Compositional construction of cultural and leisure programs

1.4 The concept of composition in dramaturgy

The word "composition" goes back to the Latin words "compositio" (composition) and "compositus" - well located, slender, regular.

The subject of the image in a dramatic work is, social conflict, personified in the heroes of the work.

The history of drama shows that to create a holistic artistic image conflict event, to comply with a seemingly simple condition, to show not only the beginning of the conflict, but also its development and result, is by no means easy. The difficulty lies in finding the only correct dramatic development, and then the completion of the initial situation.

When the beginning of a play remains the most interesting part and further development goes from the beginning not “up”, but “down”, the author is forced to throw new “logs” into his dying fire, replacing the development of this conflict from its initial situation by starting some new, additional collisions. This path excludes the completion of the play by resolving the conflict with which it began, and leads, as a rule, to an artificial conclusion through the author’s willful disposal of the destinies of his characters.

Mainly due to the compositional complexity of creation dramatic work and a fair conviction arose that drama is the most complex type of literature. To this we should add: good dramaturgy. For it is easier to write seventy pages of a bad play than nine hundred pages of a bad novel.

In order to cope with compositional difficulties, the playwright needs to have a good understanding of his artistic task, know the basic elements of dramatic composition and imagine the “standard structure” of constructing a dramatic work. Of course, no work of art is written according to a predetermined pattern. The more original this essay, the better it will be.

The “Scheme” does not at all encroach on the individual originality of each given play, nor on the endless variety of works of dramatic creativity in general. It is conditional in nature and serves to clearly explain what compositional requirements we are talking about. It will also be useful for analyzing the structure of dramatic works.

Since without the basic elements of a dramatic composition - the image of the beginning of the struggle, the course (development) of the struggle and the result of the struggle - it is impossible to create a holistic image of a conflict event - their presence and the named sequence of arrangement in a dramatic work are necessary, in the full sense of the word, elementary artistic requirement dramatic art.

Hegel at one time drew attention to the need for the presence of the three named basic elements in a work of drama. Therefore, the principle diagram underlying dramatic work, is usually called the Hegelian triad.

For clarity, the fundamental structure of a dramatic work - Hegel's triad - can be depicted as follows:

The father of drama theory was Aristotle (384-322 BC). His “Poetics” is the first work that has come down to us containing the theory of dramatic art in Ancient Greece 1 . The most difficult thing in drama is the creation of a plot; Aristotle writes: “The plot is the basis and, as it were, the soul of tragedy”...

“Every tragedy has two parts: the beginning and the denouement. The plot “embraces” an event located outside the drama, and some of those that lie within it itself” 2.

The beginning is that part of the action “which extends from the beginning to the moment that is the limit from which the transition to happiness [or from happiness to unhappiness] begins” 3. the denouement is the rest of the action “from the beginning of this transition to the end” 4. Thus, Aristotle establishes two very important elements of the composition of drama related to its action. From ancient poetics, rules of composition were extracted that were mandatory for authors of comedies and tragedies. Here they are:

1. The basis of drama is the plot. This position of Aristotle, confirmed by Horace, is accepted by all drama theorists. It served as a justification for the need to carefully develop the intrigue of the play. Theorists and practitioners of drama give preference to simple plots over complex ones. However, while most critics and writers rejected the complex composition of dramatic action, considering it artificial, A.K. Tolstoy remained a supporter of well-developed dramaturgy. He saw in it an important means of achieving artistic effect. Construction of the drama by A.K. Tolstoy compared it to the composition of a symphony, which has a certain “pattern”. Every tragedy must have its own dramatic core. But it is not motionless, but on the contrary represents a certain movement of action 5.

2. Character typification.

Typification is understood as the correspondence of a character's image to the characteristics of a certain age, gender, profession, social status, etc. According to this understanding of typification, Achilles should always be angry, and Orestes gloomy, etc. As for comic characters, although they invented by the author, however, they must have features that are considered the most typical for of this nature: grumpiness for old people, falling in love for young people, cunning for servants and the like.

As is known, outstanding works of drama violated this limited understanding of typification.

