Drama specifics. The comedy in the literature is a multivariate variety of drama features of the comedy as a dramatic work.
Drama specifics. The drama in the literature system occupies a special position, as it is at the same time a full literary genus, and a phenomenon naturally belonging to the theater. The drama as a genus has a specific content, the essence of which was awareness of the contradictions of reality, and above all its public contradictions through the relations of people and their individual destinies 6.91, unlike the epic, in the drama we see imitating action by action, not the story 4, thirty . According to the exact and figurative definition of V. G. Belinsky, the drama represents the event that the reader or the viewer 1.52 is completed. Specific features of the drama as the kind are the absence of a narrator and a sharp weakening of the descriptive element.
The base of the drama is a visible effect, and this affects the special ratio of the event and speeches of the characters.
The expressions of the heroes and the location, the ratio of parts are the most important ways of uncovering the thought of the author. In relation to them, other ways to express the copyright position of the acting persons, remarks, instructions for the director and actors play a subordinate role. The most important substantive category in the drama is conflict. Of course, conflicts exist in the epic, they may be present in a lyrical product, but their role and importance in the epic and lyrical plot are different than in the drama.
The choice of conflicts and building them into the system largely determine the peculiarity of the writer's position, dramatic clashes is a significant way to identify the life programs of characters and self-discharges of their characters. The conflict largely determines the focus and rhythm of the plot movement in the play. Subtractive filling of conflicts, as well as methods for their embodiment in dramatic work can be different.
Traditionally, drama conflicts for their content, emotional sharpness and painting are divided into tragic, comic and actually dramatic. The first two types are highlighted in accordance with the two main genre forms of the drama, they are prior to the tragedy and comedy, reflecting the most essential parties to life conflicts. The third - originated at a fairly late stage of drama, and his understanding is associated with the theory of drama developed by Lessing Hamburg drama and Didro Paradox on the actor. Of course, the conflict with all the meaningful meaningfulness and diversity of functions is not the only component that determines the specificity of the drama as a genus. The methods of a plot organization and dramatic narrative, the ratio of the speech characteristics of heroes and the construction of action, etc. However, we consciously focus on the conflict category.
On the one hand, the analysis of this aspect allows, based on the generic specificity of the drama, to identify the depth of the artistic content of the work, take into account the features of the author's world. On the other hand, it was precisely the consideration of the conflict to become a leading direction in the school analysis of a dramatic work, as for high school students, an interest in the effective clashes of beliefs and characters, through which the problems of the struggle of good and evil are opened. Through the study of the conflict, schoolchildren can be summarized to comprehend the motives behind the words and actions of heroes, to identify the originality of the copyright, the moral position of the writer. To identify the role of this category in the creation of the event and ideological tension of the drama, in the expression of social and ethical programs of heroes, in the recreation of their psychology - the task of this section.
The drama portrays a person only in action, in the course of which he detects all sides of his personality.
Dramaticism emphasized V. G. Belinsky, noting the features of the drama consists not in one conversation, but in live acts of talking one on the other 1,127. In the works of the dramatic genre, unlike the epic and lyrical, there are no author's descriptions, narration, retreat.
The author's speech appears only in remarks. Everything that happens to the heroes of the drama, the reader or the audience will learn from the heroes themselves. The playwright, therefore, does not talk about the life of his heroes, but shows them in action due to the heroes of dramaturgical works show themselves only in action, their speech has a number of features it is directly related to their actions, more dynamic and expressive than the heroes of epic works.
Also, intonation, pause, tone, i.e., all those features of speech, which acquire concreteness on the stage are also of great importance in dramatic works. The playwright, as a rule, depicts only those events that are necessary for the disclosure of characters characteristics and, therefore, to substantiate the developing struggle between the existing persons. All other life facts that have no direct attitude towards the depicted, slowing the development of action are excluded.
The all shown in the play, tragedy, comedy or drama is tied by the playwright, according to Gogol expressing, in one big general node. From here - the concentration of depicted events and secondary characters around the main actors. The plot of dramas is characterized by tensions and rapidness of development.
This feature of the plot of dramaturgical works distinguishes it from the plot of epic works, although those and other plots are built on common elements of stronger, climax and junction. The difference of drama from the epic and lyrics is also expressed in the fact that the works of the drama genre are written for the theater and receive their final completion only on the stage. In turn, the theater has an impact on them, subordinating them to some extent its laws. The dramaturgical works are divided, for example, on actions, phenomena or scene, the change of which implies the change of decorations and suits.
Approximately three, four actions of the play, i.e., within three, four hours occupied by the performance, the playwright should show the emergence of conflict, its development and completion. These requirements relating to playwrights oblige them to choose such phenomena and events of life in which the characters of the people depicted are particularly pronounced. Working on the play, the playwright sees not only his hero, but also his performer. This is evidenced by numerous statements of writers.
Regarding the execution of the roles of Bobchinsky and Dobchinsky N. V. Gogol wrote creating these two little officials, I imagined in. Their skin Shchepkin and Ryazantsova 4.71 These thoughts we also find A. P. Chekhov. During the work of the artistic theater over the performance of the Cherry Garden of Chekhov reported K- S. Stanislavsky when I wrote a blades, I thought that it was your role 12.46. There is another dependence of the dramaturgical work from the theater.
It manifests itself in the fact that the play with the scene connects the reader in his imagination. When reading the play, there are images of certain alleged or valid executors of roles. If the theater, according to the expression of A. V. Lunacharsky, is a form, the content of which determines the dramaturgy, then the actors in turn help the playwright with their execution to draw images. The scene to some extent replaces the descriptions of the author. The drama lives only on stage wrote N. V. Gogol M. P. Pogodifin without her, as a soul without a body of 2.82. The theater creates a much greater illusion of life than any other art. All that happens on stage is perceived by the audience especially acutely and directly.
In this, a huge educational force of drama, distinguishing it from other childbirth of poetry. The originality of the drama, its difference from the epic and lyrics give reason to raise the question of some features in the ratio of methods and techniques of work used in the analysis of dramaturgical works in high school. 1.2.
End of work -
This topic belongs to the section:
Studying drama at school on the example of the play A.N. Ostrovsky "Thunderstorm"
The lack of author's characteristics, portrait and other components of the image characteristic of prose complicates the perception of drama students. Therefore, it is necessary to look for such techniques and forms of work, which, with one .. The peculiarity of the drama, its difference from the epic and lyrics give reason to raise the question of some features in the ratio ..
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Dramatic works are organized by the statements of characters. According to Gorky, "the play requires that each acting unit characterized by the word and afford itself, without suggestions from the author," (50, 596). The detailed narrative-descriptive image is missing here. Actually, the author's speech, with the help of which the depicted is characterized from the outside, in the drama is auxiliary and episodic. These are the name of the play, its genre subtitle, indicating the place - and the time of action, the list of characters, sometimes
accompanied by their brief summing characteristic, preceding acts and episodes of the description of the stage setting, as well as remarks given in the form of a commentary to individual spells of heroes. All this is the adverse text of the dramatic work. The text is a chain of dialogical replicas and monologues of the acting persons themselves.
From here some organity of the artistic possibilities of the drama. Writer-playwright enjoys only part of objective and visual funds that are available to the creator of a novel or epic, novels or a story. And the characters of the acting persons are revealed in a drama with less freedom and completeness than in the epic. "I ... perceive drama," T. Mann noticed, - as the art of silhouette and felt only a tied man as a volumetric, solid, real and plastic image " (69, 386). At the same time, playwrights, in contrast to the authors of epic works, are forced to be limited to the volume of verbal text, which meets the demands of theatrical artwork. Scene time in the drama should fit in the strict framework of the scenic time. And the performance in the usual for the European Theater forms continues, as is known, no more than three to four hours. And it requires the appropriate size of the dramaturgical text.
