Conflict in drama. Types of dramatic conflicts

Features of the conflict. Chekhov developed a special concept for depicting life and man - fundamentally everyday, “non-heroic”: “Let everything on stage be as complex and at the same time as simple as in life. People have lunch, they only have lunch, and at this time their happiness is formed and their lives are broken.” Traditional pre-Chekhov drama is characterized, first of all, by an event that disrupts the traditional course of life: a clash of passions, polar forces, and in these clashes the characters’ characters were more fully revealed (for example, in “The Thunderstorm” by A. N. Ostrovsky). In Chekhov's plays there are no acute conflicts, clashes, or struggles. It seems like nothing is happening in them. The episodes are filled with ordinary, even unrelated conversations, trifles of everyday life, and insignificant details. As stated in the play “Uncle Vanya”, the world will perish not from “loud” events, “not from robbers, not from fires, but from hatred, enmity, from all these petty squabbles...”. Chekhov's works do not move from event to event (we do not have the opportunity to follow the development of the plot - due to the lack of one), but rather from mood to mood. Plays are built not on opposition, but on unity, the commonality of all characters - unity in the face of the general disorder of life. A.P. Skaftymov wrote about the peculiarities of the conflict in Chekhov’s plays: “There are no guilty ones, therefore, there are no direct opponents. There are no direct opponents, there is no and cannot be a struggle. The culprit is a combination of circumstances that seem to be outside the sphere of influence of these people. The sad situation develops beyond their will, and suffering comes by itself.”

Conflict in a dramatic work drives the plot, gives rise to various conflicts, and helps reveal the characters’ characters. Conflict is a clash of different interests, different moral attitudes, different characters and temperaments. However, it can also be internal; conflict can be found even in lyrical works, where opposing images and concepts are connected, and at assembly junctions-contradictions.

Weakening the plot intrigue and muting the conflict due to the careful depiction of scenes, positions and characters extraneous to the main plot, acquiring completely independent meaning. The everyday flow of life in its small and random manifestations becomes a distinctive feature and the main object of depiction in Chekhov's drama. The “eventlessness” of Chekhov’s plays is directly related to their “many-heroes” (the absence of a central character, a bearer of a certain idea or an important value setting).

The originality of the new type of drama created by Chekhov clearly emerged. Everyday everyday life becomes the main and only source of dramatic conflict in Chekhov; the traditional struggle of characters in pre-Chekhov drama, the “collision of characters” (V.G. Belinsky’s formula), and plot twists and turns as the main form of action development lose their former, organizing role in Chekhov’s plays. The point here is not this or that event, not the contradictions of human interests and passions. In the world of Chekhov's drama, everyone, or almost everyone, suffers, and no one in particular is to blame. “...It is not individual people who are to blame, but the entire existing structure of life as a whole.”

Dialogues in Chekhov's plays acquired a “monological form.”

To create the impression of greater everyday verisimilitude, Chekhov also uses sound and noise effects: the sound of an alarm bell, the sound of a bell, playing the violin, the sound of an ax on trees. Accompanying or interspersing conversations and remarks of the characters, he achieves the fusion of verbal, “significant” and non-verbal, “insignificant” sound series into one common sound whole, in which the traditional rigid boundary between “significant” and “insignificant” begins to shift and blur. .

Strengthening the role of psychological “subtext”, the sphere of the hero’s hidden emotional experiences that are not reflected in his conscious speech, but are expressed in random remarks or slips of the tongue.

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The whole world is a theater,

And the people in it are actors.

This idea from Shakespeare can be the impetus for analyzing everyday life using the metaphor of theater. Its use allows us to see stable logic where we usually do not see it.

Social and cultural activities - activities social subjects, the essence and content of which are the processes of preservation, translation, mastery and development of traditions, values, norms in the field of artistic, historical, spiritual, moral, environmental and political culture

Dramatic conflict is one of the main types of artistic conflict. Unlike the clashes between people depicted in epic literature, dramatic conflict has clearly defined characteristics. Drama shows people in actions, in actions in which an acute struggle of opposing forces is manifested with the most concentrated expression of the characters and the entire spiritual make-up of the heroes. An indispensable property of character in drama is its conflict potential - the potential ability to put forward and defend one’s life position and aspirations in the struggle. This ability does not arise from psychological origins(firmness, determination, conviction, etc. - the hero of the drama may not possess all this), but precisely from the aesthetic laws of the drama, where character and conflict appear in unity, in fusion.

Approach to social analysis, associated primarily with Erwin Hoffmann, in which theater is the basis of the analogy with everyday life. Social activity is viewed as a “performance” in which actors both perform and direct their actions, seeking to manage the impressions conveyed to others (impression management). The goal of actors is to present themselves generally in a favorable light in ways consistent with specific roles and social "attitudes" - the latter term coined by Hoffmann for physical appearances that reflect special roles or status. In a similar way, social actors act as members of “troupes”, trying to maintain the “front” and hide the “backstage” from view. social relations. Since they will have to play different roles in different situations, they also, on occasion, find it necessary to practice audience segregation by hiding other roles performed which, if made visible, would threaten the impression created in present moment(for example, problems that could arise for a homosexual if his inclinations were revealed). The interaction model included in dramaturgy assumes the inevitability of action, which is partially implied. According to Hoffman, social order-- This random result, always threatening complications and failures

