Competition of modern dramaturgy “Drama time. Russian modern dramaturgy

Relevance research is conditioned by the requirement to change the apparatus of the analytical description of the drama, since the drama of the twentieth century differs from the ancient, renaissance, classical.

Novelty is to activate the author's consciousness in Russian drama from turn of XIX-XX centuries to the present day, from the "new drama" to the latest.

Drama is not only the most ancient, but also the most traditional kind of literature. It is believed that the basic principles of reception and interpretation of a dramatic text can be applied to ancient drama, and to the "epic" theater of B. Brecht, and to the existential drama moral choice, and to an absurd play.

At the same time, researchers believe that the drama is changeable: in each historical period it carries within itself a certain "spirit of the times", its moral nerve, depicts on the stage the so-called real time, imitates the "grammatical present" unfolding into the future.

It became clear that the laws of the genus, its theory, adopted since the time of Aristotle, no longer correspond to new processes. modern dramaturgy.

The concept of "modern dramaturgy" is very capacious both chronologically and aesthetically (realistic psychological drama - A. Arbuzov, V. Rozov, A. Volodin, A. Vampilov; drama " new wave» - L. Petrushevskaya, A. Galin, V. Arro, A. Kazantsev; post-perestroika "new drama" - N. Kolyada. M. Uvarova, M. Arbatova, A. Shipenko)

Modern dramaturgy is characterized by genre and style diversity. In the 60-90s, the publicistic and philosophical principles clearly intensified, which was reflected in the genre and stylistic structure of the plays. So, in many "political" and "industrial" plays, the dialogue-debate forms the basis. These are controversial plays that appeal to the activity of the audience. They are characterized by conflict sharpness, a clash of opposing forces and opinions. Exactly at journalistic drama we often meet with the heroes of the active life position, wrestling heroes, albeit not always victorious, with open endings that encourage the viewer to active work thoughts disturbing the civil conscience (“The Dictatorship of Conscience” by M. Shatrov, “Minutes of One Meeting” and “We, the Undersigned” by A. Gelman).

The gravitation of modern art towards a philosophical understanding of the problems of the century has increased interest in the genre of intellectual drama, the play-parable. Conditional techniques in modern philosophical play are diverse. This, for example, is the “processing” of borrowed book and legendary plots (“The House That Swift Built” by Gr. Gorin, “Don’t Throw Fire, Prometheus!” by M. Karim, “Mother of Jesus” by A. Volodin, “The Seventh Labor of Hercules” by M. . Roshchina); historical retrospectives (“Lunin, or the Death of Jacques”, “Conversations with Socrates” by E. Radzinsky, “Royal Hunt” by L. Zorin). Such forms allow us to pose eternal problems, in which our contemporaries are also involved: Good and Evil, Life and Death, war and peace, the destiny of man in this world.

In the post-perestroika period, the renewal of theatrical and dramatic language is especially active. We can talk about modern avant-garde tendencies, about postmodernism, about “alternative”, “other” art, the line of which was cut off in the 1920s, and which has been underground for many decades. With "perestroika" theater underground not only rose to the surface, but also “legitimized”, equalized his rights with official theater. This trend, of course, makes new demands on the drama, requires enrichment of its non-traditional forms. O contemporary plays this kind is spoken of as plays with elements of absurdism, where the absurdity of human existence is captured vividly and artistically, leading the story to a parable or a sharp metaphor. One of the most common moments of modern avant-garde theater is the perception of the world as a madhouse, a “stupid life”, where habitual ties are broken, actions are tragicomically the same, situations are phantasmagoric. This world is inhabited by phantom people, “morons”, werewolves (“Wonderful Woman” by N. Sadur, “Walpurgis Night, or the Steps of the Commander” by Ven. Erofeev) In the latter, the plot unfolds in a Soviet psychiatric hospital and can be summarized in a few words: alcoholic Gurevich as a punishment, they are placed in a madhouse, where he has already been before; there, on the one hand, he meets his former lover Natalya, on the other hand, he comes into conflict with the orderly Borka, who punishes Gurevich with an injection of "sulfa"; in order to prevent the effect of the injection, Gurevich, not without the help of Natalya, steals alcohol from the staff room; however, a cheerful booze in the ward ends with a mountain of corpses, since the alcohol stolen by Gurevich turned out to be methyl; in the finale, the enraged Borka the muzzle tramples the blind, dying Gurevich with his feet. However, these events are clearly not enough for a five-act tragedy, in which an important role is played by the mention that the events take place on the night before May 1, i.e. on Walpurgis Night, and associations with “Don Juan” and “The Stone Guest” are directly played out: after injecting Gurevich with “sulph”, Borka the muzzle invites him to a night party with Natalya, to which Gurevich, with difficulty moving his broken lips, answers, like the statue of the commander: "I will come ..." In fact, the tragic plot and conflict of the play unfolds in the space of language. Instead of the classicist conflict between duty and feeling, Erofeev unfolds his tragedy around the conflict between violence and language. Violence is speechless - it asserts its reality through the pain of the victim. The more victims, the stronger the pain, the more fundamental this reality. The reality of chaos. Language is free, but it can oppose this merciless reality only by its illusory nature, variability, immateriality: the utopia of the linguistic carnival created by Gurevich is invulnerable in its defenselessness. The person in this play is doomed to exist on the border of language and violence (someone, of course, like Borka, unambiguously connects his life with the power of violence). By the power of consciousness, Gurevich creates a language carnival around him, but his body - and in psychiatric clinic and consciousness too - continues to suffer from real torture. In essence, this is how the medieval story about the litigation between the soul and the flesh is revived. But in Erofeev, both the soul and the flesh are doomed: not only the reality of violence seeks to trample on the creator of cheerful linguistic utopias, but also the consistent striving for freedom, away from the chimeras of the so-called reality, also leads to self-destruction. That is why "Walpurgis Night" is still a tragedy, despite the abundance of comic scenes and images).