At the same time, the author's play has a significant advantage over the creators of the ages and novels. One moment depicted in the drama is tightly adjacent to another, neighboring. Time reproducible by the playwright of events throughout the stage episode (see ch. X) is not compressed and not stretched; Drama characters exchange remarks without any noticeable time intervals, and their statements, as Stanislavsky noted, constitute a solid, continuous line. If, with the help of the narrative, the action is imprinted as something passed, the chain of dialogs and monologues in the drama creates the illusion of the present time. Life here speaks as it were from his own person: meanwhile, which is depicted, there is no mediator - narrator. The action of the drama flows as if before the reader's eyes. "All narrative forms," \u200b\u200bwrote F. Schiller, "tolerate the present in the past; All dramatic do the past hereby. " (106, 58).
The dramatic genus of literature recreates the action with
maximum immediacy. The drama does not allow the total characteristics of events and actions that replaced their detail. And she is, as Yu. Olesh, "the test of rigor and at the same time the flight of the talent, the feelings of the form and everything special and amazing, which is talent." (71, 252). A similar thought about Drama expressed Bunin: "You have to squeeze the thought into exact forms. But it is so exciting. "
Forms of behavior of characters
Drama characters discover themselves in behavior (primarily in pronouncing words) more relief than the characters of the works of epic. And it is natural. First, the dramatic form has the acting persons to the "multifunction". Secondly, the words of the heroes of the drama are focused on the wide space of the scene and the auditorium, so it is perceived as facing directly to the public and potentially loud. "The theater requires ... exaggerated wide lines both in the voice, declamation and in gestures" (98, 679), - wrote N. Baual. And D. Didro noticed that "it is impossible to be a playwright, not possessing eloquence" (52, 604).
The behavior of drama characters is marked by activity, child, effect. It says otherwise, theatrical. Theatricality is the conduct of speech and gestures carried out in the calculation of the public, massive effect. It is an antipode of the chamber and inexpressivity of the forms of operation. Performed theatrical behavior becomes the most important image of the image in the drama. Dramatic action is often peaked in the active participation of a wide range of people. Such are many scenes of Shakespeare's plays (especially final), the culmination of the "auditor" of Gogol and "Thunderstorms" of Ostrovsky, the supporting episodes of the "optimistic tragedy" of Vishnevsky. On the viewer, episodes are particularly strongly acting, where there is a public on the stage: the image of assembly, rallies, mass representations, etc. Leave a vivid impression and scenic episodes showing few people if their behavior is open, not inhibited, effectively. "As in the theater played," comments the Bubnov ("At the bottom" of Gorky), the desperate Tirade of the desperate tick of the truth, which an unexpected and sharp invasion gave him actually theatrical character.
At the same time, playwrights (especially supporters
realistic art) have the need to go beyond theatricality: recreate human behavior in all its wealth and diversity, imprinted and private, homely, intimate life, where people express themselves in the word and gesture of scoop and unassuming. In this case, the speech of the heroes, which, according to the logic of the depicted, should not be spectacular and bright, is fed in drams and performances as a lengthy, full-haired, hyperbolically expressive. This affects some limited drama capabilities: playwrights (as well as actors on stage) are forced to build a "neteatral in life" in the rank of "theatrical art".
In a broad sense, any work of art conditionally, that is, not identical real life. At the same time, the term convention (in a narrow sense) is designated ways to reproduce life, under which the inconsistency is emphasized and even the contrast between the forms depicted and the forms of reality itself. In this regard, artistic conventions are opposed to "truth-like", or "life-like". "Everything should be essentially vital, it should not be all life, like Fadeev wrote. - Among the many forms there may be conditional form " (96, 662) (i.e. "Non-senior-like". - V. X.).
In dramatic works, where the behavior of the heroes theatrilizes, the conventions are particularly widely used. About the inevitable departure of the drama from life-like-beya was mentioned repeatedly. So, Pushkin argued that "the most incredible writings of dramatic compositions" (79, 266), and Zola called Drama and the theater "Citadel in Total conditional" (61, 350).
Characters dram often expressed not because it is necessary for them in the course of action, and due to the fact that the author needs to be explained to readers and spectators, to make a certain impression on them. So, in dramatic works, additional characters are sometimes introduced, which they themselves say that it is not shown on stage (messengers in ancient pieces), or, becoming interlocutors of the main actors, encourage them to talk about what happened (choirs and their cornean in ancient tragedies ; Inspectors and servants in the comedies of antiquity, rebirth, classicism). In the so-called epic dramas, the actors-characters from time to time appeal to the audience, "come out of the role" and, as if by the part of what is happening.
The tribute of the convention is, further, the saturation of speech in the drama of maxims, aphorisms, reasoning about what is happening. Conditional and monologues pronounced by heroes alone. Such monologues are not actually speech actions, but a purely stage receipt of outward speech internal; They are quite a few both in the ancient tragedies and in the drama of the new time. There are even more conventional replicas "to the side", which, no matter how exist for other characters on the scene, but the audience is well heard.
It would be wrong, of course, "fasten" theatrical hyperbolas for one with a dramatic family of literature. Similar phenomena are characteristic of classic epic and adventurous novels, if we talk about the classics of the XIX century. - For the works of Dostoevsky. However, it is in drama that the conventionality of speech self-discharge of heroes becomes a leading artistic tendency. The author of the drama, putting a kind of experiment, shows how a person would be spoken if in the pronounced words he expressed his mind-inquiries with maximum fullness and brightness. Naturally, dramatic dialogues and monologues are much more extensive and spectacular than those replicas that could be pronounced in a similar life position. As a result, the speech in the drama often acquires similarity with the speech of artistic and lyrical or oratory: the heroes of dramatic works are inclined to express as improvisers - poets or sophisticated speakers. Therefore, hegel was in part, considering drama as the synthesis of the epic beginning (events) and lyrical (speech expression).
From antiquity to the era of romanticism - from Eschila and Sophocla to Schiller and Hugo - dramatic works in the overwhelming majority of cases in the theatricalization of sharp and demonstrative. L. Tolstoy reproached Shakespeare for the abundance of hyperball, which as if "the possibility of an artistic impression would be disturbed." From the very beginning, he wrote about the tragedy "King Lire," - it seems an exaggeration: exaggeration of events, exaggeration of feelings and exaggeration of expressions " (89, 252). In the assessment of the Creativity of Shakespeare L. Tolstoy was wrong, but the idea of \u200b\u200bthe commitment of the Great English playwright to theatricalizing hyperboles is completely valid. Said about "King Lare" with no less reason can be attributed to ancient comedy and traged
days, dramatic works of classicism, Schiller tragedies, etc.
In the XIX-XX centuries, when the literature prevailed the desire for everyday reliability of art paintings, inherent in the drama of the convention, began to minimize. At the origins of this phenomenon, the so-called "Meshchansky drama" of the XVIII century, the creators and theorists of which were Didro and Lessing. Works of the largest Russian playwrights of the XIX century. And the beginning of the 20th century - A. Ostrovsky, Chekhov and Gorky - are distinguished by the reliability of recreated life forms. But even when installing playwrights on the likelihood of pictorial, psychological and actually speech hyperboles persisted. Even in the drama of Chekhov, which was the maximum limit of "lifebody", theatrical conventions made themselves to know. We look at the final scene "Three Sisters". One young woman ten-fifteen minutes ago broke up with a loved one, probably forever. Another five minutes ago I learned about the death of your groom. And here they, together with the older, the third sister, summarize the moral and philosophical results of the resulting, reflecting under the sounds of the military march about the fate of his generation, about the future of humanity. It is hardly possible to imagine this that happened in reality. But the implausing finals of the "Three Sisters" we do not notice, as you are used to that drama significantly modifies the forms of vital activity of people.
