Exposition, development, action, climax, denouement. Compositional solution for the performance

I talked about these things in some detail in my past articles. But questions, oddly enough, still remain. Okay, then I'll explain more clearly.

Commencement - development and climax - denouement - these are the four constituent elements of any plot in literature. Since I am dealing with theater, I will tell you how these four elements are embodied in the stage space, when the director interprets a dramatic work (dramaturgy).

Dramaturgy is (to put it simply) a type of prose literature that is created according to certain principles of stage action that exist in the theater. Any drama is built on a dialogue between characters, which has (or should have) a clearly defined effective (target) nature.

Oh yes. Here and there I encounter a misunderstanding of what prose is and what its role is in literature. Many people confuse them, many don’t even understand what’s what. Remember: everything we read is literature. Literature is conventionally divided into two main types or directions: poetry (rhythmic presentation) and prose (non-rhythmic or free (not having a clear rhythmic structure) presentation of the author’s thoughts). Prose, in turn, has many varieties, there is both oral and written prose. There is some “cunning” prose that many people still don’t understand where to classify it as. This is dramaturgy.

Ancient thinkers (from the time of Aristotle, for example) considered dramaturgy to be a type of poetry. However, “why” they did this is completely clear. For the dramaturgy of those times strongly resembled poetic forms (and was rarely presented in direct “non-rhythmic” speech in the way that exists now).

But a lot of time has passed since then. And now - dramatic work has (almost) nothing to do with poetry.

It is believed that any dramaturgy has a written embodiment (in the form of a play) and a stage embodiment (in the form of a director’s interpretation). This is both true and not true – at the same time. For - being formed into a specific work that has four elements of plot, it and, as a consequence, it (the work) can and should be called a type of prose (literature). How the director will retell the play later - God knows. But initially, a dramatic work is a type of prose. Which, in turn, is the “pillar” (direction) of literature itself.

Of course, dramaturgy is very dependent as a variety or genre, because it is “sharpened” not on descriptive, but on effective perception, which is so in demand in the theater. But this does not in any way cancel its literary “roots”.

Yes, any play is initially a literary (prose) work, which is written according to the laws of stage action. Explicit or implicit.

I hope I haven't clouded your brain too much. No? This is good. What to do, without a clear definition of such rules of the game, unfortunately, there is no point in writing about anything else. Because then we will simply get confused in the details. And you won't understand anything. And I will throw information like peas against a wall. Do we need it? Hardly.

So, let's get down to the details that are so dear to me. I will note that I will consider the “commencement, development, climax and denouement” through the prism of dramatic works.

So, What is a “tie”? This is where the story itself began. Let's take for example a dramatic work (play) “The Seagull” by A.P. Chekhov.

Where exactly does “The Seagull” begin? Since Kostya Treplev and his beloved Nina Zarechnaya are preparing to show a performance for their mother, who occasionally comes to the estate of her brother Sorin, Arkadina, where Kostya lives. The most important starting point of this story (“the plot”) is Arkadina’s arrival. And that's why. "Prima" arrives, " socialite" And for Kostya, the performance is a reason to regain (or earn) his mother’s respect.

It begins with Kostya’s difficult relationship with his mother, which will be clearly confirmed in the scene of the play. this story. By the way, during the performance the mother behaves disrespectfully, constantly commenting on certain plot moves and mocking their ineptitude.

“Development” consists of several turning points and events. This is the process of maturation of the main conflict of the play. PROCESS. Remember development does not consist of one moment, it is always a complex of moments that intensifies the conflict. What is the main conflict in the play “The Seagull” - every director must understand for himself.

Chekhov, in the sense of defining the conflict of his plays, is not a simple author. More precisely, there are some of his plays in which the conflict is multi-level. “The Seagull” is just one of those. In this play one can look for a conflict between the needs and interests of generations (both creative and – age – “fathers and sons”). It is possible - a conflict in the area of ​​“the price of success” (to what extent can and is possible to reach in order to achieve success). You can even formulate the conflict in the area of ​​​​the junction of times(this is not an age conflict, it is rather a technotronic conflict).

And the “plot” that I wrote about above stems from the age conflict between fathers and children. But if you are looking for (using) another conflict to select production decisions, you will it is useful to define “commencement, development, climax, denouement” based on the conflict. I will talk about this in more detail below.

