The concept of content and form of litas. Works, their relationship.

Content- This is the meaning of the work embodied in a special, figurative form. The study of various sides of the content leads from superficial, shallow judgments about the material chosen by the writer, to a loyal understanding of ideas, sentiment, the worldview of the writer, expressed in the work. The content of the literary work differ three sides: topic (themes,that is, the totality of topics) problem (issues,that is, the totality of problems) and copyright.

The form- This is a way to detect the content of literary works. The content of the work is always somehow decorated, outside the form, all content elements cannot exist.

Literary and artistic form is a complex and multifaceted phenomenon. Analysis of the form involves the study of the three main parties to the literary work: subject image, composition, speech system.

Subject image - the first component of the form is all the life phenomena depicted by the writer. The circle of these phenomena can be extremely wide: events that really happened in life and fictional, relationships between people, participants in the events with their biographies, material world.

Composition - the second component of the form. The analysis of the composition involves the study of relations between all sides of the form. It is the composition that clarifies the idea of \u200b\u200bthe writer, the "plan" implemented in the work.

The specifics of the literature as a type of art manifests itself in the third component of the form - speech strictly. The material of verbal creativity is the language. The language is like an analogue of paints of the painter, the sounds of the musician, the bronze of the sculptor, of any material, from which people create works of art. The form of literary works is distinguished by literature from all other types of speech activities: an informational message, a journalistic or scientific article, an abstract, report, etc. About the person and the surrounding world can be said differently; The writer talks about him so that, even repeating, relying with someone from predecessors or contemporaries, remains unique and unique. After all, the thoughts and feelings that the writer expressed in their work is inseparable from the newly created by him, only inherent in the artistic form.

Topic, idea, problem lit. Works. Eternal topics. Cultural and historical aspect topics.

The artwork is a system, the center of which is ideological and thematic content. Subject Text (from ancient Greek. Thema - "What is given, is based on") - this is a concept indicating which side of life the author pays attention to his work, i.e. Image object. To formulate the topic, you need to answer the question: "What is this work?". Very often the topic of the work is reflected in his title.

Unlike the topic, problem It is not the nomination of any phenomenon of life, but the formulation of the contradiction associated with this life phenomenon. In other words, the problem is the question for which the author is trying to respond in its work, aspect in which the topic is considered. For example, the problem of "grief from the mind" has a problem of the mind and happiness.

Idea (from Greek. The words "idea" - what can be seen) - the main idea of \u200b\u200bthe literary work, the author's tendency in the disclosure of the topic, the answer to the questions set in the text - in other words, then, for which the work is written. M.E. Saltykov-Shchedrin called the idea of \u200b\u200bthe soul of the work. The idea is always subjective (because brings the authors of the author's personality, its aesthetic and ethical views, sympathies and antipathies) and the odds (that is, it is not rational, but through the images, permeates the whole work). The idea is not presented in the artistic text explicitly, that is, obviously; To see it, to understand, it is necessary to analyze in detail and deeply. If the product of the literature is created by a great master, it will differ in the wealth of ideological content.

Thus, the topic, the problem and idea are the elementary components of three different, although interrelated, levels of artistic content of the literary work. The first - subject-thematic content of the work - constitutes its building material; The second is the problem - it organizes this largely "raw" material into a single artistic and aesthetic design of the whole; The third is the ideological and aesthetic concept - it completes this artistically organized unity by the system of copyright conclusions and assessments of an ideological nature.

