In the drama of the 1970s it was easy to carry out a problem-thematic classification. There were PII industrial, political, international topics, etc. The production play of the 1970-80s referred to many economic and social problems, although not concerned the basics of the system. By the mid-1980s, the nature of the production play changed-Xia. Production conflicts acquire moral-venna fullness, a person's personnel of a person with his work, and home, family life The hero becomes continuing his production life. This is expressed even in choosing a place of action: the apartment ("alone with all" A. Gelman), cottage ("Veranda in the forest" of I. Butler). Sofa production, public, personal life is intertwined, the hero is familiar with the crossing of the difference coordinates.
The trend towards the comprehension of the spiritual essence of the contemporary concealed by the end of the 1970s. The social value of a person begins to measure, not only by business qualities, but primarily the level of moral concepts. This leads to the fact that the purely "Pro-Verdal Drama" in the 1980s is no longer found. The plays "Zinul" A. Gelman, "Silver Wedding" A. Misharina, despite the fact that their plot-forming basis are conflicts of production, is an already publicistic conversation about co-lead, about personal responsibility, about the ratio of the word and the case.
In the early 1980s, the play of playtings appeared, similar to the creative principles of which were allowed to unite them in the Dram-Tourgy of the "New Wave" or Postampilovsky playwright. The duality of life was reflected in the "New Wave" Pier-Sach, he was a difference of a person's distortion as a result of social reasons. In them, heroes experienced a tragedy of challenge and non-accuracy, once-rushing longing for the fact that they themselves were not able to determine. L. Petrushevskaya, V. Slavkin, A. Galin, L. Razumovskaya immersed the heroes in life, in everyday life, in some "community" quarrels. Domestic troubles disconnected people, whether their characters are deepening. The playwrights of the "New Wave" volume-distinced and the fact that in their plays was never clearly expressed by the author-skaya position, there was no positive ideal. The atmosphere of the plays did not give hope for prospects. General in post-ampilovsky drama and attitude towards theater Chekhov. "Three girls in the blue" L. Petrushevskaya caused associations with the "three sest-rami", the motifs of the "Cherry Garden" were transformed into a play
V. Arro "See who came!" And L. Razumovskaya "Garden without land", "My relatives" by A. Smirnova led to the Dachniks. But with the plot similarity of the play "New Wave" differed from the Czechs, the lack of that high-industrial atmosphere, which under the nimal of life in Chekhov's dramas on the level of being, allowed the external misunderstanding to see the intense work of the soul.
In the early 1980s, playwrights turned to the search for the source causes of the life of the whole generation. N. Semenova, A. Dudarev, M. Vorfolomeyev showed the corrosive of the atmosphere of lies, hypocrisy, erected into the state mass headquarters. The hero of the late 1980s is lackless, reflexion will indulge, does not make any actions. In the psychological drama, it is an unusual conflict, in which not one Perso-click opposes another, and the hero is opposed to life ("Ser-CO" V. Slavkin).
The desire to find analogies modern life In history, philosophically to comprehend some eternal problems cause development philosophical drama. One of the talented ideas - E. Radzinsky. His plays - Psychological dramas built on a different material, which uses the reception "game in the game" or "play in the play" ("The Old Actress for the role of his wife Dostoevsky"). So, B. philosophical play The "theater of the time of Nero-at and Seneki" in the act of action played by the play, which puts it in Nerona. Life and game are intertwined, creating a strained field of action.
The drama of the 1980s is so diverse that it is quite difficult to reduce it to several directions. Indeed, only in the genre of the psychological drama, along with the "New Wave", the creative searches of the high-generation playwrights were continued - V. Rosov, A. Arbuzov. Written during this period "Host", "Kaban Chik" V. Rosova, "Winner", "Guy" A. Arbuzov was identified by the unexpected faces of their creativity. They opened the face of life filled with real drama, where social and personal intertwined together, where the broken fate of the young were punished for the moral crimes of fathers. Material from site.
In the 1990s, "Chernukh" gradually leaves the play, the household side of life occupies less than writers. Eternal questions start to sound again: life and death, God and the devil, ends and beginnings, naturalness and artificiality. These problems on non-unsolved material puts in the "slingshot", "ka-note", "Uudi-yield" N. Kolyada. In them, the playwright appeals to the subconscious, secret, to the bore of the human soul and flesh.