The essence and structure-forming function of conflict as the basis for the artistic unity of drama

The study of dramatic conflict seems promising and fruitful: it is in it, in our opinion, that the generic specificity of drama is revealed especially clearly. The hero, the action, and its organization in time and space are determined precisely by the uniqueness of the type of conflict. It also determines both the genre and the originality of the entire dramatic work as a single whole. Being the organizing principle for all levels of a dramatic work, from speech to ideological and thematic, it at the same time appears as a kind of mediator between extra-aesthetic and aesthetic reality. The evolution of drama from antiquity to the drama of the 20th century. is largely determined not so much by the internal laws of its development as by the historically changing type of conflict. Not only the dominant worldview of the era is directly related to its material life, but also. the subtlest nuances and minor changes in the spiritual life of people. As stated in The German Ideology, "even fog formations in the brains of people, and they are necessary products, a kind of evaporation of their material life process, which can be established empirically and which is associated with material prerequisites, reflecting the social contradictions of its time, the dramatic conflict is modified in parallel with the change in types of historical conflict, its essence and character . Drama combines the stability of the structure and the historically determined changeability of the worldview plan. The study of dramatic conflict should accordingly combine both typological and specific historical aspects of analysis. On modern stage In the development of theoretical thought, much has been done to create a historical typology of conflict, but, nevertheless, its creation is still a matter of the future.

At first glance, it seems that the problem of conflict has received sufficient scientific elaboration. Numerous works in the past have been devoted to the theory of drama in general and the problem of conflict in particular. Despite this, even today interest in it does not wane; it is enough to name the monographs by V. Khalizev, Y. Yavchunovsky, M. Polyakov, A. Pogribny, published over the past two years. The researchers come to the conclusion that “... the problem of artistic conflict has now been put on the agenda,” due, firstly, to the relevance of the problem being studied, and secondly, to its insufficient knowledge. Almost everyone who has dealt with this problem has not escaped the temptation to propose a typology of conflict in order to establish a kind of foundation for the constantly changing poetics of drama.

Arising in times of turbulent social upheaval, drama “absorbs” the atmosphere of a transitional time, reflecting, as a rule, a newly emerging worldview. As a result, it seems especially important to us to trace the influence of philosophy on drama, its structure, hero, composition and, of course, conflict. A change in the ideological zone itself naturally entails a transformation of all art and drama as well.

The creation of a “moving typology” is complicated by the ambiguity of the term “conflict”. In modern literary criticism, three main functional meanings of the term “conflict” can be distinguished:

1) the aesthetic equivalent of real life contradictions;

2) special shape character revelation;

3) constructive, principle defining internal shape works, drama structure.

The theoretical solution to the problem is complicated by the existence of duplicate terms collision-conflict, which in the vast majority of cases are used as synonyms. By emphasizing any one aspect of the meaning of the concept and term conflict, they thereby do not reveal the essence of this complex concept, which combines historical and aesthetic parameters.

It often turns out that one historical period, a certain dominant worldview of the era, conditioned by a certain socio-economic structure, forming a special variety of this or that type of conflict, is elevated to the determining factor of the entire structure of the drama,” whereas only the stage community determines a stable typological community.

Theoretical aspects and sources of the formation of artistic dramaturgical conflict

“Drama is in a hurry...” - Goethe.

Question about drama - object close attention not only literary critics, but also literature teachers, psychologists, methodologists, and theater experts.

Art critic I. Vishnevskaya believes that “it is drama that will help to deeply analyze time and destinies, historical events and human characters.” Emphasizing the deep connection between drama and theatre, Vishnevskaya states that “the drama of theatre, cinema, television, radio is the life of a modern schoolchild.” This fact is probably the reason that many students often know the content of dramatic (and sometimes epic) works only from television plays or film adaptations.

Researcher of the poetics of dramatic works M. Gromova, who has created a number of textbooks on dramaturgy containing interesting literary material, believes that undeservedly little attention is paid to the study of dramatic works.

A textbook by a famous Moscow scientist is also known. methodical school Z.S. Smelkova, which presents extensive material on dramaturgy. Considering dramaturgy as interspecies art form, Z. Smelkova emphasizes the stage purpose of drama, which “lives in the theater and takes on a complete form only with stage embodiment.”

As for methodological aids and developments, there are very few of them today. It is enough to name the works “Literature of the 20th Century” in two parts by V. Agenosov, “Russian Literature” by R.I. Albetkova, “Russian literature. 9th grade”, “Russian literature grades 10-11” by A.I. Gorshkova and many others.

The history of the development of drama gives us many examples when dramatic works never saw the stage during the author’s lifetime (remember “Woe from Wit” by A.S. Griboedov, “Masquerade” by M.Yu. Lermontov), or were distorted by censorship, or were staged in in a truncated form. Many of A.P. Chekhov's plays were incomprehensible modern theaters and interpreted opportunistically, in the spirit of the requirements of the time.

Therefore, today the question is ripe to talk not only about drama, but also about theater, about staging plays on the theater stage.

