Works. The concept of drama as a genre of literature Drama: a book with a complex character

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

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

Drama (Greek dráma, literally - action), 1) one of the three types of literature (along with epic and lyrics; see Literary type). D. belongs simultaneously to the theater and literature: being the fundamental principle of the performance, it is also perceived in ... ... Great Soviet Encyclopedia

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Genus literary- GENUS LITERARY, one of the three groups of works of fiction epos, lyrics, drama. The tradition of generic division of literature was founded by Aristotle. Despite the fragility of the boundaries between genera and the abundance of intermediate forms (lyroepic ... ... Illustrated Encyclopedic Dictionary

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

GENUS, a (y), prev. about (in) kind and in (on) kind, pl. s, ov, husband. 1. The main social organization of the primitive communal system, united by blood relationship. Elder of the family. 2. A number of generations descending from one ancestor, as well as a generation in general ... Explanatory dictionary of Ozhegov

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Hello, dear readers of the blog site. The term "drama" has several meanings.

This concept is used in various fields of art, the subject of which is the demonstration of human behavior in conflicting, from one point of view or another, exceptional circumstances.

We will talk about drama in fiction, performing arts, music, cinema.

The word "drama" entered everyday life as a synonym for drama - extreme tension (sometimes - theatricality) in relationships.

Drama is a genre of literature and art

The word "drama" (from the Greek. " action”) is used in a broad and narrow sense.

A distinctive feature of drama in literature is the ability to tell about the actions unfolding in the present. Just like the epic, this kind of literature describes the external life of the characters, it can capture the general philosophical, political and social context.

At the same time, the epic is monologue or polyphonic, and the drama is always . this kind of literature is related to self-expression, sharpness and conciseness of the plot, the ability to convey life “here and now”.

Unlike from tragedy, which depicts exceptional individuals in special circumstances, the drama depicts typical, ordinary characters in everyday realistic situations. This does not mean that it cannot be tragic, but these two genres have different pedigrees and tasks that are not always comparable with each other.

Drama Features

Since dramatic works are created to be staged, they combine the features of theatrical and verbal art.

Back to main features dramas include:

the presence of a conflict;
dialogue;
binding to a specific time and space;
addressing the problems of private human life and social issues in general;
analysis of emotional and psychological reactions of a person in various circumstances of life;
displaying these reactions in the form of words and actions.

Modifying over time, dramatic art acquired features characteristic of other areas of art in a particular era.

To understand this with a specific example, let's turn to W. Shakespeare's tragedy "".

The conflict in it is expressed at the level of confrontation between two families: the Montagues and the Capulets. Their enmity leads to clashes between individual characters. Interpersonal conflicts give the play additional poignancy. They can be shown externally (Tybalt's fights, Romeo and Paris' confrontation) or a hint (Rosalina liked Romeo before Juliet, but she does not appear on stage, because the feeling for her was false, momentary).
The structure of the text is formed by dialogues. The main one - the dialogue of two lovers, passing through the plot of the play - strings on itself all the other dialogues between the characters.
The time and space in which the heroes act is medieval Verona. They have their own ideas about honor and dishonor, proper and impossible. The behavior of the characters is very dependent on the surrounding circumstances.
The tragedy is dedicated to the most intimate of human feelings, but at the same time it concerns universal human problems: the fragility of life, the fatality of prejudices, the absurd force of enmity.
The play analyzes all shades of love experiences: from a light lover to a passionate determination to die together with a loved one, without which external existence loses its meaning.
The reactions of the characters to what is happening are expressed, as well as actions.

Varieties of drama

Given the historical and inter-genre gradations, within the genre it is customary to single out the following subspecies dramas:

petty-bourgeois;
melodrama;
psychological;
naturalistic;
symbolist;
surreal;
absurdist;
existential.

In the field of cinema, they traditionally talk about teenage, crime, historical, adventure and psychological drama. As an example, we offer you to get acquainted with the adventure drama of Alexander Karpilovsky "Private Pioneer". (By the way, in the second part of the trilogy, the characters put on a play based on the play "Romeo and Juliet").