In addition to Erofeev, postmodern drama is represented by such authors as Alexei Shipenko (b. 1961), Mikhail Volokhov (b. 1955), O. Mukhina (the plays Tanya-Tanya, Yu), Evg. dog”, “At the same time”), as well as Vladimir Sorokin (plays “Dumplings”, “Dugout”, “Trust”, “Dostoevsky-trip”, screenplay “Moscow” [co-authored with film director Alexander Zeldovich]). However, there is perhaps only one writer of the new generation who has managed to build own theater as an independent cultural phenomenon - with its own holistic aesthetics, philosophy, its own original dramatic language. This is Nina Sadur.

The key to the phantasmagoric theater of Nina Sadur (b. 1950) and her artistic philosophy may be the play The Wonderful Woman (1982)1. In the first part of the play (“The Field”), an ordinary co-worker Lidia Petrovna, sent with a “group of comrades” to harvest potatoes and lost her way among the endless deserted fields, meets with a certain “aunt”, who at first gives the impression of a foolish fool. However, upon further acquaintance, the “aunt” reveals the features of a goblin (she “leads” a woman who has lagged behind the group), she is equal to Nature and Death (her last name is Ubienko), and she defines herself as “the evil of the world”. Obviously, unlike the “village people” and other traditionalists (Aitmatov, Voinovich and even Aleshkovsky), Sadur does not connect the concept of the “law of eternity”, the highest truth of life, opposed to the lies of social laws and relations, with the natural principle. Her “wonderful woman” is ominous and dangerous, communication with her causes incomprehensible longing and pain in the heart (“somehow pulled ... an unpleasant feeling”). In essence, this character embodies the mystical knowledge of the abyss of chaos, hidden under the shell of an ordinary ordered existence. “Wonderful woman” Ubienko offers his fellow traveler a strange ritual test: “This is the alignment. I am running away. You are chasing. If you catch it - heaven, if you don't catch it - it's the end of the world. Are you cutting?" Unexpectedly for herself, Lidia Petrovna agrees to these conditions, but, at the last moment, having already caught up with the woman, she is frightened by her threats. As punishment for the defeat, the “woman” tears off the entire “top layer” from the earth, along with the people living on it, and convinces Lydia Petrovna that she was left alone in the whole world and that her whole normal life is just a dummy created by the “aunt” for Lida's peace of mind: “Like real ones! Exactly the same! You can't tell!"

In the second part of the play (“Group of Comrades”), Lidia Petrovna admits to her colleagues that after meeting with the “field woman” she really lost confidence that the world around her is real: “I doubt even about children, you understand? even they now confuse and sadden my heart, ”and further, when the head of the department, who is in love with her, tries to kiss her, she reacts like this:“ A scarecrow wants to kiss me. A model, a dummy of Alexander Ivanovich... You won't even be able to fire me, because you're not here, do you understand?" The most striking thing is that colleagues, having heard Lidia Ivanovna's confession, unexpectedly easily believe her. The mystical explanation offered by the “woman” coincides with the inner feelings of people who are trying to shield themselves from everyday worries from the unanswered question: “why do we live?” Hence arises the main problem, which all the characters of the play, without exception, are trying to solve: how to prove that you are alive? real? The only argument worthy of attention is the ability of a person to go beyond his usual life role: “Only alive can I jump out of myself?” But where? Lidia Petrovna "jumps out" into madness, but this exit hardly brings relief. In essence, this is a way out into death - under the howl of an ambulance siren, Lidia Petrovna shouts: “Only mine, only my heart stopped. I'm alone, only I'm lying in the damp, deep earth, and the world is blooming, happy, happy, alive!” However, the inability of any character in the play (except for the “woman”, of course) to find convincing evidence of the authenticity of their own existence fills the words about the “blooming of the world” with tragic irony.

The fascination with beauty, even if this beauty is disastrous and born of chaos, even if it leads to disaster - is the only possible proof of the authenticity of human existence, the only one accessible to man a way to "jump out of yourself" - in other words, to gain freedom.

The first thing that catches your eye in the plays of modern authors is the absence of large-scale events. The habitat of modern heroes is mostly domestic, "grounded", "among their own", outside the moral duel with goodie. To a large extent, all of the above is related to the dramaturgy of L. Petrushevskaya. In her plays, there is a staggering paradoxical discrepancy between the words in their titles - "Love", "Andante", "Music Lessons", "Columbine's Apartment" - and everyday life, lack of spirituality, cynicism as the norm for the existence of heroes. The play by L. Petrushevskaya "Three Girls in Blue" is one of the most famous. The image in the title is associated with something romantic, sublime, "romantic". However, it does not correspond in any way with three young women connected by distant kinship and a common “inheritance” - a dilapidated half of a country house, where they suddenly, synchronously, decided to spend the summer with their children. The subject of discussion in the play is a leaking roof: to whom and at whose expense to repair it. Life in the play is a captivity, an animated ruler. As a result, grows phantasmagoric world, and not so much from events (they seem to be absent in the play), but exclusively from dialogues, where everyone hears only himself.

Today, a new generation has come to dramaturgy, a “new wave”. The group of young modern playwrights, which has already been defined (N. Kolyada, A. Shipenko, M. Arbatova, M. Ugarov, A. Zheleztsov, O. Mukhina, E. Gremina, and others), according to theater critics, expresses a new worldview. The plays of young authors make you feel pain from the "trouble of authenticity", but at the same time after " shock therapy”, “black realism” of perestroika dramaturgy, these young people do not so much stigmatize circumstances that disfigure a person, but peer into the suffering of this person, forcing him to think “on the edge” about the possibilities of survival, straightening. They sound "hopeful little orchestra under the control of love" ..