Since the mid-1980s, the traditions of the theater are reborn in Russian dramaturgy, laid by Obeniuts. A. Kazan residents "Dream Evgenia", A. Dery-Nenko "I also want to the ball, take me with myself, are treated for the paradoxical theater.
In the late 1980s, Este-Tika postmodernism is being implemented in Russian drama. Postmodern drama built on deconstructs of signs and symbols of culture socialist realism. This can include the plays of V. Sorokina "in the dugout", "Pelmeni", M. Ugarov "Newspaper" Russian disabled "for July 18," A. Shipenko "Garden of Octopus".
In the drama of the late 20th century, the process of finding new forms and the development of old genres in traditional and postmodernist systems is underway.
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On this page, material on the themes:
- russian drama 20th century
- playwright 20th century Russian
- russian dramaturgy 20th century
- dramaturgium of the late 20th century
- analysis of Drama V. Arro
2. Russian dramaturgy of the 20th century, from Gorky to Vampilov. Development trends. Names and genres
30 GG.The first congress of Soviet writers was important in understanding the tasks and directions of drama. By the beginning of 30 Most literary groups were dispersed or self-disgraced. Decree of the Central Committee of the CPSU (b) "On the restructuring of lit-hood organizations" (1932) stated this fact, motivating this by the fact that the existing lith-hood organizations inhibit serious scope of Hood. creativity. The Organizing Committee was created to prepare the All-Union Congress of Soviet Writers, led by Gorky, and in 1934 this congress took place. At the congress, the charter of the Union was adopted, proclaiming that the socialist realism, the main method of literature, allows the artist to show creative initiative, gives him the opportunity to choose a variety of forms, styles and genres. The charter demanded that writers setting in Hood. Works of problems of ideological alterations and education of workers in the spirit of socialism. Since that time, the intensive introduction of the principles of social realism in consciousness and writers and readers began, a wide campaign was launched on praising a new creative method as a vertex in the cultivation of humanity. But most of these principles are actually thin. Creativity did not have a relationship. These were the installation of an organizational and ideological order. The newspapers could be read about the opening of new magazines: "Banner (1931)," International literature "(1933). The main feature of lit. Movement 30 - The predominance of the epic began in all kinds of creativity, which was spoken primarily in a pull to a large canvases. Gorky, A. Tolstoy, Sholokhov. Ideas problems of the first half of 30 Gg.Modernity comes to the fore. A large place occupies the topic of socialist creation, creative labor of the masses, is the topic that only originated in the 20s. Pieces N. Pogodin: "Temp" (1929), "Poem about the Topore" (1930), "My friend" (1933). V. Kataev "Time, Forward!", "N. Nikitin "Line of Fire". "Syt" Leonid Leonova. The playwrights showed a new, socialist attitude towards work in Soviet people, their blood interest in the successes and growth of social. Industry, a sense of economic responsibility for business, etc. Along with the play on the working class there were plays about the birth of a collective farm village, about the struggle of the party for collectivization of agriculture: "Bread" V. Kirchon, "After the Bala" N. Pogodin, the drafting of the "raised virgin" M. Sholokhov. Dramaturgia did not forget to apply to the recent past - the era of the Civil War. These are such plays as the "first equestrian" and "optimistic tragedy" of Vsevolod Vishnevsky. A number of plays were devoted to the topic of intelligentsia, the fight against the ideological front. For example, "Fear" by A. Athenogenova. Disputes on the principles of the image of a new hero. For the mass of literature, against psychologism is part of writers. Another part is for individualization, for the in-depth psychological disclosure of characters. Another dispute was about whether it is possible to transfer the new content of reality in its entirety and reflect the social. The conversion of a country, creatively using old techniques, or is needed immediate and decisive breaking of all old forms, and the destruction of the building of the traditional drama. Many have felt the inconsistency of the new content of old forms (Vishnevsky, Pogodin). They denied the exhausted alleged traditions of Chekhov, Ostrovsky, Ibsen, and others. Opposed psychologism, behind the image of the masses. Such as the Athenogen and Kirschon, they still wanted to still be learned on the way to new forms.