What turning points and events can be called “development” in the play “The Seagull”? This is the actual break in the relationship between Treplev and Nina Zarechnaya in the scene with the dead seagull. And Kostya’s failed suicide attempt some time later (the scene when Arkadina bandages her son’s head). And Kostya challenges Arkadina’s husband, the writer Trigorin, to a duel, which the latter does not accept.

The culmination of the plot, if we define the conflict in the area of ​​​​"fathers and children" - the departure (and in fact, escape) of the mother and her husband - from the estate of her brother - Sorin. "We didn't agree." The generations did not understand each other and decided to disperse in order to prevent something completely bad from happening.

“Dénouement” - the death of Kostya Treplev in the finale. The younger generation is losing to the older generation - in courage, determination, will - in everything. “Denomination” is how the conflict ultimately ends.

And finally - I will tell you how best to formulate “commencement, development, climax and denouement”, taking into account the generational conflict I have chosen.

At the beginning of our history, there is a clash of generations. So let’s call the “commencement” - “collision”. In “development” we observe the struggle and the possibility of (attempts to) adapt generations to each other. Let’s call it “confrontation” or tug of war.” The culmination is “we didn’t agree.” “Denomination” - finding itself out of the confrontation - the younger generation destroys itself (Kostya commits suicide, and Nina gets lost in the endless hardships of life and professional life). "Death."

More from school days we are taught the unshakable formula “introduction-body-conclusion”. How important is it for an author to remember the structure of the text and is it necessary at all?

Don't write at random

It would seem that writing is a creative process and not very connected with such mundane concepts as planning, systematization and structuring. But it is not so. A writer not only needs to throw out his ideas on paper, he needs to convey them to the reader. And the form in which we put our thoughts directly affects their perception.

If you write thoughtlessly, the result may turn out to be unpredictable and devoid of logic. Traditionally, there are five elements of structure literary work: exposition, plot, development, climax, denouement. Without a plot, climax and denouement, it is difficult to talk about a coherent narrative.

Meaning of structure elements

In the exposition, the author introduces us to the narrative, gives us a background, shows the time and place of action, and introduces us to the characters. In the beginning, the main conflict of the work arises and the ground is prepared for the development of the plot. Here the course is determined and the revelation of the main line of events begins. Missing the beginning is tantamount to refusing to tell the doctor about the symptoms of the disease while waiting for the correct diagnosis. As it develops, we learn about the story itself: conflicts and contradictions are identified, and we begin to better understand the characters. By the time of the climax, everything reaches its climax: the characters’ characters are clearly revealed, the conflict is heated to the limit, events unfold rapidly. Then comes a key twist that defines the work.

Depending on the number of storylines and the author’s intentions, a work may have several climaxes, but one will still dominate among them. Here it is appropriate to recall the principle of the golden ratio, according to which each part of the whole is related to the other, as the whole whole is to the first part. This principle is present in all forms of art, including literature. No, no, we do not at all call for counting the number of characters of each element of the structure, but these elements must be harmoniously combined with each other and with the volume of the entire work.

The denouement describes the events that occur after the point of no return has been passed. We learn about future fate heroes, about the consequences that resulted from the events of the climax. Sometimes the denouement comes along with the climax. It can be either a direct continuation of events, or sudden and unexpected, but still connected with the previous stages of the narrative.

If the events of the book are well thought out and part of one story, then they are interesting and easy to follow, then the reader will be able to concentrate and appreciate your style and original idea, he won’t have to frantically flip through the pages trying to remember why the hero found himself in such a situation and who was to blame.

How it works?

Let’s not look far for an example, let’s look at a work that everyone knows: “Kolobok”. Fairy tales, by the way, very clearly illustrate the principle of structuring that we talked about above.

What events will set the scene? Everything that happened until Kolobok left his grandparents. All encounters with animals are a development that prepares us for the climax, which comes when Kolobok is caught by the Fox. In this tale, the climax and denouement coincide and are concluded in the words: “His fox - am! - and ate it.”

That's how it really is plain text you can see how events are connected to each other and what stages the narrative has.

In this article we are general outline described the classical plot outline. The composition, of course, can be different - original, innovative, provocative, it can be linear, reverse, detective, but it must be thoughtful and logical. And most importantly: it should be!