Dramatic works (Dr.-HR. Drama-action), like epic, recreate the event rows, actions of people and their relationship. Like the author of the epic work, the playwright is subordinate to the "law of developing actions". But the detailed narrative-descriptive image in the drama is absent. Actually the author's speech here is auxiliary and episodic. These are the lists of actors, sometimes accompanied by brief characteristics, the designation of time and place of action; Descriptions of the stage situation at the beginning of acts and episodes, as well as comments on individual replicas of heroes and instructions on their movements, gestures, facial expositions, intonation (remarks). All this is side Text of a dramatic work. Main His text is a chain of saying characters, their replicas and monologues.
Hence some limited artistic abilities of the drama. Writer-playwright enjoys only part of objective and visual funds that are available to the creator of a novel or epic, novels or a story. And the characters of the acting persons are revealed in a drama with less freedom and completeness than in the epic. At the same time, playwrights, in contrast to the authors of epic works, are forced to be limited to the volume of verbal text, which meets the demands of theatrical art. The time of the actions depicted in the drama should fit into the strict framework of the scenic time. And the performance in the usual forms common for the New European theater continues, as is well known, no more than three to four hours. And it requires the appropriate size of the dramaturgical text.
At the same time, the author's play has significant advantages over the creators of the ages and novels. One moment depicted in the drama is tightly adjacent to another, neighboring. The time of the events reproducible by the playwright during the stage episode is not compressed and not stretched; Drama characters exchange remarks without any noticeable time intervals, and their statements, as K.S. noted. Stanislavsky, constitute a solid, continuous line. If, with the help of the narrative, the action is imprinted as something passed, the chain of dialogs and monologues in the drama creates the illusion of the present time. Life here speaks as it were from his own person: meanwhile, which is depicted, and there is no mediator-narrator reader. The action is reconstructed in a drama with maximum immediacy. It flows as if before the reader's eyes. "All narrative forms, - F. Schiller, - tolerate the present in the past; All dramatic make the past hereby. "
The drama is focused on the requirements of the scene. And the theater is the art of public, mass. The performance is really affected by many people, as if merging together in responses to those committed in front of them. The appointment of drama, according to Pushkin, - to act on 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. The people like children require an enjoyment, actions. " The dramatic clan literature is connected with the drama of literature with a laughter sphere, for the theater was strengthened and developed in an inextricable connection with the mass festivals, in the atmosphere of the game and fun. It is not surprising that the drama is to externally spectacularly filtered. Its imagery turns out to be hyperbolic, throw, theatrical-bright, from here hyperboles and exaggeration. In the XIX-XX centuries, when the desire for everyday reliability prevailed in the literature, inherent in the drama of the convention, they became less obvious, often they were minimized. At the origins of this phenomenon, the so-called "Meshchansky drama" of the XVIII century, the creators and theorists of which were D. Didro and G.E. Lessing. Works of the largest Russian playwrights of the XIX century. and early XX century - A.N. Ostrovsky, A.P. Chekhov and M. Gorky are distinguished by the reliability of recreated life forms. But even when installing playwrights on truth-like plot, psychological and actually speech hyperboles persisted. Theatrical conventions made themselves to know even in the drama of Chekhov, which was the maximum limit of "life-like".
The most responsible role in the dramatic works belongs to the conventions of speech self-discharge of heroes, dialogues and monologues of which, often saturated with aphorism and maxims, are much more extensive and spectacular than those replicas that could be pronounced in a similar life position. Conditions of the replica "to the side", which no matter how exist for other characters on the scene, but the audience are well heard, as well as monologues, pronounced by heroes alone, alone with themselves, which are a purely stage admission to outward speech internal (such monologues a lot in the ancient tragedies and in the drama of the new time). And speech in a dramatic work often acquires similarity with the speech of artistic-lyrical or oratory. Therefore, hegel was in part, considering drama as the synthesis of the epic beginning (events) and lyrical (speech expression).
The drama has in art as if two lives: theatrical and actually literary. By compiling the dramatic basis of performances, everyday in their composition, the dramatic work is perceived by the audience reading.
Lesedrama - drama for reading), Created with installation primarily on perception in reading. These are "Faust" Goethe, dramatic works of Bairon, small tragedies of Pushkin, Turgenev drama.
The fundamental differences between the lesedrama and the play, which is oriented by the author to the stage stage, does not exist. Dramas created for reading are often potentially scenic. And the theater (including modern) is stubbornly looking for and sometimes finds the keys to them, testimony of which - the successful productions of the Turgenev "month in the village" (first of all it is the famous pre-revolutionary performance of the artistic theater) and numerous (although far and not always successful) scenic readings Pushkin Little Tragedies in the XX century.
The creation of a performance on the basis of a dramatic work is associated with its creative completion: the actors create an intonational-plastic drawings of executable roles, the artist draws up the stage space, the director develops the miceanssen. In this regard, the concept of the play somewhat changes (one of its parties is paid to more, to others - less attention) is often specifically specified and enriched: the stage production contributes to the drama semantic shades. At the same time, the principle is paramount for the theater loyalty reading Literature. The director and actors are called upon to convey the made work to the audience with the highest possible. Loyalty to scenic reading takes place where the director and actors deeply comprehend the dramatic work in his basic meaningful, genre, stylistic features. The stage performances (as well as the screening) are legitimate only in cases where there is a consent (let the relative) director and actors with the circle of the ideas of the playwright writer, when the scene figures are carefully attentive to the meaning of his work, to the peculiarities of his genre, the features of his style and to The text itself.
In the past century (up to the XVIII century), the drama not only successfully competed with the epic, but also often became the leading form of artistic reproduction of life in space and time. This is explained by a number of reasons. First, theatrical art was played a huge role, affordable (unlike handwritten and printed book) the widest layers of society. Secondly, the properties of dramatic works (the image of the characters with sharply pronounced features, the reproduction of human passions, to the package and grotescu) in the "pre-market" epochs quite responded to the trends in general practitioner and generally educational.
Russian legislation ranks dramatic works to literature in general (Art. 282, t. XIV, valuations, mouth, ed. 1857); But in a number of all other works of literature dramatic have their own, very important, feature.
Feature of dramatic works
This feature is that dramatic works for its publication and distribution, in addition to the total other literature of the method, i.e. Printing, have another way, inherently belong to them and directly arising from the essence of this kind of poetry. This peculiar dramatic literature is a way of publication and distribution. stage execution. Only during the stage execution the drama fiction of the author receives a completely preconcted form and produces exactly that moral action, the achievement of which the author set himself a goal. Although dramatic essays are printed both for the most profitable breeding of copies, and in order to perpetuate the work, but the printed reproduction is not their final goal, and dramatic works, although printed, should be considered works not literary, and scenic.
In this case, the printed text of dramatic works has a great similarity with the operas of the opera, oratorius, etc.: As Slim, the impression is complete, lacking musical sounds and the dramatic works lack of living human voices and gestures.
Value of a dramatic work
Dramatic fiction, entering the public in two ways - by printing and by submitting, it receives material value in the same case, not the same. As far as the need to see the stage performance of the play is higher than the need for its simple reading, so much and the value of the dramatic fiction reproduced on the theater, above the value of the same fiction made public by printing. Most of the dramatic works are not printed from concerning that the sale of printing costs will not cover the printed instances. Proceeds for the printed play, relative to the amount accepted for the presentation of the same play on theaters, on which she is playing, so insignificant that it cannot be compared. The play, having some stage dignity, in a short time all theaters will go; It will be reconsider and paying money for her hundreds of thousands of people; And the same plays printed will not disappear and two thousand copies for four or five years. Many people look a good play several times, every time paying money for place; And the printed copies each buys for themselves only one.