Dramaturgia Alexander Vampilovaleksandr Valentinovich Vampilov (1937-1972). Born in the Irkutsk region in the teacher's family, graduated from Philfak of the University of Irkutsk. Began to be printed in the student in the youth newspaper. In 1961 he published the book of the stories "Conference E Crucity." Then he began to write plays. Pieces " Duck hunting"And the" last summer in Chulimsk "were published in the Almanna" Angara ". "New World" did not accept them, despite the personal location of the Tvardovsky. V. Rosov: "Almost every play of Vampilova begins as a water-water or farce, and then reaches the limit dramatic stress." Vampilov became the author of just six plays, about 60 small stories, essays and fechens, which can easily be combined in one volume (11 years of literary activity). The plays is always about the time in which he lives (end of the 60s), and about people who are worried with him. At the time of its creation, the play, put on the stage of the Grand Drama Theater in Leningrad, were perceived as sharp-absorbed. However, modern Vampilov Criticism noted that social filling of life, its external, activity, is obvious to him. It was reproached to the addiction to the image of inactive, but constantly hard heroes. Indeed, the headway of Vampil's drama of Vampilov is weakened, but this is not its disadvantage, but undoubted advantage: putting the process of human thinking into the center of the narration, he made a playwright-novator. The conflict of his plays is also specific. It should not be sought in the confrontation of heroes or groups of characters, for it is concluded in the soul of their one - the hero set in the center. However, the delimitation of characters on the main and minor in the plays is not so definitely. Who, for example, the main character Early vampil playing "Farewell to June" (1965) ? - Bukin, guilty of gap with Masha and experiencing his consequences, or wheels, who donated a sense to Tanya for the sake of obtaining a diploma and admission to graduate school? The heroes of Vampilova are always people with a complex character seeking and not finding themselves in the world, and sometimes noting in themselves the loss of something very important. The concentration of the playwright on the purely "human" problem was noted by V. Rasputin: "It seems that the main question that Vampil is constantly asked: Will you stay, man, man?" Heroes of Vampilov - often people aged about thirty, who came to the stage of preliminary summary of the results. They are uncomplicable from nature, but something often prevents them from realizing this uncommon. Such are the heroes of the already mentioned play "Farewell in June." Many of them are typical of the general quality - they are not satisfied with the measured strength of life, events or words that will be able to give the dynamics of their everyday existence. Tanya, daughter Rector Repnikova, rebuilt against the external well-being of the parental home. Bukin on his own wedding talks about himself in the third person - playing. Unexpected in externally realistic drama. His heroes do not live, but playing in life by challenging reality, seeking to create its own analogue of reality. They are kind of cynic, but still hope that there is still a place on earth, where they can be themselves. Change space? Typical for young people of 60s - leave to Siberia, at the youth "construction of the century". Gomyr is looking for a privacy in Siberia, the road to itself. The desire of the homeward dictated not to the desire to find an external goal, and the inability to oppose it to her. And then the feeling of fatigue that Vampilov fixes in his hero becomes a constant characteristic of the Vampilian characters, - a characteristic of the play in a play: says Zilov from "duck hunting". In the play "Farewell in June" Vampilov gave a fairly simple substantiation of "fatigue syndrome". She was perceived as a result of the collision of the "senior" and "younger," the inability to achieve an understanding between the "fathers" and "children". "Elders" are concerned about the preservation of comfort and maintaining an external pleasing. Repnikov, father Tanya. It is revealed in private communication - inside the family, in a home conversation about exclusion from the Institute of Wheel. He is kindly colded with his wife, the inner world of which is uninteresting for him, irritable, does not accept reproaches, it is not considered a sympathy of Tanya to the wheel and, without listening to him, insists on the termination of contacts between them. About Repnikov says that he is "administrator and a little scientist - for authority"; He is a carrier of an administrative consciousness, which requires to do everything in life clear and regulated. He without a doubt changes the cum of Wheel on the love of Tanya. Another representative of the older generation is gold. His fate is different than the fate of Repnikov. But this is also life, lived. The existence for yourself, the accumulation, which has become the norm.
