What is an epic work in literature. What is epic

epic

Epic (from epic and Greek poieo - I create) is an extensive piece of art in verse or prose, telling about significant historical events. Usually describes a series of major events within a particular historical era. Initially, it was aimed at describing heroic events.

Widely known epics: "Iliad", "Mahabharata".

Novel

A novel is a large narrative work of art, in the events of which many characters usually take part (their fates are intertwined).

A novel can be philosophical, historical, adventure, family, social, adventurous, fantastic, etc. There is also an epic novel that describes the fate of people at a turning point. historical eras("War and Peace", " Quiet Don", "Gone With the Wind").

A novel can be both in prose and in verse, contain several storylines, include works of small genres (story, fable, poem, etc.).

The novel is characterized by the formulation of socially significant problems, psychologism, disclosure through conflicts of the inner world of a person.

Periodically, the genre of the novel is predicted to decline, but its wide possibilities in reflecting reality and human nature allow it to have its attentive reader in the next new times.

Many books and scientific works are devoted to the principles of construction and creation of the novel.

Tale

The story is a work of art that occupies a middle position between the novel and the story in terms of the volume and complexity of the plot, built in the form of a narrative about the events of the protagonist in their natural sequence. As a rule, the story does not pretend to pose global problems.

Widely known stories: "The Overcoat" by N. Gogol, "The Steppe" by A. Chekhov, "One Day in the Life of Ivan Denisovich" by A. Solzhenitsyn.

Story

A story is a short work of art with a limited number of characters and events. There can be only one episode from the life of one character in a story.

The short story and the novella are the genres with which they usually begin their literary creativity young writers.

Novella

A short story, like a story, is a small work of art, which is characterized by brevity, lack of descriptiveness, and an unexpected denouement.

The novels by J. Boccaccio, Pr. Merimee, S. Maugham.

Vision

A vision is a narrative of events revealed in a (supposedly) dream, hallucination, or lethargic dream. This genre is characteristic of medieval literature, but is still used today, usually in satirical and fantastic works.

Fable

A fable (from "bait" - to tell) is a small work of art in a poetic form of a moralizing or satirical nature. At the end of the fable, there is usually a brief moralizing conclusion (the so-called morality).

In the fable, the vices of people are ridiculed. In this case, the actors, as a rule, are animals, plants or various things.

Parable

A parable, like a fable, contains moral teaching in allegorical form. However, the parable chooses people as heroes. It is also presented in prose form.

Perhaps the most famous parable is the Parable of prodigal son from the Gospel of Luke.

Story

A fairy tale is a work of art fictional events and heroes, in which magical, fantastic forces appear. A fairy tale is a form of teaching children the right behavior, observance of social norms. It also transmits important information for humanity from generation to generation.

Modern look fairy tales - fantasy - a kind of historical adventure novel, the action of which takes place in a fictional world close to the real one.

Joke

An anecdote (fr. anecdote - a tale, a fable) is a small prose form, characterized by conciseness, unexpected, absurd and funny denouement. A joke is a play on words.

Although many anecdotes have specific a second ones, as a rule, their names are forgotten or initially remain “behind the curtain”.

A collection of literary anecdotes about the writers N. Dobrokhotova and Vl. Pyatnitsky, erroneously attributed to D. Kharms.

More detailed information on this topic can be found in the books of A. Nazaikin

Epos, unlike lyrics and drama, is impartial and objective at the moment of narration.

epic genres

• Large - epic, novel, epic poem (epic poem);
• Middle - story,
• Small - story, short story, essay.

The epic also includes folklore genres: a fairy tale, an epic, a historical song.

Meaning

An epic work has no limits in its scope. According to V. E. Khalizev, “Epos as a kind of literature includes both short stories(…) and works intended for long listening or reading: epics, novels (…)”.

A significant role for epic genres is played by the image of the narrator (narrator), who talks about the events themselves, about the characters, but at the same time delimits himself from what is happening. The epic, in turn, reproduces, imprints not only what is being told, but also the narrator (his manner of speaking, mentality).

An epic work can use almost any artistic means known to literature. The narrative form of the epic work "contributes to the deepest penetration into the inner world of man."

see also

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Literature

• Veselovsky A. N., Shishmarev V. F.,. Epos // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
• Khalizev V. E. Theory of Literature. - M ., 2009. - S. 302-303.
• Belokurova S. P. .

