How to use stories and plays content Introduction

HOW TO USE STORIES AND PLAYS

Content

Introduction……………………………………………………………………3
Chapter I. The Origin and Evolution of the Comedy Genre

1. 
   The Beginning of the Comedy Genre……………………………………5
   
2. 
   The history of the development of the comedy genre in the work of Russian writers……………………………………………………………………..10
   

Chapter II. Literary direction and classification of genres in the comedy "Woe from Wit" by Griboyedov……………………………………………………..
2.1 The specifics of the comedy genre A.S. Griboyedov …………………………13
2.2 Traditional comedy "Woe from Wit" …………………..…………………20
Conclusion………………………………………………………………………23
BIBLIOGRAPHY ……………………………………………………………. 24
Introduction
Today marks the 220th anniversary of the birth of Alexander Griboyedov, author of the great comedy Woe from Wit . Pioneering at the time in his bold use of everyday language, his influence lives on through the vast number of aphorisms he gave to modern Russian. Starting with the portrayal of Griboedov, the age-old contradiction between the old and the new has become almost the main conflict in all of Russian literature. It should be noted that, despite Griboyedov's aversion to caricature, there are a number of unmistakable types in the play, which we will discuss later when discussing his use of commedia dell'arte figures. Nevertheless, Griboedov's relative emphasis on portraiture was an important development in Russian drama. Perhaps it is the complexity of the characters (and the mixed mood created by such characters) that distinguishes "Woe" from "Wit" and led to its enduring popularity, unlike other neoclassical comedies. The first sign of an intelligent person is to know at a glance who he is dealing with, and not to throw pearls in front of the Repetilovs and the like. In Woe from Wit, as in Chekhov's later plays, not a single character - not even Chatsky - is the owner of the complete and only truth. In addition to the complexity of the characters and the epistemological uncertainty stemming from undermined reason, Griboyedov's play counteracts another hallmark of Chekhov's tragicomedy - the constant misunderstanding and rupture between all the characters. Again, the initial perception of the play by Griboyedov's contemporaries turned out to be prophetic. There is not a single relationship in Woe from Wit that reflects genuine understanding, familial devotion, or love, suggesting that the rigid, predetermined roles and values of this society rule out the possibility of genuine relationships. In addition to the obvious function of comic relief provided by lower-level characters, the use of such figures emphasizes the limited destinies of all the characters in Woe from Wit and the useless theatricality of their lives. Thus, Griboyedov's play is not only a work of social criticism, but also a statement about human existence. Despite Griboedov's remark about his aversion to caricatures, we can certainly observe a number of standard characters in the play. Woe from Wit has long been considered either too moralistic or overtly political. Both of these readings are one-sided. Undoubtedly, criticism of the establishment is contained in Griboedov's comedy, but social criticism coexists with his other problems and, perhaps, is secondary to them.