He set himself a goal to prove to the world lability of honest people: "Where is an honest person? .. A honest person is the one who gives little. It is necessary to give so much that the person cannot refuse, and then he will surely take it. The auditor did not take 20 Thousands, the hopes of Goldeva were not justified, his life lost its meaning, "divided", and therefore, with the last appearance in the play, "he has a confused appearance." In this play, there is hope for the possibility of existence of honest one-piece personalities, although there are complexity of human characters here, although there are complexity of human characters And the symptoms of fatigue - "diseases" of generation, which A. Vampilov himself called "lost" was noted. Vampilov just recorded in the plays that irreversible loss of suitability, optimism, faith in people. In "Duck hunt" (1970) - The most famous play by A. Vampilova - the idyllic finale becomes impossible. Her hero Zilov is a typical Vampilian character who personifies the "lost" generation. Vera was popran. The person set before the need to look for a support in herself, without having a necessary spiritual filling for this. Social growing Zilova had to 60th. He, who survived the era of hopes and disappointments, about thirty years. He is a man with a diluted soul, devoid of internal integrity. This is the first ones dedicated to him the author's remark: "He is quite high, strong addition; in his gait, a tough manner to speak a lot of freedom, which is coming from confidence in his physical usefulness. At the same time, in the gait, and in gestures, and in conversation He has some negligence and boredom, whose origin cannot be determined at first glance. " Zilov carries the traits of marginalness, which is also typically for the heroes of the playwright: Zilov is a native of a remote Siberian town. The impression of the duality of the hero aggravates the music, which throughout the play is unmotivated changes its character: "Cheerful music suddenly turns into mourning." The space of the play is the space of the city, localized and closed as part of the apartment and cafe. This closed space is rhymes with the hero himself, this is the moment of the characteristics of the hero, the same closed in itself. The state of the world in the play is likened to the state of the character. So, at the beginning of the play "the last floor and the roof of a typical house standing opposite is visible in the window. Over the roof is a narrow strip of gray sky. Rainy day." In the finals in the soul of the hero and in nature, enlightenment comes, but there is still no way out of the world outside the "I": "By this time, the rain outside the window passed, blue sky stripes, and the roof of the neighboring house is lit by the inappropriate boring sun." Zilov in the play rebells against the monotony of life, whose sign is the city here. The world in the "duck hunt" subordinates Zilova. He does not accept lies in others, but himself often lies. The attitude of his work is evidenced by the fact that he is ready to report on the work of a non-existent enterprise. Typical situation of Vampilovsky Pieces: The game replaces life. Relationships of fiction and reality in the "duck hunt". First, friends play the death of Zilov, then the game is almost ends with his suicide. The joke is initially cruel. The inscription on the wreath should be perceived ironically. Zilov questioned and related feelings. Having received a letter from the Father with a request to come, he says: "Let's see that the old fool writes<...> Seeking such letters in all the ends and lies, the dog, waiting. "The premonition of death in his father is reality. In that Zilov does not believe the word of anyone, even a close man - not only his fault. Time has demonstrated the mismatch of words and affairs. The 60s came to the awareness that the word may not be genuine reality. The image of Cushak, like Zilova, bears on himself the signs of division: "In his institution, at work, he face is quite impressive: strict, decisive and deliver. Outside the institution is very uncertain in himself, indestructible and fussy. "However, the generation of the heroes is different. In the case of Zilova, it is the proof of the complexity of a human nature. Zilov does not allow themselves to regard themselves as a positive or negative hero. Scroves . For its showing decency, there is a deposit. He argues about the unethiffness of the visit to visit in the absence of a wife who left on vacation, and at the same time it easily agrees to a provoked zilov novel with faith. Zilov, unable to independently overcome the spiritual crisis, causes copyright and sympathy. People The same living with a measured, regulated life is not the objects of the author's sympathy. The pilot of Kudimov. How the game is perceived in the play and expectation of hunting, with which Zilov hopes to become themselves. Hunting can not take place in principle, because it is impossible to return to the essences of life path, to the freshness of the perception of the world. Explanation of this - and in Hero, and out of it, in the era of the turn of the 60s - 70s, in which "the one who once lived, a painted idea - confrontation or overcoming, was filled with it, it came across if not on the emptiness, then on non-liberation." Zilov is the only hero of the play, which is acutely experiencing the loss of the soul, farewell to the same. His trouble is that he himself is infected with an era, unable to resist her. It turns out that the drama of the hero is not from the collision with reality, but, on the contrary, from the incompleteness with it, from the gradual transformation of life in everyday life.
