Literature. Recommendations
"Analysis dramatic 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
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.
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?)
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)?
Reveal the features of the beginning and ending of the episode.
Formulate the question, the problem that is in the spotlight:
author; characters.
Identify and characterize the theme and contradiction (in other words, mini-conflict) underlying the episode.
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.
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).
Describe the dialogic composition of the episode: what principle is used to cover the topic?
Understand the 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.
Formulate the main idea (author's idea) of the episode.
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,
The time of creation of the work, the history of the concept, brief description era.
The connection of the play with any literary movement 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
Type and genre dramatic work: tragedy, comedy (of manners, characters, positions, cloak and sword; satirical, everyday, lyrical, slapstick, etc.), drama (social, everyday, philosophical, etc.), vaudeville, farce, etc. Meaning Check these terms in the reference literature.
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”).
Playbill ( characters). Features of names (for example, “speaking” names). Main, secondary and off-stage characters.
Peculiarities dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc. Features of dramatic action: external - internal; “on stage” - “behind the stage”, dynamic (actively developing) - static, etc. 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.
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).
Theme of the play. Leading topics. Key episodes (scenes, phenomena) that help reveal the theme of the work.
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.
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.
The meaning of the play's title.
1. This point is revealed if such features are clearly expressed in the work (for example, in the classicist comedies of D. Fonvizin or in the comedy “Woe from Wit” by A. Griboyedov, which combined the features of three directions at once: classicism, romanticism and realism).
Recommendations for the topic theory >>
When analyzing a dramatic work, you will need the skills that you acquired while completing tasks to analyze an episode of the work.
Be careful and strictly adhere to the analysis plan.
Topics 15 and 16 are closely related to each other, so successful completion of the work is possible only if detailed study theoretical materials on these topics.
You should read those works of art, which can be considered within the framework of this topic, namely:
A.S. Griboyedov. Comedy "Woe from Wit"
N. Gogol. Comedy "The Inspector General"
A.N. Ostrovsky. Comedy "Our people - we will be numbered!"; dramas "The Thunderstorm", "Dowry"
A.P. Chekhov. Play "The Cherry Orchard"
M. Gorky. The play "At the Bottom"
Attached files
Dramaturgy of the play based on the play by Leonid Andreev
"The One Who Gets Slapped"
Music for the play:
Spleen: “Rock and Roll Star”, “Romance”, “Are You Dreaming About It”
“We sat and smoked”, “Riki-Tiki-Tavi”
"Plastic Life", "Sihanoukville"
"Chateau Margaux"
L. V. Beethoven Third movement of the 14th sonata in Spanish. Victor Zinchuk.
ANALYSIS OF A DRAMATIC WORK
1) The theme of the play is Love, which everyone is looking for, but does not find, because... they themselves do not know how to love, trying to achieve it, even from “predators”, and only the hero loves, loves sincerely and openly, without trying to take possession of her completely himself. Ready to make any sacrifice in the name of this high feeling, which I experienced for the first time in my life, being already a married man and completely disillusioned with people, and even with existence itself, as a bright and extraordinary person that he himself was.
2) Idea of plays s: The arrival of a stranger, very often in classical works Russian and foreign authors, the appearance of someone else out of place leads to tragic consequences. (The destruction of two families - “Wuthering Heights” by E. Bronte.) Also from Andreev: a man from an aristocratic society who appears in a traveling circus destroys the established way of life with his appearance, thereby introducing a note of discord, both between the circus workers and his own life condemns himself to death along with an innocent girl, endowing himself with a divine symbol.
Andreev himself is an unusual symbolist writer, a friend of A. Blok and others. The symbols of his work begin with the name of the hero and heroine. “That one” - Where from? Why? "Thoth" is the God of wisdom in Egyptian mythology. "Consuella" is a consolation. To start working on the play, having the name of the heroine and knowing that it was taken from the novel by George Sand (the pseudonym of the French writer Aurora Dupin, the lover of Frederic Chopin, the great composer, who wore trousers and smoked a pipe, thereby challenging aristocratic society, mother of five children, the writer is a romantic, in her prose one can discern the features of Gothic prose, from which we can conclude that Walter Scott had a huge influence on her) the name of the heroine, which Leonid Andreev took not by chance, the heroine was not only consoled, but also rested in peace in at a young age. It is difficult to accurately define the idea; the more you delve into the material, the more it seems to have a double, and sometimes even a triple bottom. A deeply philosophical tragedy in which the real names of all the characters are not explained; they are all bearers of the stage name. Nameless heroes, looking at us from the past, no matter what, retain and carry all those human qualities and eternal human mistakes, and therefore they themselves become some kind of symbols of eternal values and great losses, where values take on a different character. The idea of the play is that the height of the spirit is determined by the lowness of the position, for some reason the power of money gives the right to buy innocent children's souls? In the wake of perestroika in our state, this particular play seemed especially relevant to me, where people commit crimes that are redeemed thanks to their wealth, and do not bear any responsibility for it. We come across such stories all the time.
