always bind."

Let's look at the example - how to "state" and "link"?

Scenario to \\ f "Service Novel." Scrolling text comes on behalf of the main character - Comrade Novoseltseva Anatoly Efremovich.

"As everyone knows, labor is engraving a person.
And so people are happy to go to work.
Personally, I go to the service only because she enlisters me.
If there were no statistics, we would not even suspect how well we work "(c) - a place and time of action + self-presentation of the hero \u003d representation of the actors.

"Lyudmila Prokofievna Kalugina, director of our statistical institution.
She knows the case to led. This also happens.
Lyudmila Prokofievna comes to the service before everyone, and leaves later, of which it is clear that she, alas, is not married.
We call her "Our Mumra".
Of course, for the eyes "(c) - representing the actors, a hint of conflict.

"Every morning on the way to service I get rid of my Shalopaev.
- Here you are 40 kopecks, buy two milk packages. And do not forget!
- Okay!
- And do not forget not forget, you hear! "(C) - Hero's self-presentation \u003d representation of actors

"Anatoly Efremovich's name is Anatoly, My Novoselle's surname.
I live only on salary, that is, from paying to pay.
In a word, unscrewing ...
In a word, let's get sick "(c) - the self-presentation of the hero \u003d representing the acting persons + hint of conflict.

And this is Olga Petrovna Ryzhova ...
Olya.
Olya - my most faithful friend.
We made friends for a long time, still at the Institute.
Most of all, I love it in her, that she is optimistic - whatever it cares!
And the earth's ball, as you know, wept exactly optimists "(c) - representing actors

Equilibrium and accuracy in identifying characters and circumstances - this is what should be the dignity of the exposure.

Exposure volume

According to the classic scheme, about 20% of the total product is given to the classical scheme. But in fact, the volume of exposure entirely depends on the copyright. For works with a rapid plot, there are enough pairs of strings to introduce the reader in the essence of the case, for works with a tightened plot, the accession is usually made more.

An example of a deployed exposure - Piece of Ostrovsky "Thunderstorm"

The action develops slowly and the tight, the entry of the viewer into the world of the "Dark Kingdom" takes the entire 1st act and the beginning of the 2nd. The viewer has the opportunity to carefully consider the surroundings of the Kalinov's engaged merchant town, while not in a hurry to familiarize himself with the life and nuts of his inhabitants.
In this case, the task of the playwright is to create a detailed picture that does not cause any doubts from the viewer in the accuracy of what is happening on the stage.

An example of a rapid exposition - the story of Conan Doyle "Union of Red".

"It was last fall. Sherlock Holmes sat some elderly gentleman, very complete, fiery-redhead. I wanted to enter, but I saw that both were passionate about the conversation, and hurried to retire. However, Holmes dragged me into the room and closed the door behind me.
- You came as it is impossible to more by the way, my dear Watson, - he said "(c)
And then there is already a tie of the plot.

In addition to the flavors of the author, the exposure volume dictates and fashion, as neither regrettable. The requirement of modern editors - the exposition should begin with a dynamic and exciting scene in which the main character is involved.

Elements of exposure

The beginning of something has long been intended to seduce.
Ernst Simon Bloch

"At the end of 1811, in the era, we are memorable, I lived in my estate, good Gavril Gavrilovich R **" (Pushkin. Blizzard)

The reader must be represented by the main actors - and with that details that will be subsequently used in conflict ...