An excerpt characterizing the Epos (genus of literature)

– Is that something?! the girl asked in fear. – Is that really where we are?... – pointing to her bloodied physical face, she whispered quite quietly. – How so... but here, it's also us?..
It was clear that everything that was happening shocked her, and her greatest desire at that moment was to hide somewhere from all this ...
– Mom, where are you?! the baby suddenly screamed. - Mom-ah!
She looked to be about four years old, no more. Thin light pigtails, with huge pink bows woven into them, funny "pretzels" bristled on both sides, making her look like a kind faun. Wide-open large gray eyes looked perplexedly at the world she knew so well and so familiarly, which suddenly for some reason became incomprehensible, alien and cold ... She was very scared, and she did not hide it at all.
The boy was eight or nine years old. He was thin and fragile, but his round "professor" glasses made him a little older, and he seemed very businesslike and serious in them. But in this moment all his seriousness somewhere suddenly evaporated, giving way to absolute confusion.
A cheering, sympathetic crowd had already gathered around the cars, and a few minutes later the police appeared, escorting ambulance. Our town was still not large at that time, so city services could respond to any “emergency” incident in an organized and fast enough manner.
The ambulance doctors, having quickly consulted about something, began to carefully remove the mutilated bodies one by one. The first was the body of a boy, whose essence stood in a stupor next to me, unable to say or think anything.
The poor thing was shaking wildly, apparently for his childish overexcited brain, it was too hard. He just looked with goggle eyes at what had just been "him" and could not get out of the protracted "tetanus".
- Mommy, Mommy!!! the girl screamed again. - Vidas, Vidas, why can't she hear me?!
Or rather, she screamed only mentally, because at that moment, unfortunately, she was already physically dead ... just like her little brother.
And her poor mother, whose physical body was still tenaciously holding on to her fragile, slightly glimmering life in it, could not hear her in any way, since at that moment they were already in different worlds inaccessible to each other ....
The kids were getting more and more lost, and I felt that a little more, and the girl would begin a real nervous shock (if you can call it that, speaking of an incorporeal entity?).
- Why are we lying there?! .. Why is mom not answering us ?! the girl was still screaming, tugging at her brother's sleeve.
“Probably because we are dead ...” the boy said, chattering his teeth.
- And mom? - the little girl whispered in horror.
“Mom is alive,” my brother answered not very confidently.
– But what about us? Well, tell them that we're here, that they can't leave without us! Tell them!!! The girl still couldn't calm down.

Epos, unlike lyrics and drama, is impartial and objective at the moment of narration.

epic genres

• Large - epic, novel, epic poem (epic poem);
• Middle - story,
• Small - story, short story, essay.

The epic also includes folklore genres: a fairy tale, an epic, a historical song.

Meaning

An epic work has no limits in its scope. According to V. E. Khalizev, “Epos as a kind of literature includes both short stories (…) and works designed for long listening or reading: epics, novels (…)”.

A significant role for epic genres is played by the image of the narrator (narrator), who talks about the events themselves, about the characters, but at the same time delimits himself from what is happening. The epic, in turn, reproduces, imprints not only what is being told, but also the narrator (his manner of speaking, mentality).

An epic work can use almost any artistic means known to literature. The narrative form of the epic work "contributes to the deepest penetration into the inner world of man."

see also

Write a review on the article "Epos (genus of literature)"

Literature

• Veselovsky A. N., Shishmarev V. F.,.// Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
• Khalizev V. E. Theory of Literature. - M ., 2009. - S. 302-303.
• Belokurova S. P. .

An excerpt characterizing the Epos (genus of literature)

