By Vera Zubarev(aka Ulea) PhD
Utilising platforms idea to the comedies of Chekhov, Balzac, Kleist, Moliere, and Shakespeare, an idea of Dramatic style and the Comedy of a brand new kind: Chess, Literature, and movie ways dramatic style from the perspective of the measure of richness and power of a character’s strength. Its major concentration is to set up a strategy for interpreting the capability from multidimensional views, utilizing structures pondering. the complete thought is an alternative choice to the Aristotelian plot-based technique and is utilized to an research of western and japanese ecu authors in addition to modern American film. This cutting edge research comprises 3 elements: the 1st half is generally theoretical, offering a brand new definition of the dramatic as a class associated with basic platforms phenomena and providing a brand new type of dramatic style. within the moment half, Ulea deals a textual research of a few works in keeping with this new category. She analyzes comedies, tragedies, and dramas at the related or related issues in an effort to display what makes them belong to contrary varieties of dramatic genre. Additionally, she considers the query of destiny and likelihood, in regards to tragedy and comedy, from the viewpoint of the predispositioning idea. within the 3rd half, Ulea explores an research of the comedy of a brand new type—CNT. Her emphasis is at the integration of the half and the entire in drawing close the protagonist’s capability. She introduces the time period quasi-strong power so that it will exhibit the illusory power of protagonists of the CNT and to teach the means of CNT’s research and synthesis. Ulea’s study starts with the inspiration of the comedian, generally thought of synonymous with the laughable, and makes an attempt to strategy it as self sufficient from the laughable and laughter. the need to accomplish that is dictated via the will to penetrate the enigmatic nature of Chekhov’s comedy. the result's an idea of Dramatic style and the Comedy of a brand new style: Chess, Literature, and movie, a totally new method of power and structures thinking—which hasn't ever been a spotlight of dramatic conception ahead of. Such strength is the touchstone of the comedian and comedy, their everlasting uncomplicated attribute, the guts and axis round which the comedic international spins.
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Frye outlines five types of the hero’s power of action: (1) “superior in kind both to other men and to environment” (a divine being); (2) “superior in degree to other men and to environment” (the hero of romance); (3) “superior in degree to other men but not to his natural environment” (a leader); (4) “superior neither to other men nor to his environment” (“one of us”); and (5) “inferior of power and intelligence to ourselves” (33–34). As follows from this description, Frye establishes the degree of one’s power based on one’s interactions with other people.
In comoedia togata, called so according to the type of the characters, the costume of togas is desired. Comoedia Attelana is composed of witticisms and jokes, which in themselves have an old elegance. (29) Marvin T. Herrick notes: He [Donatus] also listed a variety of Roman dramatic forms, such as praetextata, togata, attellana, rhyntonica, tabernaria, mimus, without describing any of them in detail. Perhaps he deliberately avoided any explanation because he was not sure himself of what they were.
A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film by Vera Zubarev(aka Ulea) PhD