"He was famous in the whole district with hospitality and welcome; the neighbors were minimized to eat to him, drink, play five kopecks in Boston with his wife, and some in order to look at their daughter, Marur Gavrilovna, a slim, pale and seventeen-year-old maiden. She was considered rich in the bride, and many kept her for themselves or for sons.
Marya Gavrilovna was brought up in French novels, and, consequently, was in love. The item chosen by her was a poor army ensign who was on vacation in his village. "(Pushkin. Blizzard)

... as well as conflict background

"In itself, of course, that the young man flamed the passion and that his parents are kind, notifying their mutual tendency, banned her daughter about him and think, and they were worse than the retired assessor.
Our lovers were in correspondence, and every day was seen alone in a pine grove or at the old chapel. There they swore each other in eternal love, join fate and made various assumptions. By rewriting and talking in this way, they (which is quite natural) reached the next reasoning: if we can not breathe without a friend, and the will of cruel parents impedes our well-being, then can we do without it? Of course, this happy thought came first in the head to the young man and that she quite liked the novel imagination of Marya Gavrilovna. "(Pushkin. Blizzard)

All elements of the exposure are "guns", woven on the walls that should shoot in the moment you need.

Types of exposition

Methods of exposure are diverse. However, ultimately, they can all be divided into two basic, fundamentally different types - direct and indirect exposure.

In the case of direct exposure, the introduction of the reader to the case takes place, which is called, in the forehead and with full frankness.

P e r in y y n o w a. Is it true that, having loved, a person straightens like a flower in the light?
D E V to W K a (thoughtfully). That also happens...
In t o r o y y n o sh a (takes her hand, looks at her). Doesn't it happen that the power of my love will change you unrecognizable, and you will become so beautiful that even I myself do not recognize you?
D E V U W K a. Who knows...
X about r. This is what story happened on the Angara River, not far from the city of Irkutsk. In the middle of the twentieth century, a powerful hydrostation was built in those places ...
- And there were three people there.
- The story of which will be discussed, this ...
In a l i. Story of my life.
Sergey. And my ...
In and to about p (rude). My too.
In a l i. My name is Valya.
In and to t about r. Me - Victor.
S E R G E Y (thoughtfully). And I was called Sergey.
L and R and C A (puts his hands on the valley shoulders). I am friends with her, but this story is not about me. My name is Larisa ... It's a sorry, but I will pass the side.
C e r y to. Serdyuk is my surname. I already have fifty, that's what is bad. (Thinking.) In this story some more are involved, but you will learn about them after.
X about r. Here is the end of this story. Spring rain. Evening. On a wooden bridge near the Angara itself, there is a Valya and thinks how to live on. (Watermelons. Irkutsk history)

A bright example of a direct exposure is a monologue of the main character from which the work begins.

I do not like to accept invitations long. How to vouch that in such a day in three weeks or in a month you want to dinner at such? In the meantime, it will be possible to spend this evening to spend this evening, and when they are invited so long, a numerous and ceremony society will be gathered. Well, how to be? The day was appointed a long time ago, the guests were completely able to free it in advance, and you need a very good preposition for refusal, otherwise you will insult the owners to be inactive. We accept the invitation, and a whole month is a commitment to you and overshadow the mood. It disrupts your dear plans to your heart. It makes a mess in your life. In fact, there is only one way out - to see in the very last minute. But me, I do not have enough courage, whether the conscience does not allow. (Moem. Feeling decency)

Another specific form of direct exposure is the self-confirmation of the heroes to the viewer - like what Novoselites Anatoly Efremovich did. Usually this technique is used to enhance the lyrical principle.

Indirect exposure

Forms gradually, laying out of a variety of accumulating information. The viewer gets them in a veiled form, they are given as if by chance, inadvertently.

Once in spring, in an hour, there was no hot sunset, in Moscow, on the patriarch ponds, two citizens appeared. The first of them, dressed in a summer gray pair, was a little growth, respanted, bald, his decent hat was carried by a cake in his hand, and on a well-shaved face it was placed supernatural sizes in a black hog rim. The second is a shoulder, reddish, a vorticultural young man in a broken cap of the checkered cap - was in a cowboy, chewing white pants and in black slippers.
The first was not anyone else, as Mikhail Alexandrovich Berlioz, Chairman of the Board of one of the largest Moscow literary associations, abbreviatedly here, Massoli, and the editor of a thick art journal, and his young satellite - Poet Ivan Nikolaevich Ponyrev, writing under the pseudonym homeless.
Once in the shade of a little green lip, writers first duty rushed to the Pestro painted boat with the inscription "Beer and Water". (Bulgakov. Master and Margarita)