Depicting in its product of the phenomenon of life, the author expresses its attitude to the subject of the image using different kindspaphos (from Greek. Pathos - inspiration, passion, suffering), or types of author emotionic : Heroic, Romance, Tragism, Comism, etc. Heroic Paphos It consists in approval of the magnitude of the admiration of a separate person or group of people. For example, in Odach M.V. Lomonosov, poem A.S. Pushkin "Poltava" created the image of Peter I, surrounded by heroic halo. Tragic pathos associated with the image of sharp internal contradictions and the struggle occurring in the consciousness and soul of man. Traged. Pafos finds an expression in the Poem Lermontov "MTSIRY": the reader becomes a witness to a deep contradiction between the romance. The thirst for freedom, the aspiration of the MTSI in the "wonderful world of anxiety and battles" and the inability to find the way into this world, the consciousness of its weakness, doomscence. Views comic - satire, sarcasm, irony, humor. Humor (From English. Humor - humor, temper, mood) is a special kind of comic, in which the author connects Komich. An image of an object or phenomenon with inner seriousness. See comicare also ironyand sarcasm. Irony- This is a form of comic, which involves superiority or condescension, skepticism or mockery. Sarcasm - This is the highest degree of irony, a judgment containing caustic, stinging mock over the pictured. Sentimental Paphos. Sentimentality literally translated from French means sensitivity. This is spiritual uncertainty caused by the awareness of moral advantages in the characters of people, socially humiliated or related to the immoral privileged medium. In lit. The works of sentimentality has ideological-affirming orientation. Romantically Paphos - The rise of romantic self-consciousness is caused by aspiration to the ideal of civil liberties. This is an enthusiastic state of the soul caused by the desire for an exalted ideal. The romantic hero is always tragic, he does not accept reality, is in the disaster with himself, he is a rebellion and a victim.

CATHARSIS (from Greek - cleansing, clarification, exemption of the soul from painful and unnecessary, and bodies from harmful substances) - The term introduced by Aristotle in the "poetics" related to his teaching about the tragedy and denoting the spiritual discharge of the viewer, which, competing events unfolding in The tragedies, feeling compassion for the heroes of the play, genuine fear for their destiny. This is an excitement and leads the viewer to the catharsis, that is, he clears his soul, elevates the surrounding reality and ultimately has a deep educational impact on him.

Composition lit. Works and its elements.

Composition - Building a artistic work due to its content, character and appointment and largely determining his perception. The composition is the most important organizing the component of the artistic form, which gives the work of unity and integrity, with the elements with each other and the whole. Composition Organizes the entire artistic form of text and operates at all levels: a figurative system, system of characters, artistic speech, plot and conflict, extra warfare.

The composition of the literary work is based on such a most important category of text as connectivity.

Types of composition.

1. Large 2.Mercal 3. Line.

Types of composition.

1. Forcessed (linear). 2. Subject (transformation).

The composition includes the alignment of characters, their system (in epic and dramaturgical works); The procedure for reporting events in the plot (plot composition); The alternation of the plot and extrapturate components of the narrative, the change of testers of the narrative in the epic works (author's speech, the narrative "from the first person", the dialogues and monologues of the characters, various types of descriptions: landscapes, portraits, interiors), as well as the ratio of chapters, parts, stanza, speech revolutions.

The elements of the composition of the literary work include epigraphs, initiations, copurnal, epilogues, parts, chapters, acts, phenomena, scenes, prefaces, and prefaces of "Publishers" (created by the author's imagination of outragets), dialogues, monologues, episodes, plug-in stories and episodes, letters , songs; All artistic descriptions are portraits, landscapes, interiors are also composite elements.

The composition is the construction of an artistic work. It is from the composition that the effect of the text produces to the reader depends, since the doctrine of the composition says: it is important not only to be able to tell the busy stories, but also to communicate them competently.

It gives different definition of the composition, in our opinion, the simplest determination is: the composition - the construction of a artistic work, the location of its parts in a certain sequence.
The composition is an internal organization of text. The composition is about how text elements are located, reflecting different stages of development. The composition depends on the content of the work and the purposes of the author.

Stages of development (composition elements):

Elements of the composition - reflect the stages of conflict development in the work:

Prologue -opening text, which opens the work, which precedes the main story. As a rule, thematically associated with the subsequent action. Often it is a "gate" of the work, that is, it helps to penetrate into the meaning of further narration.