Thus, the actual value of a dramatic play has only when performing on stage; This value, directly depending on the degree of interest of the play that attracts the audience is expressed by the amount of collection obtained in its presentation.
A collection of places in the theater at the presentation of the play, serving the measure of her stage dignity, serves and determining its material value. But since the most idea is an act of a complex, accomplished with the participation of various figures, somehow: the arts and works of artists, the cost of the Directorate or theaters of theaters and the Pieces, the author, is required to determine to what the interest and success of the presentation and material value . Collection, depend on each of these three figures.
Participation of artists in the success of the presentation
First of all, without a play, no matter how talented actors, there is nothing to play. There is no dispute that the skillful game of artists increases a lot of interest of the performance; But the same is not subject to a dispute and the fact that the talented troupe requires certainly talented written plays, otherwise she would have nothing to do and nothing to show his talentedness. The focus of artist's well-played known roles depends on the number of well-known roles, and the more famous artists become, the more they need the best works to develop and show their abilities.
The public is watching, actually, not artists, but as artists play a famous play; Otherwise, when playing favorite actors, all the plays would have the same success; But it is known that when the game of the same actors, one play does not withstand two ideas, and the other never comes from the repertoire.
Not all troupes enter into good artists; Most consists of very mediocre; Such troupes, if we assume that the success of the stage execution depends only on the artists, it would never be successful and it would be impossible to exist. Meanwhile, it is known that wonderful plays, having success on theaters rich in talents, have their own share of success in troupes, badly compiled. If it is equally and with good barrock and with bad, some plays do not make fees, while others hold on stage with constant success, giving great benefits in continuation of several years, it is obvious that the material value of the stage presentation does not depend mainly on the artists.
Participation of performances in the success
An even less interest and value of the presentation depend on the costs of the Directorate and theaters of theaters. It often happens that the play with expensive scenery and costumes falls from the first view, and the other holds on the repertoire with a poor setting. Gogol "Auditor" to have the success he enjoys, a little demanded costs from the Directorate. The domestic advantages of the play always redeem its production, and the higher the play in their inner interest, the less it requires expenses for their appearance. The author who gave considerable interest to his dramatic work, gives significant benefits to the theater to theater also by the fact that he reduces the costs of it, to put the value of the stage presentation of the play dependent on the formulation as well as unfairly, as unfairly attribute the success of the book - the luxury of her publication or the art of the twist .
The value of the presentation depends on the posted play
So interest, success, and therefore, the value of the presentation depends mainly from the play represented. Artists and the Directorate only contribute to success, and the author is successful. The validity of this provision is obvious and because with an increase in the fame of the author, the value of the presentation of its works increases. Benefit prices and beneficial fees even the most favorite public artists depend on the name of the author given by the play. Not only the benefits, but in general, the first ideas of the plays of famous authors costs the public quite expensive; The strengthened requirement for seats in the theater elevates their price, causing a well-known speculation of the turbidity by theatrical tickets. In these cases, only one name of the author exposed on the billboard raises the value of the performance - and here the author is the first and main manufacturer of benefits delivered by the view.
All of the above leads to the following conclusion: if the material value of dramatic presentations is mainly depends on the plays represented, then justice requires the authors of these plays given the opportunity to have their share of participation and in the benefits delivered by submissions, and that they have been given to the right disposal of the scenic representations of their works. Such an attitude of dramatic authors to the stage performances of their plays has long been conscious in Europe and expressed in recognized by the authors. The right of submission (DROIT DE REPRESENTATION).
Today, the censorship charter in Russia, picking up dramatic works to literature in general, on a par with other works of printing, Friend The method of publishing them, i.e. About the stage view, does not mention and no matter how at all recognizes it.
The absence of a dramatic property in our legislation (Droit De Faire Representer [ presentation right (FR.)]) Especially from literary (Droit de Faire Imprimer [ printing right (FR)]) put and still puts dramatic writers into a special, strange and exceptional position: the drama author ceases to be the master of his work and loses all the right to him exactly at that very moment when it takes its final form and gets considerable value.
Consequences of non-recognition of authors of the right of submission
Such a feature in the position of Russian playwrights could not do without the consequences of unfavorable: a) for dramatic literature in Russia; b) for the development of theaters and dramatic art; c) for the scenic formation of artists.
Dramatic literature
(a) how true is that the stage literature is in decline, the fact that the works on this industry are paid very poorly and do not provide workers. Dramatic literature as a product of mental labor. obeys the same economic laws as every performance. Can the production unsecured and unreasonable flourish? Does the effort to attract work much, the fruits of which do not belong to the workers, but crush all sorts of arbitrariness? And the conditions of dramatic work are those: work, and others use the fruits of your works. Work for the general benefit or for common pleasure, without hope for a sufficient remuneration for work, there is more or less feat and at any case - the phenomenon is exceptional; The legal desire of the acquisition has always been and will be the main engine of people of workers. Therefore, writers gifted by talents are quite varied, unwillingly elect other, more profitable literature branches, neglecting with early works on a dramatic field. Experts remain, i.e. The same writers who, due to the special conditions of their talent, are supplied to the need to work exclusively for the scene, convicted to continuously and hurry work, so that at least the number of works to compensate the disadvantage of their work. Working hurriedly and, therefore, to the detriment of the inner dignity of their works, they, from permanent mental tension, or early exacerbate their forces, or they go to their work and are looking for funds for their existence in other, more profitable activities. It's surprising not that dramatic literature does not flourish in Russia, but the fact that it is still still kept with some meaning and does not fall completely. The appearance of occasionally plays is wonderful due to the circumstances of a purely random: this is certain or the first work of a young man, for whom the works of calling and the first glory are still very seductive, and material needs are very easy to carry, or the work of a person's rich, who has a lot of free time and hurry to work.
Theaters
(b) The copyright cannot seem to be the benefits for provincial theaters, as they are exempted from excess costs; But comes nasty. Never anywhere the gift use of someone else's property can bring good fruits; This truth, as it is impossible to confirm the provincial theaters, the development of which the gift use of the plays does not only contribute, but even interferes. It interferes, firstly, because free use of a diverse repertoire, with insignificance of other costs, and then paid from the fees, making attachments of entrepreneurs very easy, makes it possible to take people to people without education and decisively without any funds. Support aesthetic pleasures in provincial cities are taken by the biggest part of such people who cannot be a successful thing; Why not to take? - There is no risk, there is nothing to lose, and it is possible to hurt something, and you can probably be accompanied by someone else's account. The main spring of all mechanics is to invite a clever poster, who knows how to tempt the play on the possession on the possession, i.e. Invent special, licking titles not only for each act of play, but also for phenomena - and then the whole thing is considered to be over. Such an entrepreneur does not care about the scenery, nor about the costumes, or about the troupe, or about the conscientious execution, but cares only about the poster, which one makes him collecting what he excites curiosity. For such an entrepreneur, every new product of the famous writer is "Nakhodka" (their own word), and the fact that the author is more valuable, because it is possible to take the collection or two by the poster one, i.e. For the name of the author, without any cost and trouble. Such a find, entrepreneurs hurry to take advantage of and often put a play for another day upon receipt, without making roles and without any formulation. The public attracted by the bills gives a fee or two, looking at the advantage of execution, and according to the number of curious in the city, and then this play will not look at both the gift. What is the cause of the entrepreneur that the play is killed forever? His case is done: the money was taken, there were no expenses. (It is known that the provinces are considered to be rare if the play has passed more than two times). In this case, the theaters are taking no money even for the play (because not a play is played, meaning on the poster, but it is not known that), but only for the name of the author, which is undoubtedly belonging to the one who wears *. Fame of gift is not given; Many works, very often conjugate with material deprivation, it is worth the dramatic author; And this, expensive to him, fame not only does not only use himself, but others use, but he is also condemned to see how they abuse him, making it a sign for the deception of the public.
