““Discussion play” in the dramaturgy of B. Shaw at the end of the 19th and beginning of the 20th centuries (the problem of the genre) ...”

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Federal State Budgetary Educational Institution

higher professional education

"Nizhny Novgorod State Linguistic University

them. ON THE. Dobrolyubova"

As a manuscript

Trutneva Anna Nikolaevna

"Discussion Play"

in the dramaturgy of B. Shaw

late XIX-early XX centuries

(genre problem)

01/10/03 – literature of the peoples of foreign countries

(Western European literature)

THESIS

for the degree of candidate of philological sciences

Scientific director:

Doctor of Philology, Professor G.I. Motherland Nizhny Novgorod – 2015

Introduction 3 CHAPTER I. Philosophical and aesthetic views of B. Shaw in the context of the English literary process of the late 19th and early 20th centuries.

§1. The influence of English drama of late Victorianism 24 on the formation of the aesthetics of B. Shaw §2. Genesis and formation of the “experimental” genre “play - 50 discussion”

CHAPTER II. The evolution of the “discussion play” genre in the works of B. Shaw at the end of the 19th and beginning of the 20th centuries.

§1. Plays with elements of discussion as a prologue to the “extremely innovative” (C. Carpenter) plays of B. Shaw (“Candida”, “Man and Superman”) §2. “Discussion plays” as “plays of the highest type” (B. Shaw) 136 (“Major Barbara”, “Marriage”, “Unequal Marriage”, “Heartbreak House”) Conclusion 185 Bibliography 190 Introduction Works of the playwright , publicist, drama theorist Bernard Shaw (1856-1950) became one of the brightest and characteristic phenomena of English culture and determined the main directions of development of both national and European drama of the late 19th and early 20th centuries.

With Shaw's work, a “separate, independent line”1 in the development of modern drama begins. Shaw declared himself as a playwright in the era of late Victorianism (Late Victorian Age, 1870-1890), the extraliterary impulses of which (phenomena of socio-political life, science, culture, art) contributed to the formation of his aesthetic views.

The revision of the criteria and standards of life established by the Victorian era forced artists to rethink their attitude towards traditional beliefs and ideas. Shaw, who came to literature at the turn of two eras, was one of those figures of his time who were acutely aware of the need for the emergence of new forms public life.

The image of an artist familiar with the latest discoveries of science, dreaming of improving society, is embodied in Shaw's work.

In his opinion, both the actors performing in his plays and the audience in the hall should become philosophers, capable of understanding and explaining the world in order to remake it. Shaw's dramatic art was combined with journalism and oratory. He called himself both an economist and an expert in other social sciences, and entered the history of music as a professional music critic.

Seeing art as a powerful factor in social reorganization, Shaw sought to influence the intellect of the reader and viewer. His belief in the transformative power of the human mind largely determined the genre of his works. At the turn of the XIX-XX centuries. Shaw acts as the creator of the experimental genre of “discussion play” (“Disquisitory Play”), a special Zingerman B. Essays on the history of drama of the 20th century. – M.: Nauka, 1979. P.19.

dramaturgical form that most fruitfully resolves modern conflicts and adequately expresses pressing problems. The form that Shaw found corresponded to the main task of his work - to reflect the existing structure of human and social relations, to show the inconsistency of patriarchal moral and ideological ideas.

Shaw's work and his innovation in dramaturgy have been studied by both foreign and domestic scientists.

The works of foreign literary scholars (R. Weintraub, A. Henderson, M.M. Morgan, H. Pearson, D. Holbrook, M. Holroyd, E. Hughes, G. Chesterton, etc.) used the biographical research method. The English researcher A. Gibbs compiled a chronology of Shaw’s life with detailed comments2, based on published and unpublished materials, shedding new light on Shaw’s activities as a short story writer, playwright, speaker, politician, and thinker. Episodes from his daily life, love stories, friendships are correlated with his work. Of particular value are previously unpublished facts from the history of the creation of “discussion plays.” The author combines scientific research into creativity with biography. A serious contribution to biographical show studies in England was made by M. Morgan3, who comprehensively presented Shaw’s life and creative work.

The work of American show experts is devoted to the study of Shaw's legacy.

Morgan M. The Shavian Playground. – London: Methuen, 1972.

Laurence D. Selected Correspondence of Bernard Shaw. V. 1. – University of Toronto Press, 1995.

Meisel M. Shaw and the nineteenth-century theater. – Greenwood Press, 1976.

G. Fromm6 presents a systematic analysis of Shaw's dramaturgy. The results of theater studies of Shaw's directing practice are presented in the works of B. Dakor7, L. Marcus8, V. Pascal9, R. Everdink10. The book by philologist and theater critic B. Dakor “Bernard Shaw – Director”11 became the first scientific work about the aesthetic views and artistic practice of Shaw as a director.

The author uses both published and archival materials, excerpts from Shaw's unpublished letters to theater people, and quotations from notes that the playwright always took during rehearsals. The researcher focuses on the features of the stage implementation of Shaw's “discussion plays”.

The American scientist dedicates the book “Bernard Shaw on the Art of Cinema” to the influence of cinema aesthetics on Shaw’s dramatic art.

Researchers analyze Shaw's socio-political views (J. Wiesenthal, L. Crompton, L. Hugo, etc.), his philosophical and religious beliefs (A. Amon, J. Kaye, G. Chesterton) and his activities as a politician and playwright. Chesterton admired his wisdom and style,13 and Shaw called Chesterton's study "the first literary work which he has ever provoked."14

There are a number of works devoted to Shaw’s political activities, in particular, his participation in the Fabian Society (W. Archer, C. Carpenter, E. Pease, etc.). The influence of the Fabian movement on English theater is examined in the studies of W. Archer15, E. Bentley16, R. Weintraub17, J. Evans18. Shaw's socialist views are revealed in detail by Fromm H. Bernard Shaw and the theaters in the nineties. – University of Wisconsin-Madison, 1962.

Marcus L. The Tenth Muse: Writing about Cinema in the Modernist Period. – Oxford University Press, 2007.

Pascal V. The Disciple and His Devil: Gabriel Pascal and Bernard Shaw. – iUniverse, 2004.

Everding R. Shaw and the Popular Context/ Innes C.D. The Cambridge Companion to George Bernard Shaw. – Cambridge University Press, 1988.

Dukore B. Bernard Shaw, director. – Allen and Unwin, 1971.

Dukore B. Bernard Shaw on Cinema. – SIU Press, 1997.

Chesterton G.K. George Bernard Shaw. – NY: John Lane Company, MCMIX, 1909.

Quote by: Evans T.F. George Bernard Shaw: the Critical Heritage. – Routledge, 1997. P.98.

Archer W. English Dramatists of Today. – London: S. Low, Marston, Searle & Rivington, 1882.

Bentley E. Bernard Shaw. – New Directions Books, 1947.

Weintraub S. Bernard Shaw on the London art scene, 1885-1950. – Pennsylvania State University Press, 1989.

Evans J. The Politics and Plays of Bernard Shaw. – McFarland, 2003.

J. Fuchs19. Shaw’s statements about the political system, economics, and art were systematized during the playwright’s lifetime by his wife Charlotte in the book “The Wisdom of Bernard Shaw”20.

A modern researcher of Victorian theater M. Booth21 presented a wide panorama of English drama of 1800-1900, highlighting its main genres, and called Shaw one of those who in the 1890s. raised drama to a new ideological and artistic level (along with H. Grenville-Barker, G. Jones, W. Pinero, T. Robertson). T. Dickinson's book (The Contemporary Drama of England, 1917)22 is dedicated to the theater of the Victorian and late Victorian era. The author considers the work of U. Pinero and G. Jones as a prologue to the “new drama”.

Among foreign scientists studying the state of English dramaturgy at the turn of the century, it should also be noted K. Baldick, J. Wiesenthal, J. Gassner, A. Gibbs, B. Dakor, A. Nicol and others. Their works on the evolution of Shaw's dramatic skill of this period form a holistic idea of ​​the writer’s artistic world, the features of dramatic action, conflict, character development, and genre originality.

A comparative approach was proposed in show studies in the books of A. Amon23 and G. Norwood24.

In modern American show studies, the problem of the poetics of Shaw's dramatic heritage is being developed primarily (K. Inns, T. Evans, G. Bertolini, B. Duckor, etc.). Of scientific interest is the annual thematic collection of articles “The Annuals of Bernard Shaw”, published in America since 1951, which publishes the works of the world's leading show experts dedicated to the life and work of the English playwright.

Fuchs J. The Socialism of Shaw. – New York: Vanguard, 1926.

Shaw S. The Wisdom of Bernard Shaw. – NY: Brentano’s, 1913.

Booth M. Prefaces to English Nineteenth-Century Theatre. – Manchester: M. University Press, 1980.

Dickinson T. The Contemporary Drama of England. – Little Brown and company, 1917.

Hamon A. The Twentieth Century Moliere: Bernard Shaw. – London: George Allen & Unwin Ltd., 1915.

Norwood G. Euripides & Mr. Bernard Shaw. – London: The St. Catherine Press, 1912.

The works of English and American authors are devoted to the study of “discussion plays,” Shaw’s innovative genre: E. Bentley, D.A. Bertolini, K. Baldick, S. Jane, B. Dakor, K. Inns, M. Meisel, G. Chesterton, T. Evans, etc. Canadian show expert K. Inns admits that “play-discussion” has become a “special genre”25, created by Shaw, and analyzes three of his “discussion plays” (“Getting Married”, “An Unequal Marriage”, “Heartbreak House”), focusing on “exceptional artistic experiments”26 - the one-act plays “Getting Married”

and "Unequal Marriage". According to K. Inns, these plays have thematic and genre similarities and occupy a “central place” in Shaw’s dramatic activity, being the “culmination”27 of his work.

E. Bentley, calling Shaw “an expert in creating verbal duels”28, describes the nature of the discussion, considers plays with elements of discussion drama”29.

and “discussion plays” as “different poles of chauvianism.” The researcher identifies two types of discussion - a discussion about current contemporary problems (“Don Juan in Hell”, “In the Golden Days of King Charles”, “Marriage”) and a discussion as a consequence of the conflict between characters (“Pygmalion”, “Major Barbara”, “John Bull’s Other Island”). Unlike the second type, “more familiar on stage,” in a discussion of the first type, “only the discussion itself is important”30. Paying special attention to the analysis of three works (“The House Where Hearts Break,” “Getting Married,” “Unequal Marriage”31), the author calls the play “Unequal Marriage”

"the culmination of the trilogy"32.

Innes C.D. The Cambridge Companion to George Bernard Shaw. – Cambridge University Press, 1998. R. 163.

Bentley E. Bernard Shaw. – New Directions Books, 1947. P.118.

E. Bentley analyzes the movement from a simple form of discussion to a more complex one, therefore the chronological sequence of the plays is not significant for him.

Bentley E. Bernard Shaw. – New Directions Books, 1947. P.133.

Analysis of “discussion plays” is presented in the works of B. Dakor33 and M. Meisel34. B. Duckor divides “discussion plays” into plays with elements of discussion and “discussion plays” proper and includes in the study works from abroad - “The Profession of Mrs. Warren”, “Candida”, “The Doctor’s Dilemma”, “Major Barbara”, “Introduction” into marriage", "Unequal marriage", "Pygmalion".

M. Meisel limits himself to the analysis of four plays (“Major Barbara,” “Marriage,” “An Unequal Marriage,” “Heartbreak House”).

He motivates the choice of the first three plays by the definition of the genre given by Shaw in their subtitles (“discussion in three acts”, “conversation”, “discussion in one sitting”). Both Meisel and Duckor call Heartbreak Home the “perfection”35 of this dramatic form.

M. Meisel defines the play “Major Barbara” as a discussion, referring to the author’s indication of the genre in the subtitle (“a discussion in three acts”).

B. Dakor, unlike M. Meisel, calls this work a play with elements of discussion. They define the nature of the conflict differently. According to M. Meisel, the “discussion play” genre invented by Shaw was marked by “the complete subordination of discussion to conflict”36. By upsetting the balance of the composition of a “well-made play,” Shaw makes room for improvisation closer to farce. If, according to M. Meisel and E. Bentley, conflict gives rise to discussion, then, from the point of view of B. Dakor, discussion “fuels” conflict37.

B. Dakor, accepting the criteria of M. Meisel, proposes to focus on the connection between the discussion and the plot, which ensures the identification of key differences between a play with elements of discussion and a “discussion play.” The forms of this connection are different - “close connection”, “interspersed”, “lack of connection”.

Dukore B. Bernard Shaw, playwright: aspects of Shavian drama. – University of Missouri Press, 1973. P.53-120.

Meisel M. Shaw and the nineteenth-century theater. – Greenwood Press, 1976. P.290-323.

Meisel M. Shaw and the nineteenth-century theater. – Greenwood Press, 1976. P.291.

Dukore B. Bernard Shaw, playwright: aspects of Shavian drama. – University of Missouri Press, 1973. P.79.

M. Meisel and B. Duckor chose to analyze the “discussion plays” of the middle period of Shaw’s work (1900-1920) and analyzed changes in the structure of the texts in relation to the evolution of the author’s worldview and his practice of theatrical productions.

In the periodization of the 58-year creative path of Shaw the playwright, the concept of Charles Carpenter, who distinguishes three periods, remains authoritative: early (Ibsenist phase - early, 1885-1900), middle (middle, 1900 and late (late, 1920-1950)38 , which reflect the genre evolution of Shaw’s dramaturgy - from realistic problem plays to “futuristic prophecies”39. The researcher pays special attention to the middle period, when “wordy and puzzling”, “extraordinarily fascinating”, “intricate”, “extremely innovative” plays were created40, Shaw called discussions or debates representing different points of view of characters. To such works Charles Carpenter includes the plays “Man and Superman” (a comedy with philosophy, 1901–1903), “Major Barbara”

(discussion in three acts, 1905), “Getting Married” (conversation or study play, 1908), “Unequal Marriage” (discussion in one meeting, 1910), etc.

Most Western European and American researchers (E.B. Adams, J. Wiesenthal, A. Gibbs, E. Raymond, etc.) accepted the periodization proposed by C. Carpenter. At the same time, in the works of foreign show experts, the “discussion play” is traditionally considered as one of the main characteristics of the artistic form of the middle period of the playwright’s work. Ch. Carpenter's periodization is also used in this study, which examines Shaw's middle period.

Carpenter C. George Bernard Shaw / O "Neil Patrick. Great World Writers: Twentieth Century. Vol. 1. - Marshall Cavendish, 2004. P. 1362.

Shaw's dramatic career begins with the play "The Widower's House" (1885-1892) and ends with the play "Why She Wouldn't" (1950).

Carpenter C. George Bernard Shaw / O "Neil Patrick. Great World Writers: Twentieth Century. Vol. 1. - Marshall Cavendish, 2004. P. 1363.

In the book by J. Roose-Evans “Experimental Theater from Stanislavski to Brooke”41, dedicated to the experimental drama of the late 19th and early 20th centuries, Shaw’s name is mentioned in connection with the theatrical activities of G. Craig.

W. Armstrong, analyzing the state of experimental theater in 1945, examines Shaw's directorial activity42.

Most researchers (W. Armstrong, P. Brook, P. Pavy, E. Fischer-Lichte43 and others) consider experimental drama not only as literary work, but also as the basis for a performance in the “experimental theater”, the characteristic features of which are P.

Pavi correlated with experimental drama44:

1. Marginality. Experimental theater is opposed to traditional commercial theater with a classical repertoire and occupies a “peripheral position” in terms of budget and audience.

(Shaw, anticipating this opinion of P. Pavie, saw the main obstacle in the existence of experimental theater in the fact that serious drama “is inaccessible to the understanding of the mass of spectators of different social status” who want “to buy the enjoyment of the fine arts with their shillings and half-guineas”45).

2. Interaction with the public. Spectators turn from passive observers into active participants in the production. The audience's perception is “made dependent on the work,” and not vice versa. (So ​​Shaw seeks to mobilize an audience accustomed to being at the mercy of emotions, influencing its mind, increasing its ability to perceive. In this regard, special requirements are placed on the actor, who must be able to Roose-Evans J. Experimental theater: from Stanislavsky to Peter Brook - Routledge, 1989.

Armstrong W. Experimental Drama. – London: G. Bell and Sons, LTD, 1963.

Fisher-Lichte E. History of European Drama and Theater. – Routledge, 2002.

Pavi P. Dictionary of theatre. – M.: Progress, 1991. P. 362-364.

Show B. Complete collection of plays: In 6 volumes. T.1. – L.: Art, 1978. P.321 (preface to “Pleasant Plays”).

“to be consistent with the changing internal relationships with the viewer”46).

3. Fusion of genres. The inherent rigidity of classical drama”47, “normative, is overcome because the living literary process destroys genre canons. At turning points in history, when everything is changeable and mobile, “the search itself automatically becomes a search for form”48, and any new form is necessarily an experiment.

The experiment in English dramaturgy of the late 19th century, which arose as a reaction to the cultural crisis of the late Victorian era, concerned, first of all, changes in the traditional system of genres, as well as theatrical arts.

Soviet scientists made a significant contribution to the creation of a holistic understanding of Shaw's personality and work, exploring his socio-philosophical, moral and aesthetic views. They identified and systematized the features of Shaw's dramatic method (the nature of the conflict, the typology of characters, the role of paradox, features of the genre, etc.).

In the works of P.S. Balashova, Z.T. Civil, N.Ya. Dyakonova, I.B. Kantorovich, A.A. Karyagina, A.G. Obraztsova, A.S. Romm et al.

Shaw's work and his worldview are covered. A.A. Anikst, A.A. Karyagin, B.O. Kostelyanets, A.G. Obraztsova, V.E. Khalizev, G.N. Khrapovitskaya, A.A. Chameev et al. explored the issue of Shaw’s genre experimentation, classifying his works as “drama of ideas” or “intellectual drama.”

A.S. Romm in the article “On the question of Bernard Shaw’s dramatic method”

defines the genre specificity of Shaw's plays as a “drama of thought” 49.

A.A. Karyagin, analyzing the trends in the development of theatrical art in Russia and the West, reflects on Shaw’s work in connection with the appearance in the theater at the turn of the 19th-20th centuries. "the idea of ​​freedom of dramatic form." By Brooke P. Empty Space. – M.: Progress, 1976. P.80.

Averintsev S.S. Historical poetics. Results and prospects of the study. – M.: Nauka, 1986. P.104.

Brook P. Empty space. – M.: Progress, 1976. P.83.

Department of Literature and Language. T.XV. Vol. 4. – 1956. P.316.

In this regard, he connects the “well-known limitations” of Shaw’s aesthetic position with the playwright’s worldview and his commitment to the ideas of Fabian socialism50. According to the scientist, shifting the center of gravity from action to discussion “leads to dual consequences,” separating the intellectual and “active” principles of the drama51. Therefore, Shaw's plays, while acquiring a specific intellectuality, are difficult to translate on stage.

According to V.E. Khalizev, the introduction of an element of discussion into Shaw’s plays led to a “qualitative shift” in the development of drama, to a transformation of the plot structure, and to a violation of the usual idea of ​​action52.

dramatic V.E. Khalizev examines the problem of the relationship between the playwright and the director, the difference between literary and screenplay drama, and describes some stages of the existence of literary theater and drama for reading. Shaw’s work, according to the researcher, is marked by “a focus on liberating drama from the shackles of traditional theatricality, from the effects of footlights and rhetorical speaking”53.

A.A. Fedorov explores Shaw’s system of ideological and aesthetic searches, the fruitful influence of G. Ibsen’s artistic experience on him, and introduces the concept of “English Ibsenism.” He emphasizes that Ibsen for Shaw is, first of all, a master of a problem play, transforming old dramatic techniques, and the creator of a “discussion drama”, which is “an example of high tragicomic art”54.

Foreign and Soviet researchers consider Shaw's work in the context of the formation of the English “new drama”. According to the English researcher J. Evans, Shaw, as well as Ibsen, Wagner and Brie, brought drama closer to life, made changes to the art of drama, experimenting with Karyagin A. A. Drama as an aesthetic problem. – M.: Nauka, 1971. P.163.

Right there. P.183.

Khalizev V.E. Drama as a type of literature (poetics, genesis, functioning). – M.: MSU, 1986. P.151.

Right there. P.95.

Fedorov A.A. Ideological and aesthetic quests in English literature of the 80-90s of the 19th century and the dramaturgy of G. Ibsen: Textbook. – Ufa: BSU, 1987. P.32.

with theme and dramatic form, suggested “alternative form and content” 55.

N.I. Fadeeva identifies three stages in the development of the “new drama”56. Within the framework of the first period (80s), the researcher names Shaw, along with Ibsen and Hauptmann, although his creative path began only in 1892 with the publication of the play “The Widower's House”. The researcher associates the second period (90s) with the work of Maeterlinck, without mentioning the name of Shaw, who was already actively involved in drama during this period and created from 1892 to 1900.

ten plays.

“New drama” is inextricably linked with theatrical reforms. Theaters (“Free Theater” in Paris under the direction of A. Antoine, “Free Stage” in Berlin headed by O. Brahm, “Independent Theater” in London with J. Grain, Moscow Art Theater with K. S. Stanislavsky and V. I. Nemirovich-Danchenko) made a significant contribution to European dramatic art, attracting the attention of viewers to new plays and authors and offering a modern stage interpretation of the text.