3. Five-act structure of the play.

The division of the drama into five acts had its rationale. Its essence was seen in the fact that each act represented a certain stage in the composition of the play. “The Romans believed that the plot should be five acts,” wrote Giraldi Cinno. - The first contains an exposition. In the second, what is given in the exhibition begins to move towards its end. In the third, obstacles arise and changes occur. In the fourth, the opportunity begins to correct what caused all the troubles. In the fifth, the expected end occurs with a denouement corresponding to the entire exposition.”

Some rules of composition were especially great importance, since they determined the specifics of dramatic action. This applies in particular to how to structure the action as a whole. There were two trends in 16th-century theory and practice. One was to build the action of the tragedy, to concentrate attention on the misfortune that had already happened. The other is to dynamically depict events, emphasizing their drama. This dynamic principle opposed to a principle that can be called static. The event itself has already happened and the action is only to establish the fact of the incident. This kind of concept was proposed by Scaliger, considering it ideal 1.

Based on the fundamental structure of the work, we will list the specific elements of the dramatic composition, and then we will reveal the essence and purpose of each of them.

The beginning of the struggle is revealed in the exposition and in the outset of the main conflict.

The course of the struggle is revealed through specific actions and clashes of the heroes - through the so-called vicissitudes that make up the general movement of action from the beginning of the conflict to its resolution. Many plays (though not all) have a strong point high voltage action is the climax.

The result of the struggle is shown in the denouement (resolution) of the main conflict and in the finale of the play.

Every dramatic work necessarily has an exposition, that is, an initial part.

Exposition is the initial part of a dramatic work. Its purpose: to provide the viewer with the information necessary to understand the upcoming action of the play. Sometimes it is important to let the viewer know in what country and at what time the events take place. Sometimes it is necessary to communicate something that preceded the conflict.

Great French philosopher and the writer Denis Diderot (1713-1784) in his treatise “On Dramatic Poetry” - “On Interest”, in which Diderot develops the question: how to capture the attention of the public? In plays, the action should arise naturally, as if spontaneously: “Let them (the characters) form the beginning of the story without noticing it, let everything be dark for them, let them go to the denouement without suspecting it” 1. The meaning of this principle is that the viewer's attention should not be focused on external events, but on the experiences of the characters, their thoughts and feelings, their reactions to reality.

The action must be constructed economically and thoughtfully, in order to focus attention on the most important and significant.

Already the exposition of the drama is important for the entire subsequent development of dramatic events.

“The events chosen to begin the play will serve as the plot of the first scene; she will call the second, the second will call the third, and the act will be filled. It is important that the action proceeds with increasing speed and it is clear... the more events the first action leaves in an undeveloped state, the more details there will be for the following acts” 2. However, in striving for the reality of the exposition, one can make a mistake that will ruin the drama. The initial event should not be such that its interest exceeds the interest of subsequent scenes and events: “If you start with a strong moment, the rest will be written with equal tension, or will completely wither away. How many plays are killed by the beginning! The poet was afraid to start coldly and his positions were so strong that he could not support the first impression he made on me” 3.

The most common type of exhibition is a display of that last segment of everyday life, the course of which will be interrupted by the outbreak of conflict.

According to Gogol, the incident should seem alive, natural, and recently happened. Only when drama gives a natural, truthful picture of life, when the thought contained in it is capable of influencing the public, “then the work is alive, dramatic, boiling before the eyes of the viewer. And at the same time in highest degree the didactic is the height of creativity, accessible only to great geniuses” 1 .

Dramaturgy has much in common with folk tales and most likely originates from them. Dramaturgy took from folk tale, as his main topic, its main miracle, a social miracle - the victory of good over evil. There is also a lot in common between the construction of a fairy tale and the structure of a dramatic work. In particular, the exposition of most plays is built on the same principle as the exposition of a fairy tale. So, for example, “An old man lived with his old woman by the very blue sea,” says the beginning of Pushkin’s “Tales of the Fisherman and the Fish.” “The old man was catching fish with a seine. The old woman was spinning her yarn." This went on “exactly thirty years and three years,” but there was no “fairy tale.” Only when the old man caught a goldfish that spoke in a human voice, this ordinary flow of life was interrupted, the occasion for this story arose, and “The Tale of the Fisherman and the Fish” began.

The beginning in many plays is built on the same principle: “Once upon a time...” and suddenly “ gold fish“or the “golden egg” of this work is the conflict that will be depicted in it.