Alexander Vampilov

(1937-1972)

motive spiritual fall in A. Vampilov's play " duck hunting»

The purpose of the lesson:

1. Show the significance of Vampilov's dramaturgy for Russian literature, understand the artistic features and ideological originality plays "Duck Hunt"
2. To educate in students a spiritual principle that contributes to the development of a harmonious personality through the concepts of kindness, sensitivity, philanthropy.
3. To promote the development of speech, aesthetic tastes in students.

It is necessary to write about what does not
sleeps at night.
A. Vampilov

During the classes

1. opening speech teachers.

Theatre! How much does a word mean
For everyone who has been there many times!
How important and sometimes new
There is action for us!
We die at performances
We shed tears together with the hero...
Although sometimes we know very well
That all sorrows are for nothing!

Forgetting about age, failures,
We aspire to someone else's life
And from someone else's grief we cry,
With someone else's success, we are rushing up!
In performances, life is in full view,
And everything will open at the end:
Who was the villain, who was the hero
With a terrible face mask.
Theatre! Theatre! How much do they mean
For us sometimes your words!
And how could it be otherwise?
In the theatre, life is always right!

Today we will talk about Russian drama of the twentieth century. We will talk about the work of the writer, whose name is given to an entire era of Russian drama - Vampilov's drama.

2. Curriculum vitae about the writer (pre-prepared student).

3. Work on theoretical material.

Q: What is drama?

Q: What types of drama do you know? Distribute the match.

• Tragedy
• Drama
• Comedy

Recreates sharp, insoluble conflicts and contradictions in which exceptional personalities are involved; an irreconcilable clash of warring forces, one of the warring parties perishes.

The image of the personality in its dramatic relationship with society in difficult experiences. Possible successful resolution of the conflict.

It mainly reproduces the private life of people in order to ridicule the backward, obsolete.

Q: Prove that the play "Duck Hunt" is a drama by conveying the plot of this work.

So, the hero of the play is in deep contradiction with life.

4. Working with text.

There is a table in front of you. Distribute in the table the main conflict points from the life of Zilov. (by groups)

Q: What phrase from Russian classical drama is synonymous with the motto "Shove it and it's over"? ("Woe from Wit").

Q: What kind of picture do you think famous artist Can you illustrate Zilov's relationship with his parents? (Rembrandt "Return prodigal son»).

So, the theme of a person who has lost his way in life, a “prodigal” son. Worries more than one generation.

Q: What other works that you know deal with this topic?

Q: What do you think is the tragedy of a hero? Why did he lose defeat in all areas of life?

Q: Why is the play called "Duck Hunt"? (Hunting for a hero - purification).

Speech development. Express your opinion in writing on the problem "To be or not to be, or eternal plot about the prodigal son

Conclusion. The theme raised in the play, eternal, is considered in different aspects, but the result is always the same: an attempt to change life. The heroes experience belated remorse and begin better life or come to a standstill and try to take their own lives. Therefore, Hamlet's questions sound eternal.

To be or not to be is the question;
What is nobler in spirit - to submit
Slings and arrows of a furious fate
Or, taking up arms against the sea of ​​troubles, slay them
Confrontation?

The work of the playwright Vampilov will also remain eternal, as evidenced by the All-Russian Festival of Modern Drama. A. Vampilova.

Homework.

1. Fill in the table in the "Friends" section
2. Draw a poster for the play (or use oral word drawing)

References

1. M.A. Chernyak "Modern Russian Literature", Moscow, Eksmo Education, 2007
2. M. Meshcheryakova "Literature in tables", Rolf Moscow 2000
3. V.V. Agenosov, Russian Literature of the 20th Century. Grade 11, Drofa Publishing House, Moscow, 1999
4. N.L. Leiderman, M.N. Lipovetsky "Modern Russian Literature, 1950-1990", Moscow, ACADEMA, 2003

Revealing for ourselves the theory of dramaturgy, we seem to find ourselves in a universe that operates according to laws that surprise with their beauty and mathematical accuracy. Dramaturgy is based on the main law, the essence of which lies in the harmonic unity. Drama, like any work of art, must be a holistic artistic image.

Dramaturgy is the theory and art of constructing dramatic works.

In what other meanings is this word used? What are its foundations? What is dramaturgy in literature?

Concept definition

There are several meanings of this concept.

• Firstly, dramaturgy is the plot-compositional basis (plot-figurative concept) of an independent cinematic or theatrical work. Their basic principles are historically changeable. Such phrases as dramaturgy of a film or performance are known.

• drama theory. It was interpreted not as an action that had already taken place, but as an ongoing one.
• And thirdly, dramaturgy is a collection of works of a particular era, some people or writer.

An action is a known change in a certain time period. A change in dramaturgy corresponds to a change in destiny. In comedy she is joyful, in tragedy she is sad. The time span may vary. It can be several hours (as in the French classical drama), and cover long years(like William Shakespeare).

Stages of dramaturgy

• The exposition puts the reader, listener or viewer into action. Here is the first acquaintance with the characters. This section reveals the nationality of people, this or that era and other points. The action can start quickly and actively. Or maybe, vice versa, gradually.
• Tie. The name speaks for itself. A key element of dramaturgy. The appearance of conflict or the acquaintance of the characters with each other.
• Development of actions and images. gradual tension.
• The climax can be bright and impressive. The highest point of the piece. Here there is an emotional outburst, intensity of passions, the dynamics of the plot or the relationship of the characters.
• Interchange. Ends an action. It can be gradual or, conversely, instantaneous. It can abruptly end the action or become the finale. This is the summary of the essay.

