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Главная » 2011 » Декабрь » 21 » Владимир Набоков. Эссе о драматургии (на англ. яз.) скачать читать книгу.
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chain is drawn still tighter around the throat of the tragic muse. In Soviet
tragedies, moreover, we get a special kind of dualism which makes them
well-nigh unbearable--in book form at least. The wonders of staging and
century, when the Art Theatre appeared, can certainly make entertainment
even out of the lowest trash. The dualism to which I refer, and which is the
most typical and remarkable feature of the Soviet drama, consists in the
Soviet tragedy must be that party emotions, emotions related to the worship
of the State, are above ordinary human or bourgeois feeling, so that any
form of moral or physical cruelty, if and when it leads to the triumph of
Socialism, is admissible. On the other hand, because the play must be good
melodrama, in order to attract popular fancy, there is a kind of queer
agreement that certain actions may not that is, mingled with the most traditional heroics of all times, we find the
rosiest sentimentalities of old-fashioned fiction. So that, in the long run,
the most extreme form of leftist theatre, notwithstanding its healthy looks
and dynamic harmonies, is really a reversion to the most primitive and
hackneyed forms of literature.
I would not wish, however, to create the impression that, if I fail to
be spiritually excited by modern drama, I deny it all value. As a matter of
fact, here and there, in Strindberg, in Chekhov, in Shaw's brilliant farces
(especially Candida ), in at least one Galsworthy play (for instance,
Strife ), in one or two French plays (for instance, Lenormand's
Dream ), in one or two American plays such as the first act of
Hour and the first act of Of Mice and Men nonsense)--in many existing plays, there are indeed magnificent bits,
artistically rendered emotions and, most important, that special atmosphere
which is the sign that the author has freely created a world of his own. But
the perfect tragedy has not yet been produced.
The idea of conflict tends to endow life with a logic it never has.
as an all-pervading class-struggle idea is untrue to history. Most of the
worst and deepest human tragedies, far from following the marble rules of
tragic conflict, are tossed on the stormy element of chance. This element of
audience as incongruous if, naturally, the earthquake has not been expected
start. The life of a tragedy is, as it were, too short for accidents to
rigidity is at least as ridiculous as the stumblings of chance. What even
horror of chance--not merely on its ridiculousness. And it is this secret
tragic muse. Otherwise, if only the rules of conflict and fate and divine
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