One of the tasks of the exposure is to prepare the emergence of the main character (or heroes).
In the overwhelming majority in the first episode, there is no main character, and this considerations are connected with.
The fact is that with the advent of the GG, the tensions of the narrative increases, it becomes more saturated, rapid. Opportunities for any detailed explanation If you do not disappear, then, in any case, dramatically decrease. This is exactly what the author forces the author to wait with the introduction of the main character.

The novel "Fathers and Children" begins the scene in which Nikolai Petrovich Kirsanov, worrying, expects at the inn of his son Arkady, who has just graduated from the university. The first thing in the exposition of Turgenev leads information not about the main hero - bazaarov, but about Kirsanov, secondary Perse.
The novel "War and the world" begins with the description of the Shero's salon. Not Pierre and not Bolkonsky shows us Tolstoy, but secondary characters like Prince Vasily.
The list can be continued. Combines these works the same desire of the authors - prepare the soil for the appearance of the hero.

The hero must definitely attach the attention of the reader. And here is the most reliable way - to introduce a hero when the reader has already managed to be interested in the stories of other characters and now it's hard to learn closer.

So, the exposition describes - only in general terms! "The main character hints good he or bad." In no case, the author should not disclose its image to the end.
First, a lot to tell about the hero at the very beginning - it is even longer. The reader will raise in multi-page descriptions while the uninteresting and unknown person.
Secondly, it is impossible to lose the main trump card in the general story building - the gradual development of the character of the hero. If the character is fully clear, then its actions will be easy to predict. Predictability of the plot is a big minus for the work.

What starts where to be able to grow.
Ernst Simon Bloch

The exposition is effectively prepared for the task, the tie implements conflict capabilities, embracing and more or less significantly developed in the exhibition.
The exposure and the tie represent the inextricably merged elements of the unified initial stage of the work, form the source of dramatic action.

Vazka
- The moment from which the plot movement begins.

In Western lideonce, there is the concept of "trigger" \u003d the launcher of the novel. He denotes the beginning of action.
In most cases, it works at the end of the exposition and after its inclusion the course of the former life of the heroes is made impossible.

For example, in the "Children of Captain Grant", the trigger is that in the belly caught shark heroes of Romana find a bottle in which the Captain Grant's ship diaries are sealed. The need to search and the possible salvation of the missing expedition make the heroes act, they go on the road.
In the auditor, trigger is the story of the city gossip of Bobchinsky and Dobchinsky about incognito from the capital.

There are a valid trigger and offscreen (trigger).

A voiceover as if the reader is invisible, but certainly affects the heroes. For example, in the "Gamlet" trigger is the murder of Hamlet's father, which was "behind the scenes", but determined the entire course of the events and fate of the heroes of the tragedy.

In other words, the tie is an important event where a certain task is set before the hero, which he must \\ forced to perform.
What it will be for the event - depends on the product genre. It may be the detection of the corpse, the hero kidnapping, the message that the Earth is about to get on the heavenly axis, etc.

Most often, the tie is banal. Invent something original is very, very difficult - all the plots have already come up with us. Each genre has its own stamps and beaten techniques. The task of the author consists not so much in what is called, to shift in the invention of the strings, how much is to make the original intrigue from the standard situation.

The strings may be somewhat - as much as the author set up a phabuline lines. These ties can be scattered throughout the text, but they all necessarily have to be developed, and not to blame in the air.

The law - all the presented values \u200b\u200bmust be continued and ended with a junction.

For example,
Kolobok flew-flell, yes suddenly rolled - from the window on the bench, from the shop on the floor, on the floor yes to the door, he jumped over the threshold in the senya, from Seine on the porch, from the porch on the courtyard, from the yard for the gate, then ..