3) The main conflict is “...after all, they buy everything beautiful!” Zinida. As they are bought and sold human souls. The hero came to this world in order to change it, since he himself fell into this system of buying and selling (the scene of the appearance of the Master). We know that the world cannot be changed.
4) The main events of the play: There is not a single event in L. Andreev’s work that does not contain symbols of mysticism and riddles.
a) Initial event: The hero leaves his usual habitat, the hero’s internal moral conflict leads him to a traveling circus.
b) The appearance of a hero in the circus, where its own life flows, where there are its own laws and its own ideas about it, but even in the circus the hero plunges into an infinity of problems, and the circus is a “model” of the world order from which he escaped.
c) Meeting of hero and heroine stirred the hero's soul, since the heroine, in his opinion, possessed divine innocence and purity of soul. “Struck by Cupid’s arrows,” he is ready to do anything to stay by her side.
d) The hero is forced to open the door to the circus director its origin, thereby leading to confusion and amazement.
e) Clarification of the relationship between Zinida and Bezano, becoming a witness to this scene, the hero discovers the secret aspects of the life of this circus, as well as the secret aspects of the life of the world and any society in which people are forced to live, which are already familiar to him.
f) The heroine’s teacher set out to sell it to a perverted baron who is clearly in his old age. This fact leaves all the characters indifferent, except the hero in love.
g) Clown Jim forbids the hero to peer and sneer at Providence, due to something already experienced. The hero receives a real slap in the face, because he has not yet learned that one cannot work for nothing. Here the author clearly draws a parallel between himself and the hero of the play.
h) Confidential conversation of the hero with the heroine’s “educator”. The conversation was paid for by the hero in material terms. Another step towards saving the heroine from the web, into which an innocent creature should fall, was not crowned with success, because... too much power of money.
i) Tiger Tamer Zinida loses consciousness after colossal dedication and nervous tension in the arena with tigers, having crossed the permitted boundaries, being already sure that she will now be torn apart by predators, and thereby blowing up auditorium, appears, trying to still hold on, but loses consciousness, which causes a general commotion throughout the circus. I limited this striking event of the play with the internal discord of the tamer with the dislike of people and the devotion of predators.
j) Divine innocence of the heroine in this event he asks the hero a question - “What is love?” Already trying to take advantage of the love of others (Jim, Thomas, Tilly and Polly, Besano, Zinida, Papa Briquet). The hero does not answer her question directly, but tries to openly confess his love, raising himself to the same level as divine innocence, clothing his soul in divine wisdom, trying to make the illiterate girl, who is unable to comprehend, understand his profound words and look into “second bottom” (or second plane) used by the hero. When the hero receives a slap, he turns everything into a game, fortune telling, etc. And she just wants to be full all the time.
k) The Coming of the Master, the culmination of the work. This event completely reveals the hero’s life before joining the circus, and in this event the author clearly makes it clear how endless the destruction of one’s own kind is due to envy, self-interest, and the desire for fame.
m) Trying to persuade the rider, also in love with the heroine, to save the girl, stumbles upon silence, and the impossibility of doing this, due to his own convictions.
n) The Tamer makes it clear to the hero that he is “superfluous”, if he is superfluous in the world from which he came, and superfluous here, then what is the point in further existence?
o) Clowns during a benefit performance the heroines feel like frauds, because... They understand that they cannot go against fate.
p) The heroine realized what life with the baron threatened her with, and in tears asks the hero for help, although he understands that nothing can be returned.
p) Poisoning, that's the only thing What remains for the hero to save an innocent soul, and he himself dies.
c) While still conscious, after the heroine’s breathing has stopped, he hears Thomas running in and reports that the baron has shot himself. The hero's assessment is the end of the tragedy human life, where very often close souls are forced to live apart.
r) The Outrage of Clown Jim, and the explanation of the tamer, this is the final point of the mysterious and mystical work of L. Andreev.
Related information.
"Analysis of a dramatic 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 of an epic work, with the only difference that the reasoning should be supplemented with the point of analysis of the dynamic and dialogic compositions of the episode.
So,
ANALYSIS OF AN EPISODE OF A DRAMATIC WORK
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.
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?)
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)?
Reveal the features of the beginning and ending of the episode.
Formulate the question, the problem that is in the spotlight:
Identify and characterize the theme and contradiction (in other words, mini-conflict) underlying the episode.
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;
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.
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).
Describe the dialogical composition of the episode: what principle is used to cover the topic?
Analyze the plot, figurative and ideological connections of this episode with other episodes of the drama.
Now let's move on to a comprehensive analysis of the dramatic work. The success of this work is possible only if you understand the theory of dramatic literature (see topic No. 15).
So,
The time of creation of the work, the history of the concept, a brief description of the era.
The connection of the play with any literary movement 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
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.
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”).
Playbill (characters). Features of names (for example, “speaking” names). Main, secondary and off-stage characters.
Features of dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.
Features of dramatic action: external - internal; “on stage” - “behind the stage”, dynamic (actively developing) - static, etc.