Pieces of Nampilov, together with the stories, Shukshin brought the mood of confusion, understanding the dead end, the futility of efforts to live on. The spiritual fullness of Vampilic heroes was not enough to live a harmonious inner life. Without the opportunity and without knowing how to realize themselves, heroes are replaced by the game. Good, whose carrier is, for example, Sarafanov ("Senior Son"), in the artistic world of Vampilov, after all, the exception, but the exception that preserves its creative force.
7.3. Summary of the storytellor in his attitude to the image of the author in the language composition of the text Image of narrator Appears in the narrative texts in cases where the story is not directly "from the author", but is transmitted to any person - a storytellor. CO 2 floor. 18 V. in rus. This technique developed this technique. The appeal of the priest Chulkov, Grineh in Pushkin, ore Panko Gogol, etc. Vinogradov wrote: "The narrator is a speech of the writer, and the image of a storyteller (who gives itself over the author) is a form of a writer's literary artistry. The image of the author is seen in it as an actor image in the certificate creativity. " The image of the narrator is created by the author and therefore does not exclude, does not cross the image of the author.
Moreover, the image of the author present in the composition of the work along with the image of the narrator, but in the composite hierarchy occupies the highest level standing above the shorter. By cementing force, the rod, around which the entire stylistic system of the work is grouped by the author's image. The ratio between the author's image and the image of the narrator can be different, but the main aspects of this ratio are two: 1) The degree of proximity or remoteness of the image of the storyteller and the image of the author and 2) The variety of "faces" in which the author may be, transmitting the story story. There are works in which the image of a narrator is close to the image of the author in language and a look at the world (a point of vision) - most of the stories of Powntsky, and there are works, where the image of a narrator is clearly distant
It must be remembered that "I" in a narrative product (prosaic or poems) unambiguously indicates the image of the narrator. No personal similarities or biographical coincidences do not change. The author can make a storytellor anyone, incl. And himself. But in the composition of the work it will still be the image of a storyteller.
The forms of manifestation of different lists of the author are diverse. Often there are narrative compositions in which several narrators are represented. For example, in a hero of our time, three narrator: a young traveler man, M.M. And Pechorin himself. But the author changes his faces within one work, not only by passing the story from one narrator to another, but also revealing different masks of this or that narrator.
In terms of verbal composition, there is a certain point with which the author or narrator see all the depicted. In this sense, more precisely talk about point of vision . So the author has long been associated with two concepts: Growing and objectivity. Objectivity acts only as a conditional ideal, and not as a complete extension of the author from the events and phenomena depicted. Omniscience. The real author can not have a reality in reality. But, creating the world of reality literary, it can carry out such "principles of the design image of the author", which will make the copyright of the original onset of the organization of the text. We are seeing when we are dealing with the author's narrative from 3 faces. This is the meaning of the literary reality, adopted by all the rule of the game. The vision point is over the events and phenomena depicted, the vision point is "top above".
The vision point of the narrator differs from the point of the vision of the author, telling
3 persons. The narrator can only tell about what he witnessed that he saw and heard. Such a story though loses in the breadth of reality, but to a certain extent wins in reliability. The composition composite framework from 1 person is quite close, and the authors often have to expand their resorting to different techniques. Listening conversations in the cap. daughter.
With all the fundamental difference of the vision points of the author in the Pokeliai from 3 l. And the storytellers in the pose from 1 l. They can get closer in the sense of the appearance of elements of the narrowing of the narrator in the event of a convergence of him with the image of the author. Chekhov. Person. in foot
Methods for expressing the image of the story. The most clearly is expressed by the pronouns and forms of verbs of 1 liters. But or can be designated in both of the 3 l.