Sometimes the structure becomes bright artistic device. For example, Julio Cortazar's Hopscotch is the most famous anti-novel. The author intended different schemes readings of the novel, which he himself described in the preface. Thus, the book contains several works that are revealed to the reader depending on the order of the chapters. It is also worth remembering Nabokov and his “Pale Fire” - a poem of 999 lines with a non-linear structure and several reading options.

Where to begin?

Before you begin, make some notes about what events will be in your story. What will happen in the beginning, the development that will lead to the main thing - the climax, and then identify several main points of the denouement. You just have to fill in the gaps between the indicated points. Such a scheme, no matter how you design it, will allow you to always have before your eyes the story that you have in mind, but at the same time you do not need to keep it in your head all the time, which will allow you to concentrate directly on creativity.

Let's hit the road!

We often say that writing is not so simple, that a lot of meticulous work is required to put a creative thought into a beautiful and understandable form. But in fact, all this knowledge is designed to simplify the life of a writer. So a pre-designated structure with outlines important events at each stage will allow you to focus on the artistic component. It will be difficult at first. Even the greats did not find writing easy: Gogol, Tolstoy, and Chekhov revised what they wrote many times. But with practice you will become able to develop a structure quickly and easily. So don’t shy away from this “dirty” work, it only provides the basis for productive creative activity.

Go to and start writing a book right now or upload your finished manuscript to publish it in our catalog!

Composition - this is a comparison, co-location of individual parts of a work (play, script, performance). That is, the composition is “responsible” for the construction of the work, taking direct part in this process.

Each work has its own “order of construction.” It is determined by the generally accepted, known to us, conditional division into “main moments of the action”: the beginning (where the initial event is), the climax (where the main event is), the denouement (where the final “resolution” of the end-to-end action/plot occurs).

The composition establishes certain patterns of connection between the individual parts of the work - the main moments of action, episodes, scenes and, if necessary, within them. That is, the establishment of a certain relationship and interdependence between previous and subsequent actions, events - how and with what they influence each other - this is “the establishment of patterns of connection between the individual parts of the work,” which should be the main “concern” of the composition.

In the classical version of dramaturgy, the following parts of a work of art are distinguished: prologue, exposition, plot, development, climax, epilogue.

This list and order are not mandatory. The prologue and epilogue may not be present in the narrative, and the exposition can be located anywhere and not necessarily in its entirety.

The plots of modern works are often built according to a simplified scheme: plot - development of action - climax - denouement, or according to an even more simplified plot - action - climax (also known as denouement).

Prologue - the introductory (initial) part of a literary and artistic work, which anticipates the general meaning, plot-plot basis or main motives of the work, or briefly outlines the events that precede the main content.

Prologue function - convey the events that prepare the main action. However, the prologue is not the first episode of the narrative that is forcibly cut off from it.

The events of the prologue should not duplicate the events of the initial episode, but should generate intrigue precisely in combination with it.

Exposition - depiction of the arrangement of characters and circumstances immediately preceding the unfolding of the plot action.

Exposure functions:

Determine the place and time of the events described;

Introduce characters;

Show the circumstances that will be the prerequisites for the conflict.

The beginning - the moment from which the plot begins to move. The beginning is the first clash between the conflicting parties.

The event may be global or small, or the hero at the first moment may not appreciate its importance at all, but in any case, the event changes the lives of the heroes. The characters begin to develop according to the idea of ​​the work.

Climax - the pinnacle of the plot, the highest point of the conflict of the work, the point of its resolution.

Plot resolution - outcome of events, resolution of plot contradictions.

Epilogue - the final part added to the finished work of art and not necessarily connected with it by the inextricable development of the action.

Just as the prologue introduces the characters before the action begins or reports what preceded it, so the epilogue introduces the fate of the characters who interested him in the work.

M.A. Chekhov defined the composition of the play as a three-member whole. “You will experience the beginning as a seed from which a plant develops; the end is like a ripe fruit, and the middle is like the process of turning a grain into a mature plant, the beginning into an end.” He argued that “in a well-constructed play (or performance) there are three climaxes, corresponding to the three main parts. They are in the same relationship with each other as these parts themselves (commencement, development, denouement).” Then each of the three main parts of the whole can be subdivided into any number of smaller ones with their own auxiliary culminations. In addition, in other tense moments it is necessary to place accents that allow the director not to deviate from the main idea and at the same time implement his own directorial plan.

