By Vera Zubarev(aka Ulea) PhD
Making use of platforms concept to the comedies of Chekhov, Balzac, Kleist, Moliere, and Shakespeare, an idea of Dramatic style and the Comedy of a brand new sort: Chess, Literature, and picture methods dramatic style from the viewpoint of the measure of richness and energy of a character’s strength. Its major concentration is to set up a technique for studying the aptitude from multidimensional views, utilizing structures considering. the full notion is a substitute for the Aristotelian plot-based process and is utilized to an research of western and japanese eu authors in addition to modern American film. This leading edge research contains 3 components: the 1st half is usually theoretical, featuring a brand new definition of the dramatic as a class associated with common platforms phenomena and providing a brand new type of dramatic style. within the moment half, Ulea bargains a textual research of a few works in keeping with this new class. She analyzes comedies, tragedies, and dramas at the related or comparable issues on the way to display what makes them belong to contrary kinds of dramatic genre. Additionally, she considers the query of destiny and likelihood, with reference to tragedy and comedy, from the perspective of the predispositioning conception. 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 total in drawing close the protagonist’s strength. She introduces the time period quasi-strong power which will display the illusory power of protagonists of the CNT and to teach the means of CNT’s research and synthesis. Ulea’s examine starts off with the idea of the comedian, generally thought of synonymous with the laughable, and makes an attempt to procedure it as self reliant from the laughable and laughter. the need to accomplish that is dictated by means of 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 variety: Chess, Literature, and picture, a very new method of capability and platforms thinking—which hasn't ever been a spotlight of dramatic idea earlier than. Such power 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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Additional info for A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film
Basic Works 1465; 1452a, 1–7). In Aristotle’s concept, the plot is seen as a principle that is intended to “move” characters. Consequently, characters, whose internal mechanisms of development are not taken into account, are equal to objects whose move- 13 14 Dramatic Genre as a General Systems Phenomenon ment depends on external causes (such as peripeteia and discovery). The echo of this philosophy can be found in Nietzsche’s destructive principle, and Schopenhauer’s principle of ruling characters and universe.
Not only is there no degree assigned to the initial parameter (seriousness), but there is no explicit discussion of the dual parameter (its evaluation). Katsenelinboigen’s system of measuring an entity: initial and dual parameters. As Katsenelinboigen states, entities consist of initial and dual parameters necessary for explicitly measuring the power of their impact on a system’s development. In analyzing any entity we distinguish both, as the initial objects (parameters), that is, elements, as the initial relations (parameters) between these elements.
Finding a combinational objective allows the player to focus all his energies on efficient execution, that is, the player’s analysis may be limited to the pieces directly partaking in the combination. This approach is the crux of the combination and the combinational style of play. (Concept of Indeterminism 57) In the combinational style, the player is not concerned with the creation of a predisposition for his future development since he is completely seized with the goal, which is a material objective.