Julie wrote:
"Chere et excellente amie, quelle chose terrible et effrayante que l "absence! J" ai beau me dire que la moitie de mon existence et de mon bonheur est en vous, que malgre la distance qui nous separe, nos coeurs sont unis par des liens indissolubles; le mien se revolte contre la destinee, et je ne puis, malgre les plaisirs et les distractions qui m "entourent, vaincre une certaine tristesse cachee que je ressens au fond du coeur depuis notre separation. Pourquoi ne sommes nous pas reunies, comme cet ete dans votre grand cabinet sur le canape bleu, le canape a confidences? je crois voir devant moi, quand je vous ecris.”
[Dear and priceless friend, what a terrible and terrible thing separation is! No matter how hard I keep telling myself that half of my existence and my happiness is in you, that despite the distance that separates us, our hearts are united by inextricable bonds, my heart revolts against fate, and despite the pleasures and distractions that surround me, I I cannot suppress some hidden sadness that I have felt in the depths of my heart since our separation. Why are we not together, as we were last summer, in your big office, on the blue sofa, on the "confessions" sofa? Why can’t I, like three months ago, draw new moral strength from your meek, calm, and penetrating look, which I loved so much and which I see before me at the moment I am writing to you?]
Having read up to this point, Princess Marya sighed and looked around at the dressing table, which stood to her right. The mirror reflected an ugly, weak body and a thin face. His eyes, always sad, now looked at themselves in the mirror with particular hopelessness. “She flatters me,” thought the princess, turned away and continued to read. Julie, however, did not flatter her friend: indeed, the princess's eyes, large, deep and radiant (as if rays of warm light sometimes came out of them in sheaves), were so good that very often, despite the ugliness of her whole face, these eyes became more attractive than beauty. But the princess never saw the good expression in her eyes, the expression they assumed in those moments when she was not thinking about herself. Like all people, her face assumed a strained, unnatural, evil expression as soon as she looked in the mirror. She continued to read: 211
“Tout Moscou ne parle que guerre. L "un de mes deux freres est deja a l" etranger, l "autre est avec la garde, qui se met en Marieche vers la frontiere. Notre cher empereur a quitte Petersbourg et, a ce qu" on pretend, compte lui meme exposer sa precieuse existence aux chances de la guerre. Du veuille que le monstre corsicain, qui detruit le repos de l "Europe, soit terrasse par l"ange que le Tout Ruissant, dans Sa misericorde, nous a donnee pour souverain. Sans parler de mes freres, cette guerre m "a privee d" une relation des plus cheres a mon coeur. Je parle du jeune Nicolas Rostoff, qui avec son enthousiasme n "a pu supporter l" inaction et a quitte l "universite pour aller s" enroler dans l "armee. Eh bien, chere Marieie, je vous avouerai, que, malgre son extreme jeunesse, son depart pour l "armee a ete un grand chagrin pour moi. Le jeune homme, dont je vous parlais cet ete, a tant de noblesse, de veritable jeunesse qu "on rencontre si rarement dans le siecle ou nous vivons parmi nos villards de vingt ans. Il a surtout tant de franchise et de coeur. Il est tellement pur et poetique, que mes relations avec lui, quelque passageres qu "elles fussent, ont ete l" une des plus douees jouissances de mon pauvre coeur, qui a deja tant souffert. Je vous raconterai un jour nos adieux et tout ce qui s "est dit en partant. Tout cela est encore trop frais. Ah! chere amie, vous etes heureuse de ne pas connaitre ces jouissances et ces peines si poignantes. Vous etes heureuse, puisque les derienieres sont ordinairement les plus fortes! Je sais fort bien, que le comte Nicolas est trop jeune pour pouvoir jamais devenir pour moi quelque chose de plus qu "un ami, mais cette douee amitie, ces relations si poetiques et si pures ont ete un besoin pour mon coeur. Mais n" en parlon plus. La grande nouvelle du jour qui occupe tout Moscou est la mort du vieux comte Bezukhoy et son heritage. Figurez vous que les trois princesses n "ont recu que tres peu de chose, le prince Basile rien, est que c" est M. Pierre qui a tout herite, et qui par dessus le Marieche a ete reconnu pour fils legitime, par consequent comte Earless est possesseur de la plus belle fortune de la Russie. On pretend que le prince Basile a joue un tres vilain role dans toute cette histoire et qu "il est reparti tout penaud pour Petersbourg.

Epic genre - what is it? The fact is that it is impossible to answer this question unambiguously. This is due to the fact that this genre contains several varieties. Let's see what is the epic genre, and what directions does it contain? And also in what connects the epic and the lyrics.

What is a literary genre?

It seems that at the beginning of the narrative about the genres of epic works, it would be appropriate to understand the concept literary genre as such. The word "genre" comes from the French genre, taken from the Latin, where there is a word genus, both of them mean "kind, genus."

As for the literary genre, they are such groups of works of literature that are formed historically and are united by a set of a number of properties. Such properties are both substantive and formal. In this they differ from literary forms, which are distinguished only on the basis of formal features. Often the genre is confused with the type of literature, which is wrong.

Now let's move on to a direct consideration of the question that this is an epic genre.

What is the essence of the concept?

An epic (as the genre we are considering is also called) is one (just like drama and lyrics) that tells about events that supposedly took place in the past. And the narrator remembers them. A characteristic feature of the epic is the coverage of being in such various aspects as:

• Plastic bulk.
• Extension in time and space.
• Plot, or richness of events.