Composition is the main thing that distinguishes the work of one director from another. The composition should never be artificially composed, a kind of fictitious microcircuit. This is the biography of space, emerging from the actors, from the air, and from the specific scene, from the relationships around the performance. The composition is a mass of incarnations in real circumstances.

Composition of the play “Masha and Vitya against the Wild Guitars”:

Exposition: The sorceress begins to tell, “create” a fairy tale.

She introduces the audience to the main characters - Masha, who believes in fairy tales, and Vitya, who does not believe in them. The guys have an argument, as a result of which Masha decides to prove that she is right - the fairy tale exists.

Plot: Masha and Vitya learn about the abduction of the Snow Maiden.

Father Frost tells the children that Koschey stole the Snow Maiden and now the New Year will never come. Primary school students decide to go to the fairytale forest and, at all costs, save the granddaughter of Santa Claus.

Plot development: schoolchildren, having found themselves in a fairy-tale forest, encounter evil spirits, which they are helped to cope with by friendship and courage.

Having learned that the guys are going to rescue the Snow Maiden, the evil spirit decides to separate them and defeat them one by one. Their main task is to prevent the guys from finding the Kingdom of Koshchei. However, forest dwellers offended by evil spirits come to the aid of Masha and Vita, who are rescued by students along the way. In gratitude for their salvation, the “positive heroes” help the children find their way to Koshchei.

Climax: The Snow Maiden's release from captivity.

Masha, having arrived in Koshcheevo’s Kingdom, makes a deal with the main villain - she exchanges a “magic” recipe for toothache (Koshchey has been “struggling” with his teeth for a long time) for the Snow Maiden.

Denouement: Victory over evil spirits.

Vitya, saving Masha from the clutches of Koshchei, enters into a fight with him, in which he wins. Baba Yaga, Leshy, Wild Cat Matvey and other evil spirits set off in pursuit of the children. The Sorceress and the auditorium come to the aid of the children.

Epilogue: The children return to school, where Father Frost and Snow Maiden are waiting for them.

The performance ends with general joy - the New Year has come.

Every literary work is subject to the laws of the genre. Failure to do this leads to a breakdown in composition. The climax is the most exciting moment in the story. It is very important for every reader, and especially a writer, to understand what it is.

Basic elements of the composition of a literary plot work

TO plot genres include stories, novels, novels. The works included in this group are necessarily built around a conflict that develops throughout the description.

Then he reaches highest point voltage. The climax is the very moment when the denouement is inevitable.

Thus, there are four main plot elements to highlight. These are the “4 pillars” on which the composition of a literary work of this genre is based.

Exposition - a description of the time, place, character of the characters.

The plot is an event that served to aggravate the contradiction or became the starting point of the storyline.

The climax is the moment of critical tension in the situation.

The denouement is the event that served as the resolution of the conflict, the finishing touch in the description.

Example of composition in a work

Turning to the work of Mark Twain, we can consider storyline episode with painting the fence. The plot of the story is that Tom Sawyer was punished by his aunt.

Then a smart thought comes to the head of the smart guy: he decides to “sell” the opportunity to pick up a brush! This is where the climax comes - this is the most exciting moment in the episode, because the reader does not know how the hero’s new adventure will end, his interest is sufficiently piqued.

And here's the ending - the guys vying with each other to offer the most precious things they own in exchange. A few minutes later the fence is painted, and Tom himself becomes a real “rich man”, having received “countless gifts”: boxes and broken toys, a dead cat and an apple core.

Place of climax in a literary work

The view on the composition of a literary work is strictly individual. The writer does not necessarily follow the classical version, when the exposition, plot, climax, denouement appear in his work in in this order. Often the author skips exposition altogether, leaving the reader to get to know the characters as they read. Sometimes the climax is placed at the very beginning of an action-packed work. The denouement comes at the very end, stimulating you to read the work to the end. The climax at the very beginning immediately grabs the reader's attention and arouses interest.

“My hands were aching. From somewhere above, vile cold drops dripped onto my head. With difficulty opening his eyes, Mikhail saw the gloomy walls of the basement. And in the opposite corner, a terrible huge rat was brazenly crunching something.

Taking a closer look, Mikhail realized with horror that this was the same basement! And then he heard someone’s steps, then the turning of a key in the keyhole... The end was inevitable. But it doesn't have to be that way. And Mikhail already knew what he would do in the next minute..."