From this it becomes quite obvious that drama:

Firstly, one of the genera (along with epic and lyric poetry) and one of the main genres of literature (along with tragedy and comedy), requiring special study;

Secondly, drama should be studied in two aspects: literary criticism and theatrical art (the main task of our book).

The study of drama is determined by the requirements of standard literature curricula intended for students in schools, academic lyceums and vocational colleges. The objectives of the training programs are aimed at developing knowledge, skills and abilities to analyze a work of art and at educating true connoisseurs of art.

It is quite natural that students can glean interesting, scientific and educational information from Hegel’s “Aesthetics” (in the work of V.G. Belinsky “On Drama and Theater”, in the studies of A. Anikst “The Theory of Drama in Russia from Pushkin to Chekhov”, A.A. Karyagin A. “Drama - how” aesthetic problem", V.A. Sakhnovsky-Pankeev “Drama. Conflict. Composition. Stage life ", V.V. Khalizeva “Drama as a Phenomenon of Art”, “Drama as a Kind of Literature” (and many others.

It is also quite natural that today there are few textbooks that raise the problem of students’ perception of dramatic works in the aspect of theatrical art.

To some extent, the deficiency is compensated by modern textbooks and teaching aids on the theory of literature by V.V. Agenosova, E.Ya. Fesenko, V.E. Khalizeva and others, who rightly believe that without theater a play cannot have a full life. Just as a play cannot “live” without a performance, so a performance gives an “open” life to the play.

Literary critic E.Ya. Fesenko considers the distinctive feature of drama to be the reflection of the essential content of life “through systems of contradictory, conflicting relationships between subjects directly realizing their interests and goals,” which are expressed and realized in action. The main means of its implementation in dramatic works, according to the author, is the speech of the characters, their monologues and dialogues, stimulating the action, organizing the action itself, through the opposition of the characters.

I would also like to note the book by V. Khalizev “Drama as a Phenomenon of Art,” which discusses issues of plot construction.

In the works of E. Bentley, T.S. Zepalova, N.O. Korst, A. Karyagin, M. Polyakov and others also touch upon issues related to the study of artistic integrity and poetics of drama.

Modern methodological researchers M.G. Kachurin, O.Yu. Bogdanova and others) talk about the difficulties that arise when studying dramatic works that require a special psychological and pedagogical approach to the learning process.

“The study of dramatic poetry is, so to speak, the crown of the theory of literature... This kind of poetry not only contributes to the serious mental development of youth, but with its keen interest and special effect on the soul instills the noblest love for the theater, in its great educational significance for society” - V .P. Ostrogorsky.

The specific features of the drama are determined by:

Aesthetic properties of drama ( important sign dramas).

The size of the dramatic text (a small volume of drama imposes certain restrictions on the type of construction of plot, character, space).

The position of the author in a dramatic work is more hidden than in works of other types, and its identification requires special attention and reflection from the reader. Based on monologues, dialogues, remarks and remarks, the reader must imagine the time of action, the stop in which the characters live, imagine them appearance, manner of speaking and listening, catching gestures, feeling what is hidden behind the words and actions of each of them.

The presence of characters (sometimes called a poster). The author anticipates the appearance of the characters by giving brief description for each of them (this is a remark). Another type of remark is possible in the poster - the author's indication of the place and time of events.

Dividing the text into acts (or actions) and phenomena

Each action (act) of drama, and often a picture, scene, phenomenon, are relatively complete parts of a harmonious whole, subordinated to a specific plan of the playwright. There may be paintings or scenes within the action. Each arrival or departure of an actor gives rise to a new action.

The author's stage directions precede each act of the play and mark the character's appearance on stage and his departure. The remark also accompanies the speech of the characters. When reading a play, they are addressed to the reader, when staged on stage - to the director and actor. The author's remark gives a certain support to the “recreating imagination” of the reader (Karyagin), suggests the setting, the atmosphere of the action, the nature of the characters’ communication.

Remarque reports:

How is the hero’s line pronounced (“restrained”, “with tears”, “with delight”, “quietly”, “out loud”, etc.);

What gestures accompany him (“bowing respectfully,” “courteously smiling”);

What actions of the hero influence the course of the event (“Bobchinsky looks out the door and hides in fear”).

The stage directions describe the characters, indicate their age, describe their appearance, what kind of family relationships they are connected to, indicate the location of the action (“a room in the mayor’s house,” the city), “actions” and gestures of the characters (for example: “peers out the window and screams” ; "brave")

Dialogue form of text construction

Dialogue in drama is a multi-valued concept. IN in a broad sense The words dialogue is a form of oral speech, a conversation between two or more persons. In this case, part of the dialogue can also be a monologue (the speech of the character addressed to himself or to other characters, but the speech is isolated, independent of the interlocutors’ remarks). This may be a form of oral speech, close to the author's description in epic works.

In connection with this issue, theater expert V.S. Vladimirov writes: “Dramatic works allow portrait and landscape characteristics, designations outside world, playback inner speech only to the extent that all this “fits” into the word spoken by the hero during the action.” Dialogue in a drama is particularly emotional and rich in intonation (in turn, the absence of these qualities in a character’s speech is an essential means of characterizing him). The dialogue clearly reveals the “subtext” of the character’s speech (request, demand, conviction, etc.). Particularly important for characterizing a character are monologues in which the characters express their intentions. Dialogue in drama performs two functions: it characterizes the characters and serves as a means of development. dramatic action. Understanding the second function of dialogue is associated with the peculiarity of the development of conflict in drama.