Secrets of Mastery

To comprehend the secrets of literary or stagecraft, you should know the basics of dramaturgy. First of all, it is a form as a means for expressing content. Also in any form of art there is always an image. Often this is an imaginary version of reality, depicted through notes, canvas, word, plastic, etc. When creating an image, the author must take into account that the main accomplice will be the viewer, reader or listener (depending on the type of art). The next major element in drama is action. It implies the presence of contradiction, and it necessarily contains conflict and drama.

Drama is based on the suppression of free will, highest point is a violent death. Old age and the inevitability of death are also dramatic. Natural disasters become dramatic when people die in the process.

The work of the author on the work begins when the theme arises. The idea solves the issue of the chosen topic. It is not static or open. If it stops developing, then it dies. Conflict is the highest level of manifestation of dramatic contradictions. For its implementation, a plot is needed. The chain of events is organized into a plot, which details the conflict through the concretization of the plot. There is also such an event chain as intrigue.

Dramaturgy of the second half of the 20th century

Modern drama is not just a certain period of historical time, but a whole burning process. It involves playwrights of entire generations and various creative directions. Representatives such as Arbuzov, Vampilov, Rozov and Shvarts are innovators of the genre of socio-psychological drama. Modern drama does not stand still, it is constantly updated, developing and moving. Among the huge number of styles and genres that have engulfed the theater since the late 50s of the 20th century and up to our time, the socio-psychological play clearly predominates. Many of them had deep philosophical overtones.

For several decades, modern drama has been trying to overcome established stereotypes, to be closer to the real life of the hero in solving his problems.

What is dramaturgy in literature?

Dramaturgy is a special kind in literature that has a dialogic form and is intended to be embodied on the stage. In fact, this is the life of the characters on the stage. In the play they come to life and reproduce real life with all the ensuing conflicts and contradictions.

The necessary moments for the written work to come to life on stage and evoke certain emotions in the audience:

• The art of dramaturgy and directing must be inextricably linked with inspiration.
• The director must be able to read dramatic works correctly, check their composition, and take into account the form.
• Understanding the logic of a holistic process. Each subsequent action should flow smoothly from the previous one.
• The director has the method of artistic technique.
• Work for everyone creative team. The performance must be carefully thought out, ideologically rich and clearly organized.

Dramatic works

They exist great amount. Some of them should be listed as an example:

• "Othello", "Dream in midsummer night Shakespeare's Romeo and Juliet.
• "Thunderstorm" Ostrovsky.
• "Inspector" Gogol.

Thus, dramaturgy is the theory and art of constructing dramatic works. It is also the plot-compositional basis, the totality of works and the theory of drama. There are levels of dramaturgy. beginning, development, climax and denouement. To comprehend the secrets of drama, you need to know its basics.

At the turn of the century, a generation of twenty-year-olds enters dramaturgy. Their works, as a rule, are exceptionally gloomy and, in one form or another, explore the problem of evil. The main place in the plays is occupied by the depiction of inhumanity and violence, more often than not by the state, but by evil, which is rooted in people's relations and indicates that their souls are crippled. Such "Plasticine" by Sigarev, "Claustrophobia" by Konstantin Kostenko, "Oxygen" by Ivan Viropaev, "Pub" by the Presnyakov brothers. There were no such gloomy plays and in such quantity even in the days of the underground. This testifies to disappointment in the values ​​of modern civilization and in man himself. Using the opposite method, thickening black colors, young authors defend the ideals of humanity.

A significant place in modern drama is also occupied by remakes - new, modernized versions famous works. Playwrights turn to Shakespeare, as evidenced by Hamlet. Version" by Boris Akunin, "Hamlet. Zero Action" by Petrushevskaya, "Hamlet" by Klim (Klimenko), "A Plague on Both Your Houses" by Grigory Gorin. Of the Russian authors, they turn to Pushkin (“Dry, ziben, ass, or Queen of Spades"Kolyada), Gogol ("Old World Love" by Kolyada, "Bashmachkin" by Bogaev), Dostoevsky ("Paradoxes of Crime" by Klim), Tolstoy ("Anna Karenina - 2" by Shishkin: the option that Anna remained alive is allowed), Chekhov ("The Seagull .Version "Akunin).

The leading theme of modern dramaturgy is man and society. Modernity in the faces reflects the work of realist playwrights. One can refer to such works as "Competition" by Alexander Galin, "French passions at a dacha near Moscow" by Rozumovskaya, "Trial interview on the topic of freedom" by Arbatova and many others. Maria Arbatova managed to arouse the greatest interest among representatives of realistic drama in the 1990s thanks to feminist issues new to Russian literature.

The criteria of the classics during the assessment of modernity are recognized as more objective than any ideological criteria. In other cases, they argue with the predecessors or deepen their observation. But first of all, dramaturgy refers to the universal values ​​bequeathed by the classics. The best of the plays created by modern playwrights have become the property of not only Russian but also foreign dramaturgy.

Russian literature of the late XX - early XXI century. generally of considerable interest. She teaches to think, forms a moral feeling, objects to the ugly, giving (often in an indirect form) an idea of ​​\u200b\u200bthe beautiful and desirable.

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Like all Russian literature of the turn of the century, dramaturgy is marked by the spirit of aesthetic pluralism. It presents realism, modernism, postmodernism. Representatives of different generations take part in the creation of modern dramaturgy: Petrushevskaya, Arbatova, Kazantsev, finally legalized representatives of the post-Vampilian wave, Prigov, Sorokin, the creators of postmodern drama, as well as representatives of the nineties dramaturgy. The playwrights Ugarov, Grishkovets, Dragunskaya, Mikhailova, Slapovsky, Kurochkin and others managed to attract attention to themselves - a whole galaxy of interesting and different authors.