In this case, OR finds an expression in Language CP-Wah. This is most often conversational and spacious words, expressions and syntactic structures, as well as dialectisms and professionalism. In some Cases of OR can be expressed using book elements. It can be expressed by the op and a point of vision. This method of expression is the most subtle, not immediately noticeable, but artistic expressive. For example, Bunin is a killer story. No omniscience at all. A singing voice tells. Everything else is something that eyewitnesses could observe.
Ticket 8.
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Consider the main trends in the development of domestic drama in 1950-1990.
1950-1960s
In 1950 - 1960, the genre range of dramaturgy was significantly varied. Comedy, socio-psychological and historical and documentary drama develop. More than in prose and poetry, the interest in the young contemporary, to real life In her acute contradictions.
Social and psychological plays V. Rosova, such as "in good hour! "(1954) and" in search of joy ", (1956)." In good time! " And currently put on theatrical stage.
Increasingly, dramaturgy paid attention to everyday problems. ordinary people. Exploring the psychology of human relations, playwrights put characters in recognizable life circumstances. Drama A. Volodina, E. Radzinsky dedicated to love.
Turning to the topic of war, playwrights of the 1950s - 1960s retired from publicism, such problems as debt and conscience, heroism and betrayal, honor and dishonor, they considered through the prism of moral values. One of the best plates of the repertoire of those years was the play of A. Salyn "Drummer" (1958).
Dramatic grieving period "Thaw"
In the period of "thaw", theatrical art developed in close cooperation with poetry. On the stage of the Theater of Drama and Comedy on Taganka, poetic representations were played, the drama of which was the poems of classics V. Mayakovsky and S. Yesenin, the works of contemporaries - A. Voznesensky and E. Evtushenko. Theater under the leadership of Yu. Lyubimova for expressive form of imagery, and thanks to the supporting at that time, the Iron Curtain art culture Countries partly in touch with Western European and American art. In particular, on the director Yu. Lyubimov influenced creativity and theoretical concepts B. Brecht.
Creativity M. Shatrov, who showed the image of Lenin in an unusual perspective, is connected with the "Thaw." In the documentary-historical, political drama of Tentrov, a documentary fact is subjected to an analytical study, and not the myth of the leader created by political ideologists. The most successful play of the period of the period "thaw" - "Sixth July" (the first edition - 1964, the second - 1973). In it, the playwright examines the problem of the ratio of purpose, even if it is high, and its achievements. M. Shatrov applied to the image of Lenin and in the following decades. He himself determined genre peculiarity His pies as a "journalistic drama" and "journalistic tragedy". There is every reason for this: open publicism is inherent in such a proclaimed play of M. Shatrov 1970 - 1980s, as "Blue Horses on Red Grass" (1977) and "So Choose!" (1981).
Dramaticria in the late 1960s - 1980s.
The end of the "thaw" demanded other heroes and adequate opension distant from the intended ideal of the reality and moral state of society. In the late 1960s, the decline has emerged in the development of drama. Obviously, this was due to the active appeal of theaters in the 1970s to the works of domestic prozaikov F. Abramova, V. Tedryakov, Yu. Bondareva, V. Bykov, B. Vasilyeva, D. Gorran, V. Rasputin, Y.Triforov, B . Mozhaeva, V. Shukshina, Ch. Aytmatova.
In the same 1970s, the study of the most acute problems of socio-economic. Moral and psychological nature was engaged in joined production. or sociological, drama I. Palende, G. Bokareva, A. Grebneva, V. Black and others. The "manufacturing" plays of A. Gelman was extremely popular.
Over time, the tonality of socio-household and socio-psychological drama changed. V. Rosov, A. Volodin, A. Arbuzov. A. Vampilov and other authors tried to deal with the reasons for the moral crisis of society, in those changes that occur in inner world A person who lives under the laws of double morality "stagnant time".
The turning point in Dramaturgia V. Rosova was reflected in the "Traditional Collection" play (1966), devoted to the topic of summing up the life of life, which contrast with the romantic aspirations of the heroes of his drama of the 1950s. In the plays of the 1970-1980s "Gluhahar nest" (1978), "Host" (1982), "Cabanchik" (1987) and other roses turned to the topic of gradual destruction of the initially promising person. Universal values \u200b\u200bbecame the subject of understanding the plays of L. Volodin and E. Radzinsky. Both author used parable forms with the purpose of philosophical comprehension of timeless situations, problems, characters.