After reading such a beginning, a lover of horror, detective or thriller films will never put the book aside. Why did the hero end up in this situation? What will he do next? Will he be able to escape? Actually, these are only some of the questions that will come to the reader’s mind.

The denouement, its place in the composition

It is worth noting that this element can also appear at the beginning of the story as intrigue. For example, in this form.

“Maria entered the hall and with her peripheral vision noticed that everyone present turned their heads in her direction. The conversations died down for a moment. The delight in the eyes of the males spilled into the soul as a wave of hatred and contempt. All this - both recognition and admiration - is just the hypnotic effect of diamonds, she knew it!”

And then - a transition to the past, a reference to a hungry childhood, when that “hog with a fat double chin, today smiling ingratiatingly and obsequiously catching her gaze,” passing by them, sitting with their mother and begging for help, curled his lips in disgust.

“The Tale of Igor’s Campaign” is one of the most ancient and controversial monuments ancient Russian literature. Researchers put forward information about the authorship, composition, literary genre, interpretation of the plot, and the time of writing of this work. All this happens because the “Word” was written almost ten centuries ago, during which time the manuscript underwent many tests (fires, floods, wars) and edits (each monk added something of his own when rewriting). We can only guess about the history of this legend and enjoy reading it. To ensure that the understanding of the text is as complete as possible, we have briefly described its compositional elements: what is what, and where is it located?

1. Lyrical introduction. “The Tale of Igor’s Campaign” begins with a lyrical introduction, in which the author emphasizes the priority of the authenticity of his work. He turns to the ancient storyteller Boyan, showing him respect, but rejecting his literary method.
2. Exposition serves as a characteristic of Igor. There we will find the reasons that prompted the prince, together with his brother Vsevolod, to go on a campaign against the Polovtsians. Unknown author emphasizes that the ruler made this decision, guided by the desire for personal glory, and not by the interests of Rus'.
3. The beginning talks about the performance of Igor’s army. Bad sign – solar eclipse- did not embarrass the reckless prince, but this event tells readers what the outcome of the campaign will be. Despite the fact that the author declares the priority of reliability, historical information, numbers, details are not here, for the narrator it is more important to convey the idea and atmosphere.
4. Development of action shown in the description of the battles of the Russians and Polovtsians. The first battle was victorious, which intoxicated the warriors. The next day there was another sign of nature - bloody dawns and black clouds with blue lightning. And khans Gzak and Konchak rush to the battlefield.
5. Climax- This is the second battle with the Polovtsians, which ended in the defeat of the Russians. And how fatal this loss is, how important it would be for Igor to humble his pride and listen to Grand Duke Svyatoslav, a short excursion into history shows. Igor’s grandfather, Oleg Svyatoslavich, nicknamed Gorislavich, began strife, making the Russian land defenseless in the face of the enemy. Only under Svyatoslav did the situation return to normal, but the self-will of his sons Igor and Svyatoslav brought all efforts to naught.
6. The transition from climax to denouement is insert episodes: Svyatoslav’s dream and his “golden word”, as well as Yaroslavna’s cry. Through the dream, the prince’s experiences for native land, sons. It is filled with symbols: pearls, a mansion without a prince on the roof, the cawing of ravens. “The Golden Word” contains journalistic pathos, in it Svyatoslav once again emphasizes the recklessness of Igor’s act and calls for unity. Yaroslavna’s cry is the complete opposite, it is filled with sadness and love, she asks all the forces of nature for mercy for her beloved husband.
7. Denouement- Igor's escape from captivity. The faithful man Ovlur got the prince a horse; the captive, despite the chase, ends up in his native land. He overcomes everything to get home. The Russian land welcomes him, he realized his mistakes, which means everything can be corrected.
8. Epilogue- “Glory”, which the author sings to the Russian rulers. He praises the princes - past and present - for fighting against the enemy, although not always successfully. What is success? The answer to this question is obvious; this is the leitmotif of “The Lay”: strength in unity.

“The Tale of Igor’s Campaign” is an ancient Russian epic novel that reflected all the aspirations of the Russian people, their way of life, and feelings. The author glorifies the Motherland, roots for it with his soul, wants to make it stronger and better, so he shouts about main problem- civil strife, which after about a hundred years will lead the Russian land to the Tatar-Mongol yoke.

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