Many leading playwrights were directly involved in the theatrical process as directors (H. Grenville-Barker, G. Suderman, A. Chekhov, B. Shaw, etc.). Shaw's directorial experiments are described in the works of A.A. Aniksta, Yu.A. Zavadsky, Yu.N. Kagarlitsky, A.G. Obraztsova, W. Archer, E. Bentley, B. Duckor, D. Donoghue, K. Inns.

From modern domestic studies of “new drama”

It is necessary to note the monograph by M.G. Merkulova “Retrospection in the English “new drama” of the end of the century: origins and 19th-early 20th functioning.” The author reveals the genre specifics of the “new drama”, systematizes the most characteristic definitions of the term by English and American literary scholars, and clarifies the historical boundaries of the phenomenon, Evans J. The Politics and Plays of Bernard Shaw. – McFarland, 2003. P.26.

Fadeeva N.I. Conflict as an organizing principle of the artistic unity of a dramatic work (on the material of Russian and Western European drama of the late 19th - early 20th centuries): diss. ...cand.

Philol. Sci. – M., 1984. P.190.

shares the assessment of the writer accepted in show studies as the leading playwright of the English “new drama”57. Focusing on the innovative use of the technique of retrospection in his work, the author identifies the main elements of Shaw’s “new drama” genre modification. The concepts of “new drama”, “intellectual drama”, “drama of ideas” and “discussion drama” are considered synonymous, since the basis of the action of the plays of the playwrights of the new movement (G. Ibsen, G. Hauptmann, B. Shaw) is discussion, the significance of which depends on the characters as carriers of a certain ideological program, aware of their mission to carry out the author’s will58. At the same time, the “drama of ideas” is considered as an organizing link that determines Shaw’s genre system.

M.G.’s PhD thesis is devoted to the analysis of the late period of Shaw’s work and the system for assessing the genre features of his dramaturgy of the 90s. Merkulova59.

dissertation The researcher considers the lack of traditional genre definitions by Shaw the playwright to be justified, since Shaw himself “did not strive for an accurate fixation genre originality plays, seeing their main task as debunking the lack of ideas and irrelevance of traditional genre forms”60. The author connects the emergence of a qualitatively new dramatic form of “discussion play”, most suitable for reproducing the contradictions of the historical era at the turn of the 19th-20th centuries, with Shaw’s active work in the development of new ideas.

It should be noted that other modern domestic researchers (V.A. Lukov, G.N. Khrapovitskaya, E.N. Chernozemova, I.O. Shaitanov, etc.) also addressed certain problems of Shaw’s work.

Merkulova M.G. Retrospection in the English “new drama” of the late 19th – early 20th centuries: origins and functioning. Monograph. – M.: Prometheus, 2005. P.22 (the monograph was written based on the text of the doctoral dissertation).

Merkulova M.G. Retrospection in the English “new drama” of the late 19th – early 20th centuries: origins and functioning. Monograph. – M.: Prometheus, 2005. P. 100 (the monograph was written based on the text of the doctoral dissertation).

Merkulova M.G. Late dramaturgy of B. Shaw: problems of typology: diss. ...cand. Philol. Sci. – M., 1998.

Right there. P.31.

A systematic and comprehensive analysis of Shaw's innovative dramaturgy is proposed in the works of A.G. Exemplary. In the book “The Dramatic Method of Bernard Shaw,” the researcher devotes a separate chapter to characterizing the genre nature of Shaw’s plays, dwelling on the role and specifics of the discussion, the features of the conflict, defining it as “the most intense clash of false ideas about life with its true understanding”61. At the same time, the genre features of Shaw’s “openly experimental”62 one-act plays “Coming into Marriage” and “An Unequal Marriage” remain outside her field of vision.

I.B. Kantorovich, analyzing five one-act plays created by Shaw from 1901 to 1913 (How He Lied to Her Husband, 1904; Getting Married, 1908;

“Unequal Marriage”, 1910; "Fanny's First Play", 1911; "Overwhelmed by Passion", 1912), gives general characteristics his experiments in comedy, vaudeville, farce and others dramatic genres 63. The researcher calls the “extravagant” genre the leading one in this period and considers it as a “realistic rethinking” of historical drama, Elizabethan drama, melodrama, in other words, as “an experiment in the struggle for a new drama”64. Analyzing Shaw's one-act plays, I.B. Kantorovich notes in them the commonality of problems and the “similarity of artistic nature,” but he considers the discussion as the “main technical means” of revealing the idea of ​​the play, which does not exclude “the development of a number of full-fledged realistic characters”65.

The question of Shaw’s creation of a separate genre of “discussion play” was not addressed in I.B.’s study. Kantorovich deep and complete study.

A comparative analysis of one-act plays by Chekhov and Shaw is made by S.S. Vasiliev, stating at the same time the insufficient degree of study of Shaw’s small dramatic forms, the lack of a holistic approach to Obraztsova A.G. The dramatic method of Bernard Shaw. – M.: Nauka, 1965. P.67.

Science, 1974. C.315.

Kantorovich I.B. Bernard Shaw in the struggle for a new drama (The problem of creative method and genre): diss. ... Dr. Philol. Sci. – Sverdlovsk, 1965. P.446-456.

Right there. P.451.

Right there. P.451.

this issue66. The author bases the study on the material of nine one-act plays by Shaw (“How He Lied to Her Husband,” 1904; “Passion, Poison, Petrification, or the Fatal Gas,” 1905; “Interlude at the Theater,” 1907; “Newspaper Clippings,” 1909; “ The Dark Lady of Sonnets", 1910; "Cure with Music", 1913;

“Inka of Perusalemsky”, 1913; "O'Flaherty, Commander of the Order of Victoria", 1915;

“Augustus Does His Duty,” 1916), only mentioning the play “An Unequal “Discussion Play,”67 Leaving Marriage Unattended” as a one-act “discussion play” by Shaw “Coming into Marriage.” Thus, the urgent need for a closer and more multifaceted look at the “discussion play” as one of the key forms in Shaw’s genre system becomes obvious.

Increased interest in the one-act play characterizes the middle period of Shaw's work (1900-1920)68, studied in this work.

The actualization of short drama is associated with changes in the social atmosphere at the turn of the century. The efficiency in writing, in the stage execution of the text, and the eccentricity of the one-act play met the spirit and demands of the new time. In Shaw’s work, there is a clear tendency to limit the external parameters of dramatic action and techniques”69.

“minimalism of poetics”, “the economy of art. Localization of external parameters of action enhances the dynamics of internal action, leads to “exacerbation of contradictions, discovery of hidden conflicts”70.

collisions, predetermines the capacity. The one-act play opens as a dramaturgy of contrasts and paradoxes, unexpected events and dramatic discoveries. That is why Shaw’s “discussion play” manifested itself so clearly within the framework of one act. In one-act plays “Introduction to See: Vasilyeva S.S. One-act plays by A.P. Chekhov and D.B. Shaw (to the problem of comparative study).

Bulletin of VolSU. Episode 8. Vol. 4. – Volgograd, 2005. P.24.

See: Vasilyeva S.S. One-act plays by A.P. Chekhov and D.B. Shaw (to the problem of comparative study).

Bulletin of VolSU. Episode 8. Vol. 4. – Volgograd, 2005. P.27.

Of the twenty-seven plays written by Shaw in his middle period, seventeen were one-act plays.

Merkotun E.A. Poetics of one-act drama by Lyudmila Petrushevskaya. Monograph. - Ekaterinburg:

UGPU, 2012. P.29.

Right there. P.31.

Marriage" and "Unequal Marriage" reflect the main directions of Shaw's artistic experiments.

However, in the domestic critical literature, which has studied Shaw’s artistic heritage in many aspects, insufficient attention has been paid to a specific analysis of the “discussion play” genre he created. As a rule, the authors limit themselves to only stating his genre experiments, characterizing the first impression of the playwright’s works as a feeling of novelty and unusualness. At the same time, some (V. Babenko, S.S. Vasilyeva, A.A. Fedorov) focus attention on bold ideas, put forward in “discussion plays”, others (P.S. Balashov, Z.T. Grazhdanskaya, I.B. Kantorovich) explore the style of expressing thoughts, methods of creating characters, etc. Only a few (A.G. Obraztsova, A. S. Romm) offer a systematic analysis of the genre, studying the set artistic means, used by the playwright for the most adequate implementation of his ideas, and the form that he chooses. Dwelling on the nature of the discussion and its role in Shaw's plays, A.G. Obraztsova states the peculiarity dramatic conflict, however, the genre features of Shaw’s “openly experimental”71 one-act plays “Coming into Marriage” and “An Unequal Marriage” remain outside her field of vision.

Insufficient attention in Russian literary criticism has been paid to the analysis of the play “Candida,” which in Shaw’s work is the starting point for the creation of a “discussion play.” Leading domestic show experts (P.

Balashov, Z.T. Civil, A.G. Obraztsov) ignore such an important structural element of the play as the final discussion. Researchers are ambivalent about the genre of the play, considering “Candida” as a “psychological drama with a social connotation”72, as Obraztsova A.G. Bernard Shaw and European theatrical culture at the turn of the nineteenth and twentieth centuries. – M., 1974.

Civil Z.T. Bernard Shaw: An Essay on Life and Work. – M.: Education, 1965. P.49.

“family and everyday drama”73 or mystery74, without mentioning the definition declared by the author himself – “modern Pre-Raphaelite drama”75.

The question of the periodization of Shaw’s creative path in domestic show studies has not yet been finally resolved, because this was, to a certain extent, hampered by the “unovercome concepts of vulgar sociologism” 76. According to the tradition established in Soviet literature, the evolution of the playwright’s work includes two periods: from the late 70s. XIX centuries before the First World War and the period from the First World War and the Great October Socialist Revolution until the end of the writer’s life. This scheme is followed, for example, by P.S. Balashov77, A.G. Obraztsova78, A.S. Romm79. Z.T. Civil80 distinguishes into separate periods works written from 1905 to 1917, and plays of the 20s, based on the problematics of plays as the principle taken as the basis for periodization.

As for the definition of genre, in this study genre is understood as “the unity of a compositional structure determined by the originality of the reflected phenomena of reality and the nature of the artist’s attitude towards them” (L.I. Timofeev).

Relevance The research is due to the insufficient development in domestic literary studies of the problem of the “play-discussion” genre in Shaw’s work, the role of the playwright in the formation of this genre, the understanding of which is important for clarifying the literary situation in England at the turn of the 19th-20th centuries. and Shaw's contribution to the "new drama", as well as the fact that Shaw's genre searches represent English literature of this period.

Balashov P.S. Art world Bernard Shaw. – M.: Fiction, 1982. P.126.

Obraztsova A.G. The dramatic method of Bernard Shaw. – M.: Nauka, 1965. P.230.

Shaw B. Complete collection of plays: In 6 volumes. T. 1. - L.: Art, 1978. P. 314 (preface to “Pleasant Plays”).

Balashov P.S. The artistic world of Bernard Shaw. – M.: Fiction, 1982. P.14.

Obraztsova A.G. The dramatic method of Bernard Shaw. – M.: Nauka, 1965. P.147.

Romm A.S. On the question of Bernard Shaw’s dramatic method // News of the USSR Academy of Sciences.

Department of Literature and Language. T.XV. Vol. 4. – 1956. P.315.

Civil Z.T. Bernard Shaw: An Essay on Life and Work. – M.: Education, 1965. P.112.

The theoretical basis of the work is made up of research on the theory and history of drama as domestic scientists (S.S. Averintsev, A.A. Anikst, V.M. Volkenshtein, E.N. Gorbunova, E.M. Evnina, D.V. Zatonsky, N.I. Ishchuk-Fadeeva, D.N. Katysheva, B.O. Kostelyanets, V.A. Lukov, V.E. Khalizev), and foreign (E. Bentley, A. Henderson, K. Inns, M Colburn, H. Pearson, E. Hughes, G. Chesterton); works in which the cultural and historical context was explored, which determined the vector of B. Shaw’s genre searches (V. Babenko, P. S. Balashov, N. V. Vaseneva, A. A. Gozenpud, Z. T. Grazhdanskaya, T. Yu. Zhikhareva, B.I. Zingerman, Y.N. Kagarlitsky, I.B. Kantorovich, M.G. Merkulova, A.G. Obraztsova, N.A. Redko, A.S. Romm, N.N. Semeikina, N.I. Sokolova, A.A. Fedorov, E.N. Chernozemova, etc.), including the works of foreign literary scholars (W. Archer, B. Brawley, E. Bentley, A. Henderson, W. Golden, F. Denninghaus, B. Matthews, H. Pearson, H. Rubinstein, etc.); works devoted to the problem of genre and poetics of the text of a work of art (S.S. Averintsev, M.M. Bakhtin, A.N. Veselovsky, Yu.M. Lotman, G.N. Pospelov, as well as B. Dakor, A. Nikol , A. Thorndike).

The object of the study is Shaw's dramaturgy of the middle period of creativity (1900-1920), which is characterized by a variety of genre experiments.

Subject of research is the “discussion play” as a genre in Shaw’s dramaturgy, its origins, formation, poetics in the context of Shaw’s work and the “new drama”.

The purpose of the study is to identify the genre content, the structure of the “discussion play”, its formation in Shaw’s work, its ideological and artistic significance.

In accordance with this goal, the following are defined: tasks research:

1. reconstruct the historical and literary situation in England at the turn of the 19th-20th centuries, which determined the vector of Shaw’s artistic searches, his movement in line with the “new drama”;

2. trace the genesis and formation of the “experimental” genre of “discussion play” in Shaw’s work;

3. analyze the features of the poetics of plays with elements of discussion and “discussion plays” in the context of Shaw’s era and work;

4. identify the main genre features of Shaw’s “discussion play”.

The methodological basis of the work was the principles of historicism and systematicity, an integrated approach to the study of literary phenomena.

The combination of historical-literary, comparative, typological, and biographical methods of analysis made it possible to trace the process of formation and features of the “discussion play” genre.

Scientific novelty work is determined by the choice of the subject of research and the contextual aspect of its coverage. For the first time in Russian literary criticism, plays with elements of discussion and “experimental” “discussion plays” written by Shaw in 1900-1920 are systematically studied.

The plays “Getting Married” and “Unequal Marriage” are analyzed for the first time as “discussion plays”, representing the features of the poetics of this genre.

Based on Shaw's theoretical works that have not been translated into Russian, an analysis of the classification of female characters is presented. The works of English researchers, not translated into Russian and remaining on the periphery of scientific interest, as well as materials from the playwright’s correspondence, newspaper and magazine publications, unknown in Russian literary criticism, have been introduced into scientific circulation.

Submitted for defense the following provisions:

1. The “discussion play” genre arose under the influence of a complex of reasons caused by changes in the socio-political situation, philosophical and aesthetic views at the turn of the 19th-20th centuries. The desire to express the modern contradictions of England in a work of art required Shaw to rethink the traditional poetics of drama and develop its new form, adequate to the time.

2. Drama of the turn of the 19th-20th centuries. turns into a free author's statement, in which traditional elements act only as a kind of support for interpretation; genre canons are being rethought; the epic beginning intensifies. Experiments lead to the diffuseness of the genre system, which is manifested, in particular, in the absence of classical genre designations in most of Shaw's plays (the name of the genre is suggested by the author himself).

3. Dramaturgy Shaw as an artistic experiment was carried out in the context of the European “new drama” in its English version. As a result, a special dramatic form was formed - a play with elements of discussion (“Candida”, “Man and Superman”), and then the “discussion play” itself (“Major Barbara”, “Marriage”, “Unequal Marriage”, “ The House Where Hearts Break." Introduction of discussion as a source dramatic conflict determined the innovative sound of Shaw's plays. Study of the genre specificity of Shaw's dramaturgy at the end of the 20th century. makes it possible to trace the genesis, formation, and evolution of the “discussion play” genre from the 19th century.

4. Principal Component Analysis artistic structure Shaw’s plays allow us to identify the genre features of the “discussion play” and the vector of the playwright’s genre searches.

Theoretical significance The work is determined by the analysis of the “play-discussion” genre. The study of the genre content, the structure of the “discussion play” opens up additional opportunities for understanding Shaw’s “experimental” works of the middle period of his creative work (1900), genre modifications of the “new drama”. The materials and conclusions contained in the dissertation allow us to expand our understanding of the trends in the development of English drama.

Practical significance The research lies in the possibility of using its results in lecture courses on English literature of the late 19th – early 20th centuries, on the history of English and foreign literature; in special courses devoted to the study of the poetics of dramatic genres and the work of B. Shaw. The conclusions obtained and some provisions are of interest to literary scholars, as well as to those interested in Shaw’s work.

Compliance of the content of the dissertation with the passport of the specialty for which it is recommended for defense.

The dissertation corresponds to the specialty 10.01.03 – “Literature of the peoples of foreign countries (Western European)” and was completed in accordance with the following points of the specialty passport:

P.3 – Problems of historical and cultural context, socio-psychological conditionality of the emergence of outstanding works of art;

P.4 – History and typology literary trends, types of artistic consciousness, genres, styles, stable images of prose, poetry, drama and journalism, which find expression in the work of individual representatives and writing groups;

P.5 – The uniqueness and intrinsic value of the artistic individuality of the leading masters of foreign literature of the past and present;

features of the poetics of their works, creative evolution.

The reliability of the conclusions is ensured by a thorough study of the genre nature of Shaw's dramatic works at the turn of the 20th century, the study and comparison of a large number of primary sources (artworks, theoretical works, critical literature, correspondence, newspaper and magazine materials), as well as the theoretical justification of the genre content and structure " playsdiscussion". The selection of the analyzed material is determined by its significance for solving the problems posed in the dissertation.

Approbation of work. Certain provisions of the dissertation were presented in the form of reports and communications at international and interuniversity scientific conferences: 3rd interuniversity scientific conference “Young Science - 3” (Arzamas, 2009); Scientific and practical seminar “Literature and the problem of integration of the arts” (N. Novgorod, 2010);

International conference “XXII Purishev Readings: History of Ideas in Genre History” (Moscow, 2010); 4th interuniversity scientific conference “Young Science - 4” (Arzamas, 2010); International conference “XXIII Purishev Readings: Foreign literature XIX century Current problems of study" (Moscow, 2011); 17th Nizhny Novgorod session of young scientists (N. Novgorod, 2012); International conference “XXVI Purish readings: Shakespeare in the context of the world artistic culture"(Moscow, 2014). Basic provisions dissertation research was discussed at postgraduate associations and meetings of the Department of Literature of the Federal State Budgetary Educational Institution of Higher Professional Education "ASPI" and the Department of Foreign Literature and Theory of Intercultural Communication (N. Novgorod, NSLU, 2014). Thirteen scientific papers have been published based on the dissertation materials, including four in publications recommended by the Higher Attestation Commission of the Russian Federation.

Structure and scope of work determined by the tasks and the material being studied.

The work consists of an introduction, two chapters, a conclusion and a list of references. The total volume of the study is 205 pages. The bibliographic list includes 217 titles, including 117 in English.

CHAPTER I. Philosophical and aesthetic views of B. Shaw in the context of the English literary process of the late 19th and early 20th centuries §1. The influence of late Victorian English drama on the formation of B. Shaw’s aesthetics. Late 19th – early 20th centuries. was for Great Britain a time of serious changes in socio-political life and in aesthetic consciousness.

The British Empire “was experiencing a state of deep economic, industrial and spiritual crisis”81. With the death of Queen Victoria (1819-1901), during which Great Britain became an empire, the Victorian way of English life became a thing of the past. Attempts to preserve its former power lead to the fact that the British Empire directs its efforts to the conquest of Central Africa, Egypt and Sudan. The Anglo-Boer War (1899-1901) and the subsequent period of preparation for the First World War only exacerbated the social contradictions that arose as a result of the economic crisis of the late 80s. XIX century

Victorianism created an ethical code of conduct for English citizens and dictated the norms of public and personal life. In the field of culture, the main place was given to classical models, and each artist was required to strictly adhere to academic canons. Such extreme conservatism prevented the development of free creative thought and “protected” Victorian art from the penetration of aesthetic innovations from Europe.

During periods of crisis of social formations, as a rule, there is a desire to reassess existing values. The process of their critical reflection and revision of previous views “pulled all layers of society into its mainstream, forcing them to redefine their attitude to traditional ideas”82.

beliefs and the feeling of instability once Romm A.S. Shaw is a theorist. – L.: Ed. LGPI named after. A.I. Herzen, 1972. P.65.

Right there. C.65.

stable forms of life manifests itself with particular force in the arts. The old forms of British art were unable to reflect the rapidly changing reality, because... “artistic truth, genuine, alive just a couple of decades ago, has ceased to correspond to the content of new ideas of life”83. The existing drama gradually lost its relevance, “petrified”84 and turned into a form that did not correspond to reality. The theater also used techniques from which life had already passed away (the reason for this was both the lack of new dramaturgy and the natural fear that the public would not accept new forms).

Artistic life of England at the turn of the XIX-XX centuries. was distinguished by “extraordinary intensity, striking contrasts and contradictions”85. The desire for relevance and topicality corresponds to the worldview of a new generation of people interested in scientific and technological achievements and cultivating knowledge. Science, ideology and journalism entered everyday life, influencing the aesthetic perception of reality.