Another type of exposition - Prologue - the author’s direct address to the viewer, short story about the characters of the future action and its character. In a number of cases, the prologue exhausts the exposition, since the beginning of the conflict of the play is contained (announced) in it itself. Often, however, the prologue only opens the exposition, which then continues until the conflict begins by showing the flow of life that precedes it. This is how the beginning of Shakespeare's tragedy Romeo and Juliet is constructed. The exposition, after a brief prologue, continues throughout the entire first act.

Sometimes a play begins with an inversion, that is, showing how the conflict will end before the action begins. This technique is often used by authors of action-packed works, in particular detective stories. The task of inversion is to captivate the viewer from the very beginning, to keep him in additional tension with the help of information about what end the depicted conflict will lead to.

From what has been said, it should be clear that the exposition - the initial part of a dramatic work - lasts until the beginning of the plot - the plot of the main conflict of this play. It is extremely important to emphasize that we are talking about the beginning of the main conflict, the development of which is the subject of depiction in this play.

In the "Training Book of Literature" Gogol solves the problems of dramatic composition. Gogol defines the elements of composition that ensure truly dramatic development of the Action. The first thing a playwright must take care of is to create a “strictly and intelligently thought out plot” 1. The most important condition is the unity of action: “All persons who must act, or, better, between whom the matter must begin, must be taken in advance by the author; The author is concerned about the fate of each of them and cannot carry and move them quickly and in multitudes in the form of phenomena flying by. Every arrival of a person, apparently insignificant at the beginning, already announces his participation later. Everything that is not, is only because it is connected with the fate of the hero himself” 2.

The most important compositional principle, according to Gogol, is that “the writer, deprived of the opportunity to embrace all of reality, chooses one event, one incident, but one in which the most important patterns of life are revealed.

The plot should embrace all faces, not just one or two - touch what worries more or less everyone acting characters. Every hero is here; the flow and progress of the play produces a shock to the whole machine: not a single wheel should remain as rusty and not included in the work” 3.

Thus, the concept of “plot” includes the plot of the main conflict of the play. At the outset, his movement begins - dramatic action.

For example, from the very beginning of the tragedy "Romeo and Juliet" we encounter manifestations of the centuries-old conflict between the Montague and Capulet families. But this is not their enmity that is depicted in this work. It lasted for centuries, so they “lived and were,” but there was no reason for this play. Only when the young representatives of two warring clans - Romeo and Juliet - fell in love with each other, a conflict arose that became the subject of depiction in this work - a conflict between the bright human feeling of love and the dark misanthropic feeling of tribal enmity.

Some modern playwrights and theater critics express the opinion that in our time, when the pace and rhythms of life have accelerated immeasurably, it is possible to bypass the bases of exposition and begin the play immediately with the action, with the outset of the main conflict. This formulation of the question is incorrect. Only the heroes of the play can “start” a conflict. But we must understand the meaning and essence of what is happening. Like every moment real life- the life of the heroes of the play can only take place in a specific time and in a specific space. Not to designate either one or the other, or at least one of these coordinates, would mean an attempt to depict some kind of abstraction. The conflict in this unimaginable case would arise out of nothing, which contradicts the laws of movement of the continent in general. Not to mention such a difficult moment in its development as the movement of human relations. Thus, the idea of ​​doing without exposition when creating a play is not well thought out.

Sometimes the exposition is combined with the plot. This is exactly how it was done in “The Inspector General” by N.V. Gogol. The very first phrase of the mayor, addressed to the officials, contains all the necessary information for understanding the subsequent action, and at the same time, is the beginning of the main conflict of the play. Gogol's "The Inspector General" is the embodiment of precisely this principle of comedy composition and classic sample compositional unity... In The Inspector General there is not a single person, not a single position that was not closely connected with the main event, with its idea. All characters participate in the plot and its subsequent development of the action. Each of them lives on stage and reveals his own character in relation to the central conflict. All the characters in his play actively participate in the events and each has their own individual personality.

And so, according to Gogol, it is the idea that determines all the elements of composition in a drama: the plot, the plot, the development of the action, the role and significance of individual characters 1.