Features of the construction of a dramatic conflict

The dramatic conflict determines all the plot elements of the dramatic action; it “illuminates the logic of the development of the “individual”, the relationships of the heroes living and acting in his dramatic field.”

Conflict is the “dialectic of drama” (E. Gorbunova), the unity and struggle of opposites. A very crude, primitive and limited understanding of the conflict as the opposition of two characters with different life positions. Conflict expresses a shift in times, a clash historical eras and appears at every point in the dramatic text. Hero before you accept definite decision or make the appropriate choice, goes through internal struggle hesitations, doubts, experiences of one’s inner self. The conflict is dissolved in the action itself and is expressed through the transformation of characters, which occurs throughout the play and is revealed in the context of the entire system of relationships between the characters. In this regard, V.G. Belinsky states: “Conflict is the spring that drives an action that should be directed towards one goal, one intention of the author.”

Dramatic twists and turns

The deepening of the dramatic conflict is facilitated by peripeteia (an important feature of the dramatic text), which carries specific function in the play. Peripeteia is an unexpected circumstance that causes complications, an unexpected change in some matter in the hero’s life. Its function is connected with the general artistic concept of the play, with its conflict, problematics and poetics. In the most different cases peripeteia appears as such a special moment in the development of dramatic relationships when they, one way or another, are stimulated by a certain new strength, intruding into the conflict from the outside.

Dual construction of the plot, working to reveal the subtext

Famous director and founder of the Moscow Art Theater K.S. Stanislavski divided the play into a “plan of external structure” and a “plan internal structure" For a great director, these two plans correspond to the categories “plot” and “outline”. According to the director, the plot of a drama is an event chain in spatio-temporal sequence, and the outline is a supra-plot, supra-character, supra-verbal phenomenon. If in theatrical practice this corresponds to the concept of text and subtext, then in a dramatic work - text and “undercurrent”.

“The dual structure of the text “plot-outline” determines the logic of the action of events, the behavior of the characters, their gestures, the logic of the functioning of symbolic sounds, the mixture of feelings that accompany the characters in everyday situations, pauses and remarks of the characters.” The characters of a dramatic work are included in the spatio-temporal environment, therefore the movement of the plot, the disclosure of the internal meaning (outline) of the play is inextricably linked with the images of the characters.

Each word in drama (context) has two layers: the direct meaning is associated with the external - life and action, figurative - with thought and state. The role of context in drama is more complex than in others. literary genres. Since it is the context that creates a system of means for identifying subtext and outline. This is the only opportunity to penetrate through the externally depicted events into the true content of the drama. The difficulty of analyzing a dramatic work lies in revealing this paradoxical connection between the outline and the plot, the subtext and the “undercurrent”.

For example, in the drama “Dowry” by A.N. Ostrovsky, the subtext is palpable in the conversation between merchants Knurov and Vozhevatov about the purchase and sale of a steamship, which imperceptibly moves on to the second possible “purchase” (this scene must be read in class). In conversation we're talking about about the “expensive diamond” (Larissa) and about “ good jeweler" The subtext of the dialogue is obvious: Larisa is a thing, an expensive diamond, which should only be owned by a rich merchant (Vozhevatov or Knurov).

Subtext appears in colloquial speech as a means of concealing “back thoughts”: the characters feel and think something other than what they say. It is often created by means of “dispersed repetition” (T. Silman), all links of which act with each other in complex relationships, from which their deep meaning is born.

The law of “tightness of the event series”

The dynamism of the action, the coherence of the characters’ remarks, pauses, and author’s remarks constitute the law of “crowdedness of the event sequence.” The tightness of the plot affects the rhythm of the drama and determines artistic design works. Events in the drama take place as if before the eyes of the reader (the viewer directly sees them), who becomes, as it were, an accomplice in what is happening. The reader creates his own imaginary action, which can sometimes coincide with the moment of reading the play.

Today, even the most unlimited capabilities of a computer cannot replace human-human communication, because as long as humanity exists, it will be interested in art, which helps to understand and solve moral and aesthetic problems that arise in life and are reflected in works of art.

A.V. Chekhov wrote about the fact that drama occupies a special place not only in literature, but also in the theater: “Drama has attracted, is attracting and will attract the attention of many theatrical and literary critics" In the writer’s recognition, the dual purpose of dramaturgy is also noticeable: it is addressed to both the reader and the viewer. This makes clear the impossibility of complete isolation in the study of a dramatic work from the study of the conditions of its theatrical implementation, “the constant dependence of its forms on the forms stage production"(Tomashevsky).

The famous critic V.G. Belinsky rightly sought a path to a synthetic understanding of a theatrical work as the result of an organic change in the functions and structure of individual types of art. It becomes clear to him the need to take into account the functional significance of the various structural elements of the play (as a dramatic work) and the performance. A theatrical work, for Belinsky, is not a result, but a process, and therefore each performance is “an individual and almost unique process that creates a number of specifications of a dramatic work, possessing both unity and difference.”