Writers, dissatisfied with the aesthetic norms inherited from Victorianism, are engaged in an active creative search. In literature, various directions of symbolism and neo-romanticism coexist and interact, creating a motley picture (naturalism, the literary process. At the same time, realism continues to be fundamental in art as “the most fruitful and viable direction”86. “Renewal of realism”87 at the turn of the 19th-20th centuries expressed in the expansion of its thematic repertoire. Advocating for socially significant

Obraztsova A.G. Bernard Shaw and European theatrical culture at the turn of the nineteenth and twentieth centuries. – M.:

Science, 1974. P.137.

Ischuk-Fadeeva N.I. Typology of drama in historical development. – Tver, 1993. P.45.

Obraztsova A.G. Bernard Shaw and European theatrical culture at the turn of the nineteenth and twentieth centuries. – M.:

Science, 1974. C.20.

Anikst A.A. Theory of drama in the West in the second half of the 19th century. – M.: Nauka, 1988. P.9.

Fradkin I.M. Introduction: [References Western Europe at the turn of the 19th and 20th centuries]// History of world literature: In 8 volumes. T.8/ USSR Academy of Sciences; Institute of World Lit. Them. A.M. Gorky. – M.: Nauka, 1983. P.216.

dramaturgy, expanding its themes, Shaw proposed for research problems that had until that time been outside the boundaries of art.

Turn of the XIX-XX centuries. - a time of active development of dramatic art and serious changes in dramatic practice, since “drama as the highest form of art is possible only when the world is experiencing a time of decisive changes”88, which find adequate artistic embodiment in dramatic conflict. English drama overestimated and critically comprehended the social, religious, and ethical institutions of the existing capitalist system and public institutions.

In the 19th century melodrama predominates on the English stage, popular not only in small outlying theaters, but also in central London theaters.

Over the course of a century, the theater gradually lost its social and literary significance and turned into an entertainment institution designed for the most undemanding tastes. Only in late XIX c., when the reign of Queen Victoria ended, there was a tendency towards a revival of drama through an appeal to the “well-made play”. It appeared in Great Britain later than in Europe. But even her “late arrival... was a great blessing for England”89. As you know, a “well-made play” was based on classic drama in its construction of action, and on a comedy of manners in its description of everyday life. However, Shaw - a representative of the "drama of ideas" - knew about the artistic possibilities of a "well-made play" and, if necessary, used them in his work. But still, he stated that “a well-made play” was a commercial production, “which is usually not taken into account in discussions of modern trends in serious drama”90.

Anikst A.A. Theory of drama in the West in the second half of the 19th century. – M.: Nauka, 1988. P.48.

Digest of articles. – M.: Progress, 1981. P.215.

The intellect of the audience “atrophied from inaction”91 to the former drama, “meaningless,” “sentimental and colorless,” which is why the state of the theater at the end of the 19th century corresponded. Shaw subsequently recalled him in the preface to “Three Plays for the Puritans” (“the theater almost finished me off,” “knocked me down like the last runt,” “I fainted under its weight”92).

The turn of the 19th-20th centuries, which brought not only “the enrichment of the traditional poetics of critical realism”, but also “new principles of artistic comprehension of life”93, became the initial stage of the process of intellectualization of literature associated with the scientific and technical achievements of civilization and disputes in the field of ideology. This was facilitated by “the active assertion of the rights of reason in all areas of social and cultural activity”94. The transitional era, full of contradictions, surprises, contrasts, initiated paradoxical thinking. The desire to question, “to shake up and turn inside out everything that seemed to be arranged forever in the bourgeois world”95 was expressed in the forms of irony and paradox, in an appeal to the grotesque. In Shaw's plays, grotesque coloring appears in the late period of creativity. In the plays of the first and middle periods, the playwright is “categorical, clear, even didactic and very specific”96 in explaining contradictions.

“The new special character of intellectualism”97 Shaw was due to the combination of “pathos and irony, dry logic and fantastic grotesque, abstract theory and artistic image”98. Creating a paradoxical Show B. Complete collection of plays: In 6 volumes. Vol.1. – L.: Art, 1978. P.229 (preface to the play “Mrs. Warren’s Profession”).

Show B. Complete collection of plays: In 6 volumes. T.2. – L.: Art, 1979. P.7 (preface to “Three Plays for the Puritans”).

Romm A.S. Shaw is a theorist. – L.: Ed. LGPI named after. Herzen, 1972. P.34.

Obraztsova A.G. Bernard Shaw and European theatrical culture at the turn of the nineteenth and twentieth centuries. – M.:

Science, 1974. C.25.

Right there. C.25.

Obraztsova A.G. The dramatic method of Bernard Shaw. – M.: Nauka, 1965. P.206.

Zavadsky Yu.A. ABOUT philosophical dramas Show and modern theatrical aesthetics (director's notes) // Questions of Philosophy. 1966. No. 11. P.94-95.

Romm A.S. Shaw is a theorist. – L.: Ed. LGPI named after. A.I. Herzen, 1972. P.34.

a situation or a chain of situations (funny, buffoonish, comedic, “elegantly eccentric”99), Shaw uses them as a means of destroying the usual logic of human behavior, a way of revealing the truth.

Turn of the XIX-XX centuries. marked by the search for new forms capable of artistically embodying the complexity of the historical moment and a new level of world understanding. Dissatisfaction with the forms of classical realism gave rise to the need to rethink the established genre system. Shaw, one of the reformers of the English stage, tried his hand at various dramatic genres. The “discussion play,” which he considered as a dramatic form adequate to modern times, was, according to the playwright’s definition, “an original instructive realistic play” (“Widower’s Houses,” 1892), “a topical comedy” (“Heartbreaker,” 1893), “ mystery" ("Candida", 1894), "melodrama" ("The Devil's Disciple", 1896), "comedy with philosophy" ("Man and Superman", 1901), "tragedy"

(“The Doctor’s Dilemma”, 1906), etc.

The desire to expand the expressive possibilities of drama and its chronotope led Shaw to the active use of the epic element - a characteristic feature of the “new drama”. At the heart of this process of “inter-generic diffusion”100 was the need for new forms of artistic exploration and display of the dynamic world. The introduction of the epic element contributed to a comprehensive depiction of the reality of the late 19th century in a dramatic work, provided the opportunity for the playwright to “go beyond the depicted places, times, persons, events”101, “to give readers broad and accurate pictures of development modern life"102.

Extended stage directions in his plays demonstrate “an increase in the proportion of the epic in the dramatic”103, signaling the poetics of A.G. Obraztsov. The dramatic method of Bernard Shaw. – M.: Nauka, 1965. P.199.

P.9.

Kagarlitsky Yu.I. Theater for the ages. Theater of the Enlightenment: trends and traditions. – M.: Art,

Obraztsova A.G. The dramatic method of Bernard Shaw. – M.: Nauka, 1965. P.15.

Chirkov A.S. Epic drama (problems of theory and poetics) / A.S. Chirkov. – Kyiv: Vishcha School, 1988.

“new drama” (“The Other Island of John Bull”, “The Devil’s Disciple”, etc.).

Stage directions are no longer just official, they are “functionally interconnected with dramatic speech”104, a portrait, the emotional state of a character, recording his character, motives for actions, allow the author to “take the characters beyond the events depicted on stage”105, participate in a debate, express his position . Remarks “objectify the narrative”106 so much that the reader is immersed not in the action itself, but in the world of reflections, comparisons, and conclusions hidden behind it. Shaw's plays turn into dialogue novels for the reader. As A. Amon argues, the idea of ​​combining a novel with dialogue in drama was already “in the air”107 in 1892, when Shaw began to use this technique.

At the end of the 19th century. The worldview of a number of writers was “complicated by an acute and painful breakdown of established views, and sometimes by decadent confusion in the face of inconsistency, complexity and external processes”108; the complexity of the historical, therefore, familiarization with the artistic achievements of other countries turned out to be especially fruitful. Thus, the work of G. Ibsen was a powerful impulse that inspired playwrights to overcome outdated dramatic and theatrical traditions, and led to the emergence of “English Ibsenism”109. The plays of the great Norwegian were perceived as models for the new English drama: they were imitated, they were studied in critical articles. Shaw, an expert and promoter of Ibsen's plays, saw in him an artist creating a new dramatic technique, in particular, introducing elements of discussion into his plays.

Andreeva S.A. Functions of pause in the poetics of English “new drama”: dissertation. ...cand. Philol. Sci. – Krasnoyarsk, 2005. P.14.

Gozenpud A.A. Paths and crossroads. English and French drama of the 20th century. – L., 1967. P.21.

Chirkov A.S. Epic drama (problems of theory and poetics) / A.S. Chirkov. – Kyiv: Vishcha School, 1988.

Hamon A. The Twentieth Century Moliere: Bernard Shaw. – London: George Allen & Unwin Ltd., 1915. P.251.

Fedorov A.A. Ideological and aesthetic quests in English literature of the 80-90s of the 19th century and the dramaturgy of G. Ibsen: Textbook. – Ufa: BSU, 1987. P.6.

See: Fedorov A.A. Ideological and aesthetic quests in English literature of the 80-90s of the 19th century and the dramaturgy of G. Ibsen: Textbook. – Ufa: BSU, 1987.

The era of the border set a new vector for the development of culture - the politicization and ideologization of art intensified, which required the creation of a “politically active, ideologically relevant theater”110. Cultural figures become political and social agitators, because with “the feverish speed with which technological processes replace and displace each other,” with “changes in public opinion, which are caused by the spread of widespread education, popular literature, increased possibilities of movement, etc.”111, the number of social problems that require comprehension is sharply increasing.

To “influence the minds and hearts of the audience”112 theatrical art invented additional means of expression. New artistic forms, capable of conveying the diversity of scientific discoveries and philosophical theories that appeared by the end of the 19th century, led to stage experiments, improvement of theatrical techniques, and the formation of director's theater. The formation of directing as an independent form of creativity entailed changes in the organization of theatrical production, in the stage interpretation of plays, and affected their ideological and artistic content. Drama begins to be perceived not only as a literary text, but also as a production. The director has turned from an assistant to the playwright into a co-author whose ideas are embodied by the actors. Therefore, critics and spectators, when evaluating the performance, first of all paid attention to the director's decision of the play. Shaw, like many playwrights of his time, not only composed plays, but also developed the theory of drama, experimented, and conducted active research in various fields theatrical activities, including directing and acting. This is evidenced by his numerous works on drama and theater, notes he made at rehearsals, sketches of costumes and fragments of stage design.

Chirkov A.S. Epic drama (the problem of theory and poetics) / A.S. Chirkov. – Kyiv: Vishcha School, 1988. P.45.

Show B. About drama and theater. – M.: Foreign Literature Publishing House, 1963. P.187.

Obraztsova A.G. Synthesis of arts and the English stage at the turn of the 19th and 20th centuries. – M.: Nauka, 1984. P.5.

The transformation of dramatic art of those years was based on the idea of ​​​​the possibility of creating a synthetic work of art on the basis of drama, combining elements of theater, music, dance and literature. Reformers of dramatic and theatrical art saw the goal of updating drama in the formal merging in it of the principles and elements of various arts.

The initial task was to promote the dramaturgy of ideas and cleanse the theater of established cliches, such as a rigid system of genres, the idea of ​​the “fourth wall,” and the applied role of scenery and music. As is known, starting with Richard Wagner (1813-1883), it was drama that became the basis for experiments in creating such a work, since it is located at the intersection of different types of arts. Therefore, for Shaw, to comprehend Wagner’s musical dramas means “to assimilate a whole philosophical system”113 created by this “great mind” and “great creator.”

The show points out that the art form should be functional, i.e. correspond to the author's intent and purpose. That is why the work of Wagner, “weaving ideas into the musical fabric”114, largely determined the aesthetics of Shaw, who created plays as musical productions in which dialogue was specifically written “like operatic solos”115. In “Autobiographical Notes,” the playwright admits that he owes much of the development of his aesthetic views to music: “... I was born, essentially, in Ireland of the seventeenth century and traveled through the centuries until the twentieth and twenty-first, and since in my original world of culture I was formed mainly under the influence of works of art, and was always more receptive to music and painting than to literature, so Mozart and Michelangelo mean extremely much in Show B. On Drama and Theater. – M.: Foreign Literature Publishing House, 1963. P.185.

Shaw. B. The Perfect Wagnerite: A Commentary on the Niblung's Ring. – London: Constable and Company,

Innes C. Modernism in Drama/ Levenson M.H. The Cambridge Companion to Modernism. – Cambridge University Press, 1999. P.147.

my mental development, and English playwrights after Shakespeare mean absolutely nothing.”116

Shaw associates the birth of his experimental drama with the emergence of Italian opera in England: “Opera taught me to divide the text of my plays into recitatives, arias, duets, trios, final ensemble, as well as bravura passages in which the technical skill of the performers was manifested, and as a result, how It’s not strange, all the critics, both friends and foes, declared my plays to be something new, extraordinary, revolutionary.”117 This opinion is shared by T. Mann, calling Shaw’s dramaturgy “the most intellectual in the world,” since it is based on the principle musical development themes (“for all its transparency, expressiveness and soberly critical playfulness of thought, it wants to be perceived as music”118).

Shaw's numerous musical critical articles and his monograph on Wagner reveal his interest in the idea of ​​merging different types of arts. The author's idea of ​​the synthesis of arts on stage is given by numerous remarks in the plays regarding the design of the stage space, the movements of characters around the stage, lighting, the dynamics of color and sound changes, etc. He made the means of non-verbal expression (scenery, light, gestures, pantomimic movements of characters) “speak.” The bright costumes of the characters and specially created scenery create a feeling of “the intrusion of the aesthetics of painting into the fabric of a dramatic work”119. Therefore, the literary aspect of his dramas cannot be considered in isolation from their stage embodiment.

As a result of the intensification of intertextual connections between literature, theater, painting, music and dance, “the Articles. Letters: Collection. – M.: Raduga, 1989. P.260.

Show B. About drama and theater. – M.: Foreign Literature Publishing House, 1963. P.600.

Mann T. Bernard Shaw// Mann T. Collection. Op.: In 10 volumes. T.5. – M.: Fiction, 1961. P.448.

Obraztsova A.G. Synthesis of arts and the English stage at the turn of the 19th and 20th centuries. – M.: Nauka, 1984. P.12.

the birth of new qualities, new genres”120 through the transformation of existing ones.

In the work of Shaw the playwright, theater critic and director of his plays, the connection between literature, theater and science was realized. This is also evidenced by Shaw’s appeal to journalism, which became an integral part of his drama, and the creation of an intellectual drama that incorporated the experience of modern social and natural sciences.

At the end of the 1890s. The show positions itself primarily as an agitator and propagandist, and only secondarily as a playwright. He considers the transformation of the theater into a platform and arena for discussions to be a forced measure, caused by the complexity of modern civilization and the need for social reforms. Therefore, the active penetration of “prosaic social problems” onto the stage, into fiction and poetry is a temporary phenomenon that “will disappear as the social system improves”121. Due to the slowness of the political mechanism, “great minds”, “great writers”, “sociological playwrights”122, to which Shaw counts himself, are forced to spend their energy on solving these problems. However, in 1945 (five years before his death), Shaw called dramaturgy the priority area of ​​his activity: “Propaganda is within everyone’s reach, and no one else could write my plays”123.

Shaw's philosophical and aesthetic views were prepared by “the entire course of the spiritual development of England and Europe as a whole”124. As has already been noted, the time demanded changes, the anticipation of which permeated the entire atmosphere of life in English society. According to Shaw, a new social order must arise in the course of natural development, since life is “a constantly moving stream of energy, growing from within and striving for higher forms of organization, displacing institutions, Ibid. S.5.

Show B. About drama and theater. – M.: Foreign Literature Publishing House, 1963. P.188.

Right there. C.186.

Quote by: Pearson H. Bernard Shaw. – M.: Art, 1972. P.411.

corresponding to our previous requirements"125. Shaw's efforts as an artist and thinker were aimed at helping his contemporary consciously embark on the path of renewal, and society to rise to a higher level of development.

Shaw began to become interested in problems of social order after moving to London in 1876, where he actively attended meetings and lectures. In 1882, he heard the speech of the American reformer Henry George (1839) dedicated to the economic situation in England. George's speech became a revelation for Shaw: social and political issues that were previously outside the scope of his interests now acquired special importance for him. He became interested in the ideas of socialism. Socialist-oriented periodicals "Today" and "Our Corner" began to publish his short stories. These magazines were aimed at a limited circle of readers, so Shaw's early works went unnoticed by the general public, but with their originality and paradoxical nature they attracted the attention of famous playwrights and writers - W. Archer , U.

Morris, R. Stevenson. The novels of the novice author were rather “social theses or a platform for presenting various ideas, sometimes deep, sometimes trivial, expressed in a paradoxical and witty manner”126, but did not reveal the inner world of the hero. In his first short stories (“Unreasonable Marriage”, 1880; “An Artist’s Love”, 1881;

"The Profession of Cashel Byron", 1882; "The Quarrelsome Socialist", 1883) Shaw criticized capitalist society even before the plays of Ibsen and Hauptmann were staged in England127. Similar ideas appeared in the works of Shaw, Ibsen, Hauptmann and other writersShaw B. The Perfect Wagnerite. – London: Constable, 1912. P.76.

Hamon A. The Twentieth Century Moliere: Bernard Shaw. – London: George Allen & Unwin Ltd., 1915. R.47.

Ibsen was first presented in England in 1889 (with the play “A Doll’s House.” See: Kuzmicheva L.V.

Reception of H. Ibsen’s work in English literature of the 70-90s of the 19th century: dissertation. ...cand. Philol. Sci. - Nizhny Novgorod, 2002. P. 12.), Hauptmann - in 1890 (with the play “Before Sunrise”).

contemporaries independently of each other as “a typical example of the general spread of certain ideas in a given period of time”128.

Shaw adhered to the principles of democratic socialism, which had its roots in the socialism of John Stuart Mill (1806-1873), whose ideas, which seemed progressive against the backdrop of earlier political economy, formed the basis of the policies of the Fabian Society, making Mill "the spiritual father of Fabian socialism"129. Shaw shares his views on the need to form a free society and supports his idea of ​​a new man, whose main quality is “spiritual independence”130.

An important role in the development of Shaw's worldview was played by the ideas of Auguste Comte (1798-1857), in particular, his idea that the human mind is capable of transforming social reality. Comte's rejection of revolutionary theory and recognition of the evolutionary principle as fundamental in social development made it possible not to destroy, but to reform, to change the existing order in an evolutionary way. Shaw, like Comte, dreamed of reorganizing the social system on the basis of moral principles.

After studying the works of Marx, Shaw became a socialist. Marxist theory expanded the horizons of his thinking and became a stimulus for thinking about the reorganization of society. He found close to Marx’s slogan about liberating man’s worldview from the ideological formulas and conventions that formed the basis of Victorian society. Shaw called social conventions “masks” that people use “to hide a reality intolerable in its nakedness”131, and therefore “masks became the ideals of Man”132.

Hamon A. The Twentieth Century Moliere: Bernard Shaw. – London: George Allen & Unwin Ltd., 1915. R. 210.

Kaye J.B. Bernard Shaw and the Nineteenth-Century Tradition. – University of Oklahoma Press, 1955. R. 31.

Romm A.S. Shaw is a theorist. – L.: Ed. LGPI named after. Herzen, 1972. P.71.

Shaw B. Quintessence of Ibsenism // Shaw B. About drama and theater. – M.: Foreign Literature Publishing House, 1963. P.41.

Right there. P.39.

Progressive-minded people, passionate about the ideas of Marx and George, were united by the Fabian Society, founded in 1884 by Sidney and Beatrice Webb. Taking Marx's Capital as a basis, the Fabians created an English version of Marxism. They replaced the term “political revolution” with the term “socialist revolution”, advocating only the dissemination of socialist ideas, and revealed the essence of the relationship between man and society in three aspects - economic, political and spiritual. Their method was “rather evolutionary, although the goal was revolutionary”133.

The reformist tactics of the Fabian Society consisted of a constant movement towards progress, and the Fabians themselves focused on intelligence “as one of the main means of implementing their program”134.

Having moved from Dublin to London at the age of twenty, Shaw became close friends with members of the Fabian Society, sharing their reform program for a gradual transition to socialism. Shaw began his literary activity as the author of treatises explaining the basic principles of the Fabian movement, and took part in the propaganda campaigns of the Fabians. The society disseminated its ideas through public lectures, publication of brochures (Fabian Tracts) and books (Fabian Essays), through the organization of libraries, etc. Public speeches and theoretical works of the Fabians, devoted to various social issues, mainly political and historical and economic, reflected modern socialist ideas and contributed to raising the cultural level of the masses. Of scientific value are Shaw’s theoretical works that have not been translated into Russian: “Fabian Essays on Socialism” (1889), “Ibsen Lecture before the Fabian Society” (1890), “Fabianism and The Empire: A Manifesto” (1900), “Essays in Fabian Socialism” ” (1932). Several lectures were Hamon A. The Twentieth Century Moliere: Bernard Shaw. – London: George Allen & Unwin Ltd., 1915. P.63.

Romm A.S. Shaw is a theorist. – L.: Ed. LGPI named after. A.I. Herzen, 1972. P.67.

dedicated to R. Wagner, F.M. Dostoevsky, G. Ibsen, F. Nietzsche, L.N.

Tolstoy135.