Exposition - Prehistory of events underlying the artwork. As a rule, in the exposure, the characteristics of the main characters are given, their arrangement before the start of action, before the rigging. The exposition explains the reader why the hero behaves in this way. Exposure is direct and detainee. Direct exposure It is located at the very beginning of the work: an example is the novel "Three Musketeers" Duma, which begins with the history of the family of D'Artagnian and the characteristics of the young Gascon. Detained exposure It is located in the middle (in Roman I.A. Goncharov "Oblomov" The story of Ilya Ilyich is told in the "Sing of Oblomov", that is, almost in the middle of the work) or even at the end of the text (the textbook "Dead Souls" of Gogol: Chicchikov's life information The arrival in the provincial city is given in the last chapter of the first volume). The detainee exposure gives the work of mystery.

Tie action - This is an event that becomes the beginning of action. The tie or detects the already existing contradiction, or creates, "tying" conflicts. The Death of the Chief Hero is becoming the stronger in Evgenia Onegin, who forces him to go to the village and enter into inheritance. In the history of Harry Potter, the letter is an invitation letter from Hogwarts, which receives a hero and thanks to which he learns that he is a wizard.

The main action, development of actions -events performed by heroes after tie and preceding climax.

Culmination (from Latin Culmen - Top) - the highest stress point in the development of action. This is the highest conflict point when the contradiction reaches the greatest limit and is expressed in particularly acute form. The culmination in the "Three Musketeers" - the scene of the death of the Constance of Bonashe, in Evgenia Onegin, the scene of the explanation of Onegin and Tatiana, in the first story about the "Harry Potter" - a scene of victory over Volan de Mort. The more conflicts in the work, the more difficult it is to reduce all actions only to one climax, therefore there may be several culmination. The culmination is the most acute manifestation of the conflict and at the same time it prepares the union of action, so sometimes it can be prevalent. In such works it is difficult to separate the culmination from the junction.

Junction - The outcome of the conflict. This is the final moment in creating an artistic conflict. The disconnection is always directly related to the action and as it were, it puts the final semantic point in the narration. The denouement can resolve the conflict: so, in the "Three Musketeers" is a execution of Milady. The final omission in Harry Potter is the final victory over the Volan de Mort. However, the disconnection may not eliminate the contradiction, for example, in the "Eugene Onegin" and "grief from the mind", the heroes remain in difficult situations.

Epilogue (from Greekepilogos - Afterword) - Always concludes, closes the work. Epilogue is told on the further fate of the heroes. For example, Dostoevsky in the epilogue "Crime and Punishment" tells how the Raskolniki has changed at Katorga. And in the epilogue of "War and Peace" Tolstoy talks about the life of all the main characters of the novel, as well as how their characters and behavior changed.

Lyrical digression - Deviation of the author from Faba, author's lyrical inserts, few or not completely associated with the theme of the work. Lyrical retreat, on the one hand, inhibits the development of action, on the other, allows the writer in an open form to express a subjective opinion on various issues that have a direct or indirect attitude to the central topics. Such, for example, famous lyrical deviations in Evgenia Onegin Pushkin or "Dead Souls" Gogol.

Types of composition:

Traditional classification:

Straight (linear, consistent)– Events in the work are depicted in chronological sequence. "Woe from the mind" by A.S.Griboyedov, "War and Peace" L.N. Tolstoy.
Ring -the beginning and end of the work echoes each other, often completely coincide. In Evgenia Onegin: Onegin rejects Tatiana, and in the final of Roman Tatyana rejects Onegin.
Mirrorcombining the receptions of the repeat and opposition, as a result of which the initial and final images are repeated up to the opposite. In one of the first scenes of Anna Karenina, L. Tolstoy is depicted by the death of a person under the wheels of the train. This is how the scores with the life of the main heroine of the novel.
Story in the story -the main story tells one of the characters of the work. According to such a scheme, the story of M. Gorky "Old Man Izergil".