From the history of drama

Rooted in the religious and verbal-musical culture of antiquity, drama, in fact, is not only a kind of literature, but also way of reflecting knowledge about the world, a specific ability to see the universe in its extremes, to ask questions, to argue, to seek the truth.

The theaters of Ancient Greece were at the same time entertainment for the audience, and a school of morality, and a temple of service to the muses, and a political arena. All these functions have been preserved by the modern theater.

The difference lies in the fact that the culture of the new time has ceased to be logocentric (from the Greek "logos" - the word "): the sounding word and the literary image no longer amaze people so much that after the performance they would accept the new faith or sign up as volunteers for the front.

Nevertheless, the relevance of the drama lies in its variability, flexibility, "embedded" in the needs and whims of any time.

Dramatic art in the terminological sense was discussed only in the middle of the 17th century, when, in parallel with the works of spiritual culture (in which theatricalization was condemned as an unclean and sinful phenomenon), secular literary genres began to appear. During the Enlightenment, many philosophical and moralizing plays were created, designed to " not to entertain, but to instruct».

In the XVIII century, and later - romantic literature became widespread petty-bourgeois drama. Its model can be considered, for example, "The Robber Brothers" by F. Schiller, as well as the plays by D. Diderot, G. Lessing, P. -O. Beaumarchais.

The realistic art of the 19th century subordinated the drama to the problems of society. In the plays of G. Ibsen, people from the people appeared, thirsting for a free, illumined life with a high meaning. In Russia, plays are devoted to the same topics. N.A. Ostrovsky and A.P. Chekhov.

The twentieth century enriched the dramatic trends of modernism. The liberated theater of modern times absorbed the features of symbolism, surrealism, expressionism, absurdity (M. Maeterlinck, S. Beckett, E. Ionesco).

The structure of a dramatic work

Each play is divided into actions or acts. They, in turn, are divided into scenes or episodes. The phrases spoken by the characters are called remarks, and the words of the author enclosed in brackets or italicized, which accompany the remarks, are remarks.

During school and student dramatizations, aspiring artists often skip stage directions, but this is unfair. A mischievous spark of the author's intention is hidden in them: the playwright suggests with what mood one should play this or that role, with what movement to accompany the phrase, so that one character will be recognized by it many years later.

In order to the world of drama has become clearer to you and closer, try to listen to her hot and inspirational language. Find "your" hero: Chatsky, Hamlet, Nina Zarechnaya. Try to live on the stage of their life - be sure to learn something new about yourself.

Good luck to you! See you soon on the blog pages site

The traditional scheme of the plot of any dramatic work:

EXPOSITION - presentation of heroes

STRING - clash

DEVELOPMENT OF ACTION - a set of scenes, the development of an idea

CULMINATION - the apogee of the conflict

DENOUNCING

Drama history

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

Greek drama, which develops serious religious and mythological plots (tragedy) and amusing ones drawn from modern life (comedy), reaches high perfection and in the 16th century is a model for European drama, which until that time artlessly processed religious and narrative secular plots (mysteries, school dramas and interludes, fastnachtspiel, sottises).

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

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

In the second half of the 19th century, realism prevailed in European drama (Dumas son, Ogier, Sardou, Paleron, Ibsen, Suderman, Schnitzler, Hauptmann, Beyerlein).

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

Drama types

Tragedy is a genre of fiction intended to be staged, in which the plot leads the characters to a catastrophic outcome. The tragedy is marked by severe seriousness, depicts reality most sharply, as a clot of internal contradictions, reveals the deepest conflicts of reality in an extremely intense and rich form, which acquires the meaning of an artistic symbol. Most tragedies are written in verse. The works are often filled with pathos. The opposite genre is comedy.
Drama (psychological, criminal, existential) is a literary (dramatic), stage and cinematic genre. It gained particular distribution in the literature of the 18th-21st centuries, gradually replacing another genre of dramaturgy - tragedy, contrasting it with a predominantly everyday plot and a style closer to everyday reality. With the advent of cinema, he also moved into this type of art, becoming one of its most common genres (see the corresponding category).