Sometimes the main conflict of the play does not appear immediately, but is preceded by a system of other conflicts. There is a whole cassette of conflicts in Shakespeare's Othello. The conflict between Desdemona's father - Brabantio and Othello. The conflict between Desdemona's unlucky fiancé, Rodrigo, and his rival, the more successful Othello. Conflict between Rodrigo and Lieutenant Cassio. There is even a fight between them. Conflict between Othello and Desdemona. It occurs at the end of the tragedy and ends with the death of Desdemona. Conflict between Iago and Cassio. And finally, another conflict. It is the main conflict of this work - the conflict between Iago and Othello, between the bearer of envy, servility, chameleonism, careerism, petty selfishness, which is Iago, and a straightforward, honest, trusting person, but with a passionate and furious character, which is Othello.

Resolution of the main conflict. As already mentioned, the denouement in a dramatic work is the moment of resolution of the main conflict, the removal of the conflict contradiction, which is the source of the movement of the action.

In Othello, the resolution of the main conflict occurs when Othello learns that Iago is a slanderer and a scoundrel. Let us note that this happens after the murder of Desdemona. It is wrong to believe that the denouement here is precisely the moment of murder. The main conflict of the play is between Othello and Iago. Killing Desdemona, Othello still does not know who his main enemy. Consequently, only clarification of Iago’s role is the denouement here.

The resolution of the conflict is possible only if the unity of action is maintained.

The theory of dramaturgy at one time considered it necessary to observe three unities in a dramatic work: the unity of time, the unity of place and the unity of action. Practice, however, has shown that dramaturgy easily dispenses with the unity of place and time, but the unity of action is a truly necessary condition for the existence of a dramatic work as a work of art.

The word “composition” goes back to the Latin words “compositio” (composition) and “compositus” - well located, slender, regular. Any work of art in all its types and genres must create complete image depicted. If the artist’s goal is to depict a person at work, he will certainly show the tools of labor, the processing material, and the working movement of the worker. If the subject of the image is the character of a person, his inner essence, sometimes it is enough for the artist to depict only the person’s face. Let us remember, for example, famous portrait Rembrandt "The Old Man". The person is not depicted here as a whole, but the integrity of the image not only did not suffer from this, but, on the contrary, benefited. After all, the subject of the image in in this case It is not the figure of the old man that appears, but his character. By depicting the face of an old man, Rembrandt creates a typical image of human character, characteristic of old people who have lived a long life filled with experiences. The image of the notes is quite complete and complete.

The subject of depiction in a dramatic work is, as we already know, a social conflict (of one scale or another), personified in the heroes of the work.

When the beginning of the play remains the most interesting part of it and further development from the beginning goes not “up” but “down”, its author is forced to throw new “logs” into his dying fire, replacing the development of a given conflict from its initial situation with the initiation of some new ones. , additional collisions. This path excludes the completion of the play by resolving the conflict with which it began, and leads, as a rule, to an artificial conclusion through the author’s willful disposal of the destinies of his characters. Mainly because of the compositional complexity of creating a dramatic work, a fair belief arose that drama is the most complex type of literature. To this we should add: good dramaturgy. For it is easier to write seventy pages of a bad play than nine hundred pages of a bad novel.

In order to cope with compositional difficulties, the playwright needs to have a good understanding of his artistic task, know the basic elements of dramatic composition and imagine the “standard structure” of constructing a dramatic work. It is no coincidence that the word structure is placed in quotation marks here. Of course, no work of art is written according to a predetermined pattern. The more original the essay, the better it will be. The “Scheme” does not at all encroach on the individual originality of each given play, nor on the endless variety of works of dramatic creativity in general. It is conditional in nature and serves to clearly explain what compositional requirements we are talking about. It will also be useful for analyzing the structure of dramatic works. At the same time. the proposed “standard structure” objectively reflects the composition of the dramatic work as such and, therefore, has some binding nature. The relationship between convention and obligation here is as follows: the content of the play and the ratio of the sizes of its parts are different in each given work. Their presence and sequence of arrangement are mandatory for all works.