Classification of A.Besin (on the monograph "Principles and receptions of the analysis of the literary work"):

Linear - Events in the work are depicted in chronological sequence.
Mirrorprimary and final images and actions are repeated with accuracy on the contrary, opposing each other.
Ring -the beginning and finals of the works are echoing with each other, have a number of similar images, motifs, events.
Retrospection -in the course of the story, the author makes "retreat in the past". The story V.Nabokova "Masha" is built on this technique: the hero, having learned that his former beloved comes to the city, where he now lives, looking forward to meeting with her and recalls their epistolary novel, reading their correspondence.
Defaultabout the event that happened before the rest, the reader learns at the end of the work. So, in "Misley" by A.S. Pushkin, the reader learns about what happened to the heroine during her flight from the house, only during the junction.
Free -mixed actions. In such a product, it is possible to meet the elements of the mirror composition, and the default techniques, and the revision and many other composite techniques focused on keeping the reader's attention and strengthening artistic expressiveness.

Today we are talking on the topic: "Traditional elements of the composition." But first should be remembered what "composition" is. For the first time we meet with this term still at school. But everything flows, everything changes, gradually even the strongest knowledge is erased. Therefore, we read, the old, and the missing gaps we replenish.

Composition in literature

What is the composition? First of all, we appeal for help to an explanatory dictionary and learn that in the literal translation from Latin, this term means "drawing up, an essay." What to say without the "essay", that is, without the "composition", no artistic work is impossible (examples follow further) and no text as a whole. From here it turns out that the composition in the literature is a certain order of arrangement of parts of the artistic work. In addition, these are certain forms and methods of artistic image, which have a direct connection with the content of text.

The main elements of the composition

When we open a book, then the first thing we hope and that we anticipate is a beautiful entertaining story that will be surprised or to keep us in tension, and after a long time not to let go, forcing it again and again to mentally return to the read. In this sense, the writer is a real artist who primarily shows, and does not tell. He avoids direct text type: "And now I will tell." On the contrary, his presence is invisible, unobtrusively. But what needs to know and be able to such skill?

Composite elements - this is the palette in which the artist is a master of the word, mixes his paints so that in the future it turned out a bright, colorful plot. These include: monologue, dialogue, description, narration, image system, author's retreat, plug-in genres, plot, plot. Next - about each of them in more detail.

Monologic speech

Depending on how many people or characters in the artistic work are involved in speech - one, two or more, - a monologue, dialogue and polylog are distinguished. The latter is a kind of dialogue, so we will not stop on it. Consider only the first two.

The monologue is an element of the composition, which consists in using the author of speech by one character, which does not imply an answer or does not receive it. As a rule, it is addressed to listeners in a dramatic work or to themselves.

Depending on the function, the text distinguishes such types of monologue as: technical - description of the hero of the events currently occurring; lyric - transmission by the hero of its strong mental experiences; The adoption monologue is the internal reflection of the character, which is located in front of the complex choice.

The following types are allocated in the form: the author's word - the author's appeal to readers, most often through one or another character; The stream of consciousness is the free course of the thoughts of the hero as they are, without obvious logic and not adhering to the rules of literary constructing of speech; Dialectics of reasoning - the presentation of the hero of all for both against; Dialogue in solitude - a mental appeal of the character to another acting person; Apart - in dramaturgy a few words to the side, which characterize the present state of the hero; Stans are also in dramaturgy lyrical reflections of the character.

Dialogical speech

The dialogue is another element of the composition, a conversation of two or more actors. Usually, a dialogic speech is the perfect means of transmitting a collision of two configuring points of view. It also helps creating an image, personality disclosure, character.

Here I want to say about the so-called dialogue from questions that suggests a conversation consisting exclusively from issues, and the response replica of one of the characters is the question, and the answer to the previous remark at the same time. (Examples follow further) Hanmagomedov Aydina Asadullaevich "Frame" is a bright confirmation of this.

Description

What is a person? This is also a special character, and individuality, and a unique appearance, and the environment in which he was born was brought up and there is at the moment life, and his house, and things that he surrounds himself, and people, distant and relatives, and the surrounding His nature ... The list can be continued to infinity. Therefore, creating an image in a literary work, the writer should look at his hero from all possible sides and describe, without losing any detail, even more - to create new "shades", which cannot even be submitted. The following types of artistic descriptions are allocated in the literature: Portrait, Interior, Landscape.