The leading theme of modern dramaturgy is man and society. Modernity in the faces reflects the work of realist playwrights. One can refer to such works as "Competition" by Alexander Galin, "French passions at a dacha near Moscow" by Razumovskaya, "Trial interview on the theme of freedom" by Arbatova and many others. Maria Arbatova managed to arouse the greatest interest from among the representatives of realistic drama in the 1990s thanks to the new feminist issues for Russian literature.

Feminism is fighting for the liberation and equality of women. In the 1990s, a gender approach to this issue will be felt. The literal translation of the word “gender” is “sex”, but in this case, sex is understood not only as a biophysical factor, but as a sociobiocultural factor that forms certain stereotypes of male and female. Traditionally, in the world history of the last millennia, a woman was given a secondary place, and the word "man" in all languages ​​is masculine.

In one of the speeches, in response to the words “There has already been emancipation in Russia, why are you breaking through the open gates?” Arbatova said: “To talk about what happened women's emancipation, we need to see how many women are in the branches of power, how they are allowed to access the resource and to make decisions. After reviewing the figures, you will see that there is no talk of any serious female emancipation in Russia yet. A woman... is discriminated against in the labor market. A woman is not protected from ... monstrous domestic and sexual violence ... Laws on this matter work in such a way as to protect the rapist ... because they were written by men. Only a part of Arbatova's statements is given to show the validity of the women's movements that have begun to make themselves known in Russia.

The musical background of the play was the song "Under the Blue Sky" by Khvostenko - Grebenshchikov. The neighbor's daughter is learning this song, the music sounds out of tune and out of tune. Song about ideal city turns out to be corrupted. A spoiled melody is, as it were, an accompaniment to an unsuccessful family life in which resentment and pain reign instead of harmony.

Arbatova shows that an emancipating woman, asserting herself, should not repeat the average man, borrow his psychology. About this - in the play "The War of Reflections". Here the type of the new Russian woman is recreated, striving to behave the way, according to her erroneous ideas, most women of the West behave. “I also believe that a man is an object of consumption, and I also demand comfort from him. Let him be thoroughbred and silent. The man and woman become mirrors in the play, reflected in each other. For the first time, a male hero gets the opportunity to see himself from the outside in the form of a moral monster. The new feminism does not mean a war of the sexes, but their parity, equality.

To the question “Do you see the danger from feminism?” Arbatova cited the Scandinavian countries as an example, where already up to 70% of the clergy are women, half of the parliament and the cabinet of ministers are occupied by women. As a result, they have "the most balanced policy, the highest social security and the most legal society."

Other plays by Arbatova were also successful - "The Taking of the Bastille" (about the originality of Russian feminism compared to Western) and "A Trial Interview on the Theme of Freedom" (an attempt to show a modern successful woman).

Since the mid-1990s, Arbatova has left dramaturgy for politics and writes only autobiographical prose. Skoropanova believes that the dramaturgy in the person of Arbatova has lost a lot. Those plays that were published are relevant to this day.

Realism in drama is partly modernized and can be synthesized with elements of the poetics of other artistic systems. In particular, such a current of realism as "cruel sentimentalism" appears - a combination of the poetics of cruel realism and sentimentalism. The playwright Nikolai Kolyada is recognized as the master of this direction. "Go away, go away" (1998) - the author revives the line little man in literature. "The people I am writing about are the people of the province... They strive to fly over the swamp, but God did not give them wings." The action of the play takes place in a small provincial town located next to a military unit. From the soldiers, single women give birth to children and remain single mothers. Half of the population of such a town, if they manage to break out of poverty, fails to become happy. The heroine, Lyudmila, was hardened by life, but deep down in her soul, tenderness, warmth and depth of love were preserved, which is why Lyudmila advertises her desire to meet a man to start a family. A certain Valentine appears in her life, whom reality, however, disappoints: he (like Lyudmila - her husband) wants to find a strong, wealthy wife. On Friday, the city plunges into unrestrained drunkenness, and Valentine arrives just in time for Saturday and Sunday. During the next feast, demobilizations insulted Lyudmila, and Valentin stood up for her. For her, this was a real shock: for the first time in her life (the heroine has an adult daughter), a man stood up for her. Lyudmila cries with happiness for being treated like a person. The sentimental note that pervades Kolyada's play reflects the need for kindness and mercy. The fact that all people are unhappy, Kolyada seeks to emphasize in this and his other works. Pity permeates everything written by Kolyada and determines the specifics of his work.

In the foreground in dramaturgy, it may not even be the person himself, but reality in Russia and the world. The authors use fantasy, symbolism, allegory, and their realism is transformed into post-realism. An example is "Russian Dream" (1994) by Olga Mikhailova. The play reflects the social passivity of the bulk of Russian society, as well as the unexpired social utopianism. The work recreates the conditional world of a fairy tale-dream, extrapolated to the reality of the nineties. In the center of the play is the image of the modern Oblomov, the charming young man Ilya, who is characterized by laziness and idleness. In his heart, he remains a child existing in a fantasy world. Ilya seeks to be persuaded to social activity by the Frenchwoman Katrin, but neither her energy nor her love could change Ilya's lifestyle. The finale has an alarming and even eschatological connotation: such passivity cannot end well.

Features of eschatological realism also appear in Xenia Dragunskaya's play "Russian Letters" (1996). The conditionally allegorical situation depicted is reminiscent of the situation in The Cherry Orchard: the country house that the young man Nochlegov sells when moving abroad is a metaphor: this is the house of childhood, which is depicted as doomed to death, like the garden in front of the house (due to radiation, it dies all living things). However, Skye that arises between Nochlegov and a young woman can develop into love, the author makes it clear, and this, with a sad ending, leaves a vague, but hope for the possibility of salvation.