Everyone knows Gogol’s words: “A play lives only on stage... Take a long look at the entire length and breadth of the vital population of our free homeland, how many good people we have, but how many chaff there are, from which the good ones cannot live and for whom they cannot live.” follow no law. Take them to the stage: let all the people see them.”

A.N. also wrote in his time that only through stage execution “dramatic fiction receives a completely finished form.” Ostrovsky.

K.S. Stanislavsky repeatedly emphasized: “Only on the stage of the theater can you recognize dramatic works in their entirety and essence,” and further, “if it were otherwise, the viewer would not rush to the theater, but would sit at home and read the play.”

The question of the dual orientation of drama and theater also worried art critic A.A. Karyagin. In his book “Drama as an Aesthetic Problem” he wrote: “For a playwright, drama is rather a performance created by force creative imagination and recorded in a play, which can be read if desired, than a literary work, which, moreover, can be performed on stage. But this is not the same thing at all.”

The question of the relationship between the two functions of drama (reading and presentation) is at the center of two studies: “Reading and seeing the game. A Study of Simultaneity in Drama” by Dutch theater critic V. Hoogendoorn and “In the World of Ideas and Images” by literary critic M. Polyakov.

In his book, V. Hoogendoorn strives to give an accurate terminological description of each of the concepts he uses. Considering the concept of “drama”, V. Hoogendoorn notes that this term, with all the diversity of its meanings, has three main ones: 1) drama as a real linguistic work created in accordance with the laws of a given genre; 2) drama as the basis for creating a work of stage art, a kind of literary fabrication; 3) drama as a product of staging, a work recreated from a dramatic text by a certain team (director, actor, etc.) by refracting the information contained in the text and the emotional and artistic charge through the individual consciousness of each participant in its production.

The basis of V. Hoogendoorn's research is the assertion that the process of theatrical representation of drama differs from its mastery by the reader, since the perception of a theatrical production of a drama is both auditory and visual perception at the same time.

The concept of the Dutch theater scholar contains an important methodological idea: drama must be studied using the techniques of theatrical pedagogy. Visual and auditory perception of the text (when watching a performance and when acting out improvisational scenes) contribute to the activation of individual creative activity of students and the development of techniques for creative reading of a dramatic work.

M. Polyakov in the book “In the World of Ideas and Images” writes: “The starting point for describing such a complex phenomenon as a theatrical performance remains the dramatic text…. The verbal (verbal) structure of drama imposes a certain type of stage behavior, type of action, structural connections between gestures and linguistic signs" The specificity of the reader's perception of a dramatic work “is determined by the intermediate nature of its status: the reader is both an actor and a spectator; he, as it were, stages the play for himself. And this determines the duality of his understanding of the play,” says the literary critic. The process of perception of a dramatic work by the viewer, actor and reader is homogeneous, according to the author, only in the sense that each of them, as it were, passes the drama through his individual consciousness, his own world of ideas and feelings.

Dramatic conflict as the basis for organizing and conducting social and cultural events

Game and spectacle are two types of entertainment, the difference between which is obvious not only to a specialist, but also to the most inexperienced participant. In the first case, you are an actor - you sing, dance, climb a pole to get your boots, and indulge in other childish activities. In the second, you just observe others, strongly empathize with them or remain cold, but do not make any attempts to somehow influence their existence. A playful theatrical performance brings together play and spectacle. The viewer gets the opportunity to directly participate in the action and influence what is happening on stage. However, what should happen "playfully" is a big headache for the writers. How to call the audience onto the stage and involve them in the action according to the outline of the script? How to make sure that the amateur performance of the audience does not destroy, but develops the plot within the framework intended by the author? Each specific case requires search and endless ingenuity.

So, having written the test paper, we will draw the following conclusions:

1. Scenario game program represents a detailed literary and dramatic development of a theme or conflict. It clearly defines game episodes, their sequence, form and time of refereeing, and the inclusion of spectacular screensavers.

2. The screenwriting and director's move is a figurative movement of the author's concept, aimed at achieving the goal of artistic and pedagogical influence.

3. Creating a game program involves skillfully creating a game conflict situation.

4. A theatrical, plot-based game is a kind of story told in the language of quizzes, auctions, relay races, intellectual and artistic competitions, jokes, dances and songs.

5. The idea of the script is an artistic and figurative design of the set pedagogical goal in a concretely tangible temporal and spatial-plastic resolution.

6. Subject composition is a construction based on the semantic relationship between “facts of life” and “facts of art.” The plot is the author’s ideological and artistic concept, in which he reflects life’s patterns and connections.

7. There are traditionally two ways of interaction between the screenwriter and the material. In the first case, the screenwriter examines the facts associated with a certain event (or series of events), forms his own concept of what happened or is happening and writes a script, creating his own text based on what he has studied. In the second, the screenwriter selects documents (texts, audio-video materials), works of art or fragments from them (poems, excerpts from prose, vocal, instrumental and choreographic concert numbers) and, in accordance with his plan, joins them together using the so-called montage effect. A scenario arises that is called compilation.