Shaw's lecture “The Quintessence of Ibsenism” aroused interest, because.

the social and anti-bourgeois ideas of the Norwegian playwright turned out to be close and understandable to the Fabians. In a lecture first given by Shaw on July 18, 1890, at a meeting of the Fabian Society in the series “Socialism in Modern Literature,” he presented Ibsen as a realist and socialist who affirmed “individual will” in place of “the tyranny of ideals.”136 The transition from external action to discussion, which Shaw discovered in Ibsen's plays, correlates with the Fabian desire for gradual social changes of a national and municipal nature. The dispute over the Fabian principles of reform was reflected in such plays by Shaw as “Arms and the Man”, “The Devil’s Disciple”, “Major Barbara”, “Saint Joan”, “Man and Superman”, etc.). In the prefaces to the plays, Shaw treats them as sociological essays in dramatic form, written to transform humanity and improve life.

The origins of the philosophical and aesthetic views of members of the Fabian Society are usually sought in the works of T. Carlyle, V. Morris, D.

Reskina, D.S. Mill. Thomas Carlyle (1795-1881) was the first to call on literary figures to pay attention to the current state of England and its social problems. Political Views Carlyle, in particular, his idea of ​​​​organizing government bodies and civil institutions, is close to Shaw. According to the English researcher J. Kaye, Carlyle influenced Shaw’s development as a creative personality, “penetrating the playwright’s artistic intuition more than his intellect”137.

One of the brightest followers of Carlyle who influenced Shaw was John Ruskin (1819-1900), who was engaged in public affairs. Shaw outlined his views on art in the theoretical works “The Quintessence of Ibsenism (1891), “The Health of Art” (1895) and “The Perfect Wagnerian” (1898).

Shaw B. Quintessence of Ibsenism // Shaw B. About drama and theater. – M.: Foreign Literature Publishing House, 1963. P.75.

Kaye J.B. Bernard Shaw and the Nineteenth-Century Tradition. – University of Oklahoma Press, 1955. R. 18.

political activity, writing and literary criticism.

For him, art is not only the result creative activity person, but also a means of forming a harmonious personality. The main task of art, according to Ruskin, is to awaken a person, to help him reveal his potential. The idea of ​​awakening human consciousness Shaw was also attracted; accepting the Fabian program for the reorganization of the world, he emphasized precisely this idea. Both Ruskin and Shaw were socialists interested in the social and economic transformation of society. Both did not accept poverty as a social phenomenon (which, for example, is reflected in Shaw’s plays “The Widower’s House,” “Mrs. Warren’s Profession,” etc.).

Shaw, like Ruskin, views economics as the basis of culture and art: “You may strive to create a cultured and religious man, but first you must feed him”138. They both “from an interest in art” came “to an understanding of the need for economic reform and to the conclusion that art will never go right wrong”139 if the economy is going (Shaw highlighted the problem of economic reform in the plays “Widower’s House”, “Major Barbara” and etc.).

Shaw and Ruskin (along with Wagner, Morris and Wilde) were “part of the tradition of aesthetic socialism”140 as a movement based on protest against the capitalist system for reasons of a predominantly aesthetic nature141. They were drawn together by the idea of ​​creating a new man of socialist society, whom Shaw described as the “ideal gentleman” in his speech to the National Liberal Club in 1913: “To begin with, a gentleman sues his country. He claims Shaw B. Ruskin's Politics. – The Ruskin Centenary Council, 1921. R.21.

From Shaw's Ruskin Centenary Lecture (21 November 1919). Quote by: Adams E.B. Bernard Shaw and the Aesthetes. – Ohio State University Press, 1971. P.19.

Kaye J.B. Bernard Shaw and the Nineteenth-Century Tradition. – University of Oklahoma Press, 1955. R. 19.

See: Tugan-Baranovsky M.I. Towards a better future. Collection of social and philosophical works. – M.: Russian Political Encyclopedia (ROSSPEN), 1996. P.433.

decent living and good provision. He declares: “I want to be a cultured person, I want to live life to the fullest and I expect that my country will create all the conditions for my dignified existence.”142

Shaw and Ruskin place the responsibility for providing the necessary conditions for life on society - on the education system and the church.

Since 1879, twenty-three-year-old Shaw has been actively promoting socialist ideas and meeting the poet, prose writer, and painter William Morris (1834-1896), his predecessor in creating the theory of democratic art. Both recognize the need for social reform as the first step towards the improvement of art. However, according to Morris, the appearance of attractive people, landscapes, beautiful architecture, furniture, etc. must lead to revolutionary changes.

Shaw's ideas about the results of social changes relate to human intellectual growth.

In the field of aesthetics, Morris and Shaw continue the ideas of Ruskin, who defined the humanistic vector of their work on the issue of “the relationship between art and social order”143. Morris gave new meaning to this problem. Born in an age of skepticism and religious quest, he felt in art the “exciting mystery of life”144. The idea of ​​awakening the intellect defined Morris's aesthetics and became fundamental to Shaw's.

They are both convinced that art and politics “have no meaning until they begin to directly influence a person’s life”145, that in order to transition to socialism it is enough to educate a person aesthetically and show him “how ugly and absurd he lives”146 . Socialism became a new religion for them, who opposed the existing social order.

Quote by: Bentley E. Bernard Shaw. – New Directions Books, 1947. P.35.

Clutton-Brock A. William Morris: his work and influence. – London: Williams and Norgate, 1914. R.218.

Holbrook J. William Morris, craftsman-socialist. – London: A.C. Fifield, 1908. P.40.

Anikst A.A. Morris and problems of artistic culture // Anikst A.A., Vanslov V.V., Verizhnikova T.F. and others. Morris's aesthetics and modernity: Sat. articles. – M.: art, 1987. P.57.

Calling Morris an “ultra-modern”147 artist, Shaw notes in him “an exceptional sense of beauty”, “a practical ability to introduce beauty into life”, and admires Morris’s musical tastes and his design projects148. Morris was a playwright and actor, although he rarely attended performances, which Shaw attributed to the pathetic state of English theater at the end of the 19th century. (“We don’t have a theater for people like Morris; moreover, we don’t have a theater for the most ordinary cultured people”149).

Shaw created a dramatic portrait of Morris in the image of Apollodorus (“Caesar and Cleopatra”). Like Morris, Apollodorus belongs to the aristocratic circle, is the owner of a carpet store, and a connoisseur of art.

Morris and Ruskin were Shaw's living examples of "prophetic poets"

and the creators of the Pre-Raphaelite theory of art. The creativity of the members of the Brotherhood was a challenge to normative Victorian aesthetics, just like Shaw’s dramaturgy, which declared liberation from social conventions and Victorian morality. As is known, the Pre-Raphaelite movement captured not only artists, but also writers and was a social, philosophical revolt that “transformed the world of art, suffocating under a thick layer of brown royal academic varnish”150. Shaw's opposition to academic art is also revealed in his statements. In his critical article in Our Corner magazine (1885, June), Shaw is outraged that “art has suffered greatly during recent months at the hands of the Royal Academy.”151 He calls the “sad daub” of W. Hilton, B. Haydon and other members of the Academy “an imitation of iconography that has degenerated into prejudice”152. At the beginning of the 20th century. he returns again to criticism of the English

J.B. Show Plays. Articles about the theater. Autobiographical notes. Literary portraits. Novels:

Sat./ J.B. Shaw. – M.: NF “Pushkin Library”, LLC “AST Publishing House”, 2004. P.710.

Shaw B. Morris as an actor and playwright // Shaw B. About drama and theater. – M.: Publishing house. foreign literature,

Right there. C.317.

Shestakov V. Pre-Raphaelites: dreams of beauty. – M.: Progress-Tradition, 2004. P.14.

Quote by: Adams E.B. Bernard Shaw and the Aesthetes. – Ohio State University Press, 1971. P.17.

Shaw B. Complete collection of plays: In 6 volumes. Vol.5. – L.: Art, 1980. P.58 (preface to the play “Back to Methuselah”).

academic artists in the preface to the play “Man and Superman”

(1901-1903): “Some member of the Royal Academy thinks that he can achieve Giotto’s style without sharing his beliefs, and at the same time improve his perspective”153. He emphasizes that the art of the members of the Royal Academy is devoid of the ideas that fill the work of the old masters, and therefore of style.

“Pre-Raphaelitism”154 became a revolutionary movement in art, since the time itself demanded “a change in the method of perceiving the visible world”155. According to F. Madox, “we need to speak in favor of the life that is around us, and in favor of character, not type”156, while the “main characters” should be the event and the idea157. And in Shaw’s experimental plays, the “idea” - or rather, ideas - are personified and form the basis of the style, because “He who has nothing to convince of has no style and will never acquire it”158. From the position of “good” art that satisfies everyone, the Pre-Raphaelites “spoil” paintings, as evidenced by H. Hunt: “Our works were condemned famous artists for bold innovations"159.

The reaction of critics to Shaw's plays was similar - his work was not understood, not accepted and condemned.

Shaw, being a music reviewer, became acquainted with the work of the Pre-Raphaelites in Birmingham. Having visited here an exhibition of members of the Pre-Raphaelite Brotherhood (P.R.B.)160 in October 1891,161 the playwright was convinced, Shaw B. Complete plays: In 6 vols. T.2. – L.: Art, 1979. P.382 (preface to the play “Man and Superman”).

Show like English artist H. Hunt insists on the term “Pre-Raphaelitism”. See: Adams E.B.

Bernard Shaw and the Aesthetes. – Ohio State University Press, 1971. P.22; Hunt H. Pre-Raphaelitism and the Pre-Raphaelite Brotherhood. Vol.I. – NY: The Macmillan Company, 1905. P.135.

Hueffer F.M. The Pre-Raphaelite Brotherhood. – London: Duckworth & CO, 1920. P.81.

Ford Madox (1873-1939; real name Ford Madox Huffer) – English writer, grandson of the famous Pre-Raphaelite artist Ford Madox Brown. See: Hueffer F.M. The Pre-Raphaelite Brotherhood. – London: Duckworth & CO, 1920. P.81.

Hueffer F.M. The Pre-Raphaelite Brotherhood. – London: Duckworth & CO, 1920. P.114.

The Pre-Raphaelite Brotherhood existed for about fifty years (1848-1898). At the beginning it consisted of seven people (artists H. Hunt, D. Milles, F. Stevens, D. Collinson, D. Rossetti and his brother William, that Birmingham was better than “Italian cities, because the art that it showed was created by living people”162. The paintings were painted by Shaw’s like-minded people - socialists W. Morris, E. Burne-Jones and others.

In the autumn of 1894, Shaw (like the ideologists of the Pre-Raphaelite brotherhood Ruskin and Morris) spent several weeks in Florence, where he studied the religious art of the Middle Ages. The Pre-Raphaelite interest in early Italian painting was one of the manifestations of the “medieval revival” in Victorian England163. The Pre-Raphaelites turned to the art of the Middle Ages as a source in which there was “no trace of contamination by egoism”, and enriched it “by the infusion of new streams from nature itself and from the field of scientific knowledge”164, which was consistent with their desire for realistic accuracy in depicting the surrounding world . The achievements of the Middle Ages turned out to be closest to Shaw’s ideas about art. Like the Pre-Raphaelites (W. Morris, H. Hunt, D. Ruskin), he highly valued the works of the old masters, from whom “captivating forms remained,” although many of their ideas “completely lost their authenticity in life”165.

After the Pre-Raphaelites came under the influence of Ruskin, their work acquired new social and artistic content. Ruskin focused on the content side of art, the task of which is “a deep, sharp, masterful disclosure of existing reality and a narration about the actual human life, seen by the sculptor and poet T. Woolner. See: Adams E.B. Bernard Shaw and the Aesthetes. – Ohio State University Press,

1971. P.14.; Shestakov V. Pre-Raphaelites: dreams of beauty. – M.: Progress-Tradition, 2004. P.14).

Gibbs A. A Bernard Shaw Chronology. – Palgrave, 2001. P.101.

Show B. Complete collection of plays: In 6 volumes. T.1. – L.: Art, 1978. P.314 (preface to “Pleasant Plays”).

The idea of ​​“revival” was actualized in the Victorian era, marked by a tendency to idealize the past. See: Sokolova N.I. "Medieval Revival" in English culture of the Victorian era.

– Maykop: IP Magarin O.G., 2012.

Hunt H. Pre-Raphaelitism and The Pre-Raphaelite Brotherhood. Vol.I. – NY: The Macmillan Company, 1905.

Show B. Complete collection of plays: In 6 volumes. T.2. – L.: Art, 1979. P.381 (preface to the play “Man and Superman”).

and meaningful by the poet"166. Like Ruskin, the Pre-Raphaelites combined in their work “the archaic nature of the theme with a modern, sober vision of the smallest strokes of existence”167.

The basic principle of their movement - “to be faithful to the simplicity of nature”168 - was outlined by the Pre-Raphaelites in the magazine “The Germ” (“Rostock”).

H. Hunt included in the concept of “fidelity to nature” the exact recreation of details (costume, landscape, etc.), D. Rossetti - the image of modern objects. Ruskin argued that the paintings created by members of the Pre-Raphaelite Brotherhood “will be as varied as the types of truth that each artist defines for himself.”169 Despite the differences in the artistic style and style of writing of each of the Brotherhood members, they were united by the common idea of ​​​​realistic accuracy in depicting the world and the desire to reform art.

Shaw, like the Pre-Raphaelites, in his search for new forms was guided by the principle of faithful reproduction of reality, which he wrote about in the essay “The Realist Playwright to His Critics” (1894): “I simply discovered drama in real life”170. If the Pre-Raphaelites filled their paintings with a lot of detail in order to “excite” the eye,171 Shaw recreates the details precisely and specifically to “excite” the mind. He calls this ability “normal spiritual and physical vision,” which allows “to see everything differently from other people, and, moreover, better than them”172.

Shaw's work coincided with that period in the history of England when the diversity of ideas led to the emergence of problems of “reason,” “cognition,” and “instinct”173. Creativity was combined with the process of cognition, thought became Citation. by: Anikin G.V. Aesthetics of John Ruskin and English literature XIX century. – M.: Nauka, 1986.

Anikin G.V. The aesthetics of John Ruskin and English literature of the 19th century. – M.: Nauka, 1986. P.275.

Quote by: Adams E.B. Bernard Shaw and the Aesthetes. – Ohio State University Press, 1971. P.16.

Quote by: Adams E.B. Bernard Shaw and the Aesthetes. – Ohio State University Press, 1971. P.19.

Hueffer F.M. The Pre-Raphaelite Brotherhood. – London: Duckworth & CO, 1920. P. 121.

Show B. Complete collection of plays: In 6 volumes. T.1. – L.: Art, 1978. P.50 (Preface by Shaw to “Unpleasant Plays”).

Romm A.S. Shaw is a theorist. – L.: Ed. LGPI named after. A.I. Herzen, 1972. P.12, 14, 19.

“an object of artistic consideration”174, and philosophy is the main element of Shaw’s work. The desire to combine reason and instinct, feeling and thought formed the basis of his aesthetics.

As is known, the turning point in the consciousness of man in the Victorian era began with the publication of the research of Charles Darwin (1809-1882), which destroyed the literal interpretation of the Bible. In his work “The Descent of Man and Sexual Selection” (1871), the scientist questioned the interpretation of many sacred concepts for the Victorians associated with Christian teaching.

The struggle for existence was declared the main driving force in nature, which undermined moral principles society. The concepts of social status and race ceased to be fundamental, and social order and morality were interpreted from the point of view of natural science. Shaw explains the popularity of the new theory by its accessibility to the average citizen, far from religion and science. Without denying Darwin’s “monstrous diligence”175 and conscientiousness, he calls his teaching “pseudo-evolution”176, destroying religion (God and world harmony), concealing “fatalism, a vile and disgusting degradation of beauty and intelligence, strength, nobility and passionate determination to the level of chaotically random flashy changes”177, which does not recognize “neither will, nor purpose, nor design on the part of anyone”178. As a result, religion “loses stability under the influence of each new step forward in the field of science, instead of acquiring ever greater clarity with its help”179.

Shaw’s universal “religion” was the theory of Creative Evolution

- an anti-Darwinian theory developed by A. Bergson, created to explain the source of new forms of life. The doctrine is based on the denial of the foundations of two systems: the official religious and scientific-materialistic, Ibid. P.36.

Shaw B. Complete collection of plays: In 6 volumes. Vol.5. – L.: Art, 1980. P.32 (preface to the play “Back to Methuselah”).

Right there. P.32.

Right there. P.29.

Right there. P.28.

Right there. P.51.

proposed by Darwin. The reason for the emergence of such a theory was the absence of a credible official religion, which, according to Shaw, is “the most stunning fact in the whole picture of the modern world”180.

By placing idea and reason in the first place, Shaw erased the line between religion and science and created a “scientific religion”181, “reborn from the ashes of pseudo-Christianity, naked skepticism, from soulless mechanistic affirmation and blind neo-Darwinian denial”182. Shaw addresses the theme of religion in the plays “Major Barbara” (1906), “The Exposition of Blanco Posnet”

(1909), “Androcles and the Lion” (1912), “Back to Methuselah” (1918-1920), “Saint Joan” (1923), “The Simpleton from the Unexpected Isles” (1934), etc.

Creative Evolution is driven by the “Force of Life”183 (in other words, individual will, thirst for life, creative impulse, creative spirit).

Therefore, strong personalities in Shaw's plays embody a life-affirming principle, an active life position, and an optimistic worldview. In Shaw's concept of man, he combines reason and instinct, the moral and the biological. Without recognizing the exhaustion of human development possibilities, he sees the need for further evolution, which can only be achieved with the help of creative people who have a high level of spiritual culture and are capable of creating new forms of life. Characters endowed with the “Power of Life”, as a rule, contribute to the evolutionary process (R. Dudgeon, “The Devil’s Disciple”; J.

Tanner, Anne, "Man and Superman"; L. Dubeda, “The Doctor’s Dilemma”; E.

Undershaft, Barbara, "Major Barbara"; Lina, Hypatia, “Unequal Marriage”;

Joanna, “Saint Joanna”, etc.).

An example of the artistic embodiment of the “Force of Life” in European literature was for Shaw Prometheus (P.B. Shelley), Faust (I.V. Goethe), Siegfried Shaw B. Complete collection of plays: In 6 vols. T. 3. - L. : Art, 1979. P.60 (preface to the play “Major Barbara”).

Shaw B. The Road to Equality: ten unpublished lectures and essays, 1884-1918. – Beacon Press, 1971. P.323.

Shaw B. Complete collection of plays: In 6 volumes. Vol.5. – L.: Art, 1980. P.57 (preface to the play “Back to Methuselah”).

Right there. P.16.

(R. Wagner), Zarathustra (F. Nietzsche), who have a high level of consciousness, which brings them closer to the ideal of the superman184: “Starting from Prometheus to Wagner’s Siegfried, among the heroes of the most sublime poetry, the God-fighter stands out - a fearless defender of people oppressed by the tyranny of the gods. Our newest idol is the superman."185

The idea of ​​a superman brings Shaw closer to Arthur Schopenhauer (1788 and Friedrich Nietzsche (1844-1900). For Shaw, Schopenhauer was first a philosopher"186, a free-thinker who "gave a clear formula for the contradictions of human consciousness"187 and determined the priority of will over intellectual abilities. However, Shaw rethought certain ideas of Schopenhauer's teachings. Shaw's "Will", drawing closer to thought and becoming a creative creative force that leads a person along the path of development, is not the mystical will of Schopenhauer (as well as Nietzsche) that is not hostile to reason.

In Shaw, the unconscious can turn into the conscious, the irrational into the rational. Active, strong-willed, resisting bourgeois morality, Shaw's hero is contrasted with Nietzsche's pessimistic interpretation of man. G. Chesterton defines Shaw's credo as follows: “If reason says that life is irrational, then life must answer that reason is dead; life is paramount, and if the mind rejects this, then it must be trampled into the dirt..."188.

While Nietzsche emphasizes that the superman is the result of biological and evolutionary factors, Shaw adds to this the influence of the environment - society, economics, politics, education and family. At the same time, both recognize evolution as a creative, sequential process.

Shaw introduced the word "superman" into the English language. See: Evans J. The Politics and Plays of Bernard Shaw. – McFarland, 2003. P.48.

Show B. Complete collection of plays: In 6 volumes. T.2. – L.: Art, 1979. P.24 (preface to “Three Plays for the Puritans”).

Shaw B. The Sanity of Art. – New York: B.R. Tucker, 1908. P.63.

Romm A.S. Shaw is a theorist. – L.: Ed. LGPI named after. A.I. Herzen, 1972. P.51.

Chesterton G.K. George Bernard Shaw. – NY: John Lane Company, MCMIX, 1909. R. 188.

To substantiate his philosophical and aesthetic program, Shaw turns to various philosophical and scientific theories, as a result of which S. Baker calls the playwright a “patchwork philosopher”189. Archer also agrees with this definition, arguing that Shaw, not being an original thinker, created a synthesis of existing theories, because most of the ideas “borrowed from a dozen people”190.

However, the playwright denies borrowing philosophical views from Nietzsche and Schopenhauer, as was written about at the turn of the century (“my critics,” as Shaw calls them191). He first heard the name Nietzsche from the German mathematician Miss Borchardt in 1892, who, having read Shaw's "The Quintessence of Ibsenism", compared it with Nietzsche's work "Beyond Good and Evil": "I assure you that until then I was not in his hands I kept it, and even if I had kept it, I would not have been able to enjoy it fully due to my insufficient knowledge of German.”192 Having studied the first volume of Nietzsche's works, translated into English and published in 1896, Shaw noted the qualities of Nietzsche that he himself possessed - “acuity, the ability to turn banalities into astonishing, delightful paradoxes; the ability to devalue indisputable moral norms, to overthrow them with a contemptuous smile”193.