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* It happened to the authors themselves to fall on such ideas. The position is unenviable! Sometimes an expensive author is distorted to the last opportunity, the audience receive a conceptual concept about him completely, and the author cannot not only protest, but even to make any remark to artists or entrepreneur, which has the right even prevent the author to the stage.
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Artists
c) Having an extensive gift repertoire, entrepreneurs, and do not care about careful execution to strengthen the plays on stage, than, firstly, they spoil the young public, developing in it an inevitable taste, and, secondly, harm artists. However, recently, when, with the development of the classes of provincial merchants and officials, the fishery of entrepreneurship begins to bring significant benefits, in many cities they are taken for this case, people are quite wealthy, having the opportunity to pay the artists expensive and doing external production costs. But in this case, the gift use of other people's plays only harms the development of dramatic art in the provinces. Paying artists is quite expensive, entrepreneurs try to help out their money only diversity, giving almost daily new plays. In the provinces a lot of talented artists; They could make a good supply to replenish the metropolitan troupe, which the year of the year was poorly talents; But the provincial actors who are operated by entrepreneurs, early ruin their graduation. Forced to play constantly new plays, they are needed to get used to not learn roles, play in a souflar and, thus, early lose artistic conscientiousness and acquire routine and unhappiness - quality from which it is almost impossible to free themselves. Such artists, despite their natural diving, can not be useful to be metropolitan theaters.
Thus, the absence in our legislation provisions guarding dramatic property on the one hand, delaying dramatic performance, distracting mental forces to other branches of literature, and on the other - developing a careless and disrespectful attitude to art, serves the main reason for the decline of the scenic literature and low level Scenic art in Russia.
If it were not in the order of things, unpunished use of someone else's right, then the entrepreneurs, paying authors for the right of submission, should have been to rescue money spent and extract their benefit, to rehearse and furnish the plays, which, in any case, it would be for They were not sensitive and faded forward the talents of artists and stage art, and would develop the taste in the public. With the development of taste, the need for the pleasures of aesthetic instead of the pleasures of coarse and sensual, which cannot be not wished for our provinces.
The grounds existing in Russian legislation to determine the rights of dramatic property
The overall spirit of our legislation, the starts adopted by him to determine the rights of writers and artists, and some of the individual arrangements provide solid grounds for determining the rights of dramatic property.
Here are these grounds.
1) on the main, fundamental principle of the author's in Europe there are two views in Europe: the rights of authors are summed up or under the category of ownership, or under the category of privileges. The first glance was made and approved by the Government Commission), established in 1861 in Paris, chaired by Valevsky, and the second, with a very uncommonment, was set forth in the well-known Prachon brochure: "Majorats Litteraires". Russian legislation, as well as all European legislation, recognizes and calls the rights of authors, artists and musicians on their works - property (t. X, part 1st, Art. 420, Note. 2, ed. 1857) and decides to use this property - the longest of all existing - 50 years (Art. 283 Cents.).).
The main quality of the legislative wisdom is the sequence for which the taskless principle of ownership for works of art and mental work should be distributed to dramatic works. It is unthinkable to assume that the legislation, considering all the works of the mind and the art belonging to their creators on the right of ownership, only for some dramatic made an exception and the right of dramatic authors founded on the privileges that the government can give and not give.
2) Our legislation has already defined musical property similar to the dramatic. If it is identical with the right of submission - the right to execute the operas and oratories is already recognized for their authors (Art. 349 qualities, mouth), the recognition of the rights of dramatic property seems to be a further inevitable step in a consistent course of Russian legislation.
3) Dramatic art, belonging to his literary side to the art of verbal, the other side - scenic - suitable for the definition of art in general. Everything that is called in the play by the scenicity depends on the special artistic considerations that do not have common with literary. Artistic considerations are based on the so-called knowledge of the scene and external effects, i.e. On the conditions of purely plastic. Thus, dramatic creativity in nature has a close, similar similarity with the work of art. If artistic property is already recognized, then the dramatic, as kind of her, deserves recognition.
4) The 321th article of the Censored Charter is determined by artistic property: it is that the artist, except for the right to the thing, belongs to another exclusive right to "repeat, publish and multiply the original work All possible ways, one or another artistic art. " If all artists are given the exceptional right of reproduction of their works by all means, their art is peculiar, then there is no reason to be used to dram to dramatic writers from two ways to publish only one, uncommon and unusual art. That the literary way to publish dramatic works is uncommon's for the authors, there can be no doubt about it. In a rare provincial city, you can find more than one copy of some famous play, then as the same play has revised the whole city on its theater. The creation of the author is common, but the benefits of its distribution - in foreign hands.
5) Although dramatic property has not yet been determined by the censored charter, but it is already Installed Our legislation: Article 2276 Claims for punishments Ed. 1857 (Art. 1684 ed. 1866) prohibits, under the fear of punishment, to submit a publicly dramatic work without the permission of the author. By virtue of this article, all the main theaters, now existing, should be imprisoned in a vertical house if the dramatic writers want to pursue them. But since, according to the lack of positive laws on the rights of dramatic property, the authors are almost impossible to prove and calculate the losses caused to them (although the remuneration for the loss and is awarded to them by the Same 1684 of Art.), And the criminal prosecution of theaters is not only completely useless, but also Connected with expenses, then the main theaters and remain unpunished violators of the law and property rights. But such a procedure should not be continued, as they violate the main foundations of civil improvement: respect for the law and inviolability of someone else's property.
These are the grounds that are in our legislation, on which dramatic writers may consider their right of dramatic property already recognized and ready to implement. To be valid right to have a practical application, dramatic property lacks only those positive definitions that exist in the censorship charter for other types of ownership - for literary, artistic and musical.
Definitions (foundations of ownership, deadlines for use and the procedure forces), which are desirable for dramatic property, do not make anything new in our legislation: they are directly derived from the existing consensions about the ownership of artistic, identical with dramatic.
Scrapbook dares to think that the provisions presented below can satisfy the conditions specified if possible.
Draft law on dramatic property
1) Wrinklers and translators of dramatic plays, except for the right of literary ownership of their works (Art. 282 qualities, mouth), are still in continuation of their life still dramatic ownership. It consists in authorized the author to allow public views of its works.
This paragraph is based on the basis of Art. 321 valuations. mouth. Life use copyright can hardly be subject to objection. The worker person has the right to be secured during his old age and illness; And what better and fair it can be provided, how are not the fruits of his own work?
2) public ideas should be called those on which, on the basis of Art. 194 XIV t. Code of laws (charter on the prevention and suppression of crimes), the permitting of the police is requested.
3) The right of dramatic property after the death of the author proceeds to its heirs under the law or in the will, if there was no other in life to anyone else.
Art. 323 cents. mouth.
4) The use of the right of dramatic property, to whom it would be neither crossed, continues not more than 50 years since the death of the author or from the day the appearance of his posthumous work.