So, the codes of either sentimentalism, or modernism, or postmodernism are being introduced into the realistic drama everywhere. There are also borderline phenomena, among which the plays of Yevgeny Grishkovets can be attributed. To a large extent, they gravitate towards realism, but may include elements of the modernist stream of consciousness. Grishkovets became famous as the author of the monodramas "How I ate a dog", "At the same time", "Dreadnoughts", in which there is only one actor(hence the term "monodrama"). The hero of these plays is mainly engaged in reflection, the results of which he acquaints the audience with. He reflects on the most diverse phenomena of life, and most often on the so-called " simple things”, as well as the category of time. Everyone gets knowledge about these subjects at school and university, but the hero of Grishkovets strives to think independently. The process of independent thinking, somewhat naive, confused, not crowned with great results, occupies a central place in the plays. The sincerity of the hero of the monodrama attracts, which brings him closer to those sitting in the hall. Often the hero rethinks certain facts of his biography. What in his youth seemed normal and self-evident to him is now criticized by him, which indicates personal growth, an increase in moral requirements for himself.

Interestingly, Grishkovets is not only a playwright, but also an actor. He admits that it is boring to pronounce the same text over and over, and each new speech of his includes variant moments. That is why Grishkovets had problems with publication: a conditionally basic text is being published.

Along with the monodrama, Grishkovets also creates a “play in dialogues” “Notes of a Russian Traveler”, which emphasizes the importance of trusting friendly communication. The author shows that friendship is very tedious for a person, since, first of all, it strengthens the belief in one's own necessity. "Two is already much more than one." conversational genre determines the features of the poetics of this play. Before us are the conversations of friends about this and that. In the play "The City" there is an alternation of conversations (dialogues) and monologues. Attempts to overcome longing and loneliness, which permeated main character works. At some point, he simply gets tired of life, and mainly not from its dramas and tragedies, but rather from the monotony, monotony, repetition of the same thing. He wants bright, unusual, he even wants to leave hometown, leave the family; its internal throwing reflects the text. In the end, a person largely rethinks himself and gains mutual language with the world, with loved ones. An attempt to re-evaluate oneself, return to people and gain an additional dimension of life that would give new meaning existence, ends successfully in this play. First of all, the author emphasizes that a person is a medicine for a person.

The plays of Grishkovets carry a humanistic charge and possess to a large extent reliability. Through the known, he penetrates into inner world individual personality and calls its characters to self-renewal, understood not as a change of place, but also as an internal change in a person. Yevgeny Grishkovets became widely known at the turn of the century, but in recent times began to repeat.

Along with realistic and post-realistic, modern playwrights and modernist dramas are creating, primarily dramas of the absurd. The plays by Stanislav Shulyak "Investigation", Maxim Kurochkin's "Opus Mixtum", Petrushevskaya's "Again Twenty-Five" stand out. The emphasis is on the persistent contradictions of socio-political life, which to this day declare themselves. by the most bright work this kind of Skoropanov considers "Again twenty-five" (1993). Using fantastic conventionality and exposing the absurdity of what is happening, the author opposes the inexhaustible panopticism, that is, against the state's intrusion into people's private lives. Petrushevskaya defends the right to dissent and otherness in general, to which the champions of the standard, who break other people's destinies, cannot get used to. The play consists of dialogues between a Woman released from prison and a Girl assigned to her for the social adaptation of her and her Child, born in prison. Realizing that this child is a creature that looks more like an animal than a person, the Girl becomes bolder and begins to ask questions prescribed to her by the questionnaire. The younger heroine cannot understand that the Woman is already at large, and threatens with repeated imprisonment. The girl is not given to understand that in front of her is a Woman of extraordinary abilities. Petrushevskaya, as it were, asks the question: does it really matter to the state who exactly she gave birth to? (And from whom did the Virgin Mary give birth? But she is worshiped, because she gave birth to Christ.) Petrushevskaya asserts in the general reader and viewer the category of privacy - everyone's personal territory.

Of the plays written by Petrushevskaya already in the new century, the play Beefem (2001) stands out. The play has a borderline stylistic nature and is close to modernism in terms of the use of fantastic conventionality in it. common name Bifem belongs to Petrushevskaya woman with two heads. The action is moved to the future, when organ transplants, including the brain, turned out to be possible - but very expensive. Bea was one of the first to agree to attach a second head to her body, her head had just dead daughter, speleologist Fem. The heads talk throughout the performance, and it turns out that Bee is very proud of her sacrifice, fulfilling her moral duty to her daughter, and Fem, on the contrary, is terribly tormented, realizing that a woman with two heads will never know either love or marriage, and begs her mother to end with myself. The attachment of heads to a single body symbolizes family ties in Petrushevskaya. The writer preaches equality in the family: if it is not in the family, then where does it come from in society? "Bephem" also contains the features of a dystopia, warning that without a moral transformation, the latest scientific discoveries will lead nowhere and will give rise to freaks.

The Male Zone (1994) is a postmodern play. The writer herself defined the genre as “cabaret”. The action takes place in a conditional "zone", reminiscent of both a concentration camp and one of the circles of hell. The author brings the reader together with images famous people: Lenin, Hitler, Einstein, Beethoven. The game with these images, destroying their cult character, is played throughout the play by Lyudmila Petrushevskaya. Before us are hybrid-quote characters. Each of them retains the well-established features of the image, and at the same time acquires the features of a prisoner, a thieves, shown at the moment of playing a role that is not at all suitable for him, namely: Hitler in the role of the Nurse, Lenin in the form of the moon floating in the sky, Einstein and Beethoven is portrayed, respectively, as Romeo and Juliet. A schizo-absurd reality emerges that distorts the essence of Shakespeare's play. The action takes place under the guidance of an overseer, who personifies the totalitarianism of thinking and logocentrism. In this context, Petrushevskaya's "male zone" turns out to be a metaphor for a totalitarian mass culture that uses the language of false truths. As a result, not only the image of Lenin is desacralized, but also the unconditional worship of any cult in general.