8. The design of the game program includes: scenery, theatrical costume, makeup, props, light and noise design, as well as musical design. No event scenario will be successful without the use of these expressive means. There is even such a thing as decorative art - the art of creating visual image events through scenery and costumes, lighting and production technology. Decorative art helps to reveal the content and style of a performance and enhances its impact on the viewer. And the costumes, masks. decorations, etc. are elements of decorative art.

dramatic conflict artistic

Conclusion

Dramaturgy is characterized by acute contradictions, conflicts and collisions. Conflict serves to identify ideas, images, actions in struggle and clashes. The interaction of typical and individual traits of the characters is a reflection of the dialogic structure of the works.

In the dramaturgical concept, the starting point is the metaphor of the social teamwork of people: society is a huge theater. When communicating, people try to impress each other. As a rule, this happens unconsciously. At the same time, the roles that people play and the poses they take can be considered as typical social representations, i.e. symbolic designations of agreements between people about a way of behavior. The teamwork of members of a society manifests itself as one large symbolic joint action, and society as a series of situations in which people interact, make impressions, and explain their behavior to themselves and others. He imagined social interaction as a continuous series of small dramas that happen to each of us and in which we, as actors, play ourselves. Not only everyday quarrels, squabbles or conflicts can manifest themselves as drama, where a surge of emotions and passions seems to reach its apogee. Any everyday event is inherently already a dramatic performance, since we, even among loved ones, constantly put on and take off social masks, we ourselves create scenarios for each next situation and play it out according to unwritten social rules created by traditions and customs or our imagination and fantasy. Having entered into a conflict, a husband, wife, child or mother-in-law stubbornly adheres to the rules prescribed to them. social roles, which often contradict their own interests. Responding to his wife’s accusations that the husband has almost stopped being at home and seeing his children, he defends himself by presenting himself as a good performer of the role of father or husband, and by attacking his wife, he tries to discover the same role deficiencies in her: she is bad housewife or uncaring mother.

Any person during one day is involved in several “theaters of life” at once - in the family, on the street, in transport, in a store, at work. A change of stage, like a change of roles, introduces dynamics into everyday existence, honing our social professionalism. The more social groups and situations we participate in, the more social roles we perform. But unlike literary theater, in<театре жизни>the end of the play is unknown and cannot be replayed. In life, many dramas involve serious risks, sometimes life-threatening ones, and most of them unfold according to a scenario unknown to the actors.

The theater of life has its own dramaturgy, which is best described by the philosophy of existentialism. Analyzing borderline situations where a person has to accept the challenge of fate, solve such problematic situations, which are associated with the choice to live or die, E. Goffman invades the traditional field of existential sociology. Existentialists define an act of social action as the free choice of a person in a borderline situation, i.e. in fatal circumstances, where the individual either defends his right to exist, or this does not happen.

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In order to determine the importance of side conflicts in the dramaturgy of variety shows, we first look at the theory of dramaturgy as a whole.

Drama is one of the three types of literature, along with epic and lyric poetry. The main purpose of drama is acting on stage, and therefore the dramatic text consists of the characters’ remarks and the author’s remarks necessary for correct perception and the best performance. Note that the word drama itself is translated from ancient Greek language as “action”, which in fact means content, the essence of this type of literature.

Of course, it should be noted that we can talk about conflict and its significance in a work not only in relation to drama, but also in epic and lyrical works. But the television shows that will be dissected during the work are closest to drama. Just like the texts of dramas, show scripts are not intended to be read, but exist specifically for production (in our case, for production on television). Thus, it is advisable to pay attention to the role of conflict specifically in drama.

First you need to understand what lies at the heart of any dramatic work. “The action of a drama in the theories of the 19th century was understood as a sequence of actions of characters defending their interests in clashes with each other.” This perception of drama goes back to G. Hegel, who, in turn, relied on the teachings of Aristotle. Hegel believed that conflict and confrontation drive the action of drama, and he perceived the entire dramatic process as a constant movement towards the resolution of this conflict. That is why Hegel considered those scenes that do not contribute to resolving the conflict and moving forward to be contrary to the essence of drama. Therefore, the actions of the heroes, which constantly led to inevitable conflicts, according to Hegel, are one of the main features of a dramatic work.

Many other researchers agree with this perception of drama. For example, Doctor of Art History, theorist and playwright of the 20th century, V.A. Sakhnovsky-Pankeev argues that the key condition for the existence of drama is action, “arising as a result volitional efforts individuals who, in pursuit of their goals, enter into confrontation with other individuals and objective circumstances.” Russian playwright, theater critic and screenwriter V.M. agrees with this. Wolkenstein, who believed that the action develops “in a continuous dramatic struggle.”

In contrast to this perception of a dramatic work, there is another one. For example, such theorists as the Soviet literary critic B.O. Kostelanetz, and the German drama researcher M. Pfister, in their works, were of the opinion that drama can be based not only on the direct confrontation of heroes with each other, but also on certain events that themselves were the focus of conflicts and changed the fate of the heroes and their life circumstances. Likewise, B. Shaw believed that in addition to external conflicts, drama can be based “on discussions between characters, and ultimately on conflicts arising from the clash of different ideals.” That is why, adhering to a similar point of view, K.S. Stanislavsky separated two actions - internal and external. And if we talk about internal action, then it is impossible not to mention A.P. Chekhov, in whose plays there is almost no such action. The conflicts in Chekhov's dramas are not resolved through the actions of the characters; they are determined not by their lives, but by reality as a whole.