First paragraph

You must grab the reader for a sip in the first paragraph,
In the second - to grind streaming and keep it at the wall
Until the last line.
Paul O Nile. American writer

On the role of the first paragraph in the newspaper article, read Randall D. Universal journalist http://www.gumer.info/bibliotek_buks/gurn/rendall/10.php

Artwork works are different from journalistic, but the role of the first paragraph is preserved.

"The first paragraph, which is sometimes called the entry, should be a tent of the top ten. He must give a clear idea about the topic and mood of the entire book, in which you decided to describe your thoughtful and calculated history. If you come up with a beautiful stylist phrase, it will be even better.
Rebecca Daphne Du Sorrow, for example, begins with a smooth natural phrase:
"That night I dreamed that I was again in Menderli."

This start is so harmoniously corresponds to the book that it is difficult to believe that it would be a little bit, and the author chose another beginning. In its oscillation, however, there is a certain consolation for us - if the famous first line, the writer came up later, it means that we are not obliged to immediately bring the first sentence to perfection. We will have a lot of time to achieve the desired effect.
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Here is an example of the beginning of several leads, new and old, who got into my hands. First, Georges Siemeon, and Les Fantomes du Chapelier, the story, first published in 1949, aged in an unforgettable mood:

"It was the third of December, and still rained. A black triple, with a slightly outspilled tummy, stand out on a white calendar attached to the checkout, opposite the partition from the dark oak, separating the showcase from the store itself. Exactly twenty days ago, because it happened on November 13 - the next puzzle triple on the calendar, "the first old woman was killed in the Cathedral of the Savior, a few steps from the Channel.

As you know, Siemenion was a Belgian who wrote in French. He always tried to use the usual language. Pay attention to which simplicity and beauty at the same time differs the language of this fragment, what power is in it. There are no controversial phrases that only distract the reader's attention, but only weathered in dark colors, the expressive image of the usual subject, after which the shocking message about repeated murder occurs. With these three sentences, Siemenion conveyed a restless mood of the whole story. " (Leslie Grant-Adamson)

© Copyright: Copyright Contest -K2, 2013
Certificate of Publication №213092602051
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Wow! (Prettyly rubbing the handle) - I missed this so much!
Thank you, I say!
Eloise Hume 09/26/2013 22:56

Yes, yes, Eloiz, stay with us - Fifth school comes
Copyright Competition -K2 09/26/2013 23:14

Much distributed over the shelves. I understood this way - I found inspiration, the need to speak out, did it. Then he took his opus in hand and, if necessary, edited by the rules of literary science.
Alexandra Strizheva 27.09.2013 11:41

Hollow to Nafig inspiration form!
Yuri Kamaletdinov 27.09.2013 12:35

But, by the way, I thought. What is more important? Inspiration or shape? (I smile)
Eloise Hume 09/27/2013 17:50

I would venture to assume that "fire" without a "vessel" will quickly go out under water and wind. And "Vessel" without "fire" - no sense.
Bade Susik 09/27/2013 19:09

What is this fire, which is in a vessel? Stool?