Portrait

This is one of the most important compositional elements in the literature. He describes not only the appearance of the hero, but also its inner world is the so-called psychological portrait. Molly and portrait place in artistic work. A book or, on the contrary, may begin (A. P. Chekhov, "Ionch"). Maybe immediately after the execution of some kind of act (Lermontov, the "hero of our time"). In addition, the author can draw a character in one fell swoop, monolithic (Raskolniki in "Crime and Cashcoat", Prince Andrei in the "War of War and the World"), and another time and dispel the features of the text ("War and Peace", Natasha Rostov). Mostly the writer himself takes over the brush itself, but sometimes it provides this right to someone from the actors, for example, Maxim Maxima in the "Hero of Our Time" novel so that he described the Pechorin as much as possible. The portrait can be written ironically satirically (Napoleon in the "War of War and the World") and "sidelive". Under the "magnifying glass" of the author sometimes gets only a person, a certain part or all of becoming a figure, manners, gestures, clothes (brooms).

Description of interior

The interior is an element of the composition of the novel, allowing the author to create a description of the housing of the hero. It is no less valuable than the portrait, since the description of the view of the room, the situation, the atmosphere, reigning in the house - all this plays an invaluable role in the transfer of the characteristics of the character, in understanding the depth of the created image. The interior discovers a close relationship with which is the part through which the whole is familiar, and the unit, through which the multiple is seen. So, for example, Dostoevsky in the novel "Idiot" in the gloomy house Rogozhina "hung" the picture of the Golbaine "Dead Christ", in order to once again pay attention to the irreconcilable struggle of true faith with passions, with a worker in the soul of Rogozhina.

Landscape - Description of Nature

As Fedor Tyutchev wrote, nature is not what we imagine, she is not soulless. On the contrary, it is much hidden in it: both the soul, and freedom, and love, and language. The same can be said about the landscape in the literary work. The author with the help of such an element of the composition as a landscape depicts not only nature, terrain, city, architecture, but thereby reveals the state of the character, and opposes the naturalness of nature with conventional human beliefs, acts as a kind of symbol.

Recall the description of the oak when traveling Prince Andrei to the house to Rostov in the novel "War and Peace". How he (oak) was at the very beginning of the path - the old, sullen, "contempt" among smiling peace and spring birch. But at the second meeting, he unexpectedly bloomed, updated, despite the century of rigid bark. He still obeyed spring and life. Oak in this episode is not the only landscape, a description of the coming nature after a long winter, but also the symbol of the prince of change, the new stage in his life, which managed to "break down" who had already had a desire to be a rougom life in him before the end of his days .

Narration

In contrast to the description, which is static, nothing happens in it, nothing changes and in general it answers the question "What?" The story includes an action, the "sequence of events occurring" and a key issue for him is "what happened ? ". If we say figuratively, the narrative as an element of the composition of the artwork can be represented as a slideshow - a quick change of pictures illustrating any plot.

System images

As each person has its own network of lines on the pillows of fingers, forming a unique pattern, and each product has its own unique image system. Here you can include the image of the author, if there is, the image of the narrator, the main characters, the heroes of antipodes, minor heroes, and so on. Their relationships are built depending on the ideas and purposes of the author.

Copyright

Or a lyrical retreat is the so-called extrapty element of the composition, with which the identity of the author is ripening into the plot, thereby interrupting the immediate course of the storytelling. What is it for? First of all, to establish a special emotional contact between the author and the reader. Here the writer is no longer the role of a narrator, but opens his soul, raises deep personal questions, argues on moral, aesthetic, philosophical topics, shares memories from his own life. Thus, the reader managed to translate the spirit before the stream of the following events, stop and deeper into the idea of \u200b\u200bthe work, think about the questions pondered before him.

Plugged genres

This is another important composite element, which is not only the necessary part of the plot, but also serves as a more voluminous, deep disclosure of the character of the hero, helps to understand the reason for his one or another life choice, his inner world and so on. Inserts can be any genres of literature. For example, stories are the so-called story in the story (the novel "Hero of our time" "), poems, stories, poems, songs, fables, letters, parables, diaries, sayings, proverbs and many others. They can be both their own essay and someone else's.