Combining these seemingly different approaches, V.E. Khalizev argues that in this way “the subject of depiction in drama can become any intensely active orientation of a person in life situation, especially in situations marked by conflict."

Accordingly, in any dramatic work there is a main conflict around which the entire plot is built. The main conflict is the main condition for the development, and therefore for the existence in general, of drama. And it is precisely in this contradiction, which is the conflict, according to A.A. Aniksta “displays the general state of the world.”

Let's take one of the generally accepted approaches to the composition of a drama, according to which its elements will be beginning, development, climax, and denouement. When talking about these parts of the composition of a dramatic work, we essentially mean the stages of development of the conflict. Conflict becomes the main theme of the drama and the main plot-forming element. And that is why “the conflict revealed in the work must exhaust itself with a denouement.” This perception of conflict as a necessary element of any dramatic work originated with Aristotle, who spoke of the inevitability of both beginnings and resolutions in tragedies.

Based on theories that arose in antiquity and were reflected in subsequent dramatic works, we can talk about the existence of a plot structure that was valid for the times of Hegel. It consists of three parts:

1) Initial order (balance, harmony)
2) Disturbance of order
3) Restoration or strengthening of order.

It is logical that if this system implies the restoration of lost harmony, then the conflict that formed the basis of the drama will inevitably be eliminated. This position is controversial for the drama of modern times, according to which “conflict is a universal property human existence". In other words, some conflicts are so large that they cannot be resolved by the aspirations of several heroes, and therefore cannot disappear in principle.

Based on these opposing views on the theory of conflicts in a dramatic work, V.E. Khalizev in his work talks about the existence of two types of conflict - “local”, which can be resolved through the efforts of several characters, and “substantial”, that is, those that are either universal in nature, and therefore cannot be resolved, or that have arisen (and accordingly and disappeared after some time) not by the will of man, but in the course of the historical process, natural changes. “The conflict of a dramatic (and any other) plot, therefore, either marks a violation of the world order, which is basically harmonious and perfect, or acts as a feature of the world order itself, evidence of its imperfection and disharmony.”

The main confrontation of a dramatic work, that is, its main conflict, organizes the main plot line of the work, being the main theme of the drama. So V.M. Wolkenstein, in fact, equates the concepts of conflict and the theme of a work, arguing that “the general theme of a dramatic work is conflict, that is, a single action leading to confrontation.”

Thus, we can distinguish two main approaches to the theory of conflicts in a dramatic work. One part of the researchers believes that an external conflict, an open confrontation between several characters, becomes the main one in a dramatic work, while another part of the researchers believes that the main conflict can also be an internal conflict, which is caused not by the actions of the characters, but by factors that are beyond their will.

As we have seen, dramatic action reflects the movement of reality in its contradictions. But we cannot identify this movement with dramatic action - reflection here is specific. That is why a category has appeared in modern theater and literary studies that includes both the concept of “dramatic action” and the specificity of reflecting contradictory reality in this action. The name of this category is dramatic conflict.

The conflict in a dramatic work, reflecting real life contradictions, has not just a plot-constructive purpose, but is also the ideological and aesthetic basis of the drama and serves to reveal its content. In other words, dramatic conflict acts both as a means and as a way of modeling the process of reality at the same time, that is, it is a broader and more voluminous category than action.

In its concrete artistic implementation and development, a dramatic conflict allows one to most deeply reveal the essence of the depicted phenomenon and create a complete and holistic picture of life. That is why most modern theorists and practitioners of drama and theater definitely assert that dramatic conflict is the basis of drama. It is the conflict of the drama that indicates

Marxist-Leninist aesthetics, unlike vulgar materialist aesthetics, does not identify the fundamentally different concepts of life contradictions and dramatic conflict. Lenin's theory of reflection states the complex, dialectically contradictory nature of the process of reflection itself. Real life contradictions are not directly, “mirrored” projected in the artist’s mind - they are perceived and interpreted by each artist in his own way, in accordance with his worldview, with a whole complex of individual mental characteristics, as well as with previous experience of art. The author's class and ideological position is determined primarily by what life contradictions reflect the dramatic conflicts he depicts and how he resolves them.

Each era, each period in the life of society has its own contradictions. The complex of ideas about these contradictions is determined by the level of public consciousness. Some theorists of the past called this complex of ideas, this view that generalizes important aspects of reality, the dramatic concept or the drama of life.

Of course, in the most direct, immediate form, this concept, this drama of life is reflected in dramatic works. The very emergence of drama as a type of art is evidence that humanity has reached a certain level of historical development and a corresponding understanding of the world. In other words, drama is born in a “civil” society, with a developed division of labor and an established social structure. Only under these conditions can a social and moral conflict arise, forcing the hero to choose one from a number of possibilities.

Ancient drama arises as art model genuine, essential, deep contradictions of existence associated with the crisis based on slavery ancient polis. The archaic period, with centuries-old customs, with the patriarchal traditions of the heroic age, was ending. “The power of this primitive community,” notes F. Engels, “had to be broken,” and it was broken. But she was broken under influences that directly appear to us as a decline, a fall from grace in comparison with the high moral level of the old tribal society. The basest motives - vulgar greed, crude passion for pleasure, dirty stinginess, selfish desire to plunder the common property - are the successors of the new, civilized, class society.”