Aristotle on the nature of the epic

ancient greek philosopher 4th century BC e. Aristotle in his work "Poetics" wrote that the epic genre is (unlike dramatic and lyrical works) impartiality and objectivity of the author at the moment of narration. According to Aristotle, the features of the epic are the following:

1. A wide scope of reality, which means the image and privacy individual characters, and phenomena occurring in public life.
2. Disclosure of the characters of people in the course of the plot.
3. Objectivity in the narrative, in which the author's attitude to his characters and the world depicted in the work occurs through the selection of artistic details.

Varieties of the epic

As mentioned above, there are several types of epic genres that can be grouped on the basis of their volume. These are large, medium and small. Each of these types includes the following varieties:

• The major ones include the epic, the novel, the epic poem (the epic poem).
• To the middle belongs such a kind as a story.
• Among the small ones they name a story, a short story and an essay.

A little more about the varieties of works that belong to the epic genres will be discussed below.

What else should be noted? There are also folklore, folk-epic genres, such as epic, fairy tale and historical song.

What else is the significance of the epic?

Features of this genre are also the following:

• An epic work is not limited in scope. As V. E. Khalizev, who was a Soviet and Russian literary critic, said, the epic refers to a kind of literature that includes not only short stories, but also works designed for long reading or listening - epics, novels.
• In the epic genre, an important role belongs to the image of the narrator (narrator). He, talking about the events themselves, about the characters, at the same time delimits himself from what is happening. But at the same time, in the narration itself, not only what is being told is reproduced, imprinted, but also the mindset of the narrator, his manner of presentation.
• In the epic genre, it is possible to use almost any artistic means known in literature. The narrative form inherent in it makes it possible to penetrate deeply into the inner world of an individual.

two large forms

The leading genre of epic literature until the 18th century was the source of its plot is folk tradition, whose images are generalized and idealized. The speech reflects a relatively unified national consciousness, and the form, as a rule, is poetic. Examples are Homer's Iliad and Odyssey.

In the 18-19 centuries, it was replaced by the novel as the leading genre. The plots of the novels are mainly drawn from modern reality, and the images become more individualized. The speech of the heroes reflects the multilingual nature of the public consciousness, which is sharply differentiated. The form of the novel is prosaic. Examples are the novels written by Leo Tolstoy and Fyodor Dostoyevsky.

Combining in cycles

Epic works strive for the fullest possible reflection of life's realities, so they tend to be combined into cycles. An illustration of this trend is the epic novel called The Forsyte Saga.

It is a monumental series of diverse works describing the life of the wealthy Forsyth family. In 1932, for the art of narration inherent in Galsworthy, in which the Forsyte Saga is the pinnacle, the writer was awarded Nobel Prize on literature.

Epic means "narrative"

An epic (from the ancient Greek ἔπος - “word, narrative” and ποιέω - “I create”) is an extensive narrative, which is set out either in verse or in prose, and is dedicated to outstanding historical events of a national scale. AT general sense An epic is a complex, long story that includes a series of events on a large scale.

The forerunners of the epic were past songs, which had half lyrical, half narrative character. They were caused by the exploits of a tribe or clan, timed to coincide with the heroes around whom they were grouped. Such songs formed into large-scale poetic units called epics.

In epics related to heroic-romantic, their main characters purposefully and actively participate in significant historical events, in the process of which their personality is formed, as, for example, in the novel by A. N. Tolstoy "Peter I". There are also “moralistic” epics that tell about the state of society in a comic way, such as, for example, Gargantua and Pantagruel by Rabelais or Gogol’s Dead Souls.

Epic and lyrical genres

The two genres are interconnected and in some cases can form a kind of symbiosis. To understand this, let's define lyrics. This word comes from the Greek λυρικός, which means "performed to the sound of the lyre."

This kind of literature, also called lyric poetry, reproduces a person's personal feeling, his attitude to something, or the mood of the author himself. Works in this genre are characterized by emotionality, sincerity, excitement.

But there is also an intermediate option between poetry and the epic genre - this is the lyre-epic. There are two sides to such works. One of them is the observation and assessment by the reader from the side of the plot narrative, presented in the form of poetry. And the second, which, however, is closely related to the first, is the receipt by him of a certain lyrical (emotional) assessment of the narrator. Thus, lyro-epic is characterized by both epic and lyrical principles in the reflection of the surrounding reality.