Vazka

Vazka

The tie is one of the initial stages in the development of the plot of the poetic work. In Z. are created ("Tied") those conflicts, which will deepen in the process of further development, right up to the junction, these conflicts are permitted. So for example. Z. "Gamlet" is the meeting of the Hero of the tragedy with the shadow and the decision of Hamlet to take revenge on the king for the murder of the Father.
Views Z. can be extremely diverse. With a logically clear disposition of the artwork of the art, it should be directly due to the exposure of the actors; Such for example. Z. classical tragedies, Novel of Italian Renaissance, etc. Sometimes Z. goes ahead of the exposure; Recall the dynamic Z. "Anna Karenina" L. Tolstoy: "Everything was mixed in the house of the Blond." Horror novels and detective novels are characterized by the so-called. The analytical structure of the plot: the reason opens to the reader after the investigation generated by it ("Basquille dog" Conan Doyle). Next, the disconnecy of one episode can simultaneously include the new episode (adventure novels of the "Rokambuli" type Ponton Du Terryl, etc.).
Choosing a writer of a type of type Z. Determined by the style and genre system, in terms of a swarm, it draws his work. T. K. and the style and genre, in turn, determined by the psychoidology of a particular class grouping, then the compositional receipt of Z. becomes socially determined.
So, Z. Knight's novel, like this whole genre, and in form and essentially expressed the psychoidology of the aristocracy with its cult of courtcuisian adventures, the string of the next one after the other. Z. The bourgeois novel of the era of the heyday of commercial capital uses the subject of marine travel, pirate raids, shipwrecks in a desert island, a to-ry hero will later turn into a flowering colony. Sudden and convulsive Z. Dostoevsky, introducing the reader to the most successful events, are dictated by a fallen psyche of the Russian burghering of the 60s. Lained solid outlines and acute conflicts from Z. Chekhovsky drama quite consistent with passivity and Lurism of Tuzenbakhi, Laminy, etc. Representatives of the petty-bourgeois intelligentsia of the era of industrial capitalism, the artist K-Roy came Chekhov. In all these cases, Z. carries certain functions in the poetic style system, in the structure of the lit-thong genre and corresponds to their social orientation.

Literary encyclopedia. - at 11 tons; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friece, A. V. Lunacharsky. 1929-1939 .

Vazka

An event that violates the equilibrium of the initial situation, which detects a contradiction in it, which generates conflict and leads to move plot. The tie can be prepared and motivated in exposition Works (eg, in the tragedy "Romeo and Juliet" W. Shakespearewhere in the first scenes is reported to the host of montext and cabbage families), but maybe a sudden that gives the plot action of special tensions and sharpness (as in the "Auditor" N. V. Gogol).

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

Antonyms:

Watch what is "tie" in other dictionaries:

Tie, ties, wives 1. Only units. Action on ch. Tie to tie1 in 1 meaning. (talk.). It is necessary to improve and speed up the string of packages. 2. The subject that serves for tying something else; What is tied, ribbon, ribbon. Bathrobes are on ... Explanatory Dictionary Ushakov

Binding, starting point, starting point, lot, acquaintance, binding, end, initially, start, prologue, belt, beginning dictionary of Russian synonyms. See the beginning of the Russian language synonyms. Practical directory. M.: Russian ... ... Synonym dictionary

vazka - Tie, and, g. 1. And in zn. Tale. End of what is l.; condition when with Forever finished. All, tie, no longer grams (do not drink). 2. Acquaintance, Blot. To be stronger with any additional. throw do, forever abandon what l., ... ... Dictionary of Russian Argo

An event, which is the beginning (tying) actions (development of Fabul); Often marks the emergence of the conflict between the actors ... Big Encyclopedic Dictionary

Tie, and, wives. 1. See tie. 2. What is tied (braid, ribbon, rope). Apron with strings. 3. Beginning, the starting point of which n. actions, events; The beginning of a dramatic or other literary work with a complex plot. Z. battle. Z. ... ... Explanatory dictionary of Ozhegov

This term also has other values, see Proportion (values). Tie is an event that is the beginning of action. She or detects already had contradictions, or herself creates ("tying") conflicts. So, in the tragedy ... ... Wikipedia

vazka - An event that served as the beginning of the emergence and development of the conflict, which is the basis of the plot of the artistic work. The tie determines the subsequent deployment of action; This is the most important element of the plot. Rubric: composition and plot ... ... Terminological Dictionary-Thesaurus for Literary