Shaw sees the primary source of Nietzsche’s ideas in Schopenhauer, who argued that “the intellect is just a lifeless part of the brain, and our systems of ethical and moral values- just punch cards that we use when we want to hear a certain melody."194 By accepting Schopenhauer's ideas, Shaw thereby agrees with Nietzsche. However, Nietzsche’s sharply negative attitude towards socialism, his speeches against Baker S. E. Bernard Shaw's remarkable religion: a faith that fits the facts. - University Press of Florida, 2002.

Quote by: Baker S. E. Bernard Shaw's remarkable religion: a faith that fits the facts. – University Press of Florida,

Shaw B. Complete collection of plays: In 6 vols. T. 3. - L.: Art, 1979. P.25,28 (preface to the play “Major Barbara”).

Shaw B. Complete collection of plays: In 6 vols. T. 3. - L.: Art, 1979. P. 29 (preface to the play “Major Barbara”).

Shaw B. Nietzsche in English / Shaw B. Dramatic Opinions and Essays. Vol.1. – N.Y.: Brentano’s MCMXVI,

democracies force Shaw to call the teachings of the German philosopher a “false hypothesis”195.

In a conversation with his biographer A. Henderson, Shaw ironically remarked:

“If all this talk about Schopenhauer and Nietzsche continues, I will have to read their works to find out what I have in common with them.”196 Reflecting the attacks of critics “obsessed with the mania to see everywhere the influence of Schopenhauer,” Shaw emphasized that “playwrights, like sculptors, take their characters from life, and not from philosophical writings”197. Resisting the tendency to relate his ideas to the teachings of Schopenhauer or Nietzsche, Shaw reminded his readers that so-called "originality or paradoxicality"

his dramaturgy is in fact “part of the common European heritage”198. Shaw emphasized that the movement started by Schopenhauer, Wagner, Ibsen, Nietzsche and Strindberg was a world movement and would have found a way of expression “even if each of these writers had died in the cradle.”199

Shaw's worldview was influenced by occult systems, in particular, the theosophical teachings of E. Blavatsky. The English Theosophical Society was formed in 1876, a year after the American200. It attracted the attention of scientists and intellectuals who became interested in Eastern religions, the occult, and the discovery of unexplained laws of nature.

Most of those who attended the English Theosophical Society were Fabians and members of the Society for Physical Research. Shaw and his friends often attended meetings, where he met Blavatsky. She's Ibid. P.387.

Shaw B. Complete collection of plays: In 6 volumes. Vol.5. – L.: Art, 1979. P.28 (Shaw’s preface to the play “Back to Methuselah”).

Quote by: Henderson A. George Bernard Shaw. His life and works. – Cincinnati: Stewart and Kidd Company,

Shaw B. The Quintessence of Ibsenism. – NY: Brentano’s, 1913. P.36-37.

In 1879, an active member of the Fabian Society, A. Besant, completely devoted herself to theosophical teaching, wrote hundreds of works on theosophy and provided her home in England for the needs of the society.

Owen A. The Place of Enchantment: British Occultism and the Culture of the Modern. – University of Chicago Press, 2007. P.24.

called Shaw a man of “flexible mind, quick pen and courage, at times bordering on impudence,” but she reproached him for the narrowness of religious views limited by Christian teaching, and advised to pay attention to other “great Teachers” who came in 1875, because without that knowledge they gave, "Mr. Shaw's works would have very little chance of reaching the public."201

Shaw reflected on the importance of historical and cultural context when studying his work in a letter to his biographer A. Henderson: “I want you ... to use me only as a clue for the study of the last quarter of the 19th century, especially the collectivist movement in politics, ethics and sociology ; the Ibsen-Nietzschean movement in the field of morality, a reaction of protest against the materialism of Marx and Darwin, the greatest exponent of which (as far as Darwin is concerned) was Samuel Butler; the Wagnerian movement in music and the anti-romantic movement (including what people call realism, art"202.

naturalism and expressionism) in literature and the need for such an approach Shaw motivates by the fact that such a comprehensive analysis of his work provides the key to explaining the “significant difference”203 between his plays and the plays of other playwrights. Shaw's encyclopedic knowledge in the field of natural sciences, world history, theology, and political economy is reflected in his prefaces to plays, critical articles, and essays.

Philosophers and ideologists with different, often opposing views took part in the formation of Shaw’s worldview, which indicates the playwright’s desire to synthesize existing theories to create his own philosophical system. The world is made up of contradictions, and Shaw collides opinions in his search for truth. In his theoretical works, in plays, in the construction of dialogues, “Blavatsky H.P. is reflected. Theosophy Magazine. – Kessinger Publishing, 2003. P.479-480.

Shaw B. Autobiographical notes. Articles

Shaw B. Autobiographical notes. Articles. Letters: Collection. – M.: Raduga, 1989. P.258.

dialectical qualities of his mind"204. The problems he poses always “appear in a special intellectual refraction”205. According to Kaye, he is the only one who was able to “test their suitability”206 in real life conditions and create a “synthesis of leading trends”207 in English literature at the turn of the 19th-20th centuries.

Kagarlitsky Yu.I. Theater. Show// History of World Literature: In 9 vols. T. 8/ USSR Academy of Sciences; Institute of World Lit. them. A. M. Gorky. – M.: Nauka, 1994. P.389.

Romm A.S. Shaw is a theorist. – L.: Ed. LGPI named after. A.I. Herzen, 1972. P.88.

Kaye J.B. Bernard Shaw and the Nineteenth-Century Tradition. – University of Oklahoma Press, 1955. R.4.

§2. Genesis and formation of the “experimental” genre “discussion play”

Almost all drama in the 19th century. before Ibsen (including his early plays) was built on the model of E. Scribe and V. Sardou. However, in the ten years that have passed since the London premiere of A Doll's House (1898), audiences began to “despise” their “hackneyed techniques”208. By the end of the century, the arsenal of artistic means and techniques turned out to be exhausted and unsuitable for staging a “new drama.” Shaw, as a playwright and theater observer, in articles and theoretical works, developed the poetics of the “new drama”, implementing it in his plays, and propagated the need for a transition to modern aesthetics.

“Serious Drama”209 could only be staged in London on the stage of the exclusive Covent Garden theater. The rest of the theaters were content with farces, musical performances, and pantomimes.

This situation existed before the theater reform of 1843, but even after the abolition of the theater monopoly the situation did not improve. The audience, accustomed to vaudeville and farce, was not ready for changes in the theater, and there was also a shortage of good actors. The head of Covent Garden (actor William Macready) tried to make the transition to serious drama with the help of poetic drama, designed to confront the viewer with modern problems and reveal the world big feelings. However, the poetic drama did not solve the problems.

The revival of theatrical art in England at the turn of the 19th-20th centuries.

was caused not only by the influence of social, economic, political factors, but also by the determination of non-professional playwrights to create Shaw B. The Quintessence of Ibsenism // Shaw B. On Drama and Theater. – M.: Foreign Literature Publishing House, 1963. P.69.

In English literary criticism, “serious drama” is understood as a realistic drama that “examines significant issues Everyday life" The example of “serious drama” is tragedy. "Serious drama" is also often used as an opposition romantic drama. See: Morton J., Price R.D., Thomson R. AQA GCSE Drama. – Heinemann, 2001. R.37; Bushnell R. A Companion to Tragedy. – John Wiley & Sons, 2008. P.413.

a non-profit theater whose repertoire should include plays that reflect changes in social life and the person himself.

The dominance of commercial drama in England was weakened by the opening in 1891 in London of the English experimental “Independent Theater”, known for its innovative searches. Its founder was the famous theater figure Jacob Thomas Grain (1862-1935) with the support and participation of J. Moore, J. Meredith, T. Hardy, A. Pinero, B. Shaw and others.

Semi-professional and amateur circles appeared that tried to make up for the lack of non-profit experimental theater.

The model for the creation of the “Independent Theater” was the French “Free Theater” by A. Antoine (1887), on the model of which theaters arose in Germany (“Free Theater” by Otto Brahm in Berlin, 1889), in Denmark (“Free Theater” in Copenhagen, 1888).

Lacking modern English drama, Grain produced predominantly European drama, which he contrasted with the stream of entertainment plays that filled the repertoire of most English theaters of the time. Grein fought against commercial art and low-quality drama, introducing the British to the plays of Ibsen and other innovative playwrights. The theater opened on March 9, 1891 with a performance based on the play by G.

Ibsen's "Ghosts", which caused fierce controversy in the press. It was this theater that gave the world Shaw, whose play “The Widower's House” premiered in 1893.

became a real success, and English drama reached a qualitatively new artistic level.

To promote the dramatic works of modern authors, leading figures of the English theater established the “Stage Society” in 1899. Then the New Century Theater, the Literary Theater Society, and the Old Vic arose. The Old Vic Theater existed since 1818, but its activity for English theatrical culture was most fruitful since 1898, when the theater was headed by L. Baylis (1874-1937), a theater figure and entrepreneur. The success of these theaters was determined by the new repertoire; a performing style was formed in them, which also corresponded to the realistic trends of the “new drama”.

The same task was set for itself by the Court Theater (“Court”; opened in 1870, from 1871 - “Royal Court Theatre”), headed in 1904-1907. playwright and director X. Grenville-Barker and actor J. Vedrenne. Plays by Shaw, Ibsen, Grenville-Barker and others were staged here. The directing techniques of Grenville-Barker (1877-1946) contributed to the democratization of English theater and the improvement of its artistic level. The struggle against social norms “was already carried out with all Ibsenian intransigence”210.

Barker was interested in non-commercial drama and staged plays by Hauptmann, Sudermann, Ibsen, Maeterlinck, Brieux and others. Barker became the first professional director in the history of English theater who “strongly connected English performing arts with the main issues of drama”211.

modern progressive realist Of the 988 performances of various plays at the Court Theater from 1904 to 1907, 701 performances (71%) were based on Shaw's plays (How She Lied to Her Husband, 1904;

John Bull's Other Island, 1904; "Heartbreaker", 1905; "Man and Superman", 1905; "Major Barbara", 1905; “Passion, poison and petrification”, 1905; "The Doctor's Dilemma", 1906). "Court" was associated with his name and became "Shaw's theater"212. Shaw's plays and the tragedies of Euripides, translated by G. Murray, turned out to be the brightest in Grenville Barker's theatrical season, “demonstrating opposite varieties of dramatic genius”: “Euripides presented drama in an initial, simpler form. The show is drama at its most devastated,

Shaw B. New dramatic technique in Ibsen’s plays // Writers of England about the literature of the 19th-20th centuries:

Digest of articles. – M.: Progress, 1981. P.218.

Obraztsova A.G. Bernard Shaw and European theatrical culture at the turn of the nineteenth and twentieth centuries. – M.:

Science, 1974. C.170.

Hugo L. Shaw and the Twenty-nine Percenters/ Bertolini J.A. Shaw and Other Playwrights. The Annual of Bernard Shaw Studies. Vol.13. – Penn State Press, 1993. P.53.

reconstructed"213. Shaw's plays, which formed the basis of the Court Theatre's repertoire, made a great contribution to the realistic drama of England.

Barker and Shaw, as playwrights, shared a creative dialogue. Thus, Shaw wrote the play “An Unequal Marriage” after reading a draft version of Barker’s play “Madras House” (1909), which had the characteristics of a “new drama”

(lack of external action, psychologism, open ending). In the dialogue of the latest version of the play, Barker includes references to the plays of Shaw,214 whose influence is also felt in Barker's play His Majesty (1923-1928), which is thematically and structurally similar to Shaw's play The Apple Cart.

Many realistic theaters, having existed for several seasons, usually closed due to lack of material support - state and public. Such was the fate of Gaiety Theater

(“Gaiety Theatre”), headed by A. E. Horniman in 1908-1921.

The opening of experimental theaters in England, Germany, and France showed a tendency towards the introduction of dramatic and theatrical innovations, the reason for which Shaw saw in the “inevitable return to nature”215. However, as before, the repertoire of these theaters consisted of plays that raised social and ethical problems that had already been stated earlier. Many playwrights failed to follow the path opened by Ibsen and returned to the models of Scribe and Sardou, while strengthening the theme and the psychological content of character.

At the turn of the XIX-XX centuries. there are two main art systems English stage - the intellectual realistic theater of Shaw and the symbolist, conventional theater of Gordon Craig (1872-1966)216. Craig and Shaw were key figures in the 90s art scene. XIX century Formed in the same historical conditions, both playwrights reflected their Cit. by: Hugo L. Shaw and the Twenty-nine Percenters/ Bertolini J.A. Shaw and Other Playwrights. The Annual of Bernard Shaw Studies. Vol.13. – Penn State Press, 1993. P.57.

See: Innes C.D. Modern British Drama: The Twentieth Century. – Cambridge University Press, 2002. P.62.

Shaw B. Quintessence of Ibsenism // Shaw B. About drama and theater. – M.: Foreign Literature Publishing House, 1963. P.70.

Gordon Craig's father was the famous English architect, archaeologist, stage decorator Edward William Godwin (1833-1886), his mother was the famous actress Ellen Terry (1847-1928).

creativity “spiritual mood”217 of English society at the turn of the century. At the same time, they, as artists, are “contrasting” to the extent “to which the era that gave birth to them abounded in unprecedented contrasts in all areas of human life, including ideological.”218.

In search of new forms of theatrical creativity, Shaw and Craig tried to get rid of the stage cliches of the previous era.

“Anti-Victorianism”219, common to Shaw and Craig, led them, however, to different, sometimes opposing ideological and aesthetic positions.

For the “materialist” Shaw, art had to reflect objective reality, social laws, and social contradictions. For the “idealist” Craig, it was of interest to interfere with the destinies of people by supernatural, unreal forces.

Striving for an innovative embodiment in the theater of the theme of interaction between man and his surrounding social environment, they had different understandings of what artistic truth on stage is. For Shaw, it was important to explore all aspects and ways of mutual influence between man and the environment, to find ways to reform society, in the plays “the hum and crunch of real life should be heard, through which poetry can sometimes be seen”220. Craig, on the contrary, has always been alien to everyday authenticity: he created his art for true theatergoers (“there are only about 6 million of them, scattered all over the world”) who “love beauty and reject realism”221. The subtle symbolist images and plots that excited Craig's imagination did not interest Shaw. He was attracted to real, true stories.

Director, artist, theater theorist, Craig advocated the destruction of generally accepted norms in the theater and created his own theory of staging, earning

Obraztsova A.G. Bernard Shaw and European theatrical culture at the turn of the 19th-20th centuries. – M.:

Science, 1974. C.28.

Right there. C.28.

Obraztsova A.G. Synthesis of arts and the English stage at the turn of the 19th - 20th centuries. – M.: Nauka, 1984. P.23.

Quote by: Balashov P.S. The artistic world of Bernard Shaw. – M.: Khud. lit., 1982. P.310.

Craig E.G. On the Art of the Theatre. – London: William Heinemann, 1912. P.288.

reputation as a “troublemaker” and “self-confident destroyer”222. With the greatest completeness, he embodied in the English theater the principles of symbolism, which, in his opinion, lies not only at the basis of art, but also of all life: it “becomes possible for us only with the help of symbols;

we use them all the time: both letters of the alphabet and numbers are symbols.”223 Craig’s symbolist theatrical concept is also revealed in his understanding of the actor of the future: “He will direct his mental gaze into the hidden depths, study everything that lurks there, and, then transporting himself to another sphere, the sphere of imagination, will create certain symbols that, without resorting to image naked passions, however, will clearly tell us about them. In time, the ideal actor who will act in this way will discover that these symbols are created primarily from material lying outside his personality."224 According to the director, the ideal actor must deprive himself of stage individuality, abandon the variety of facial expressions, leaving in the arsenal of artistic means only symbols that turn faces into masks, and become a “super-puppet.”

Craig's dream of a special performer for a conventional theater, a theater of symbols, gave rise to the idea of ​​the “super-puppet”225.

His idea of ​​a theater with motionless “ghost actors”226 gave rise to a variety of interpretations by performers and spectators. The public, accustomed to well-known clichés and generally accepted conventions, faced with an unusual form of stage performance, did not understand Craig’s images.

And the actors were also puzzled by the radically new way of expressing themselves.

The actors discussed the director's difficult demands

Edward Gordon Craig: Memoirs. Articles. Letters / Comp. A.G. Obraztsova and Yu.G. Friedstein. – M.:

Art, 1988. P.46.

Craig E.G. On the Art of the Theatre. – London: William Heinemann, 1912. P.294.

In 1905, Craig’s first theoretical work, “The Art of Theatre,” was published first in Germany in German, and then in English and other languages, in which the author formulated the three most important concepts of his theory - action, super-puppet, mask. In 1907, Craig’s articles “Artists of the Theater of the Future” and “The Actor and the Superpuppet” were published.

King W. Davies. Henry Irving's Waterloo. - University of California Press, 1993. P. 223.

K.S. Stanislavsky during Craig's production of Hamlet in Moscow227. Actresses in heavy costumes, forced to stand motionless on stage for a long time, lost consciousness228.

Craig and Shaw solved the problem of translating the play on stage in different ways.

According to Shaw, the production should be determined by the text of the play, which required not so much directing as acting. For Craig, the director's embodiment came first, because the director must be an independent creator, like a conductor, who obeys both the music and the orchestra. The author's remarks, to which Shaw attached great importance, constrained Craig and did not deserve his attention. At his request, L. Houseman, the author of the text of the musical play “Bethlehem” (1902), was forced to remove all explanations about the stage design in order to give Craig more freedom to implement his decorative ideas. The stage directions were also ignored by Craig when staging Ibsen’s early play “Warriors in Helgoland” (1857)229. Three years later, Craig also redrew the dialogues of Shaw, whose plays were based on discussion.

Craig's reformatory techniques as a director appeared already in his debut work on the scenery for the opera Dido and Aeneas (1900), staged on the stage of the Hampstead Conservatory. For the first time, he used new forms of acting, redrawn the stage space, and changed the lighting. His later famous gray cloths appeared as decorations, against which the bright costumes stand out. At the Court Theatre, Shaw and his friend H. Grenville-Barker also experimented with scenery, using black velvet for the 1905 production of Man and Superman.

Craig's productions were not successful in Britain because his “unexpected, strange techniques are suitable only for works with the fantastic Craig staged Hamlet in Moscow in December 1911 (Laurence D.H. Bernard Shaw Theatrics. - University of Toronto Press, 1995. P.114).

See: Innes C.D. Edward Gordon Craig: a Vision of the Theatre. – Routledge, 1998. P.159.

Craig staged the drama “Warriors in Helgoland” in 1903. Its title in England had variant translations

- “Vikings”, “Northern heroes”. All performances starred Ellen Terry. See: Innes C.D.

Edward Gordon Craig: a Vision of the Theatre. – Routledge, 1998. P. 83.

elements, the atmosphere of the performances inspires fear and horror”230, reported the American literary critic and composer of the late 19th century. J. Hanecker.

Barker also criticized Craig's theory: "Actors who remember their great predecessors must feel bored when asked to wear masks or give up the stage to puppets."231 In addition, the implementation of extraordinary ideas required large financial investments. Therefore, Craig took up literary activity, the history and theory of theater, and published memoirs about Ellen Terry and his teacher G. Irving232.

Shaw and Craig had different opinions about the actor's performance. The show, as an innovative playwright, was not satisfied with the fact that the Lyceum Theater, where Irving worked, did not stage modern plays, limited to the works of Shakespeare, domestic and French melodramas. According to Shaw, Irving, “infinitely removed from the spiritual life of his time, did nothing for the modern theater”233, because he was not interested in the intellectual direction in literature.

Craig assessed Irving's work, his place and role in the history of the English stage from a different perspective. Irving was his "greatest"

representative of the theater234, a successor of its best traditions, the first teacher of acting. Craig saw in him the embodiment of the dream of a “super-puppet” actor who masterfully mastered facial expressions and skillfully used makeup235. If Shaw perceived Irving’s acting as “hopelessly outdated, unnatural, vulgar”236, then for Craig Huneker J. Iconoclasts: a book of dramatists. – Ayer Publishing, 1970. P.32.

See: “The Art of the Theater” (1905), “The Actor and the Super-Puppet” (1907), “Towards a New Theater” (1913), “Henry Irving” (1930), “Ellen Terry and Her Secret Self” ( 1931), “The Story of My Life” (1957). During his life he published three magazines: Page in England, Mask and Puppet in Italy.

He created each magazine as a platform for proclaiming his theatrical ideas.

B.Shaw. About drama and theater. – M.: Foreign Literature Publishing House, 1963. P.481.

Quote by: Obraztsova A.G. Synthesis of arts and the English stage at the turn of the 19th - 20th centuries. – M.: Science,

Craig G. Henry Irving. – Ayer Publishing, 1970. P.32.

See: Obraztsova A.G. Synthesis of arts and the English stage at the turn of the 19th - 20th centuries. – M.: Nauka, 1984.

Irving on stage is artistic and natural in a “high artistic sense”237.