Lyro-epic genres include such genres as:

• Poem.
• Ballad.
• Stanzas.

Epos (from the Greek epos - word, narration, story) is a kind of literature, which is characterized by the depiction of reality in an objectively narrative form. As a rule, the time of the depicted action and the time of the narration about it do not coincide - this is one of the most important differences from other types of literature.

Ways of presentation - narration, description, dialogue, monologue, author's digressions. The author's description of events unfolding in space and time, the narrative of various phenomena of life, people, their destinies, characters, actions, etc. is distinguished by a calmly contemplative, detached attitude to the depicted.

Epic text is like a kind of alloy narrative speech and character expressions. It has an unlimited volume (from a short story to multi-volume cycles (for example, "The Human Comedy" by Honore de Balzac combines 98 novels and short stories) - this allows you to "absorb" such a number of characters, circumstances, events, destinies, details that are inaccessible to anyone other kinds of literature, nor any other kind of art.

The epic, in comparison with other types of literature, has the richest arsenal of artistic means, which makes it possible to reveal the inner world of a person with the greatest depth, to show it in development.

A special role in epic works is played by the author-narrator or narrator. His speech (content and style) is unique, but very effective tool creating this character. Despite the fact that sometimes the narrator is ideologically close to the writer, they cannot be identified (for example, the narrator in the work of I.S. Shmelev "Summer of the Lord" and the author himself are not the same person).

epic genres

Large - epic, novel, epic poem (epic poem);

Middle - story,

Small - story, short story, essay.

The epic also includes folklore genres: a fairy tale, an epic, a historical song.

The meaning of the epic

An epic work has no limits in its scope. According to V. E. Khalizev, “Epos as a kind of literature includes both short stories (…) and works designed for long listening or reading: epics, novels (…)”.

A significant role for epic genres is played by the image of the narrator (narrator), who tells about the events themselves, about the characters, but at the same time delimits himself from what is happening. The epic, in turn, reproduces, imprints not only what is being told, but also the narrator (his manner of speaking, mentality).

An epic work can use almost any artistic means known to the literature. The narrative form of the epic work "contributes to the deepest penetration into the inner world of man."

Until the 18th century, the leading genre of epic literature was the epic poem. The source of its plot is folk tradition, the images are idealized and generalized, the speech reflects a relatively monolithic folk consciousness, the form is poetic (Homer's Iliad). In the XVIII-XIX centuries. novel becomes the leading genre. Plots are borrowed mainly from the present, images are individualized, speech reflects a sharply differentiated multilingual public consciousness, the form is prosaic (L. N. Tolstoy, F. M. Dostoevsky).

Other genres of epic - story, short story, short story. In an effort to fully reflect life, epic works tend to be combined into cycles. Based on the same trend, an epic novel is being formed (The Forsyte Saga by J. Galsworthy).

21. Drama like literary gender. Three variants of drama theory

Drama (other Greek drama - action) is a kind of literature that reflects life in actions taking place in the present.

Dramatic works are intended to be staged, this determines the specific features of the drama:

1) the absence of a narrative-descriptive image;

3) main text dramatic work presented in the form of replicas of characters (monologue and dialogue);

4) drama as a kind of literature does not have such a variety of artistic and visual means as epic: speech and deed are the main means of creating the image of a hero;

5) the volume of the text and the duration of the action is limited by the stage framework;

6) the requirements of the stage art dictated such a feature of the drama as a kind of exaggeration (hyperbolization): “exaggeration of events, exaggeration of feelings and exaggeration of expressions” (L.N. Tolstoy) - in other words, theatrical showiness, increased expressiveness; the viewer of the play feels the conditionality of what is happening, which was very well said by A.S. Pushkin: “The very essence of dramatic art excludes plausibility... when reading a poem, a novel, we can often forget ourselves and believe that the incident described is not fiction, but the truth. In an ode, in an elegy, we can think that the poet portrayed his real feelings, in real circumstances. But where is the credibility in a building divided into two parts, of which one is filled with spectators who have agreed etc.

Drama (ancient Greek δρᾶμα - act, action) - one of the three types of literature, along with epic and lyrics, simultaneously belongs to two types of art: literature and theater. Intended to be played on stage, drama differs formally from epic and lyric poetry in that the text in it is presented in the form of replicas of characters and author's remarks and, as a rule, is divided into actions and phenomena. Drama is somehow related to any literary work, built in a dialogical form, including comedy, tragedy, drama (as a genre), farce, vaudeville, etc.