Plot and Fabul

These two concepts often either confuse each other, or mistakenly believe that this is the same. But they should be distinguished. The plot is, it can be said, the skeleton, the basis of a book, in which all parts are interrelated and follow one after another in the order that is necessary for the full implementation of the copyright, disclosure of the idea. In other words, events in the plot can occur in different time periods. Fabul is the base, but in a more compressed form, and plus a sequence of events in their strict chronological order. For example, birth, maturity, old age, death is Fabul, the plot is maturity, memories of childhood, adolescence, youth, lyrical deviations, old age and death.

Scene composition

At the plot, just like the literary work itself, there are its own stages of development. In the center of any plot, there is always a conflict, around which the main events are developing.

A book from exposure or prologue begins, that is, with "clarification", describing the situation, that starting point, where everything began. Next, it is followed by the tie, you can say, the foresight of future events. At this stage, the reader begins to realize that the future conflict is no longer outside the corner. As a rule, it is in this part that the main characters are found, which are destined together, side by side pass through the coming tests.

We continue to list the elements of the plot composition. The next stage is the development of action. Usually it is the most weighty piece of text. Here the reader is already becoming an invisible participant in the events, he with all the sign, he feels, in which the salt of what is happening, but still intrigued. Gradually, the centrifugal force sucks him, slowly, unexpectedly for himself, it turns out to be in the very center of the waterproof. Culmination comes - the most peak, when both the main characters, and the real storm of feelings and the sea of \u200b\u200bemotions are collapsed on the reader himself. And then, when it is already clear that the worst behind and you can breathe, the junction is quietly knocking on the door. She chews everything, explains every detail, decides all things around the shelves - every place on his place, and the tension slowly falls. The epilogue also sums up and briefly describes the further life of the main and minor heroes. However, not all plots have the same structure. Traditional elements of the fairy-tale composition are completely different.

Story

The fairy tale is a lie, yes in it hint. What? The elements of the composition of the fairy tale are fundamentally different from their "fellow", although when reading, easy and relaxed, you do not notice. This is the talent of the writer or even the whole people. As Alexander Sergeevich instructed, reading fairy tales is simply necessary, especially common, because all the properties of the Russian language are concluded.

So what are they are traditional elements of a fabulous composition? The first words are a surcharge that sets up for a fabulous mood and promises a lot of miracles. For example: "There will be this tale to affect the morning before dinner, there are soft bread ..." When listening to relaxes, sitting more comfortable and ready to listen further, the situation is the beginning. The main characters, a place and time of action are presented, and another trait is also carried out, the dividing world into two parts is real and magical.

Next, the fairy tale itself is, in which repeats often meet to enhance the impression and gradually approaching the junction. In addition, poems, songs, sound-powered by animals, dialogues - all these are also integral elements of the composition of the fairy tale. The fairy tale also has its own ending, which seems to be summarized by all the wonders, but at the same time hints at the infinity of the magical world: "Live, live and fit."

Artistic form and content

Image as unity of content and shape

The image as the unity of emotional and rational (feeling and mind)

Any artist claims its works by a certain attitude of life. The question assigned a certain idea. Any work encompasses a certain thought rational start. The rational beginning is reasonable - reasonable, emotional and mental experience, spiritual excitement (joy, sorrow).

In the art, the idea, it is, first of all, an artistic idea, she calls first we have a certain feeling, and already on this basis awaken the thought, only rejoicing, outraging, we begin to talk about the experiences. This feature of the effect of art is explained by the fact that in an artistic form, rational is always inextricably linked with emotions. Sensual perception of the world is characterized only by a person. The possibility of artistic thinking is connected with this, only thanks to this work of art, awakening the emotional attitude contained in it, excites, and our thinking.

Spectator - Image - Emotion - Thought.

The artist - thought - emotion - image.

This is one of the most important laws creativity the necessary condition for the artistic work. Content and shapes are aesthetic categories expressing the ratio in the art of the inner spiritual ideological onset and its external immediate incarnation. In the works of art, the content and form are so close that separating the form from the content, it means to destroy the content and separating the content from the form means to destroy the form. The relationship of the content and shape is characterized by two moments.