Justice and appropriateness in the project of the 3rd and 4th §§, except an analogy in promotions on artistic ownership, in all identical with dramatic, they have more durable and substantial foundations.
a) the works of stage and so are short-lived; The repertoire is changing almost daily. Is there much more on the repertoire of the plays of the authors closest to us, loved ones, - puppeteer, field, prince Shakhovsky, Zagoskina, Lensky? None. The term of use of dramatic labor is already short; Many, if after the death of the dramatic writer, one or two plays will live him another year. What to deny the heirs of his allege? Currently, from all of our more than century-old dramatic literature, only two plays remained on stage: "Auditor" and "Woe from Wit"; If in the future century there will be two or three such plays, which for a long time can bring benefits theaters, without losing their value, then justice requires that the theaters sharing at least some part of their benefits with those heirs for whom the author worked with his life .
b) the consideration that human life is subject to chance and that everyone can suddenly die must significantly reduce the price of dramatic property. Who wants to acquire expensive and strengthen such works, which tomorrow can come into gift public use tomorrow?
c) The value of dramatic property, already reduced by the assumption of the accidental death of the writer, will be increasingly and more to fall for him, the weaker will be his health and what it is closer will move to old age and, therefore, than it will need the most material support. Finally, who will pay at least something for the last work of the poor, dying the worker, when this work maybe tomorrow will be possible to take a gift? Thus, the right of dramatic property only on paper will remain life, but in fact it will die no longer with the owner, but before it. And the older or painful, the author, the earlier he will die the right and the helplessness will be its impossible.
d) in Western European countries, where dramatic literature is more developed (France, Italy, etc.), the dramatic property is hereditary and the term of use is constantly increasing. When in France, the posthumous term of use of dramatic property was a five-year-old, that's what Boualersche wrote in his petition in the Legislative Assembly on December 23, 1791:
Toutes Les Proprietes Legitimes SE TRANSMETTENT PURES ET INTACTS D "UN HONIME A TOUS SES Descendants. Tous Les Fruits De Son Industrie, La Terre Qu" Il A Defrichee, Les Choses QU "Il a Fabriquees, Appartiennent, Jusqu" A La Vente Qu " ILS ONT Toujours Le Droit D "En Faire, a Ses Heritiers, QUELS QU" ILS SOIENT. PERSONNE NE LEUR DIT JAMAIS; "Le Pre, Le Tableau, La Statue, Fruit Du Travail Ou Du Genie, Que Votre Pere Vous A Laisse, Not DOIT Plus Vous Appartenir, Quand Vous Aurez Fauche, CE Pre, Ou Grave Ce Tableau, Ou Bien Moulu Cette Statue Pendant Cinq Ans APRES SA Mort; Chacun Alors Aura Le Droit D "En Profiter Autant Que Vous".
Personne Ne Leur Dit Cela. Et pourtant quel defrichement, quelle production emanee du pinceau, du ciseau des homines leur appartient plus exclusivement, quelle production emanee du pinceau, du ciseau des hommes leur appartient plus exclusivement, plus legitimement que l "oeuvre du theatre echappee du genie du poete, et Lui Couta Plus de Travail?
CEPENDANT, TOUS LEURS DESCENDANTS CONSERVENT LEURS PROPRIETES; le malheureux fils d "un auteur perd a la sienne au bout de cinq ans d" une jouissance plus que douteuse, au meme souvent illusoire, - cette tres-courte heredite pouvant etre eludee par les directeurs des spectacles, en laissant reposer les pieces de Mr AUTER QUI Vient De Mourir Pendant Les Cinq Ans Qui S "Ecoulytent Jusqu" A 1 "Instant Ou Les Ouvrages, Aux Termes Du Premier Decret, Deviennent Leur Propriete, Il S" Ensuivrait Que Les Enfants Tres Malheureux Des Gens De Lettres, Dont La Plupart Ne Laissent De Fortune Qu "Un Vain Renom Et Leurs Ouvrages, Se Verraient Tous Exheredes Par La Severite Des Lois *.
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* All legitimate property goes in the intention and integrity of man to all of his descendants. All the fruits of his activity, - the Earth-owned land, produced by him, belong to His heirs, whoever they are, who always have the right to sell them. No one will ever tell them: "Meadow, painting, statue, - the fruit of OL's work inspiration left to you, - do not have to belong to you, - after you mowed this meadow, engraved this picture or cast this statue to the continuation of five years after his death; after this period, everyone will have the right to use the same as you ". 6) No original and transferable dramatic work, at least it was already printed or played, cannot be publicly represented without the author's permission or translator.
No one will tell them. Meanwhile, why arable land or a piece of brush or a cutter should be more exceptional and more legal ownership of people than the theatrical work made by the genius of the poet, did they cost them more work?
However, all their heirs retain their own ownership, and the ill-fated son of the poet is deprived of its right after the expiry of five years of use, - the use of more than doubtful and even imaginary imaginary, since theaters can bypass this very short-term inheritance right, without putting on stage The plays of the deceased writer in the continuation of five years, after which these writings, by virtue of the first decree, are becoming generally property. As a result, the ill-fated children of writers, in most cases, leaving after themselves only fruitless glory, and their writings are completely devoid of inheritance in the cruelty of laws.
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As a result of this petition, the five-year term was continued for another five years. But the French did not stop at this: the Government Commission, chaired by the State Minister of Valvsky, graduated from the project about literary and artistic property in April 1863: in this project, the Commission was not even a 50-year-old ("Commission de la Propriete Litte-Raire Et Artistique ", Paris, 1863).
Commission, proud of his business, writes in his report: "QUAND DES ACTES SEMBLABLES ONT PRIS PLACE DANS LA Legegislation D" Un Pays, Ils Doivent at Rester Pour La Gloire du Souve-Rain Qui Les a Introduits, Pour L "Honneur de la nation QUI A SU LES COMPRENDRE ET AUSSI POUR SERVIR D "EXEMPLE ET D" ENSEIG-NEMENT "*.
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* When such decisions entered into the legislation of the country, they should remain in it, to the glory of the monarch, who legalized them, to the Petition, who was able to appreciate them, and also in order to serve as an example and teaching. (Translation is given by copy of Morozov.)
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5) the right of dramatic ownership of works can be sold or inflicted by the author during life; In this case, it fully moves to the acquirer and its legitimate heirs. The transfer of the rights of dramatic property is committed in compliance with all the formalities established by law for such a kind of transactions.
Art. 325 cents. mouth.
The fact that the authors have not pursued violators of dramatic law in a biennium (art. 317 qualities, mouth), does not mean anything that the authors refuse their right. The lack of interest to the continuation of the biennial period only frees from the court and its consequences, the person predatoryly used someone else's property, but it does not give him the right to repeat his misconduct. Otherwise, you can come to such an absurd that any right can be acquired by the crime of the law. The inviolability of dramatic property was established by law 1857, and all written after 1857 should belong to the authors. From the coators of the theaters is pretty and the grace that they are not pursued.
This provision in the charter on dramatic property is absolutely necessary for the following reasons:
a) private theaters are scattered throughout Russia; What plays are given in Yekaterinburg, Buzuluk, Sterlitamak, Staray Russa, Kremenchug, - the authors living predominantly in the capitals cannot have any information. To contain agents in all cities of Russia will present for authors more expenses than benefits.
b) Reception from the capitals and the weakness of supervision can serve as a temptation for private theaters and involve them in misconduct, for which, in the case of persecution, they will have to pay very expensive and still conclusion in the straithouse. The concept of crime of counterfeit is not enough in our provinces; Without a warning by the police, the violations of copyright rights should be expected to expect a large number that it is not at all preferably due to the rigor of punishment.
c) the prevention of misconduct and crimes, for which the law threatens strict carray, is one of the main responsibilities of the police power.