Since ancient times, it has existed in folklore or literary form among various peoples; independently of each other, the ancient Greeks, the ancient Indians, the Chinese, the Japanese, and the Indians of America created their own dramatic traditions.

Literally translated from ancient Greek drama means action.

Drama types tragedy drama (genre) drama for reading (play for reading)

Melodrama hierodrama mystery comedy vaudeville farce zaju

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

Dionysian dances

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

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

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

Second half of XIX century, realism prevails in European drama (Dumas son, Ogier, Sardou, Paleron, Ibsen, Suderman, Schnitzler, Hauptmann, Beyerlein).

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

The design of a dramatic work Unlike other prose and poetry works, dramatic works have a rigidly defined structure. A dramatic work consists of alternating blocks of text, each with its own purpose, and highlighted with typography so that they can be easily distinguished from each other. Dramatic text may include the following blocks:

The list of characters is usually located before the main text of the work. In it, if necessary, a brief description of the hero is given (age, features of appearance, etc.)

External remarks - a description of the action, the situation, the appearance and departure of the characters. Often typed either in a reduced size, or in the same font as the replicas, but in a larger format. In the external remark, the names of the heroes can be given, and if the hero appears for the first time, his name is additionally highlighted. Example:

The room, which is still called the nursery. One of the doors leads to Anna's room. Dawn, soon the sun will rise. It's already May, cherry trees are blooming, but it's cold in the garden, it's a matinee. The windows in the room are closed.

Enter Dunyasha with a candle and Lopakhin with a book in his hand.

Replicas are the words spoken by the characters. Remarks must be preceded by the name of the actor and may include internal remarks. Example:

Dunyasha. I thought you left. (Listens.) Here, it seems, they are already on their way.

LOPAKHIN (listens). No ... Get luggage, then and there ...

Internal remarks, unlike external ones, briefly describe the actions that occur during the pronunciation of a replica by the hero, or the features of the pronunciation. If some complex action occurs during the utterance of a cue, it should be described using an external cue, while indicating either in the remark itself or in the cue with the help of an internal remark that the actor continues to speak during the action. An inside note refers only to a specific line of a specific actor. It is separated from the replica by brackets, it can be typed in italics.

The most common are two ways of designing dramatic works: book and cinema. If in book format different font styles, different sizes, etc. can be used to separate parts of a dramatic work, then in cinematographic scenarios it is customary to use only a monospaced typewriter font, and to separate parts of a work, use padding, typing in a different format, typing by all capitals, discharge, etc. - that is, only those means that are available on a typewriter. This allowed the scripts to be modified many times as they were produced, while maintaining readability. .

Drama in Russia

Drama was brought to Russia from the West at the end of the 17th century. Independent dramatic literature appears only in late XVIII century. Until the first quarter of the 19th century, drama was dominated by classical direction, both in tragedy and in comedy and comedy opera; best authors: Lomonosov, Knyaznin, Ozerov; I. Lukin's attempt to draw the attention of playwrights to the depiction of Russian life and customs remained in vain: all their plays are lifeless, stilted and alien to Russian reality, except for the famous "Undergrowth" and "Brigadier" by Fonvizin, "Yabeda" by Kapnist and some comedies by I. A. Krylov .

AT early XIX centuries, Shakhovskoy, Khmelnitsky, Zagoskin became imitators of light French drama and comedy, and the Dollmaker was a representative of the stilted patriotic drama. Griboedov's comedy Woe from Wit, later Gogol's Inspector General, Marriage, become the basis of Russian everyday drama. After Gogol, even in vaudeville (D. Lensky, F. Koni, Sollogub, Karatygin), the desire to get closer to life is noticeable.

Ostrovsky gave a number of remarkable historical chronicles and everyday comedies. After him, Russian drama became solid ground; the most prominent playwrights: A. Sukhovo-Kobylin, I. S. Turgenev, A. Potekhin, A. Palm, V. Dyachenko, I. Chernyshev, V. Krylov, N. Ya. Solovyov, N. Chaev, gr. A. Tolstoy, c. L. Tolstoy, D. Averkiev, P. Boborykin, Prince Sumbatov, Novezhin, N. Gnedich, Shpazhinsky, Evt. Karpov, V. Tikhonov, I. Shcheglov, Vl. Nemirovich-Danchenko, A. Chekhov, M. Gorky, L. Andreev and others.