AND; MN. Rod. Zok, dates. ZKOM; g. 1. R. To tie tie (1.Z.) and get tied up. Z bags. Find a preposition to rig a spa novel. 2. Usually MN: Typins, Zok. What tie (rope, ribbon, ribbon). Cap with ... ... encyclopedic Dictionary

vazka - Zaguka, and, Mn Rod. Zok, dates. ZKOM, F, part of a literary or theatrical work with a complex plot, which is the beginning, containing events that determine the further action specifying the main conflict; ANT: Delivery. Reading "Roslavleva", ... ... Explanatory dictionary of Russian nouns

vazka - Užuomazga Statusas T Sritis Augalininkystė apibrėžtis po žydėjimo Pradėjusi Didėti mezginė. Atitikmenys: Angl. Acrospire; Germ Rus. tie; germ; Squirth ... Žemės ūkio augalų selekcijos ir sėklininkystės terminų žodynas

If the causes and consequences of what is happening are not always clear and understood in the human life, then in the literary work all the actions of the heroes are logically related to each other.

Any event is a consequence of the previous one, and all scenes that are not related to action cut off as unnecessary. The sequence of events depicted by writers is the objective world of the literary work, or the plot, allowing to get acquainted with the life of heroes in its spatial and temporary changes.

What is the plot?

The plot is the basis of any literary work. It is he who reveals the reader a chain of the events described, the characters characteristics, their relationship between themselves. If you compare the plot with the construction of the house, then it can be represented in the form of a frame, which, as the events develop, is becoming scene-bricks, and by the end of the work it takes roofing-junction.

Many literary works are built on a single chronological scheme, in which all events occur one after the other. Such usually include adventure novels, sagas, memoirs. There are those where the scenes are associated non-temporary, but causal relationship, that is, every new effect of heroes is the cause of the previous one. The concentric circuit is usually inherent in detectives, thrillers or dramas.


As a complex whole, the plot consists of a variety of elements, each of which carries certain functions. For example, the exposure includes information about the characters even before the events begin to develop, and tells about what happened after all described in the work.

Not every book contains all the elements of the plot, but in any one there is at least three key points, called stronger, culmination and junction.

What is the tie?

Under the string, they understand a certain event that occurs at the beginning of the work. It gives impetus to action and plays a significant role in the disclosure of the characters of heroes. In adventure novels, the tie is most often a scene, pushing characters for the execution of exploits, in detectives - a description of the crime, which will later be revealed by the detectives.

If we consider on a specific example, you can refer to the novel in Dumas "Three Musketeers". The tie in it is a scene, where D'Artagnan on arrival in Paris meets with Cardinal Richelieu and understands that he had a serious and powerful enemy.


It is this meeting that becomes the beginning of a consistent chain of events, on which the work of the author is built.

Culmination - what is it?

Culmination is one of the most interesting and significant events in the book, the highest tension point in which the hero either lowers hands or gets new forces for further struggle. This element of the plot is found in all literary works, ranging from small stories and ending with multi-volume novels.

Its presence in the plot is considered inevitable, because otherwise the reader may lose interest in written.

In small literary forms, only one culminating episode is usually present. For example, in a fairy tale about Cinderella, an intriguing moment can be considered the scene, where the evil stepmother learned about the trip of the Padder to the ball. In large works, there may be both alone and many climax, especially if there are several storylines through the story.

If we talk about the "three musketeers", then the climax here performs the tragic resolution of history with suspensions, when Constance dies. But in the novel "Master and Margarita" several culmination, in particular, the ride of Margarita to the ball and meeting Pontius Pilate with Yeshua.

What is a junction?

The decoupling includes an event in which the conflict resolution between the heroes of the work occurs. In it, the character can achieve the goal or to stay with anything and die.


Sometimes it happens that the junction in the work does not occur - in this way the author leaves readers to reflections.

Returning to Duma, the interchange can be called the scene of the last meeting of D'Artagnan with a cardinal, in which Richelieu handed the brave hero with a patent for Chin Lieutenant Musketeers.