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.
Specifics of creating dialogue in a play. Features of the sound of each character’s theme in dialogues and monologues. (A brief analysis of the dialogic composition of one episode of your choice).
Theme of the play. Leading topics. Key episodes (scenes, phenomena) that help reveal the theme of the work.
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.
actions of characters (acting);
stage environment, costumes and scenery;
the mood and idea of a scene or phenomenon.
The meaning of the play's title.
1. This point is revealed if such features are clearly expressed in the work (for example, in the classicist comedies of D. Fonvizin or in the comedy “Woe from Wit” by A. Griboyedov, which combined the features of three directions at once: classicism, romanticism and realism).
When analyzing a dramatic work, you will need the skills that you acquired while completing tasks to analyze an episode of the work.
Be careful and strictly adhere to the analysis plan.
Topics 15 and 16 are closely related to each other, so successful completion of the work is only possible with a detailed study of theoretical materials on these topics.
A.S. Griboyedov. Comedy "Woe from Wit"
N. Gogol. Comedy "The Inspector General"
A.N. Ostrovsky. Comedy "Our people - we will be numbered!"; dramas "The Thunderstorm", "Dowry"
A.P. Chekhov. Play "The Cherry Orchard"
M. Gorky. The play "At the Bottom"
Plan for analyzing a work of art.
1. History of creation.
2. Topic.
3. Issues.
4. The ideological orientation of the work and its emotional pathos.
5. Genre originality.
6. Basic artistic images in their system and internal connections.
7. Central characters.
8. The plot and structural features of the conflict.
9. Landscape, portrait, dialogues and monologues of characters, interior, setting.
10. Speech structure of the work (author’s description, narration, digressions, reasoning).
11. Composition of the plot and individual images, as well as the general architectonics of the work.
12. The place of the work in the writer’s work.
13. The place of the work in the history of Russian and world literature.
General plan answer to the question about the meaning of the writer’s creativity.
A. The place of the writer in the development of Russian literature.
B. The place of the writer in the development of European (world) literature.
1. The main problems of the era and the writer’s attitude towards them.
2. Traditions and innovation of the writer in the field:
a) ideas;
b) topics, problems;
V) creative method and style;
d) genre;
e) speech style.
B. Evaluation of the writer’s work by classics of literature and criticism.
Rough plan characteristics of the artistic image-character.
Introduction. The place of the character in the system of images of the work.
Main part. Characteristics of the character as a certain social type.
1. Social and financial situation.
2. Appearance.
3. Originality of worldview and worldview, range of mental interests, inclinations and habits:
a) the nature of activities and main life aspirations;
b) influence on others (main area, types and types of influence).
4. Area of feelings:
a) type of attitude towards others;
b) features of internal experiences.
5. Author's attitude to the character.
6. What personality traits of the hero are revealed in the work:
a) using a portrait;
b) in author's description;
c) through the characteristics of other actors;
d) using background or biography;
e) through a chain of actions;
e) in speech characteristics;
g) through “neighborhood” with other characters;
h) through the environment.
Conclusion. Which public problem led the author to create this image.
Plan for analyzing a lyric poem.
I. Date of writing.
II. Real biographical and factual commentary.
III. Genre originality.
IV. Ideological content:
1. Leading topic.
2. Main idea.
3. Emotional coloring feelings expressed in a poem in their dynamics or statics.
4. External impression and internal reaction to it.
5. The predominance of public or personal intonations.
V. Structure of the poem:
1. Comparison and development of basic verbal images:
a) by similarity;
b) by contrast;
c) by contiguity;
d) by association;
d) by inference.
2. Basic visual arts allegories used by the author: metaphor, metonymy, comparison, allegory, symbol, hyperbole, litotes, irony (as a trope), sarcasm, periphrasis.
3. Speech features: epithet, repetition, antithesis, inversion, ellipse, parallelism, rhetorical question, appeal and exclamation.
4. Main rhythmic features:
a) tonic, syllabic, syllabic-tonic, dolnik, free verse;
b) iambic, trochaic, pyrrhic, spondean, dactyl, amphibrachic, anapest.
5. Rhyme (masculine, feminine, dactylic, accurate, inaccurate, rich; simple, compound) and rhyming methods (paired, cross, ring),
6. Stanza (couple, tercet, quintet, quatrain, sextine, seventh, octave, sonnet, Onegin stanza).
7. Euphony (euphony) and sound recording (alliteration, assonance), other types of sound instrumentation.
Comprehensive analysis of a dramatic work.
1. The time of creation of the work, the history of the concept, a brief description of the era.
2. Which one? literary direction belongs to a dramatic work? How did the features of this direction appear in the work? 1
3. Type and genre of dramatic work
4. Specifics of the organization of drama action: 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 non-stage characters.
6. Features 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. (A brief analysis of the dialogic 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.
· actions of characters (play of actors);
· stage environment, costumes and scenery;
· mood and idea of a scene or phenomenon.
13. The meaning of the title of the play.