A parody game with images of real historical persons Mikhail Ugarov also performs in the play "Green (...?) April" (1994-95, two editions - one for reading, the second for staging). If Korkia in the play “The Black Man” debunks the image of Stalin created by official propaganda, then Ugarov in his play debunks the image of Lenin and his wife and comrade-in-arms Nadezhda Krupskaya. Like Petrushevskaya, his characters are simulacra. At the same time, the images of the characters are personified under the nominations "Lisitsyn" and "Krupa". Ugarov is in no hurry to reveal his cards and tell who exactly his heroes are. He encourages them to perceive them through the eyes of a young man from an intelligent family, Seryozha, who has no idea with whom the plot pushed him, and therefore is not programmed for Leninist myth. The author creates a purely virtual, that is, fictional, but possible reality. It depicts a chance meeting of Seryozha on an April day in 1916 on Lake Zurich in Switzerland with two strangers. The very appearance of these two sets the viewer in a comedic mood: they ride on bicycles, and the woman immediately falls, and her companion bursts into laughter and cannot calm down for a long time. These two figures are reminiscent of clowns and bring to mind a standard circus trick of mimicry. "Lisitsyn" so exaggeratedly inadequately reacts to the fall of his wife that for a long, long time he cannot take a breath from laughter. "Lisitsyn" is an active, lively subject of short stature, "Krupa" is presented as a clumsy fat woman with a dull expression on her face. In this tandem, "Lisitsyn" plays the role of a teacher, and "Krupa" - the role of his unintelligent student. "Lisitsyn" always teaches everyone, while showing sharp intolerance and rudeness. The couple are located on the same clearing as Seryozha, and begin to behave, to put it mildly, uncivilized. "Lisitsyn" rants all the time and generally behaves extremely shamelessly. Seryozha first met people of this kind and barely tolerates what is happening, but, as a well-mannered person, he is silent. “Lisitsyn” feels radiated disapproval and decides to “teach” Seryozha: he lures him into his circle and teaches that intelligence is unfreedom. “And here I am,” says Lisitsyn, “very free man". In pseudo-cultural conversations, "Lisitsyn" tries in every possible way to humiliate Seryozha and, moreover, to get him drunk. Leaving a completely drunken young man in the pouring rain, the well-rested "Lisitsyn" and "Krupa" leave for Zurich. And the bride of Seryozha should arrive by evening train.

Playing with the image of the leader, Ugarov not only deprives him of propaganda humanity, but also recreates the very model of relationships Soviet state with its citizens, based on disrespect for a person, non-observance of his rights, so that everyone could break their fate at any moment. The debunking of the cult figures of the totalitarian system is an important step towards overcoming it.

"Stereoscopic pictures privacy» (1993) Prigov - about mass culture. Prigov shows that Mass culture our time has been transformed. The all-suppressing ideological imperative is being replaced by a strategy of soft seduction, feigned flattering flirting, sweet-voiced bullying. This is a more disguised and sophisticated way of influencing the sphere of consciousness and the unconscious. It contributes to the formation and taming of standard people, as it imitates the fulfillment of their desires. Prigov shows that the falsification of the image of reality, the profanation of the spiritual principle, its destruction in man remains unchanged. Prigov in the play examines the impact on people of mass television production. Talk shows attract his attention, in which there can be nothing bad, depressing, unbearable for the brain. If there is an appearance of conflict, it is conflict between the good and the best. Prigov builds the play from a series of miniature scenes (28 in total). These are episodes from the life of one family. the main role in miniatures belongs to the comic dialogue. Trendy topics are covered: sex, AIDS, rock music. Meanwhile, quite certain ideas are gradually being suggested:

The main thing in life is sex. "Young generation, leave power and money to us, and take sex for yourself."

Communists - good people. A dialogue between a grandson and a grandmother is given. The grandson was told at school about the communists, and the grandmother convinces him of the idea that the communists are "some kind of wild."

There is what the majority believes. "Masha, do you believe in God?" - "Most believe, so, probably, there is a God."

After almost every one of the 28 scenes, applause is heard. This is done in order to evoke a programmed reaction in a possible viewer.

Aliens suddenly appear, but none of the family members care about him. Then the monster appears. "Is that you, Denis?" "No, it's me, the monster." - "Oh, okay." The monster eats the mother, and then the rest of the family. The monster symbolizes the power of mass media over man. But finally, when the monster eats the alien, both are annihilated. The alien is a symbol of the true, "other" culture, which alone is capable of resisting mass culture.

The recorded applause continues after no one is left on stage. Except for Masha and God, all other characters are eaten. The monster replicated itself, it penetrated the souls of people.

At the turn of the century, a generation of twenty-year-olds entered dramaturgy. Their writings tend to be exceptionally dark and explore the problem of evil in one form or another. The main place in the plays is occupied by images of inhumanity and violence, most often not from the side of the state, but evil that is rooted in people's relations and testifies to how their souls are crippled. Such are Sigarev's Plasticine, Konstantin Kostenko's Claustrophobia, Ivan Vyropaev's Oxygen, and the Presnyakov brothers' Pub. There were no such gloomy plays and in such quantity even in the days of the underground. This testifies to disappointment in the values ​​of modern civilization and in man himself. Nevertheless, by contradiction, thickening black colors, young authors defend the ideals of humanity.