Exposition is the initial part of a dramatic work. Its purpose: to provide the viewer with the information necessary to understand the upcoming action of the play. Lasts until the beginning of the plot - the plot of the main conflict of the play. It is extremely important to emphasize that we are talking about the beginning of the main conflict, the development of which is the subject of depiction in this play. Sometimes the exposition is combined with the plot. This is exactly how it was done in The Inspector General II. In Gogol. The resolution of the conflict is possible only if the unity of action is preserved, the main conflict that began in the beginning is preserved. This implies the requirement: this outcome of the conflict must be contained as one of the possibilities for its resolution already in the beginning. In the denouement, or better said, as a result of it a new situation is created, but in comparison with that which took place in the beginning, expressed in a new relationship between the characters. This new attitude can be quite varied. One of the heroes may die as a result of the conflict. The finale is the emotional and semantic completion of the work. “Emotionally” means that we are talking not only about the semantic result, not just about the conclusion from the work.

It is preferable to begin the analysis of a drama with the analysis of a small fragment, episode (phenomenon, scene, etc.). The analysis of an episode of a dramatic work is carried out practically according to the same scheme as the analysis of an episode epic work, with the only difference that the reasoning should be supplemented with an analysis of the dynamic and dialogic compositions of the episode.

So,
ANALYSIS OF AN EPISODE OF A DRAMATIC WORK

1. The boundaries of the episode are already determined by the very structure of the drama (the phenomenon is separated from other components of the drama); give the episode a title.
2. Characterize the event underlying the episode: what place does it occupy in the development of the action? (Is this an exposition, a climax, a denouement, an episode in the development of the action of the entire work?)
3. Name the main (or only) participants in the episode and briefly explain:
   • who are they?
   • what is their place in the system of characters (main, main, secondary, off-stage)?
4. Reveal the features of the beginning and ending of the episode.
5. Formulate the question, the problem that is in the spotlight:
   • author; characters.
6. Identify and characterize the theme and contradiction (in other words, mini-conflict) underlying the episode.
7. Describe the characters participating in the episode:
   • their attitude to the event;
   • to the question (problem);
   • to each other;
   • briefly analyze the speech of the participants in the dialogue;
   • analyze the author's remarks (explanations for speech, gestures, facial expressions, poses of the characters);
   • identify the characteristics of the characters’ behavior, the motivation for their actions (the author’s or the reader’s);
   • determine the balance of forces, grouping or regrouping of heroes depending on the course of events in the episode.
8. Characterize the dynamic composition of the episode (its exposition, plot, climax, denouement; in other words, according to what pattern the emotional tension develops in the episode).
9. Describe the dialogic composition of the episode: what principle is used to cover the topic?
10. Understand author's attitude to the event; correlate it with the culmination and idea of ​​the entire work as a whole; determine the author’s attitude to the problem.
11. Formulate the main idea (author's idea) of the episode.
12. Analyze the plot, figurative and ideological connections of this episode with other episodes of the drama.

Now let's move on to comprehensive analysis dramatic work. The success of this work is only possible if you understand the theory dramatic kind literature (see topic No. 15).

So,
1. The time of creation of the work, the history of the concept, brief description era.
2. The connection between the play and any literary direction or cultural era (antiquity, Renaissance, classicism, Enlightenment, sentimentalism, romanticism, critical realism, symbolism, etc.). How did the features of this direction appear in the work? 1
3. Type and genre of dramatic work: tragedy, comedy (of manners, characters, positions, cloak and sword; satirical, everyday, lyrical, slapstick, etc.), drama (social, everyday, philosophical, etc.), vaudeville, farce, etc. Check the meaning of these terms in the reference literature.
4. Specifics of the organization of drama action: division into actions, scenes, acts, phenomena, etc. The author's original components of the drama (for example, “dreams” instead of acts or actions in M. Bulgakov’s drama “Run”).
5. Playbill ( characters). Features of names (for example, “speaking” names). Main, secondary and off-stage characters.
6. Peculiarities dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.
7. Features of dramatic action: external - internal; “on stage” - “behind the stage”, dynamic (actively developing) - static, etc.
8. Features of the composition of the play. The presence and specificity of the main elements: exposition, increasing emotional tension, conflict and its resolution, a new increase in emotional tension, climaxes, etc. How are all the “sharp points” (especially emotional scenes) of the work related to each other? What is the composition of the individual components of the play (acts, actions, phenomena)? Here we need to name specific episodes that are these “sharp points” of action.
9. Specifics of creating dialogue in a play. Features of the sound of each character’s theme in dialogues and monologues. ( Brief Analysis dialogical composition of one episode of your choice).
10. Theme of the play. Leading topics. Key episodes (scenes, phenomena) that help reveal the theme of the work.
11. Problems of the work. Leading problems and key episodes (scenes, phenomena) in which the problems are especially acute. The author's vision of solving the problems posed.
12. Specifics of the author's remarks explaining:
    • actions of characters (acting);
    • stage environment, costumes and scenery;
    • the mood and idea of ​​a scene or phenomenon.
    • Specifics author's position, expressed through remarks.
13. The meaning of the play's title.