According to Shaw, expressed in an interview with The Observer newspaper:

(1930), Craig needed a theater “with which he could play as Irving played with the Lyceum,” where he “could fit his scenery into the stage space,” “cut plays into pieces as the stage design required.” 238. In a reply letter, Craig called Shaw “an enemy of English art”, “destroying everything that is considered worthy in England”239 because he is a foreigner (Irish). The offended Shaw replied: “I am not a refugee, I am a warrior,”240 thereby declaring his function as a fighter for the development of national art.

Shaw and Craig's public disagreement came to a head after Craig's article, "A Complaint Against G.B.S." (“A plea for G.B.S.”241), where he compares Shaw to “a mischievous old woman, spreading rumors left and right, meddling in matters of which she knows little.”242 Shaw allegedly discredits the memory of Irving and Ellen Terry. Shaw reminds the reader that one of his professions is that of a critic, a “literary gangster”243 who must “masterfully and carefully put his victim in an unpleasant position”244.

The conflict between Shaw and Irving, which arose at the Lyceum in the mid-1890s, became for Craig an “apocalyptic battle”245 for which he could not forgive Shaw. For him, Irving was a “giant”246, and Shaw was a “concierge in the palace of letters”247, a “dwarf”248 whom no one will remember. However, while Craig unsuccessfully fought for his vision of the play, Shaw with Craig G. Henry Irving. – Ayer Publishing, 1970. P.73.

Quote by: King W. Davies. Henry Irving's Waterloo. - University of California Press, 1993. P.216.

King W. Davies. Henry Irving's Waterloo. - University of California Press, 1993. P.216.

Craig's book, Ellen Terry and Her Secret Self, was reprinted in 1932 with the addition of the article "A Complaint Against G.B.S." See: Gibbs A. A Bernard Shaw Chronology. – Palgrave Macmillan, 2001. P. 351.

Craig G. Ellen Terry and Her Secret Self. – New York: Dutton 1932. P.24-25; King W. Davies. Henry Irving's Waterloo. - University of California Press, 1993. P.217.

Quote by: King W. Davies. Henry Irving's Waterloo. - University of California Press, 1993. P.217.

Craig G. Henry Irving. – Ayer Publishing, 1970. P.149.

Mackintosh I. Architecture, Actor, and Audience. – Routledge, 1993. P.51.

with the help of Barker and Vedrenn, he actively staged his plays on the stage of the Court Theater (701 productions of Shaw’s eleven plays in four years)249.

Shaw's topical, topical plays, staged by Barker at the Court Theatre, created to promote realistic drama, were popular and attracted wide audiences and audiences.

Craig criticized Shaw for his epistolary affair with Ellen Terry, which lasted over 28 years, and was unhappy with Shaw's publication of Ellen Terry and Bernard Shaw: A Correspondence (1931), since in some of his letters to Terry the playwright spoke harshly about the actress's spending his strength on the old-fashioned repertoire of the Lyceum, the intellectual and artistic level of which he considered low.

Craig and Shaw represented opposing aesthetic positions and ideas in modern theater, but both were experimenters who created a new stage language.

In the search for new content for plays and a new role for theater in the life of England, the famous English director, entrepreneur and actor Herbert Beerbohm Tree (1853-1917) participated in his productions and acting. In 1887-1896. he headed the Haymarket Theater from 1897-1915. - Her Majesty's Theatre, later His Majesty's Theatre. Tree is known for staging bright, spectacular performances, paying special attention to extravaganzas, inserted musical numbers, solo arias, carefully developing crowd scenes, while freely handling the text, rearranging or omitting entire scenes. Shaw worked with him as an actor and director. Tree played the role of Higgins in the first production of "Pygmalion", staged performances based on Shaw's plays "Exposure of Blanco Postnet", "Newspaper Clippings", etc. Referring to Tree as a funny and friendly person, Shaw criticized him as an actor, "immunity"

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Composition

G. Ibsen's play "Nora" ("A Doll's House") caused heated debate in society, in some places a notice was even posted in living rooms: "Please do not talk about \\"A Doll's House\\\"." Actually, the new drama began with the words main character Ibsen said to his husband Helmer: “You and I have something to talk about.” Ibsen created a unique genre of play-discussion, where the main thing for the characters is not achievement life success, but the search for true evidence of truth in dialogue. The play-discussion sparked discussions in life.

The fact is that even with today's emancipation of women, Nora's behavior - her abandonment of children - cannot be considered the norm, and in Ibsen's time it offended public morality.

The role of Nora is a great challenge for any actress. Of the famous actresses, Nora was played by the Italian Eleonora Duse and the Russian Vera Komissarzhevskaya. The first shortened the text of the play, while the second played completely according to Ibsen.

It was assumed that in a work of art, and in drama as well, there is its own logic of character development, which determines the actions of the heroes, that is, according to this concept, nothing unexpected can happen in the life of the hero. Nora is a loving mother, and, according to the logic of normal reasoning, a quarrel with her husband cannot be the reason for her leaving her children. How could this “bird”, “squirrel” decide to do such an act and defend her point of view so stubbornly?

Ibsen did not follow the path of a standard resolution of events. He was an innovator in the field of drama, so the psychological inadequacy of the characters became for him a symbol of the inadequacy of social relations. Ibsen created an analytical, rather than psychological, everyday play, and this was new. Ibsen showed how a person, despite everything, despite psychological certainty, dares to be himself.

“I need to find out for myself who is right - society or me,” Nora announces to her husband. - I can no longer be satisfied with what the majority says and what they write in books. I need to think about all these things myself and try to understand them.”

Having created a play that was new in mood (analytical), Ibsen did not “unload” it from everyday details. Thus, the play begins with a Christmas tree, which Nora bought and brought home on Holy Eve. Christmas for Catholics and Protestants is the main holiday of the year; it is the personification of family comfort and warmth. In addition to the Christmas tree, the playwright gives many other everyday details. This is Nora’s Neapolitan costume, in which she will dance at a neighbor’s party, then in the same costume she will begin a decisive conversation with Helmer. This is also a mailbox, where there is an incriminating letter from the loan shark, Rank’s business cards with a sign of his imminent death. When leaving Helmer, Nora wants to take with her only those things that she brought from her home when she got married. She is “freed” from the things of the “doll’s house”, from everything that seems insincere and alien to her. In many details, Ibsen sought to show the “clutter” of life in Helmer’s house. At the same time, these subtext details help the reader and viewer understand the essence of what happened. In his speech at his honor at the Norwegian Women's Union in 1898, the writer said: “Thank you for the toast, but I must decline the honor of consciously promoting the women's movement. I didn’t even really understand its essence. And the cause for which women are fighting seems to me to be universal..."

Nora's statements and actions were considered the most daring in Ibsen's time at the end of the play, when Helmer, frightened that his wife might leave the family, reminds her of her responsibilities to her husband and children. Nora objects: “I have other responsibilities that are just as sacred. Responsibilities to yourself." Helmer resorts to the last argument: “First of all, you are a woman and a mother. This is the most important thing." Nora replies (there was applause at this point): “I don’t believe in it anymore. I think that first of all, I am a person just like you... or at least I should care about becoming a person.”

Having become the flag of feminism at the turn of the 19th-20th centuries, Ibsen’s play a hundred years later does not arouse interest in the places where it was once greeted with stormy applause, that is, in Norway, Russia and, obviously, in other countries. The natural question is: why? Have all the problems that caused Nora to act the way she did gone away? Maybe this is because Nora deals with a special case of the struggle for the liberation of the individual? However, A Doll's House is a play that shows the discrepancy between an outwardly prosperous life and its inner troubles. Maybe the problem of liberating a person in beginning of XXI century in the aspect in which it is staged in Ibsen’s play seems far-fetched, they say, “the lady is mad with fat,” in our difficult life there is no time for this.

There is another important issue in the play, besides the focus on the fate of the main character. According to F. M. Dostoevsky, the transformation of humanity into thoughtless and serene puppets, subordinate to puppeteers (as was the case in the play: Helmer - Nora), poses a terrible danger. On the scale of civilization, “playing with dolls” leads to the creation of totalitarian regimes and the death of entire nations. But Ibsen, naturally, cannot have these conclusions. For him, family is society, its imprint. And one cannot but agree with this.

Ibsen's dramas, which went around all the theaters of the world, had a strong influence on world drama. The artist's interest in mental life heroes and their criticism of social reality became the laws of advanced drama at the turn of the 19th and 20th centuries.

It is a pity that today there are almost no plays by G. Ibsen in the repertoire of our theaters. Only occasionally can one hear Edvard Grieg's music for another work of Ibsen - the drama "Peer Gynt", which is associated with folk art, with the world of fairy tales. Solveig's charming image and the deep philosophical meaning of the drama attracted the attention of all lovers of beauty to Peer Gynt.

As a manuscript

TRUTNEVA Anna Nikolaevna

“DISCUSTION PLAY” IN THE DRAMATURGY OF B. SHOW OF THE LATE 19TH-EARLY 20TH CENTURY (THE PROBLEM OF GENRE)

Specialty 10.01.03 - Literature of the peoples of foreign countries (Western European literature)

Nizhny Novgorod 2015

The work was carried out at the Department of Foreign Literature and Theory of Intercultural Communication of the Federal State Budgetary Educational Institution of Higher Professional Education "Nizhny Novgorod State Linguistic University named after. N. A. Dobrolyubova"

Scientific supervisor: Doctor of Philology, Professor of the Department

Rodina Galina Ivanovna Official opponents: Doctor of Philology, Professor of the Department

The defense will take place on May 13, 2015 at 13.30 at a meeting of the dissertation council D 212.163-01 at the Nizhny Novgorod State Linguistic University. H.A. Dobrolyubova" at the address: 603155, Nizhny Novgorod, st. Minina 31a, room. 3217.

The dissertation can be found in the scientific library of the Federal State Budgetary Educational Institution of Higher Professional Education “Nizhny Novgorod State Linguistic University named after. N. A. Dobrolyubova" and on the university website: http: //vvww.lunn.ru.

Literature of the Arzamas branch of the Federal State Autonomous Educational Institution of Higher Education “Nizhny Novgorod State University named after. N. I. Lobachevsky"

World Literature FSBEI HPE "Moscow State Pedagogical University" (MPGU) Elena Nikolaevna Chernozemova

Candidate of Philological Sciences, Associate Professor of the Department of Russian and Foreign Philology of the Nizhny Novgorod State Pedagogical University named after. Kozma Minin"

Sheveleva Tatyana Nikolaevna

Leading organization: Federal State Budgetary Educational Institution of Higher Professional Education

"Vyatka State Humanitarian University"

Scientific Secretary of the Dissertation Council Doctor of Philology, Professor

S. N. Averkina

GENERAL DESCRIPTION OF WORK

The work of the playwright, publicist, and drama theorist Bernard Shaw (1856-1950) became one of the brightest and characteristic phenomena of English culture and determined the main directions of development of both national and European dramaturgy of the late 19th and early 20th centuries.

With Shaw's work, a separate, independent line in the development of modern drama begins. Shaw declared himself as a playwright in the late Victorian Age (Late Victorian Age, 1870-1890), the extra-literary impulses of which (phenomena of socio-political life, science, culture, art) contributed to the formation of his aesthetic views: “each of my plays was a stone that I threw at the windows of Victorian prosperity."

The image of an artist familiar with the latest discoveries of science, dreaming of improving society, is embodied in Shaw's work. In his opinion, both the actors performing in his plays and the audience in the hall should become philosophers, capable of understanding and explaining the world in order to remake it. Shaw's dramatic art was combined with journalism and oratory. He called himself both an economist and an expert in other social sciences, and entered the history of music as a professional music critic.

Seeing art as a powerful factor in social reorganization, Shaw sought to influence the intellect of the reader and viewer. His belief in the transformative power of the human mind largely determined the genre of his works. At the turn of the XIX-XX centuries. The show acts as the creator of the experimental genre of "Disquisitory Play", a special dramatic form that most fruitfully resolves modern conflicts and adequately expresses pressing problems. The form Shaw found corresponded to the main task of his work - to reflect the existing

1 Cnt. from: Maisky I.B. Shaw and other memories. - M: Art, 1967. P. 28.

the structure of human and social relations, to show the inconsistency of patriarchal moral and ideological ideas.

The degree of knowledge of the topic. The works of English and American authors are devoted to the study of “discussion plays,” Shaw’s innovative genre: E. Bentley, D.A. Bertolini, K. Baldick, S. Jane, B. Duckor, K. Inne, M. Meisel, G. Chesterton, T. Evans.

An analysis of “discussion plays” is presented in the works of American show experts B. Dakor2 and M. Meisel3. Thus, Dakor examines such dramatic works of the turn of the century - “Mrs. Warren’s Profession”, “Candida”, “The Doctor’s Dilemma”, “Major Barbara”, “The Marriage”, “An Unequal Marriage”, “Pygmalion”, considering them as plays of the new type.

M. Meisel limits himself to the analysis of four plays: “Major Barbara,” “Marriage,” “An Unequal Marriage,” and “Heartbreak House.” He motivates the choice of the first three plays by the definition of the genre given by Shaw in their subtitles (“discussion in three acts”, “conversation”, “discussion in one sitting”). Both authors recognize the play “Heartbreak House” as “perfection”4 of this dramatic form.

Recognizing the undoubted significance of the existing works, it should be noted that their problematic orientation, as well as the complexity of Shaw’s works themselves, leave opportunities for further literary study of the “discussion play” genre.

Acquaintance with domestic critical literature shows that among the large number of studies of Shaw’s work, there are no works that would be specifically devoted to the analysis of the “discussion play” genre created by Shaw. In the critical literature there are short remarks about

2 Dukore V. Bernard Shaw, playwright: aspects of Shavian drama. - University of Missouri Press. 1973. P.53-120.

1 Meisel M. Shaw and the nineteenth-century theater. - Greenwood Press, 1976. P.290-323.

Shaw's genre experiments. Critics have not ignored the fact that the first impression of the playwright’s works is a feeling of novelty and unusualness. Some (V. Babenko, S.S. Vasilyeva, A.A. Fedorov) focus their attention on bold ideas put forward in “discussion plays”, others (P.S. Balashov, Z.T. Grazhdanskaya, I.B. Kantorovich) analyze the manner of expressing thoughts and ways of creating characters. However, the question of Shaw creating a separate genre of “discussion play” did not receive deep and complete development in their studies. Only a few (A.G. Obraztsova, A.S. Romm) offer a systematic analysis of the genre, studying the set of artistic means used by the playwright to most adequately implement his ideas, and the form he chooses. Dwelling on the nature of the discussion and its role in Shaw's plays, A.G. Obraztsova states the peculiarity of the dramatic conflict, however, the genre features of Shaw’s “openly experimental”5 one-act plays “Getting Married” and “Unequal Marriage” remain outside her field of vision. Thus, the urgent need for a closer and more multifaceted look at the “discussion play” as one of the key forms in Shaw’s genre system becomes obvious.

Insufficient attention in Russian literary criticism has been paid to the analysis of the play “Candida,” which in Shaw’s work is the starting point for the creation of a “discussion play.” Leading domestic show experts (P. Balashov, Z.T. Grazhdanskaya, A.G. Obraztsova) ignore such an important structural element of the play as the final discussion. Researchers are ambivalent about the genre of the play, considering “Candida” as a “psychological drama with a social connotation”6, as

5 Obraztsova A.G. Bernard Shaw and European theatrical culture at the turn of the 19th and 20th centuries. - M.: Nauka, 1974 C 315.

6 Civil Z.T. Bernard Shaw: An Essay on Life and Work. - M.: Education, 1965. P.49.

“family and everyday drama”7 or mystery8, without mentioning the definition declared by the author himself - “modern Pre-Raphaelite drama”9.

As for the definition of genre, in this study genre is understood as “the unity of a compositional structure determined by the originality of the reflected phenomena of reality and the nature of the artist’s attitude towards them” (L.I. Timofeev).

The relevance of the study is due to the insufficient development in domestic literary studies of the problem of the “discussion play” genre in Shaw’s work, the role of the playwright in the formation of this genre, the understanding of which is important for clarifying the literary situation in England at the turn of the 19th and 20th centuries. and Shaw's contribution to the "new drama", as well as the fact that Shaw's genre searches represent English literature of this period.

The scientific novelty of the work is determined by the choice of the subject of research and the contextual aspect of its coverage. For the first time in Russian literary criticism, plays with elements of discussion and “experimental” “discussion plays” written by Shaw in 1900-1920 are systematically studied. The plays “Getting Married” and “Unequal Marriage” are analyzed for the first time as “discussion plays”, representing the features of the poetics of this genre.

Based on Shaw's theoretical works that have not been translated into Russian, an analysis of the classification of female characters is presented. The works of English researchers, not translated into Russian and remaining on the periphery of scientific interest, as well as materials from the playwright’s correspondence, newspaper and magazine publications, unknown in Russian literary criticism, have been introduced into scientific circulation.

The object of the study is Shaw's dramaturgy of the middle period of creativity (1900-1920), which is characterized by a variety of genre experiments.

7 Balashov P. S. The artistic world of Bernard Shaw. - M.: Fiction, 1982. P. 126.

"Obraztsova A.G. Dramatic method of Bernard Shaw. - M: Nauka, 1965. P.230.

4 Shaw B. Complete collection of plays: In 6 vols. T. 1. - L.: Art, 1978. P.314 (preface to “Plays

pleasant"),

The subject of the study is the “discussion play” as a genre in Shaw’s dramaturgy, its origins, formation, poetics in the context of Shaw’s work and the “new drama”.

The purpose of the study is to identify the genre content, the structure of the “discussion play,” its formation in Shaw’s work, its ideological and artistic significance.

In accordance with the goal, the following research objectives were identified:

1. reconstruct the historical and literary situation in England at the turn of the 19th-20th centuries, which determined the vector of Shaw’s artistic searches, his movement in line with the “new drama”;

2. trace the genesis and formation of the “experimental” genre of “discussion play” in Shaw’s work;

3. analyze the features of the poetics of plays with elements of discussion and “discussion plays” in the context of Shaw’s era and work;

4. identify the main genre features of Shaw’s “discussion play”.

The methodological basis of the work was the principles of historicism and systematicity, an integrated approach to the study of literary phenomena. The combination of historical-literary, comparative, typological, and biographical methods of analysis made it possible to trace the process of formation and features of the “discussion play” genre.

The theoretical basis of the work consists of research on the theory and history of drama as domestic scientists (S.S. Averintsev, A.A. Annkst, V.M. Volkenshtein, E.H. Gorbunova, E.M. Evnina, D.V. Zatonsky, N.I. Ishchuk- Fadeeva, D.N. Katysheva, B.O. Kostelyanets, V.A. Lukov, V.E. Khapizev), and foreign (E. Bentley, A. Henderson, K. Inne, M. Colburn, H. Pearson , E. Hughes, G. Chesterton); works in which the cultural and historical context was explored, which determined the vector of B. Shaw’s genre searches (V. Babenko, P. S. Balashov, N. V. Vaseneva, A. A. Gozenpud, Z. T. Grazhdanskaya, T. Yu. Zhikhareva, B O.I. Zingerman, Yu.N. Kagarlitsky,

I.B. Kantorovich, M.G. Merkulova, A.G. Obraztsova, H.A. Redko, A.S. Romm,

H.H. Semeikina, N.I. Sokolova, A.A. Fedorov, E.H. Chernozemov, etc.), including the works of foreign literary scholars (W. Archer, B. Brawley, E. Bentley, A. Henderson, W. Golden, F. Denninghaus, B. Matthews, X. Pearson, X. Rubinstein and etc.); works devoted to the problem of genre and poetics of the text of a work of art (S.S. Averintsev, M.M. Bakhtin, A.N. Veselovsky, Yu.M. Lotman, G.N. Pospelov, as well as B. Dakor, A. Nikol , A. Thorndike).

The theoretical significance of the work is determined by the analysis of the “play-discussion” genre. The study of the genre content, the structure of the “discussion play” opens up additional opportunities for understanding Shaw’s “experimental” works of the middle period of his creative work (1900-1920), genre modifications of the “new drama”. The materials and conclusions contained in the dissertation allow us to expand our understanding of the trends in the development of English drama.

The practical significance of the study lies in the possibility of using its results in lecture courses on English literature of the late 19th - early 20th centuries, on the history of English and foreign literature; in special courses devoted to the study of the poetics of dramatic genres and the work of B. Shaw. The conclusions obtained and some provisions are of interest to literary scholars, as well as to those interested in Shaw’s work. The following provisions are submitted for defense:

I. The “discussion play” genre arose under the influence of a complex of reasons caused by changes in the socio-political situation, philosophical and aesthetic views at the turn of the 19th-20th centuries. The desire to express the modern contradictions of England in a work of art required Shaw to rethink the traditional poetics of drama and develop its new form, adequate to the time.

2. Drama of the turn of the 19th-20th centuries. turns into a free author's statement, in which traditional elements appear only as

unique supports for interpretation; genre canons are being rethought; the epic beginning intensifies. Experiments lead to the diffuseness of the genre system, which is manifested, in particular, in the absence of classical genre designations in most of Shaw's plays (the name of the genre is suggested by the author himself).

3. Dramaturgy Shaw as an artistic experiment was carried out in the context of the European “new drama” in its English version. As a result, a special dramatic form was formed - a play with elements of discussion (“Candida”, “Man and Superman”), and then the “discussion play” itself (“Major Barbara”, “Marriage”, “Unequal Marriage”, “ The House Where Hearts Break." The introduction of discussion as a source of dramatic conflict determined the innovative sound of Shaw's plays. A study of the genre specificity of Shaw's dramaturgy of the late 19th and early 20th centuries. makes it possible to trace the genesis, formation, and evolution of the “discussion play” genre.