Exclusively great place in modern dramaturgy, remakes are also occupied - new, modernized versions of famous works. Playwrights turn to Shakespeare, as evidenced by Hamlet. Version" by Boris Akunin, "Hamlet. Zero Action" by Petrushevskaya, "Hamlet" by Klim (Klimenko), "A Plague on Both Your Houses" by Grigory Gorin. From Russian authors, they turn to Pushkin (“Dray, Zieben, As, or the Queen of Spades” by Nikolai Kolyada), Gogol (“Old World Love” by Nikolai Kolyada, “Bashmachkin” by Oleg Bogaev), Dostoevsky (“Paradoxes of Crime” by Klim), Tolstoy (“ Anna Karenina - 2 "by Oleg Shishkin: the option is allowed that Anna remained alive), Chekhov ("The Seagull. Version" by Akunin). The criteria of the classics in assessing the present are recognized as more objective than any ideological criteria. In other cases, they argue with the predecessors or deepen their observations. But first of all, dramaturgy refers to the universal values ​​bequeathed by the classics. The best of the plays created by modern playwrights have become the property of not only Russian but also foreign dramaturgy.

The concept " modern dramaturgy"very capacious both chronologically (late 1950s - 60s) and aesthetically. A. Arbuzov, V. Rozov, A. Volodin, A. Vampilov - the new classics have significantly updated traditional genre Russian realistic psychological drama and paved the way for further discoveries. Evidence of this is the work of the playwrights of the "new wave" of the 1970-80s, including L. Petrushevskaya, A. Galin, V. Arro, A. Kazantsev, V. Slavkin, L. Razumovskaya and others, as well as the post-perestroika "new drama" associated with the names of N. Kolyada, M. Ugarov, M. Arbatova, A. Shipenko and many others.

Modern dramaturgy is a living multifaceted art world, striving to overcome the patterns, standards developed by the ideological aesthetics of socialist realism and the inert realities of stagnant times. It was the Soviet dramaturgy that openly proclaimed the need for the restructuring of society, social, economic and moral. Playwrights of the 60s - early 80s and their heroes with enviable persistence and courage showed from the theatrical stage the vices of the system that was criminally destroying the country, nature, human consciousness. Under conditions of ideological dictatorship, civic courage was also shown by talented theater directors such as G. Tovstonogov, Yu. Lyubimov, O. Efremov, A. Efros, M. Zakharov. Their colossal efforts created publicistically passionate performances-rallies "Man from outside" (based on the play by I. Dvoretsky), "Minutes of one meeting" by A. Gelman, "So we will win!" and "The Dictatorship of Conscience" by M. Shatrov; performances-parables with a deep socio-philosophical overtones based on the plays of Gr. Gorin ("Forget Herostratus!", "The Same Munchausen"), E. Radzinsky ("Conversations with Socrates", "The Theater of the Times of Nero and Seneca"), A. Volodin ("Two Arrows", "Lizard"), national Soviet playwrights (I. Druta, A. Makaenka, K. Sai and others). During the years of stagnation difficult fate the unfading "Chekhov branch", the domestic psychological drama, represented by the plays of Arbuzov, Rozov, Volodin, Vampilov, also had it. These playwrights invariably turned the mirror into the human soul and recorded with obvious anxiety, and also tried to explain the causes and process of the moral destruction of society, the devaluation of the "moral code of the builders of communism."

Together with the prose of Y. Trifonov and V. Shukshin, V. Astafiev and V. Rasputin, songs by A. Galich and V. Vysotsky, sketches by M. Zhvanetsky, screenplays and films by G. Shpalikov, A. Tarkovsky and E. Klimov, the plays of these authors were riddled with screaming pain: "There is something with us that happened.

We have gone wild, completely wild... Where does this come from in us?!" This happened under the most severe censorship, during the birth of samizdat, aesthetic and political dissidence, the underground. In the mid-1980s, on the wave of "perestroika", many works managed to break through First of all, these are anti-Stalinist and anti-Gulag plays ("Kolyma" by I. Dvoretsky, "Anna Ivanovna" by V. Shalamov, "Troika" by Y. Edlis, plays by A. Solzhenitsyn), as well as "Brest Peace" by M Shatrova, "Kastruchcha" and "Mother of Jesus" by A. Volodin.In the play "The Seventh Labor of Hercules" M. Roshchin came up with an original image of the goddess of lies Ata, who, posing as Truth and calling black white and vice versa, freely ruled in impoverished Hellas “developed socialism.” Gorbachev's perestroika, which began in Soviet society, seriously changed the cultural situation as well.

And then a paradoxical psychological reaction arose. Having finally received the long-awaited freedom and publicity, many were simply confused. However, this also had its advantages, when a wise desire arose "not to run, but to stop in order to understand the meaning of what is happening." The most positive thing was that under the new circumstances, the appeals of art officials to writers to be a "rapid response team", create plays "on the topic of the day", "keep up with life", "reflect" as soon as possible, hold a competition for " best play about ... "perestroika".

V. S. Rozov rightly spoke about this on the pages of the Soviet Culture magazine: “Forgive me, this is something in the spirit of the old times ... There cannot be such a special play “about perestroika”.

A play can just be a play. And plays are about people. Similar thematic restrictions will inevitably give rise to a stream of pseudo-topical hack work. "So, the new era when the bar was raised high for the criteria of truth and artistry in the reflections of playwrights about today. "Today's audience is far ahead of both the theatrical fleeting fashion and the attitude towards oneself from top to bottom from the side of the theater - he is hungry, waiting for a smart, non-futile conversation about the most important and vital, about ... eternal and imperishable," Y. Edlis rightly notes.