8) for unauthorized execution to the public of a dramatic work belonging to anyone on the rights of dramatic property, perpetrators, excess of responsibility on the basis of Art. 1684 Such. ABOUT., Are undergoing, in favor of whether the right is violated, recovery of double fees for all places in the theater in which the indicated representation occurred. In clubs and meetings, the price for all places in theatrical halls is determined by the input fee charged from guests in the days of representations - and in no case is at least 1 ruble with silver.
Art. 351 cents. mouth. imposes for a unauthorized representation before the public of the Opera or Oratorio, the recovery of the "double collection" received for the view in which such a play was played; But this amount of recovery is inconvenient: 1) the calculation of the collection with any presentation, especially after some time, with the uncontrolls of our theaters, represents insurmountable difficulties; 2) In this amount of recovery, some inconsistency is concluded. Unauthorized execution before the public of someone else's work there is counterfeit; For all types of counterfeiting, criminal punishment is equally; Also equally, there must be money recovery. For counterfeitoring, type someone else's book Counterfeitor pays for all specimens, both sold and non-soldered; And for the counterfeit representation of someone else's play, the counterfeitor is awarded to pay for seats in the theater only sold?
Art. 351 cents. mouth. It would be absolutely not applicable to the ideas given in clubs and meetings: Members and seasonal visitors, paying at a time for their annual or seasonal ticket, do not pay anything for the entrance to the submission; Consequently, the more the club has members, i.e. What he is richer, the less, in the event of recovery, he will pay for violation of copyright, since with a large number of members, guests paying for entry to the presentation, the most limited number can be allowed, and the collection will be negligible. Meanwhile, the detriment of the counterfeit execution of someone else's play depends not on the price of places, but on the number of visitors. Thus, the gift counterfeit representation is much unprofitable for the authors than expensive. In the latter case it will be available for a few, and in the first - for the whole public. For clubs are not most sensitive and completely giving views: the public attracted by the gift performance, with the Barysh, covers the expenses of the club to submit a strengthened requirement of the Kushan, Wines, Maps, etc. Recently, club performances in the capitals began to bring very significant harm in the capitals, reducing the number of ideas of the famous play And the same fees from it in the imperial theaters, from which the authors receive a reward: Who wants to pay for a place in the theater, if, as a member, he can see the same play in the club in Varia? If the play, in its advantages, can give ten fees at the Imperial Theater, then it will now give no more than five, and the remaining five are lost for the author: they pass in clubs from which the authors do not get anything. Dramatic writers have long expect that the Government will take measures to end such a nag violation of their property rights.
9) Affairs on violation of the right of dramatic property are carried out, in the order of civil and criminal, on the basis of legal entities established for the fencing of copyright rights of Art. 319 - 320 cents. mouth. and art. 217 mouth. chase legal proceedings.
10) The allowance for the public submission of dramatic works is given by the authors or translators with them or persons who have the right of dramatic property on them, with the exact designation of the person who is given to the permitting, and the time of use by the permissiveness.
Note. With the permission to publicly represent the play from the author, no other rights to the person, which is given to the permit, except for personal use on the conditions meaning in the permitting. The permit, this person, does not deprive the author of the right to resolve the presentation of the same play and other persons.
11) Translations and alterations of foreign plays, on publicizing them through printing, come into general use. In the same way, transfers and alterations are received in the same way if the theater having them in exceptional use will abandon its right, after being submitted to any other theater.
Translations and alterations do not require any special work and abilities, and therefore cannot claim any other remuneration, except for the ordinary literary fee for such works.
Objections to the right of dramatic property
Reasoning about dramatic property is not a new thing in our society and literature; Some statements of dramatic writers have already met objections, strong and energetic, but hardly those in fact. Here are the main of these objections:
1) Dramatic writers for their works are quite rewarded by a plate with imperial theaters, and their further claims testify only about their korestolubia.
Firstly, in this objection, even recognize the justice of his first position, the error is that the legal issue is dealing with a moral point of view. Moral teachings on human fumes and about korestolubia are valid only in general and distracted judgments about virtue; But in matters based on the right of ownership, on liabilities, they are most inappropriate. No matter how much the debtor broke before the creditors of the moral centance, it seems that "the wrong one who has little, and the one who wishes a lot" and "is not the best one who has a lot, and the one who is pleased with Small," - they They will not be satisfied and their claims will still remain claims requiring material satisfaction.
Secondly, in this objection, except for logical insolvency, there is not true. The remuneration given by the imperial theaters of dramatic authors cannot be called sufficient; On the contrary, it is not enough, almost insignificantly. The highest approved provision on the remuneration of authors and translators for the plays exists unchanged from November 13, 1827; Now, after 42 years, not only fees for artwork works, but in general, prices for every work are significantly elevated, and only the authors of dramatic plays are forced to work on the taxtom of 1827. Almost everywhere behind the play, the already printed, which is a whole performance, minimum remuneration is 10% of the collection, and for handwritten - much more significant; We only have for plays in verses, in 5 or 4 acts, the author receives 10% and that is not from the full collection, but from two thirds; And for five-acting comedies and dramas in prose, printed and not printed, - a fifteenth share of two thirds, i.e. Only 4 4/9% with full collection. Not to mention France, where the author of two or three plays can be a secured position in Italy, according to the latest copyright legislation (1862), the dramatic writer can get for 5 acts of comedy in prose up to 15% of the full collection in metropolitan theaters and , in addition, 10% from the theaters of provincial; And in Italy how many cities, as many almost theaters. We also advise the author not to be korestolobyvy and content only four with a small percentage of two theaters in all of Russia!
Four-percent fee, although in no way representing the remuneration for work, could be for the authors at least something like help or material support in the event that the metropolitan theaters, using their monopoly, wanted to expand their range of activities to the limits specified by the need ; But this is not.
Until the spring of 1853, there was a large Petrovsky Theater in Moscow for dramatic performances - and he was small for the entire Moscow public; Since then, with the gradual development of the class of medium and small traders and officials, the Moscow audience has more than doubled; In addition, several railways take each morning to Moscow from the 14th or 15th of the provincial non-resident public, for which one of the main conditions of the trip to Moscow to visit the theater. What? Now - two or three large Russian dramatic theater? No: Russian performances are translated into a small theater, which is half smaller. In Moscow, the Central Public, Moscow and Nonorodnaya, decisively has no way to go: for her there is no theater in which she is torn, no other pleasures; Only restaurants remain. Meanwhile, for the middle public, the theater is more necessary for any other: she just starts to fall away from home and innovative pops, just starts to enter the taste of graceful pleasures, and there is no place for her in the theater. In the chair, this audience will not go for nothing, confused by his costume and its manner; She needs coupons, "and all of Moscow only 54 №№, and more precisely the price of them, due to the reinforced requirement for tickets, it was equal in the hands of the laryrshnikov with the price of the first rows. The rashness speculation, which is inevitable where demand is much higher than the proposal, raising significant prices for places, made them inaccessible for people, although educated, but not sufficient to which most of the student of youth and young officials belong to For the trading estate, the high cost would not prevent, but there are no places, even expensive. Many families in Moscow refused even from any attempts to be in the theater: what is the probability of getting a ticket, when is the ticket office for ten candidates? Leaving aside aside whether an aesthetic, noble time is expensive to do an expensive and unavailable rarity, turn to another: is there much more percentage and with this image of state theaters will receive a dramatic author for their works?
A privileged theater does not want to take the money that he invites him with whom the public is hampering; From this and the authors receive less than half of what they could receive in the capitals even with the currently scarce remuneration. So, sufficient turns out to be insufficient and considerable - very small.