1. The form of the artwork grows out of the content and is designed to serve its expression.

The artistic image serves to designate the connection between reality and art and is a product of the artist's thought. A genuine-artistic work is always distinguished by a great depth of thought, the significance of the problem set, an interesting form.

In an artistic image as an important means of reflection of reality, criteria (signs) of truthfulness and realism, connecting the real world and the world of art are concentrated. Artistic image gives us from one side to reproduce the validity of thoughts, feelings, actions, and on the other hand, it makes it with the help of funds characterized by convention. Truthfulness and conventions exist in the image together. Due to this, maybe art in general and choreography in particular, if everything is generalized in it? Due to the person inherent artistic thinking and perception, which is based on the sensual perception of the world. The main characteristic feature of this thinking Associativity.

Association- (from Latin compound) Psychological relationship arising between two and more psychological education, perceptions, ideas, ideas. The mechanism of the Association is reduced to the emergence of the connection of one sensation with others.

These associative bonds rely on the emerging ideas about the subjects, phenomena, on the already established phenomena, they are always subjective. Hence the difficulties of perception of an unfamiliar.

The balletmaster needs to be able to:

- combine the subjective perception of the world into one particular concrete image clear for all.

- have an imaging-metaphorical type of thinking and develop it from the viewer.

Metaphor - (from the Greek Language Transfer) This is an artistic technique based on the shaped convergence, similarity, reality phenomena. The portable value of one phenomenon, feeling to another with the help of awareness of their differences.

- the balletmaster must have an imaging-metaphorical type of thinking. Those to educate according to the search for content from reality, create a metaphorical imagery in the work.

The transfer of signs of one subject to another creates a new representation, a metaphorical image is created.

I look at- I think that we think with the help of the associations in the connection of chains - I begin to understand the content, laid down in the work, decipher its image, metaphor.

The imagery collapses and disappears:

- The artist copies the fact of reality (naturalism);

- formalism, when the artist completely shies away from the visual facts of reality, when the artist does not evaluate the content.

Artistic content

Artistic content - This is a truthfully expressed ideological and emotional attitude of the artist to reality in its aesthetic meaning, causing a positive impact on the feelings and mind of a person contributes to his spiritual development.

1. The topic (from the Greek word subject) is the most wide range of issues, problems of life phenomena, about which it is described in the work. The topic answers the question of what a work?

The topic of struggle;

Good and evil;

Historical;

Nature;

Children's

2. Idea (from Greek appearance, an image, a holistic meaning of the completed work). That the main thought that the author wanted to inspire, transfer the viewer and answers the question of what he wanted to say the author of the viewer?

In order to correctly formulate the idea, you need to put the question in the story drama "I want to tell the viewer that ...", in the excavory drama "I want to show the viewer image ...".

3. Plot(from a French subject) Communication of events in the plot reveals the movement of characters and feelings of a particular action and relationships of heroes.

Artistic form- This is an external expression of artistic content, a harmonic connection of parts and integer, elements and structures.

Harmony (from Greek consonance, consent) aesthetic category, denoting a high level of orderly manifold.

The form element is the composition (from the Latin language, compilation, compound).

Principles, i.e. The rules for constructing a form are the relationship and organization of parts of the work, the coented parts of the parts and the expression of the integer through the parts (the house from the cubes) embodies the connection to the characteristic image with the help of certain image-expressive means, which has every type of art.

The main stages of forming an artistic image is:

1. Image, banner - Here is the insight of the artist when the future work seems to him in the main features. From the plan largely depends on the further course of the creative process.

2. Image of the work - This is the specification of the image, the plan in the material. The work receives real existence.

3. Image of perception - This is the perception of an artistic work by the viewer, the main purpose of which is the understanding and disclosure of the ideological content of the work. Perception is the creation of the viewer and the artist.

Artistic image is the main result capable of deeply worrying a person and at the same time with this have a huge educational value.

The artistic image is indicated by the synthesis of the following components:

1. Music;

2. Composition;

3. Registration.

Without an image there is no dance, if the artistic image does not occur, there is just a set of movements.