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

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

In the XVIII century. number<драматических>genres is increasing. Along with the strict theatrical genres, lower, "fair" genres are being promoted: Italian buffoonery comedy, vaudeville, parody, etc. These genres are the sources of modern farce, grotesque, operetta, and miniature. The comedy splits, separating from itself a “drama”, that is, a play with a modern everyday theme, but without a specific “comic” situation (“petty-bourgeois tragedy” or “tearful comedy”).<...>Drama decisively supplants other genres in the 19th century, harmonizing with the evolution of the psychological and everyday novel.

On the other hand, drama as a genre in the history of literature is divided into several separate modifications:

Thus, the 18th century was the time of petty-bourgeois drama (J. Lillo, D. Diderot, P.-O. Beaumarchais, G. E. Lessing, early F. Schiller).
In the 19th century, realistic and naturalistic drama was developed (A. N. Ostrovsky, G. Ibsen, G. Hauptman, A. Strindberg, A. P. Chekhov).
At the turn of the 19th and 20th centuries, symbolist drama developed (M. Maeterlinck).
In the 20th century - surrealist drama, expressionist drama (F. Werfel, W. Hasenclever), the drama of the absurd (S. Beckett, E. Ionesco, E. Albee, V. Gombrowicz), etc.

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

Drama in verse - all the same, only in poetic form.
Melodrama is a genre of fiction, theatrical art and cinema, the works of which reveal the spiritual and sensual world of heroes in especially vivid emotional circumstances based on contrasts: good and evil, love and hate, etc.
Hierodrama - in France of the old order (second half of the 18th century) the name of vocal compositions for two or more voices on biblical subjects.
Unlike oratorios and mysteries, hierodramas did not use the words of Latin psalms, but the texts of contemporary French poets, and they were performed not in churches, but at spiritual concerts in the Tuileries Palace.
In particular, the words of Voltaire were presented in 1780 "The Sacrifice of Abraham" (music by Cambini) and in 1783 "Samson". Impressed by the revolution, Desogier composed his cantata Hierodrama.
Mystery is one of the genres of European medieval theater associated with religion.
The plot of the mystery was usually taken from the Bible or the Gospel and interspersed with various everyday comic scenes. From the middle of the 15th century, mysteries began to increase in volume. The "Mystery of the Acts of the Apostles" contains more than 60,000 verses, and its presentation in Bourges in 1536 lasted, according to evidence, 40 days.
If in Italy the mystery died naturally, then in a number of other countries it was banned during the Counter-Reformation; in particular, in France - November 17, 1548 by order of the Paris Parliament; in Protestant England in 1672 the bishop of Chester banned the mystery, and three years later the ban was repeated by the archbishop of York. In Catholic Spain, mystery performances continued until the middle of the 18th century, they were composed by Lope de Vega, and Tirso de Molina, and Calderon de la Barca, Pedro; only in 1756 they were officially banned by the decree of Charles III.
Comedy is a genre of fiction characterized by a humorous or satirical approach, as well as a type of drama in which the moment of effective conflict or struggle of antagonistic characters is specifically resolved.
Aristotle defined comedy as "imitation of the worst people, but not in all their depravity, but in a ridiculous way" ("Poetics", ch. V). The earliest surviving comedies were created in ancient Athens and belong to the pen of Aristophanes.
Distinguish situation comedy And comedy of characters.
Sitcom (situation comedy, situation comedy) is a comedy in which events and circumstances are the source of the funny.
Comedy of characters (comedy of manners) is a comedy in which the source of the funny is the inner essence of characters (mores), funny and ugly one-sidedness, an exaggerated trait or passion (vice, flaw). Very often the comedy of manners is a satirical comedy, ridicules all these human qualities.
Vaudeville- a comedy play with couplet songs and dances, as well as a genre of dramatic art. In Russia, the prototype of vaudeville was a small comic opera of the late 17th century, which remained in the repertoire of the Russian theater even by the beginning of the 19th century.
Farce- a comedy of light content with purely external comic techniques.
In the Middle Ages, a type of folk theater and literature, widespread in the 14th-16th centuries in Western European countries, was also called a farce. Having matured within the mystery, the farce acquires its independence in the 15th century, and in the next century it becomes the dominant genre in theater and literature. Techniques of farcical buffoonery have been preserved in circus clowning.
The main element of the farce was not a conscious political satire, but a laid-back and carefree depiction of urban life with all its scandalous incidents, obscenity, rudeness and fun. In the French farce, the theme of the scandal between the spouses often varied.
In modern Russian, a farce is usually called profanity, an imitation of a process, for example, a trial.