But, first, poverty is not an indispensable condition of entrepreneurcy; Today it holds the theater poor entrepreneur, and tomorrow can take the same theater rich. Secondly, there is no reason to assume that the dramatic authors are richer by entrepreneurs and therefore must contain them with their work. Thirdly, such a violent tax on dramatic authors in favor of the poor is too large: it is more than half of all revenues that the author receives from his work. Fourth, hardly rightfully take away from dramatic authors the opportunity to make a good deed, i.e. The opportunity to give his work really poor man. Fifth, not all entrepreneurs may be called poor: most of them have tools to pay useful actors of 100 p. per month and by Benefis in the winter, and the best actors - up to 200 r. per month and up to 4 benefisis per year. The best metropolitan actors in the provinces were usually offered 1000 p. For 10 performances and benefit, provided in 1000 p., and now offer even better conditions. People who have the opportunity to produce such expenses cannot be called poor. Delnaya Antreplener is only worth sacrificing one play in the season in favor of the authors - and he will deal with them for the whole year of use of their plays. If it was necessary to even give two performances in favor of the authors, and it will not be almost no damage to entrepreneurs.
The remark about the poverty of the provincial cities, to which the copyright fee will fall further tax, does not even deserve the refutation. If the city is very poor, then no one in it will start the theater in it; If the theater exists, but the fees are so small, which is enough only for the feeding of the degree, then the author's part will be so insignificant that no one will deteriorate to her. In general, the authors have no calculation to root the development of theatrical art in Russia; On the contrary, they will have to try to strengthen it with all measures and support as a source of their own income. And why assume that dramatic authors, wanting to recognize your right, are certainly calculated by the provincial theaters?
Finally - the last objection:
If it is difficult, it still can be; Now, if it were impossible, - then there is nothing to say. In any case, in this objection a lot of excessive caringness about dramatic authors; Maybe they are not afraid of work in order to get that they should. The right to receive, wise and judged, is difficult or not difficult to obtain the most obtaining; It will be in practice. Maybe it will be easy. Of course, if every dramatic author wants to lead his job with entrepreneurs especially from others, then their mutual intercourse will be difficult; But if the dramatic writers form society and escape from their environment of the Commissioners, which will be provided on the face of the whole society to enter into intercourse with the main theaters, to conclude with them the conditions, follow the execution of them and pursue the violators of the right of dramatic property, - then all the case will be much more simplified.
Ostrovsky Alexander Nikolaevich (1823-1886) - outstanding Russian playwright, corresponding member of the St. Petersburg Academy of Sciences.
On the one hand, when working on the drama, the means that are in the arsenal of the writer, but, on the other, the work should not be literary. The author describes events so that the person who will read the test can see everything that happens in his imagination. For example, instead of "they sat in the bar for a very long time," you can write "They drank six mugs of beer", etc.
In drama, what is happening is shown not through internal reflections, but through an external action. Moreover, all events occur in the present time.
Also certain limitations are superimposed on the volume of the work, because It must be represented on the scene as part of the allotted time (maximum up to 3-4 hours).
The demands of the drama, as scenic art, impose their own print on behavior, gestures, the words of heroes, which are often hyperbulous. What can not happen in life in a few hours, in drama it can very much. At the same time, the audience is not surprised by conventions, implausibility, because This genre initially admits them to a certain extent.
During the expensive and inaccessible for many books, the drama (as a public statement) was the leading form of artistic reproduction of life. However, with the development of printed technologies, the championship of epic genres was given. Nevertheless, today dramatic works remain in demand from the Company. The main audience of the drama, this is, of course, theatrians and film workers. Moreover, the number of latter exceeds the number of readers.
Depending on the method of formulation, dramatic works can be in the form of a play and scenario. All dramatic works intended for execution from theatrical scene are called plays (Franz. Pi èce). Dramatic works for which films are removed - scenarios. And plays and scenarios contain author's remarks to designate time and place of action, guidance on age, appearance of heroes, etc.
The structure of the play or script corresponds to the structure of history. Usually parts of the plays are indicated as an act (action), phenomenon, episode, picture.
The main genres of dramatic works:
- drama,
- tragedy,
- comedy,
- Tragicomedy,
- Fars,
- waterville,
- Sketch.
Drama
Drama is a literary product depicting a serious conflict between acting persons or between actors and society. Relations between heroes (heroes and society) the writings of this genre are always full of drama. In the course of the development of the plot there is a tense struggle both inside individual characters and between them.
Although the conflict is very serious in the drama, it can nevertheless be resolved. This circumstance is explained by intrigue, the intense expectation of the audience: it will be possible to get a hero (heroes) to get out of the situation or not.
Drama has a description of the real daily life, the formulation of "Barn" issues of human being, the deep disclosure of the characters, the inner world of characters.
Allocate such types of drama as historic, social, philosophical. A variety of drama is a melodrama. In it, the current L ICA is clearly divided into positive and negative.
Widespread drama: "Othello" V. Shakespeare, "At the bottom" M. Gorky, "Cat on a hot roof" T. Williams.
Tragedy
Tragedy (from Greek. Tragos Ode - "Goat Song") is a literary dramatic work based on an irreconcilable vital conflict. The tragedies are characteristic of the tense struggle of strong characters and passions, which ends with catastrophic for characters the outcome (as a rule, death).
The tragedy conflict is usually very deep, having a universal value and can be symbolic. The main character, as a rule, suffers deeply (including despair), his fate is unhappy.
The text of the tragedy often sounds pathetic. Many tragedies are written by verses.
Well-known tragedies: "Chained Prometheus" of Eschila, "Romeo and Juliet" V. Shakespeare, "Thunderstorm" A. Ostrovsky.
Comedy
Comedy (from Greek. Komos Ode - "Cheerful Song") is a literary dramatic work, in which the characters, situations and actions are presented in a comical, using humor and satire. At the same time, characters can be sufficiently sad or sad.
Usually, the comedy represents all the ugly and ridiculous, funny and incomplete, ridicurate public or household flavors.
The comedy is divided into comedy masks, provisions, characters. Also, this genre includes farce, waterville, intermedia, sketch.
The comedy of the provisions (comedy situations, situational comedy) is a dramatic comedy work, in which the source of funny are events and circumstances.
The comedy character (comedy of morals) is a dramatic comedy work, in which the source of funny is the inner essence of characters (morals), a funny and ugly one-sceneness, a hypertrophied feature or passion (vice, flaw).
Farc is a light comedy that uses simple comic techniques and designed for a rough taste. Typically, the farce is used in Circus to Lownae.
Waterville is a light comedy with an entertaining intrigue, in which there is a large number of dance numbers and songs. In the US, the hydroville is called the musical. Modern Russia also usually speak "Musical", implying waterville.
Intermedia is a small comic scene, which is played between the actions of the main performance or presentation.
Sketch (eng. Sketch - "Sketch, sketch, sketch") is a short comedic work with two-three characters. Usually to the presentation of the sketches resort to pop and television.
Well-known comedies: "Frogs" Aristophan, "Auditor" N. Gogol, "Mount from Wit" A. Griboyedov.
Famous television sketch shows: "Our Russia", "Town", "Flying Circus Monti Paiton".
Tragicomedy
Tragicomedia is a literary dramatic work, in which the tragic plot is depicted in a comic form or is an erratic journey of tragic and comical elements. In tragicomedy, serious episodes are combined with ridiculous, elevated characters are shared by comic characters. The main technique of tragicomedia is grotesque.
It can be said that "tragicomedia is funny in the tragic" or vice versa, "tragic in funny."
Widely well-known tragicomedias: "Alcestid" of Euripid, "Storm" V. Shakespeare, "Cherry Garden" A. Chekhov, films "Forrest Gump", "Great Dictator", "That Münshazen".
More information on this topic can be found in the books of A. Nazaykin