Ancient drama gave absolute meaning to the contradictions of that particular historical reality. The dramatic concept of reality, which gradually took shape in ancient Greece, is limited by the idea of a universal “cosmos” (“proper order”). According to the ancient Greeks, the world is governed by a higher necessity, equivalent to truth and justice. But within this “proper order” there is continuous change and development, which is carried out through the struggle of opposites.

The socio-historical prerequisites for Shakespearean tragedy, as well as for ancient theater, are a change of formations, the death of an entire way of life. The class system was replaced by bourgeois orders. The individual is freed from feudal prejudices, but is threatened with more subtle forms of enslavement.

The drama of social contradictions was repeated at a new stage. The emergence of a new class society opened, as Engels writes, “that era, which is still ongoing, when all progress at the same time means relative regression, when the well-being and development of some is achieved at the cost of suffering and suppression of others.”

A modern researcher writes about the era of Shakespeare:

“For an entire era in the development of art, the tragic effect of resistance and death of the old, taken in its ideal and high content, constituted the general source of conflict...

Bourgeois relations were established in the world. And the alienation of the human from man was directly included in the conflicts of Shakespeare's tragedies. But their content is not reduced to this historical subtext; the current of action does not close on it.”

Free will the man of the Renaissance comes into tragic conflict with the moral norms of a new, “orderly” society - an absolutist state. In the depths of the absolutist state, the bourgeois order is maturing. This contradiction in various collisions was the basis of many conflicts in Renaissance drama and Shakespeare's tragedies.

The contradictions of historical development become especially acute in bourgeois society, where the alienation of the individual is caused by diverse forces embodied in the state apparatus, reflected in bourgeois norms of law and morality, in the most complex webs of human relationships that are in conflict with social processes. In a bourgeois society that has reached maturity, the principle of “every man for himself, one against all” becomes obvious. History is, as it were, the resultant of multidirectional wills.

Consideration of the essence of this new socio-historical collision helps to understand F. Engels’ instructions regarding the “alienation” of social forces: “Social force, i.e.

the combined productive force that arises due to the joint activity of various individuals due to the division of labor - this social force, due to the fact that the joint activity itself does not arise voluntarily, but spontaneously, appears to these individuals not as their own united force, but as some kind of alien, outside them standing power, about the origin and development trends of which they know nothing...”

Bourgeois reality, hostile to man, reflected in dramaturgy XIX- the beginning of the 20th century, as if he does not accept the hero’s challenge to a duel. It is as if there is no one to fight with - the alienation of social power here reaches extreme limits.

And only in Soviet dramaturgy did the powerful progressive course of history and the will of the hero - a man from the people - appear in unity.

Awareness of the movement of history as a result of class struggle made class contradictions the vital fundamental basis of the dramatic conflict in many works of Soviet drama, from the time of “Mystery Bouffe” to the present day.

However, all the richness and diversity of life’s contradictions told by Soviet drama does not come down to this. It also reflected new social contradictions, no longer generated by class struggle, but by differences in levels of social consciousness, differences in understanding the weight and priority of a particular task - political, economic, moral and ethical. These tasks and problems associated with their solution have arisen and will inevitably arise in the process socialist transformation reality. Finally, we must not forget the mistakes and misconceptions along the way.

Thus, the dramaturgical concept of reality in indirect form, in dramatic conflict (and even more specifically, through the struggle of individuals or social groups) gives a picture social struggle, deploying in action driving forces time.

Based on the semantics of the word, conflict, Some theorists believe that a dramatic conflict is, first of all, a specific clash of characters, characters, opinions, etc. And they come to the conclusion that drama can consist of two or more conflicts (social and psychological), of main and secondary conflicts and etc. Others identify the contradictions of reality itself with conflict as an aesthetic category, thereby revealing a misunderstanding of the essence of art.

The works of leading modern theater researchers and practitioners refute these erroneous assumptions.

The best plays of Soviet playwrights were never divorced from the most important phenomena of reality. Invariably maintaining a class approach to the phenomena of reality, the party-

With new certainty in their assessment, Soviet playwrights took and continue to take the dominant issues of our time as the basis for their works.

The construction of a communist society proceeds in stages, one stage provides for another, higher one, and this continuity must be understood and recognized by society. Theater, as one of the means of ideological support for the construction of communism, must deeply comprehend the processes occurring in life in order to contribute to the development and movement of society forward.

Thus, dramatic conflict is a broader and more voluminous category than action. This category contains everything specific features dramaturgy as an independent art form. All elements of the drama serve to best develop the conflict, which allows the most profound revelation of the depicted phenomenon and the creation of a complete and holistic picture of life. In other words, dramatic conflict serves to deeper and more clearly reveal the contradictions of reality and plays a major role in conveying the ideological meaning of the work. And the specific artistic specificity of reflecting the contradictions of reality is what is commonly called the nature of the dramatic conflict.

The different life material underlying the plays gives rise to conflicts that are different in nature.

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A.I. Chechetin

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A. I. Chechetin
Fundamentals of Theater Dramaturgy

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Farcical and other performances of the 19th century.
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Celebrations, festivals, mass celebrations, amateur theatrical movements of the 20-30s.
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