DRAMA(Greek drama - action), one of the main genres of modern theatrical art (along with comedy and tragedy).

Drama is the youngest of the major genres. If the first theoretical study of tragedy and comedy known to us dates back to the 4th century. BC. ( Poetics Aristotle), the drama was singled out as a separate genre only in the 18th century. The theoretical substantiation of the new genre is associated with the name of the famous French encyclopedist Denis Diderot.

Being a materialist philosopher and at the same time a writer, playwright, Diderot in his theoretical and practical work proceeded from the postulate that art is an imitation of life. Therefore, he came up with a program for the radical transformation of the French theater, sharply objecting to the contemporary aesthetic trend of classicism. The strict canon of the classicist tragedy, with its elevated pathetic style, depiction of "ennobled nature", one-dimensional and static characters, coming from antique samples, was criticized by Diderot for being limited and isolated from life. In addition, in Diderot's principled position, his social views also played a significant role, which determined his demands for the democratization of theatrical art ( About dramatic poetry, 1758; Actor Paradox, 1770-1773, etc.).

The need for the democratization of the theater and the destruction of the strict formal canons of drama was the imperative of the time - it was not for nothing that the same principles were developed almost simultaneously in other European countries (in England - J. Lillo and E. Moore; in Germany - G. E. Lessing, etc.) .

Before Diderot, in theoretical works on dramaturgy, the class affiliation of genres was not questioned: tragedy tells about the life of the upper classes, comedy of the lower; these genres are strictly demarcated, and behind the tragedy in the 17th century. the designation of the "high" genre was assigned, for the comedy - "low". Diderot actually created a new theory of dramaturgy, not only denying the aesthetic or ideological hierarchy of genres, but also developing a new genre of “philistine drama” intermediate between tragedy and comedy, in the center of which are representatives of the third estate, “honest bourgeois” (later on the definition of a new genre, the term “drama” was fixed, the epithet could change depending on the problems and characters: “moral drama”, “philosophical drama”, “social drama”, etc.). It was this hero, whose experiences and suffering the author, and therefore the audience, take seriously and with sympathy, determined the fundamental novelty of the genre.

The new hero also entailed a change in the scale of the events depicted. If the heroes of the tragedy solve the cardinal problems of life, and their actions and destinies influence the development of society, then the events of the drama are more local. Its heroes can experience a true tragedy, but a personal, subjective tragedy that does not have a wide public resonance, but does not become less difficult or scary because of this. These principles undoubtedly brought dramaturgy closer to real life, in fact laying the foundation for psychological theater (and, therefore, bringing the art of the actor to a fundamentally new level), as well as the formation and development of additional genres of dramaturgy (melodrama, tragicomedy) and various aesthetic trends (sentimentalism, naturalism). , realism).

Today, drama is perhaps a comprehensive theatrical genre with formal boundaries and attributes that are difficult to define. In the theater, the term "drama" is often used in a broader sense - in application to any play, regardless of its genre. In addition, in theater studies and theater criticism, the term is often used as a synonym for the word "drama".

In everyday language, the word "drama" is used to define any out of the ordinary events of high intensity, as a rule - unhappy, accompanied by a great surge of emotions.

Tatyana Shabalina

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