The problem of the internal degradation of the externally successful personality is devoted to the play of A. Arbuzov in 1970s and 1980s. Paphos of the denial of "brutal games", in which adults and children are involved in their time parental love, his dramas are noted on the subject of the subject of mutual responsibility of people for what is happening with them. The playwright has created a drama opus cycle, which includes three dramas - "Evening light" (1974), "Brutal Games" (1978) and "Memories" (1980).
The spiritual spiritual infantilism of the contemporary is the key theme of Dramaturgia A. Vampilova, which appeared on theatrical stage in the 1970s. Speaking with the words of criticism of L. Anninsky, the playwright created the type of "average" hero, the character of which is better dependent on the proposed circumstances, which is impossible to understand what he really is. Such is the hero of the play of Vampilova "Duck hunting" (1970) Viktor Zilov. With the name A. Vampilova, the strengthening of the role of symbols and grotesque in domestic drama is connected.
Dramaticria 1980 - 1990s
The opening of the "warmer" Hero A. Vampilov is aware of how the second half of the XX century in the development of the Russian drama. The work of the 1980s who came to the drama at the turn of the 1980s and who took the experience of Vampilov's authors of the "New Wave" received the definition of the "post-ampilov drama".
This concept of dramaturgy is united by the work of playwrights L. Petrushevskaya, V. Arro, V. Slavkin,
A. Galina, L. Razumovskaya and others distinguished by style, but united by Paphos to appeal to this negative, which has accumulated in the household, privacy of people who have lost the concept of the house from the value field, the image of which for a long time was key in Russian literature. Thus, the "St. Vispilovsky Theater" in full voice said that the human personality is not coordinated to one social and professional function. And a contemptuous attitude to personal household and family issues It is fraught with serious moral vices.
During the years of restructuring, at the turn of the 1980s - 1990s, the art journalism of the "sociological" drama gave way to journalism itself, and the dramaturgical works actually changed to the dramatization of memoir literature. In the production of works V. Shalamov, E. Ginzburg, A. Solzhenitsyn in the psychological key, the topic of totalitarianism was investigated. In the same material, at the end of the 1980s, A. Kazantsev wrote a dramatic anti-nightopia "Great Buddha, help them!" (1988), whose action unfolds in the "Exemplary Commune of the Great Ideas". The playwright considers the topic of totalitarian regime in the plane of the problem of personality and the state.
In Russian dramaturgy, the second half of the 20th century, the postmodern sensation was not so early as in others literary gods. Not least, this is due to the fact that the theater as a public phenomenon was primarily under the closer attention censorship.
The most clearly postmodern method of comprehending reality was manifested in the unfinished veins of the veins. Erofeev "Valpurgiyeva Night, or Commander Steps!" (1985). The basis of the content of the play is a comparison of life with a crazy house: reasonable in this life is abnormal, and abnormal - reasonable. So, in the postmodern drama "Valpurgiyev Night ..." there is no pronounced conflict, the plot is fragmented, the character system is deprived of the hierarchy, the genre-genre boundaries are blurred.
The postmodern drama of the last decade of the 20th century N. Sadur, D. Lipkerova, and others are connected with the traditions of the theater of the last decade of the 20th century, and others. Representations of postmodern consciousness about the world and man are expressed in modern drama with such means as the absence of causal relationships, intellectfulness of characters and circumstances, inconsistency, spatially - Immediate deformations, closure and alienation of characters.
On the other hand, in the 1990s, the opposite trend has emerged in the development of domestic drama. In the Pieces of M. Ugarova, E. Gremina, O. Mikhailova, etc. The nostalgically light pathos dominates from far away, idyllically excellent past. The playwrights create poetic elevated image The life of the characters, whose speech is literaryly normalized and replete with quotes from Chekhov comedies. This is how the effect of reflection of different epochs is created in each other, having at least a dual meaning. Either the playwrights want to indicate that the desired harmony is achievable only in the artistic reality, or remind the "sound of the bundled string", which, according to Chekhov Firs, foreshadows "misfortune" from "Will".