An important aspect of a dramatic work is composition. There are several types of drama composition as a type of literature. Let's look at some of them:

The plot composition is the totality of all the relationships of the characters, the system of their speeches, gestures and actions, connected by a single author’s goal, that is, the main theme of the dramatic work. This set is aimed at revealing the characters’ characters, the reasons for their dependence on everyday and psychological characteristics.

Dynamic composition is the linking of all the acute points of dramatic action organized by the author (exposition -> increase in action -> conflict -> resolution -> increase -> climax -> decline, etc.). Dynamic composition is characteristic both of the entire work and of its individual components: actions, acts, phenomena, scenes, paintings, etc.

Dialogue composition is a technique for creating dramatic dialogue, of which there can be many:

Each character has his own theme and has his own emotional mood (diversity of themes);

Topics change periodically: from line to line, from episode to episode, from action to action (change of topic);

The theme is developed in dialogue by one character and picked up by another (theme pick-up);

The theme of one character in the dialogue is interrupted by another, but does not leave the dialogue (topic interruption);

Characters go off topic and then return to it;

The characters return to a topic left in one dialogue in another;

The topic can be interrupted without completion (topic failure).

Plot - a set of events work of art, given in the sequence that corresponds to the author’s intention, that is, in the one in which the author wants to inform the reader about these events. This is how the plot differs from the plot. B.V. Tomashevsky (1890-1957), a famous Russian literary critic, said that the plot is what actually happened, and the plot is how the reader learned about it. Fabula is how you can retell the content of a work (fabula in Latin means “narration, story”; plot is a processed plot, a story told in the sequence of events that was created by the author’s intention).

The main stages of the plot are exposition (“backstory”, what precedes the beginning of the development of the action, “life before the event begins”), plot (the beginning of the action, the conflict is indicated), development of the action (the conflict develops, matures), climax (the conflict reaches its greatest tension and witticisms), denouement (resolution of the conflict in one way or another), epilogue (aftereffect: the consequences of what was described, “life after the event”). In classical drama, the most important sequential stages of the plot are especially clearly expressed: beginning, development of action, climax, denouement. Thus, in the drama “Dowry”, after a short exposition (scene 1 and the beginning of scene 2, in which the viewer gets a general impression of life in the Volga city and the future heroes of the events), the beginning occurs already in the second scene of the first act: it becomes known that he has arrived in the city Sergei Sergeich Paratov, and Larisa Ogudalova marries an insignificant, pathetic, poor official Karandyshev. The action develops rapidly, the tension of conflicts - love, base monetary interests of the characters, hopes and despair - reaches a climax in the third act (phenomenon 12: Larisa makes her decision and leaves on the ship with Paratov for the night, which is tantamount to shame and death); The denouement comes at the end of the fourth act (scenes 11-12): Karandyshev kills Larisa with a pistol shot, and she dies. Her last remark and the author’s last remarks conclude the play: “...Live, live, everyone! You need to live, but I need... to die... I don’t complain about anyone, I don’t take offense at anyone... you all good people... I love you all... everyone. (Sends a kiss).” There is no epilogue in this case. The sequence of plot elements can and often is disrupted. Thus, in Gogol’s “The Inspector General” the beginning is already the first phrase of the comedy (remember it).

The architectonics of drama - its division into structural units, from the largest - actions - to the smaller - scenes or the smallest - phenomena - resembles the structure of a nesting doll: phenomena develop into scenes, scenes - into actions. In many plays the scenes are not distinguished at all, and the actions consist of a sequential series of phenomena. The elementary building unit of the play is thus the phenomenon. It represents a certain situation with the place and other circumstances of the action specified by the playwright and a certain set of participants (actors).

Source (abbreviated): Michalskaya, A.K. Literature: Basic level: 10th grade. At 2 p.m. Part 1: study. allowance / A.K. Mikhalskaya, O.N. Zaitseva. - M.: Bustard, 2018