4. Analysis of the main components of the artistic structure of Shaw’s plays allows us to identify the genre features of the “discussion play” and the vector of the playwright’s genre searches.

Compliance of the content of the dissertation with the passport of the specialty for which it is recommended for defense. The dissertation corresponds to the specialty 10.01.03 - “Literature of the peoples of foreign countries (Western European)” and was completed in accordance with the following points of the specialty passport:

P.Z - Problems of historical and cultural context, socio-psychological conditionality of the emergence of outstanding works of art;

P.4 - History and typology of literary trends, types of artistic consciousness, genres, styles, stable images of prose, poetry, drama and journalism, which find expression in the work of individual representatives and writing groups;

P.5 - The uniqueness and intrinsic value of the artistic individuality of the leading masters of foreign literature of the past and present; features of the poetics of their works, creative evolution.

The reliability of the conclusions is ensured by a thorough study of the genre nature of Shaw's dramatic works at the turn of the 19th and 20th centuries, the study and comparison of a large number of primary sources (artworks, theoretical works, critical literature, correspondence, newspaper and magazine materials), as well as the theoretical justification of the genre content and structure " discussion plays." The selection of the analyzed material is determined by its significance for solving the problems posed in the dissertation.

Approbation of work. Certain provisions of the dissertation were presented in the form of reports and communications at international and interuniversity scientific conferences: 3rd interuniversity scientific conference “Science of the Young - 3” (Arzamas, 2009); Scientific and practical seminar “Literature and the problem of integration of the arts” (N. Novgorod, 2010); International conference “XXII Purishev Readings: History of Ideas in Genre History” (Moscow, 2010); 4th interuniversity scientific conference “Young Science - 4” (Arzamas, 2010); International conference “XXIII Purishev Readings: Foreign Literature of the 19th Century. Current problems of study" (Moscow, 2011); 17th Nizhny Novgorod session of young scientists (N. Novgorod, 2012); International conference “XXVI Purish Readings: Shakespeare in the context of world artistic culture” (Moscow, 2014). The main provisions of the dissertation research were discussed at postgraduate associations and meetings of the Department of Literature of the Federal State Budgetary Educational Institution of Higher Professional Education "ASPI" and the Department of Foreign Literature and Theory of Intercultural Communication (Nizhny Novgorod, NSLU, 2014). Thirteen scientific papers have been published based on the dissertation materials, including four in publications recommended by the Higher Attestation Commission of the Russian Federation.

The structure and volume of work are determined by the tasks and the material being studied. The work consists of an introduction, two chapters, a conclusion and a list of references. The total volume of the study is 205 pages. The bibliographic list includes 217 titles, including 117 in English.

The introduction provides a rationale for the topic of the work, its relevance, novelty, and provides a brief overview of the history of the study of B. Shaw’s experimental genre “discussion play” in domestic and foreign literary criticism, which allows us to get an idea of ​​the degree of development of the topic and further prospects for research in this area.

The first chapter “Philosophical and aesthetic views of B. Shaw in the context of the English literary process of the late 19th and early 20th centuries.” is devoted to the analysis of the poetics of the experimental genre “discussion play” through the prism of Shaw’s philosophical and aesthetic quests at the turn of the 19th and 20th centuries. The chapter consists of two paragraphs.

The first paragraph, “The influence of late Victorian English drama on the formation of B. Shaw’s aesthetics,” is an analysis of Shaw’s dramatic activity taking into account the artistic trends of the era. An assessment is made of the state of dramaturgy in Victorian England, its genre content and role in the formation of Shaw's dramatic views.

The turn of the 19th-20th centuries. - a time of active development of dramatic art in Great Britain and serious changes in dramatic practice. A turning point occurs, bringing the drama closer to the reality that was well known to the public, since the drama created in the Victorian period gradually lost its relevance and turned into a form that did not correspond to the real content.

Development of theatrical art at the turn of the 19th and 20th centuries. required the creation of additional means of expression and impact on the viewer. The need for new artistic forms capable of conveying the diversity of scientific discoveries and philosophical doctrines that emerged by the end of the 19th century led to the improvement of theatrical technology, which, in turn, increased the number of stage experiments.

Advocating for socially significant dramaturgy, expanding the subject matter, Shaw proposed for consideration those problems that had previously been outside the boundaries of dramatic art. In addition, he understood that traditional dramatic technique had become a barrier to the development of English theater, which needed change, because Almost the entire arsenal of artistic means and techniques turned out to be exhausted by the end of the century and unsuitable for staging the “new drama.”

Shaw, one of the reformers of the English stage, tried his hand at various dramatic genres. The “discussion play,” which he considered as a dramatic form adequate to modern times, was, according to the playwright’s definition, “an original instructive realistic play” (“Widower’s Houses,” 1892), “a topical comedy” (“Heartbreaker,” 1893), “ mystery" ("Candida", 1894), "melodrama" ("The Devil's Disciple", 1896), "comedy with philosophy" ("Man and Superman", 1901), "tragedy" ("The Doctor's Dilemma", 1906), etc. .d.

Shaw's work became a striking example of the expansion of the possibilities of dramatic art at the turn of the century. Shaw, like most of the luminaries of drama, was developing its theory, experimenting, and conducting active research in various areas of theatrical activity, including acting and directing.

The second paragraph, “Genesis and formation of the “experimental” genre “discussion play,” is a study of the genre features of the “discussion play,” on the basis of which its main genre-forming elements are identified.

Shaw's work is the culmination of the "new drama" movement, which was started in England by Robertson, Gilbert, Jones, Pinero and others. Recognizing the significance of the artistic discoveries of the "new drama" of the initial period, Shaw highly appreciated the influence of Ibsen's dramatic technique.

Even before Shaw completed his first play, The Widower's House (1885-1892), he defined the properties of a new, unconventional drama, challenging conventional ideas about dramatic action. In his theoretical work “The Quintessence of Ibsenism,” which became a manifesto of his theatrical views and popularized the drama of ideas in England, Shaw builds the poetics of modern drama, focusing on discussion as “the main of the new technical techniques”10. The discussion became genre-forming for many of his works. Having emerged as a necessary structural element that promotes debate, at the same time entertaining and enlightening, the discussion of stap is one of the artistic means of revealing an idea.

Shaw contrasts the traditional type of plot organization, based on external action, with a new, “Ibsenian” one, based on the movement of ideas, the development of characters’ thoughts, and their mental life. Ideas become the characters in the play.

The new dramatic form became the artistic realization of the trends that emerged in Shaw's early plays. But the discussion becomes plot-forming in the plays of Shaw’s middle period: experimenting in the field of dramatic technique, he introduces elements of discussion into the structure of the plays (“Candida”, 1894; “Man and Superman”, 1901, etc.). This new dramatic technique is used for the first time in the play Candida. Then, in the plays “Major Barbara”, “Marriage”, “Unequal Marriage”, “Heartbreak House”, the discussion becomes the actual plot of the drama, minimizing the number of external events, while becoming more important and significantly different. In some plays ("Introduction

1.1 Shaw B. The quintessence of Ibsenism // Shaw B. About drama and theater. - M.: Foreign Literature Publishing House, 1963. P.65.

into marriage”, “Unequal marriage”), the discussion turns into action itself, becoming not only more important, but also significantly different. The play "Major Barbara" was a deliberate experiment within the specified genre. The plays “Getting Married”, “Unequal Marriage”, “Heartbreak House” were his “ripe fruits”11. The discussion in such plays differs from Ibsen's new dramatic technique. Compared to the "well-made play" of Candida, Shaw represents a newer model; there is a sharp contrast between Candida and the "discussion plays".

Certain features of Shaw's dramatic method (the presence of a plot-forming discussion, lengthy prefaces to plays, the absence of division of plays into actions, acts) make his plays unique in comparison with the plays of contemporary playwrights.

The predominance of intellectual action and the complication of conflict in a drama focused on the study of modern life and the search for truth required the introduction of an open ending, which is one of the most important differences between the new drama and the old one. In the new dramatic genre of the "discussion play", in which discussion prevails over action, the traditionally constructed plot with the alternative of a happy or tragic ending is rejected. Thus, the method of resolving the conflict becomes at the end of the 19th century. a sign of the novelty of the play.

In his “discussion plays,” Shaw actively uses paradox as the most effective way to prove a point of view contrary to the generally accepted one. The paradox activates the reader’s thought and contributes to the playwright’s movement from the traditional, canonical to the new. The paradoxical nature of current circumstances, human destinies and relationships becomes the source of lengthy debates in most of Shaw’s “discussion plays.”

1" Meisel M. Shaw and the nineteenth-century theater. - Greenwood Press, 1976. P.291.

Intensive searches for new genre-compositional forms and methods of stage embodiment of dramatic material became an important trend in Shaw’s work, as well as in the development of English dramaturgy of the late 19th and early 20th centuries.

In the second chapter, “The evolution of the “discussion play” genre in the works of B. Shaw at the end of the 19th century and the beginning of the 20th century.” The dynamics of the “discussion play” genre are explored: from plays with elements of discussion to “discussion plays”.

The first paragraph “Plays with elements of discussion as a prologue to the “extremely innovative” (C. Carpenter) plays of B. Shaw (“Candida”, “Man and Superman”).”

In the play “Candida” (1894-1895), Shaw for the first time uses a new dramatic technique proposed by Ibsen - a discussion at the end of the play. The creation of the play marked the beginning of an important stage in the development of Shaw as a playwright and became the starting point in his movement from plays with elements of discussion to “discussion plays.”

The resolution of the conflict in the play occurs through a detailed explanation between central characters. Just like Ibsen’s Nora, Candida suggests at the end of the play: “Let us sit down and talk calmly. Like three good friends." The main characters of the play - Candida, Morell and Marchbanks - discuss social, political, aesthetic issues, translating the problems of the play from the everyday to the social and philosophical.

The closed composition of the play, limiting the plot action to the narrow confines of the Morell family house, does not interfere with the sharpness of the plot movement. However, the elements of external intrigue, which traditionally determine the development of the action, are of secondary importance and do not lead to a direct resolution of the conflict, being only a necessary prerequisite for the discussion at the end of the play.

The tragic denouement of the play (Marchbanks remains lonely and outcast) actually turns out to be successful. Connecting drama with

the tragedy in the finale represents a unique resolution of the conflict: the hero becomes not a loser, but a winner, since in the process of the final discussion he determines for himself a further path that will contribute to the realization of his great destiny. The hero's internal liberation and his choice of his true path does not mean the end of the conflict. Where Shaw's play ends, the real test of the hero's strength, his self-affirmation in life begins. The tendency towards an unfinished denouement characterizes Shaw's dramatic work as a whole. The organizing role of an open ending acquires exceptional importance in plays with elements of discussion and in Shaw’s “discussion plays.”

In search of the most adequate dramatic form, Shaw creates the play “Man and Superman” (1901-1903), the third act of which is entirely a philosophical discussion. In the play, the playwright first expressed his views on religion.

The play consists of two parts - a comedy about John Tanner and Anne Whitefield and an interlude "Don Juan in Hell". The outer play, the “frame play”12, including the first, second, fourth acts, is structured like a traditional comedy. The third act, entitled "Don Juan in Hell", describes Tanner's dream. The interlude-dream features a philosophical discussion between the Devil and Don Juan, the chauvian transformation of the protagonist of the Spanish legend. The discussion is included in the structure of the play, while the external and internal plays are interconnected.

The third act is the quintessence of Shaw's philosophy, a system of ideas that the author proclaims as new religion. The show combines the concept of the "Force of Life", the theory of gender attraction and the concept of the superman into one "ideological pattern"13. The inclusion of the dream interlude in the structure of the comedy and the violation of the usual boundaries of the play is an expression of Shaw's desire to find a new dramatic form.

12 Bertolini J.A. The Playwrought Self of Bemard Shaw. - SIU Press, 1991. P.36.

11 Grene N. On Ideology in Man and Superman/ Bloom H. George Bemard Shaw. - Infobase Publishing, 1999.

"Man and Superman" is a play with elements of discussion, while the interlude "Don Juan in Hell", considered as an internal play in relation to the "frame play", is entirely a discussion. The form chosen by Shaw in the third act makes it possible to create the familiar image of the Spanish hero-lover “in a philosophical sense”, serves as an illustration of Shaw’s philosophical and religious views and demonstrates the dynamics of his artistic searches in the first decade of the 20th century.

Second paragraph ““Discussion Plays” as “plays of the highest type” (B. Shaw) (“Major Barbara”, “Marriage”, “An Unequal Marriage”, “Heartbreak House”).”

The play “Major Barbara” (1905), called by the author a discussion, is one of the most striking and promising works of the playwright. Shaw perfected the dramatic technique he first proposed in Candide and created his first “discussion play.”

Throughout the three acts of the play, social and moral issues are discussed, so the movement of ideas, not events, lies at the heart of the plot. His characteristic feature is a “mosaic” conditioned by a set of so-called “unjustified expectations”14.

In “Major Barbara,” as in “An Unequal Marriage” written four years later, events serve only as “hooks”15, a reason for continuing the discussion of issues of religion, morality, etc. Thus, “mosaic” and “hooks” become plot-forming elements of the “discussion play” and contribute to the thematic development of the dialogue and its division into stages.

Researchers compare the structure of the play with a Socratic dialogue16. Like Socrates, one of the main characters in the play, Undershaft, considers

14 Baker S.E. Bernard Shaw's Remarkable Religion: a Faith That Fits the Facts - University Press of Florida, 2002.

15 Baldick C. The Oxford English Literary History: 1910-1940 The Modem Movement V. 10. - Oxford University

Press, 2004. P. 121.

16 Kennedy A K. Six Dramatists in Search of a Language: Studies in Dramatic Language - CUP Archive, 1975.

their interlocutors as equal partners, subjects of the search for truth. Depending on the way of thinking of the interlocutor, he selects the optimal topics and methods of discussion for him: with his daughter Barbara he debates about religion and the salvation of the soul, with the Greek teacher Cousins ​​he discusses philosophical and worldview issues.

The ending of the play is paradoxical, which is typical for all Shaw’s “discussion plays.” It turns out that the Salvation Army is in the business of rescuing the rich, who atone for their crimes by donating money to shelters. A weapons manufacturer saves souls. The poet leaves poetry and begins to produce weapons together with Undershaft. Barbara leaves the Salvation Army and begins new life, continuing his father's work.

The play "Major Barbara" presents all three types of characters according to Shaw's conventional classification - realist, idealist and philistine. The typology of characters in the play “Major Barbara” is determined by its genre specificity as a “discussion play”, the basis of the conflict of which is disputes, discussions of “philistines”, “idealists”, “realists” regarding modern socially significant problems. Offering different perceptions and solutions, they expand the social, philosophical, and ethical space of the play.

The weakening of the effective element gradually leads to the fact that the discussion becomes the actual plot of the drama, changing and becoming more intense. The fact that the intellectual activity of the characters comes to the fore determines the construction of the play. This is especially clearly embodied in Shaw’s “discussion play” “Getting Married” (1908).

In an interview with the Daily Telegraph (7 May 1908),17 Shaw emphasized that the play had no plot. Justifying the lack of plot, he suggests turning to the description of an ancient play, which does not contain such words as plot

17 Euzpb TT. Oeogue VetmL B!««*: !е СгШша! NeShaue - KoshYve, 1997. R. 187.

or plot, but there are the words discussion, argument: “Here I am having a discussion that lasts about three hours”18.

A given setting for a discussion context allows characters, representatives of a certain ideological program, through analysis and synthesis of opinions to come to agreement, to mutual understanding, to a solution to the problem posed. The peculiarity of Shaw's dramatic method is that the contradiction between two possible answers is not hushed up, but emphasized and intensified, allowing the author to depict the same subject of discussion from the point of view of different persons.

The storylines are united by the theme of marriage, which fills the essentially “monothematic”19 discussion. Unlike Ibsen's A Doll's House and Shaw's Candida, where discussion follows the denouement, in Marriage the discussion precedes it. As the deliberative process becomes a priority, external action is muted.

As in the play "Major Barbara", the discussion resembles a Socratic dialogue: alternative forms of institutions for marriage, types of contracts are proposed, which leads to discussion, exploration of the problems posed and conclusions. However, as M. Meisel rightly notes, “there is no Socrates in the play”20.

The play “Getting Married” is one of the most striking examples of the “discussion play” genre created by Shaw, which was formed in the middle period of Shaw’s work. The one-act play, with its characteristic density of action, concentration of time and space, and clearly defined conflict, has become the most adequate form, providing great opportunities for genre experimentation.

During his long career, Shaw constantly experimented with dramatic form, be it melodrama (The Devil's Disciple) or historical play (Caesar and Cleopatra, 1898); includes in

Quoted from Evans T.F. George Bernard Shaw the Critical Heritage. - Routledgc, 1997. P.189-190.

19 Dukore B. Bernard Shaw, playwright: aspects of Shavian drama. - University of Missouri Press, 1973. P.92.

20 Meisel M. Shaw and the nineteenth-century theater. - Greenwood Press, 1976. P.307.

the play is a small completed work (“Man and Superman”, 1901), expands the time limits of the production to eight hours (“Back to Methuselah”, 1918-1920). The “discussion play” “Unequal Marriage” (1910) became “one of the “most daring experiments”21 Shaw. A similar idea (but two decades earlier) was expressed by A.G. Obraztsova, calling this play (like “Getting Married” ) works of an “openly experimental nature” 22. Shaw defined the genre of “An Unequal Marriage” as “a debate in one sitting” 23.

The discussion in An Unequal Marriage differs from the relatively simple model of discussion in Ibsen's A Doll's House or Shaw's Candide. The playwright turns everyday conversations into an exploration of life and man. The characters involve each other in an argument, the debate develops rapidly, ideas arise one after another, and each becomes the main one at a certain stage of the conversation. This movement of the play - from revealing one topic to exploring another - turns “An Unequal Marriage” into an example of a “discussion play”.

The play “Unequal Marriage” has similar features to the previously written play “Getting Married”: both are devoted to the theme of marriage, one of the main ones is the image of a strong spiritually and physically woman, the unity of place and time is preserved, both plays represent the genre of “discussion plays”. Discussions in the plays differ in subject matter (in “An Unequal Marriage” the range of topics covered is wider). The discussion in "An Unequal Marriage" is more intense and concerns mainly premarital relationships, the relationship between two fathers and their children about to get married at the beginning of the play.

Thus, discussion becomes for Shaw the main technical method of constructing a play. Discuss contemporary issues Shaw

Quote by: Evans T.F. George Bernard Shaw: the Critical Heritage. - Routledge, 1997. P.164. 22 Obraztsova A.G. Bernard Shaw and European theatrical culture at the turn of the 19th-20th centuries. - M.: Nauka, 1974. P.3I5.

21 On May 7, 1908, a few days before the premiere of the play “An Unequal Marriage,” Shaw reported in

interview with the Daily Telegraph newspaper: “It will only be conversation, conversation and more conversation...”. Quote by: Evans

T.F. George Bernard Shaw, the Critical Heritage - Routledge, 1997. P.10.

prefers in a provocative manner. The combination of individual genre varieties of drama to reveal the social and psychological contradictions of his time is a feature of Shaw’s dramaturgy, and this feature is clearly revealed in the play “Unequal Marriage.”

“One of the pinnacles of intellectual drama”24 Shaw is the play “Heartbreak House” (1913-1917), in which all the characters argue and polemicize with each other, creating a “polyphonic, polyphonic discussion”25.

The play "Heartbreak House" ends the middle period of Shaw's work. The play, originally subtitled "Dramatic fantasia", was eventually defined by Shaw as "a fantasy in the Russian style on English themes". Within this genre, there is a tendency to build themes similar to musical ones26. The musical term “fantasy” signals the absence of formal restrictions and indicates a strong improvisational beginning, the free development of the author’s thoughts, his concentration on themes rather than on external action. The peculiarity of the play “Heartbreak House” is the connection of discussions in a musical free manner.

“Heartbreak House,” together with the plays “Getting Married” and “An Unequal Marriage,” forms a trilogy27, where three dramatic works are united by a common content and form. Topics move from one play to another within a group of discussion plays: politics, social structure, economics, ontological concepts, literature, gender relations, marriage, etc. The scene of action is limited to the living room, internal action prevails over external action. The plays reflect Shaw's critical attitude towards

24 Khrapovitskaya G.N. Some main features of conflicts and composition in the drama of ideas // Issues of composition in foreign literature. - M.: MGPI im. IN AND. Lenina, 1983. P. 141.

25 Evnina E.M. Western European realism at the turn of the 19th-20th centuries. M: Nauka, 1967. P. 141.

See: Meisel M. Shaw and the nineteenth-century theater. - Greenwood Press, 1976 P.314; Dukore B. Bernard Shaw, playwright" aspects of Shavian drama. - Univ ersity of Missouri Press, 1973. P. 99.

27 See: Bentley E, Bernard Shaw. - New Directions Books, 1947. P. 141.

the ruling class. All of them are striking examples of the “discussion play” genre created by Shaw.

“Rondo-discussion”28 is structured by analogy with piece of music, in which repeated repetitions main topic(marriage, love, gender relations) alternate with episodes that differ thematically from each other (social structure, money, illusions, etc.). The organization of the discussion process in the form of a “rondo discussion” first appeared in Shaw’s play “An Unequal Marriage” and reached perfection in the play “Heartbreak House,” which became Shaw’s next experiment in the field of dramatic form.