The materials of the book are used: literature: uch. For stud. environments prof. studies. institutions / ed. G.A. Obernichina. M.: "Academy", 2010
General characteristics.
The turnover of the 50-90s was marked by the active search for new forms in drama and theater. Attention to those everyday moments that serve as a point of intersection of public and personal psychology are characteristic of creativity V. Rosova, A. Volodina, A. Vampilov and many others. The plays created during these years gave a gracious material to update theatrical art. At the age of 70-80, there is a flourishing of the theater. In those years, G. Tovstonogov, O. Efremov, A. Efros, M. Lyubimov, M. Zakharov.
50s.
In the 50s, the word melodrama was used in a negative sense. But the appeal to this genre is precisely at this time due to the reaction of the authors to the rational sociometry of the sociological drama, which is opposed to the open and frank emotionality of melodrama.
Serious and artistically promising were the search for new forms in the field of the plot-composite structure of the psychological drama.
In the drama of the 50s, the chronological sequence of events, one-directional action, was strictly withstood.60s.
In the 1960s, there is an occurrence of such a kind of art branch of the scene, which was called the Vampilov Theater. An interesting original grantee of Alexander Vampilov, embodied most often in the form of a comedy, drama or melodrama, led to the scene of heroes and conflicts that were not marked by other playwrights. Solutions of these conflicts by the artist unexpectedly. Action, starting like waterville, maybe by the will of the author, turn into a dramatic situation, the outcome of which will depend on the nature of the characters. Vampilov is not looking for a typical hero and does not put it in typical circumstances. On the contrary, his hero, as a rule, turns out to be in exceptional conditions, incredible. At the same time, a particular course of the author is not an end in itself, but a peculiar remedy for the disclosure of the inner essence of a person: the wealth of his soul or, on the contrary, the deformity and vulgarity of the tradesman.
70s.
The 70s became the birth of a new genre, which was first called the production drama. For the play of this area, an appeal to the personality of the head, to the issues of improving the economy and the management system. The conflict in the sociological drama is developing between new and old. As a result, the plot is built on one composite scheme: a person comes to any production site (brigade, shop, plant, organization), most often from the side, and begins to set its orders of magnitude that he considers the best. Because of this, a conflict arises between him and old-timers, which is the basis of the play.
The beginning of the 70s was marked by attempts to build a drama freely, returning the stage time the opportunity to freely postpone from the present in the past, if necessary for the meaning.
One of the first dramatic works where the artistic time returns back, then again corresponds to our days was the play K. Simonov "Fourth". The hero of the play is an American pilot, a participant in the Civil War in Spain, an active fighter against fascism. The post-war America, covered by the psychosis of the "Cold War", uroduces the soul of this person, in nature and not bad, but wicked. Wealth and success, which he can lose, if he retains the loyalty to the ideals of youth, poison his consciousness. The hero becomes known about the preparing provocation. And he will have a difficult choice: silent and keep your well-being or exposing criminals. Sooner or later, everyone has to decide.
80s.
In the mid-80s large development Gets a philosophical drama. The philosophical are the plays of the most capacious and deep on the artistic meaning. In this case, it is meant that the authors of these dramas reveal the decisive, the main issues of human being, seek to create a holistic understanding of the world. The philosophical drama is to a pronounced convention: her heroes are not self-developing characters, but act as expressants of the author's ideas, the plot and the resolution of the conflict is subordinate to the movement of a certain philosophical concept.
The most striking works of the philosophical drama are the plays "conversations with Socrates" and "she in the absence of love and death" by E. Radzinsky and Lizard A. Volodin.
90s.
The 90s of the XX - the beginning of the XXI centuries - from social catastrophe (at the beginning of the period), their consequences (in the middle of the period) to the relative stabilization of life in the country (now). A sociocultural situation has changed, which provided "a significant impact on the aesthetics of the theater and drama and led new expressive funds." This time and his hero is embodied in a peculiar drama E.V. Grishkovtsy, chasing "simple everyday courage."