The choice of dramatic conflict, the peculiarities of the portrayal of characters, the weakening of plot tension, the contamination of genres, and the expansion of the range of topics are the distinctive features of Shaw’s technique of creating “discussion plays,” which has become traditional for Shaw. The improvisational fantasy play Heartbreak House is a prime example of the genre Shaw created.

The conclusion summarizes the findings of the study.

The "discussion play" was an innovative, experimental genre created by Shaw. As is known, the formation of the “discussion play” genre took place in two directions: the rejection of the technique of a “well-made play” and the development of the ideological and artistic achievements of the “new drama”.

Elements of Ibsen's tradition underwent a number of functional transformations in Shaw. The discussion was finally assimilated into action. Experimenting in the field of dramatic technique, he first introduces elements of discussion into the structure of plays (“Candida”, “Man and Superman”, etc.), eventually coming to the creation of a new genre of “discussion play” (“Major Barbara”, “Introduction to Marriage", "Unequal Marriage", "Heartbreak House").

21 Bepobsh 1L. Te rbuy-ptsmpy yae^oG Vetag<1 5Ьаи>. - Carberta1e: BS Rheav, 1991. P.125.

Intense discussions help the author clarify the positions of representatives of different social groups, psychological moods of the era, create a polyphonic figurative system. The characters reveal themselves, develop and become more complex as the discussion progresses.

The specificity of the genre created by Shaw assumed the presence of a plot-forming discussion in the collision of different points of view and their bearers. According to the playwright, the result of a lively debate should be not so much a solution to the stated problem, but rather its formulation and paradoxical development, which is what Shaw’s “new drama” envisioned. In addition, the main components of the poetics of the “play-discussion” genre include the weakening of external action and the strengthening of “action-reflection”; expansion of the chronotope; conflict built on the clash of ideas; open ending; absence of rigid binary oppositions in the system of images; using the technique of retrospection; genre diffusion.

Thus, the “discussion play” is an independent genre of “new drama”, formed in the dramaturgy of Shaw in the middle period of his work and transformed into the genre of “drama of intellectual fantasy” in the late period of his work.

1. Trutneva A.N. “Unequal Marriage” by B. Shaw as a “discussion play” / A.N. Trutneva // Bulletin of Vyat GSU. No. 2 (2). - Kirov: Vyat GSU, 2010. P.172 -174.

2. Trutneva A.N. B. Shaw about the art of cinema / A.N. Trutneva // Bulletin of Nizhny Novgorod University. N.I. Lobachevsky. No. 4 (2). - N. Novgorod: Nizhny Novgorod State University, 2010. P.969-970.

3. Trutneva A.N. Idealist, realist and philistine in B. Shaw’s play “Major Barbara” / A.N. Trutneva // World of science, culture, education. No. 6 (25). -Gorno-Altaisk, 2010. P.60-62.

4. Trutneva A.N. B. Shaw's play “Man and Superman”: philosophy in the form of discussion / A.N. Trutneva // Kazan science. No. 9. - Kazan: Kazan Publishing House, 2013. P.213-215.

Publications in other scientific publications:

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6. Trutneva A.N. Marriage as a social convention in B. Shaw’s play “Getting Married” / A.N. Trutneva // Science of the Young. Interuniversity collection of scientific works of young scientists. Issue 2. - Arzamas: AGPI, 2010. P.204-209.

7. Trutneva A.N. B. Shaw: some aspects of worldview / A.N. Trutneva // Progressive technologies in mechanical and instrument engineering. Interuniversity collection of articles based on the materials of the All-Russian Scientific and Technical Conference. - Nizhny Novgorod - Arzamas: NSTU - API NSTU, 2010. P.526-532.

8. Trutneva A.N. B. Shaw's play “Major Barbara” (some features of poetics) / A.N. Trutneva // World literature in the context of culture: Collection of scientific works based on the results of the XXII Purishevsky readings. -Moscow: MPGU, 2010. P.99-104.

9. Trutneva A.N. B. Shaw's play “Candida” and the Pre-Raphaelites / A.N. Trutneva // Foreign literature of the 19th century. Current problems of study: Collection of articles and materials of the XXIII Purishevsky readings. - Moscow: MPGU, 2011.P.116-117.

10. Trutneva A.N. Plays by A.U. Pinero in the assessment of B. Shaw / A.N. Trutneva // Foreign literature: problems of studying and teaching: interuniversity collection of scientific works. Issue 4. - Kirov: VyatSTU, 2011. P.81-84.

11. Trutneva A.N. B. Shaw's play “Candida” in the context of Pre-Raphaelite aesthetics / A.N. Trutneva // World literature in the context of culture: Collection of scientific works based on the results of the XXIII Purishevsky readings. - M.: MPGU, 2011. P.74-80.

12. Trutneva A.N. “Discussion Play” by B. Shaw (to the problem of genre) / A.N. Trutneva // XVII Nizhny Novgorod session of young scientists. Humanitarian sciences. - Nizhny Novgorod: National Research University RANEPA, 2012. P. 162-164.

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Signed for publication on March 26, 2015. Format 60x84"/16. Offset paper. Screen printing. Educational sheet. 1.0. Circulation 100 copies. Order 213.

Nizhny Novgorod State Technical University named after. R. E. Alekseeva. Printing house of NSTU. 603950, Nizhny Novgorod, st. Minina, 24.

3. Tomashevsky B.V. Theory of Literature. Poetics. M.; L., 1931.

4. Bent M.I. German romantic novella: genesis, evolution, typology. Irkutsk, 1987.

5. Demchenko V.D. Heinrich Kleist and the German romantic novella. On the typology of the genre: dis. ...cand. Philol. Sci. Dnepropetrovsk, 1976.

6. Paznyak L. K. Novels from modern life by L. Tick (On the problem of composition, creative method, hero): abstract. dis. ...cand. Philol. Sci. M., 1974.

7. Erne N. Kunst der Novelle. Wiesbaden, 1956.

8. Klein J. Geschichte der deutschen Novelle von Goethe bis zur Gegenwart. Wiesbaden, 1960.

9. Kunz J. Die deutsche Novelle zwischen Klassik und Romantik. Berlin, 1966.

10. Wiese B. v. Die deutsche Novelle von Goethe bis Kafka: Interpretationen: in 2 Bd. Düsseldorf, 1967.

11. Goethe I.V. Conversations of German emigrants // Collection. cit.: in 13 vol. M.; L., 1934. T. 6. P. 188.

12. Salzer A, Tunk E. v. Illustrierte Geschichte der deutschen Literatur in 6 Bänden. Frechen, 1998. Bd. 3. S. 303.

13. Schlegel F. Aesthetics. Philosophy. Criticism: in 2 volumes. M., 1983. T. 1. P. 420.

14. Quote. by Greshnykh V.I. Early German Romanticism. Fragmentary style of thinking. L., 1991. P. 14.

15. Tieck L. Schriften. Berlin, 1828. Bd. XI. S. 436.

16. Paznyak L.K. Decree. Op. P. 10.

17. Ivanova E. R. Modernization of the short story genre in the literature of the German Biedermeier // Historical poetics of the genre: collection. report All-Russian scientific conf. Birobidzhan, 2006. pp. 76-77.

18. Quote. by Gugnin A. Heise P. Novella. Spitteler K. Selected works // Panorama. M., 1999. P. 139.

19. Boccaccio G. Novella // Decameron. M.: Hu-dozh. lit., 1989. P. 354.

20. Heyse P. Andrea Delfin. Access mode: http://gutenberg.spiegel.de

21. Ibid.

22. Ibid.

23. Ibid.

24. Heyse P. Ein Ring. Access mode: http://gutenberg.spiegel.de

25. Ibid.

26. Ibid.

A. N. Trutneva

“UNEQUAL MARRIAGE” B. SHOW AS A DISCUSSION PLAY

Shaw was constantly experimenting with theatrical form throughout his long career as a playwright. Subtitled "A Debate in One Sitting", Misalliance (1908) represents debates, enlivened by some farcical elements. It is the discussion that became "the main technical factor" in the new play.

Throughout his career, Shaw experimented with dramatic form. The play "Not

© Trutneva A. N., 2010 172

Equal Marriage" (1908), the genre of which he defined as a discussion play, is a "debate" animated by elements of farce. It was the discussion that became “the main new technical technique” for constructing the play.

Key words: dramatic genre, discussion, debate, farce.

Keywords: theatrical form, discussion, debate, farce.

Bernard Shaw (1856-1950), one of the reformers of the English stage, tried his hand at various dramatic genres, which he defined in subtitles. The discussion play, which Shaw considered as a dramatic form adequate to modern times, was a “topical comedy” (“Red Tape,” 1893), “mystery” (“Candida,” 1894), “melodrama” (“The Devil’s Disciple,” 1896), “comedy with philosophy” (“Man and Superman”, 1901), “tragedy” (“The Doctor’s Dilemma”, 1906), etc.

During his long career, Shaw constantly experimented with dramatic form, be it melodrama (The Devil's Disciple) or historical play (Caesar and Cleopatra, 1898); includes small completed works in the play (“Man and Superman”, 1901), expands the time limits of the production to eight hours (“Back to Methuselah”, 1918-1920). According to the Canadian researcher K. Inns, the “special genre” created by Shaw was the discussion play, and one of the “most daring experiments” was the play “Unequal Marriage” (“Misalliance”, 1910). A similar idea (but two decades earlier) was expressed by A. G. Obraztsova, calling this play (like “Getting Married”, 1908) works of an “openly experimental nature.”

Shaw worked on the text from September 8 to November 4, 1909, and the play premiered on February 23, 1910 at the Duke of York Theater as part of Charles Frohman's theatrical season. In his stage interpretation, the play lasted only 11 theatrical performances. Repeated dramatizations in England were carried out by other directors only in 1930 and 1939. . Shaw defined the genre of “An Unequal Marriage” as a discussion play or “debate in one sitting.” Shortly before finishing work on this work (October 3, 1909), he informed J. Vedrenn, the director and one of the leaders of the Court Theater, that the play was an “endless conversation”: “For this, I, as a playwright, did everything in my strength."

Not all literary and theater critics of the early 20th century. took an unconventional approach to the structure of a dramatic work. So, M. Beerbohm in the note “Mr. Show Debates”

A. N. Trutneva. “Unequal Marriage” by B. Shaw as a play-discussion

believes that “the “debate” is not presented skillfully enough from an artistic point of view,” the play makes a “strange impression,” and the characters - women and men - resemble the heroes of an old-fashioned commercial drama. “I don’t blame him for wanting to write ‘debates’ instead of plays,” says Beerbohm. -But for debates to withstand the demands of the stage, they must take on an artistic form: have a central point, develop, must be about something and lead to something. "An Unequal Marriage" is about everything that happened to come into Mr. Shaw's head. The action does not develop and does not even go in a circle, it spreads out.”

American theater critic K. Hamilton in the chapter “The Laziness of Bernard Shaw” calls the play “a long and incoherent discussion”, and all the characters (there are nine of them) “ventriloquist dolls”, “crazy people”. Critics complain that the discussion in the play is drawn out, inconsistent, and it is impossible to identify one central theme. Shaw does not agree with such reproaches: “Critics protest in vain. They argue that discussion is not stagey, that art should not teach. However, neither playwrights nor the public pay the slightest attention to them.” After the premiere of Unequal Marriage, Shaw stated: “I want everyone to know that in Unequal Marriage I retained, reproduced and emphasized every feature that the critics did not like. I again returned to the classical form, maintaining all the unities - no division into acts, changes of scenery, stupid plot, not a fraction of what critics call action, nothing except Shaw himself and very good acting." Shaw's original aesthetic position remains unchanged - “a play without a dispute and without a subject of dispute is no longer rated as a serious drama.” Shaw expressed this point of view in his “experiments with disputes leading to nowhere.” In a letter to the American actor William Faversham dated April 19, 1917, he says: “There is nothing tricky in my plays. I won't change anything about A Marriage or The Devil's Disciple unless I change my view of them, which is unlikely."

"An Unequal Marriage" is "a system of dialogues enlivened by farcical and theatrically daring inclusions." Events take place on the estate of John Tarleton (“underwear manufacturer”) over the course of one partial day - from early morning until lunch. The play begins with Bentley Samerkhai's proposal to “argue on some intellectual topic.” Those gathered at Tarleton's country house discuss such modern issues as

we, as social conventions, love, marriage, death, father-child relationships, literature, etc. Tarleton, a successful businessman, organizer of public libraries, recommends his guests and family members to read Darwin, Ibsen, Kipling, Nietzsche, Whitman, Shakespeare , Schopenhauer and other leaders of modern thought. Naughty Hypatia, Tarleton’s daughter, is dissatisfied with the ongoing discussion: “They talk, talk, talk all the time... there is no end to the conversations...” (note that on May 7, 1908, a few days before the premiere of the play based on this play, Shaw reported in an interview newspaper "Daily Telegraph": "It will only be conversation, conversation and more conversation." Hypatia expresses the same thought). She is engaged to Bentley, but with the home invasion of pilot Joe Percival and his Polish passenger Lina Szczepanowski, Hypatia has a more lucrative marriage option.

The acrobat Lina Szczepanovska, who arrived with Joe, represents the female type, in which external attractiveness is combined with courage, intelligence and strength (Hypatia defines such a combination of qualities as “husband-woman or wife-man”). Lina is physically and mentally superior to other women. It is no coincidence that feminist Lena Ashwell played this role in the first production of Unequal Marriage. The "post-Bsenist" figure of a strong woman stands at the center of "An Unequal Marriage", as well as other works of this period ("Coming into Marriage"; "Fanny's First Play", 1911). Before Lina's arrival (in a male pilot's suit), the play represented only "words and thoughts", after her appearance it was subordinated to action.

The playwright turns everyday conversations into an exploration of life. The characters involve each other in an argument, the debate develops rapidly, ideas arise one after another, and each becomes the main one at a certain stage of the conversation. The opposition between Bentley and Hypatia's brother Johnny, representing "brains" and "brawn" respectively, occupies an important place at the beginning of the play. Johnny tries to show his physical superiority, and the characters' discussion about what is most valuable in a man - mental abilities or a "fist" - develops into a quarrel. In contrast, the pilot Joe, who “fell from the sky,” has both intelligence and “muscles” and attracts Hypatia with a harmonious combination of physical and intellectual development as an example of a “real man.” With the arrival of Mrs. Tarleton, the topic of conversation changes, and a discussion begins of the current situation of the aristocracy. When the whole family, led by Mr. Tarleton, gathers, the discussion takes on a socio-philosophical character, with one topic following another - scientific

an explanation of death, the idea of ​​a superman, the benefits of reading, etc. Drama arises from the clash of ideas and opinions: Mr. Tarleton talks with inspiration about death, while his wife suggests not touching on this “forbidden” topic; The bourgeois Tarleton is reluctant to listen to Lord Summerhis's arguments about "aristocratic Democracy", their opinions on modern politics differ sharply.

The play uses a new - “Ibsenian” - principle of organizing a dramatic conflict based on “external manifestations of the mental life” of the characters. Events - a plane crash and a stranger breaking into a house young man- become just another reason to continue the discussion, serve as “hooks” on which you can “hang” conversations about youth, old age, marriage, death, etc.

The "realistic seriousness" of the traditional problem play disappears as Shaw shows liberation from bourgeois conventions in the form of "comic surprise". Dramatic situations "compete with each other in comedic sophistication." The pathetic bank employee Mr. Baker waving a pistol and the successful businessman Tarleton practicing on the trapeze look funny. The show demonstrates “the internal implausibility of the situation despite all the apparent external plausibility” by resorting to buffoonery techniques. So, Hypatia, “the daughter of a respectable merchant,” invites the “handsome” Percival to play with her. A decent girl from good society, who is “bored to death with decency,” makes him run after her around the house, drags him into the greenhouse and then, in the presence of the whole family, accuses him of committing an “unseemly act.”

Lina's acrobatic and balancing acts in a pilot's overalls, the running of Hypatia and Percival, Tarleton's trapeze exercises, Bentley's ostentatious hysterics generate dynamism - a characteristic feature of farce, the traditional techniques of which Shaw actively uses: recognition, dressing in the most inappropriate costumes, cunning tricks, lies, mutual misunderstanding, etc. Ridiculous situations follow one after another: Lord Summerhaize confesses his love to Hypatia, Tarleton proposes to Lina and is refused; a young socialist clerk, avenging the insulted honor of his mother, hides in a Turkish bath, etc. “The atmosphere of intellectual duels and bold revelations” creates new possibilities for farce.

The discussion is “intertwined with the action from beginning to end” and becomes for Shaw “the chief of the new techniques” of post-

swarming of the play. Shaw prefers to discuss contemporary issues in a provocative manner. The combination of individual genre varieties of drama to reveal the social and psychological contradictions of his time is a feature of Shaw’s dramaturgy, and this feature is clearly revealed in the play “Unequal Marriage.”

Notes

1. Innes C. D. The Cambridge Companion to George Bernard Shaw. Cambridge University Press, 1998. P. 163.

2. Ibid. P. 164.

3. Obraztsova A.G. Bernard Shaw and European theatrical culture at the turn of the 19th-20th centuries. M.: Nauka, 1974. C. 315.

4. Gibbs A. A Bernard Shaw Chronology. Palgrave Macmillan, 2001, pp. 186-187.

5. Charles Frohman (1860-1915) - American theater director. Staged Shaw's plays "The Address of Captain Brasbound" in New York in 1907 and “Unequal Marriage” in London in 1910. See: Gibbs A. Decree. Op. P. 356.

6. Evans T. F. George Bernard Shaw: the Critical Heritage. Routledge, 1997. P. 200.

7. In America, the play “Unequal Marriage” was staged on September 27, 1917. See: Gibbs A. Decree. Op. P. 226.

8. Evans T. F. Decree. Op. P. 10.

10. Ibid. P.200.

11. Ibid. P. 202.

12. Hamilton C. Seen on the Stage. Biblio Bazaar: LLC, 2008. P. 57-122.

13. Ibid. P. 61.

14. Ibid. P. 62.

15. Shaw B. Quintessence of Ibsenism // Shaw B. About drama and theater. M.: Foreign publishing house. lit., 1963. P. 65.

16. The New York Times. Feb 27, 1910.

17. Shaw B. Quintessence of Ibsenism. C. 69.

18. Babenko V. Dramaturgy of modern England. M.: Higher. school, 1981. P. 21.

19. Shaw V., Laurence D. Selected Correspondence of Bernard Shaw. V. 1. University of Toronto Press, 1995. P. 134.

20. Ibid. P. 136.

21. Baldick C. The Oxford English Literary History: 1910-1940. The Modern Movement. V. 10. Oxford University Press, 2004. P. 121.

22. Shaw B. Complete collection of plays: in 6 volumes. T. 3. L.: Art, 1979. P. 525-617. The following text is quoted from this edition.

23. Evans T. F. Decree. Op. P. 10.

24. Gibbs A. Decree. Op. P. 340.

25. Jain S. Women in the Plays of George Bernard Shaw. Discovery Publishing House, 2006. P. 91.

26. Khalizev V. E. Drama as a kind of literature. M.: MSU, 1986. P. 127.

27. Baldick C. Decree. Op. P. 121.

28. Ibid. P. 120.

29. Obraztsova A. G. Dramatic method of Bernard Shaw. M.: Nauka, 1965. P. 200.

30. Ibid. P. 191.

31. Babenko V. Decree. Op. P. 19.

32. Shaw B. Quintessence of Ibsenism. C. 69.

Whether or not this publication is taken into account in the RSCI. Some categories of publications (for example, articles in abstract, popular science, information journals) can be posted on the website platform, but are not taken into account in the RSCI. Also, articles in journals and collections excluded from the RSCI for violation of scientific and publishing ethics are not taken into account."> Included in the RSCI ®: yes	The number of citations of this publication from publications included in the RSCI. The publication itself may not be included in the RSCI. For collections of articles and books indexed in the RSCI at the level of individual chapters, the total number of citations of all articles (chapters) and the collection (book) as a whole is indicated."> Citations in the RSCI ®: 0
Whether or not this publication is included in the core of the RSCI. The RSCI core includes all articles published in journals indexed in the Web of Science Core Collection, Scopus or Russian Science Citation Index (RSCI) databases."> Included in the RSCI core: No	The number of citations of this publication from publications included in the RSCI core. The publication itself may not be included in the core of the RSCI. For collections of articles and books indexed in the RSCI at the level of individual chapters, the total number of citations of all articles (chapters) and the collection (book) as a whole is indicated."> Citations from the RSCI ® core: 0
Journal-normalized citation rate is calculated by dividing the number of citations received by a given article by the average number of citations received by articles of the same type in the same journal published in the same year. Shows how much the level of this article is above or below the average level of articles in the journal in which it was published. Calculated if the RSCI for a journal has a complete set of issues for a given year. For articles of the current year, the indicator is not calculated."> Normal citation rate for the journal:	Five-year impact factor of the journal in which the article was published, for 2018."> Impact factor of the journal in the RSCI:
Citation normalized by subject area is calculated by dividing the number of citations received by a given publication by the average number of citations received by publications of the same type in the same subject area published in the same year. Shows how much the level of a given publication is higher or lower than the average level of other publications in the same field of science. For publications of the current year, the indicator is not calculated."> Normal citations by area: 0