What are the key episodes of "Dubrovsky". Episode analysis plan: what steps does it include?

In this article we will describe the key episodes of "Dubrovsky" - a work created by Pushkin. Let's start by introducing the main characters.

Troekurov and Dubrovsky

Kirila Petrovich Troekurov lives in the Pokrovskoye estate. This is a noble and rich gentleman. All the neighbors are afraid of him, knowing the tough character of this man, only Andrei Gavrilovich Dubrovsky, a poor landowner, a retired guard lieutenant and a former colleague of Kiril Petrovich, is not afraid of him. Both of them are widowers. Dubrovsky has a son, Vladimir, who serves in St. Petersburg, and Troekurov has a daughter, Masha, who lives with her father. Troekurov often says that he would like to marry his children.

Friends quarrel

The key episodes of "Dubrovsky" open with the discord of friends. An unexpected disagreement causes them to quarrel, and the independent and proud behavior of the main character further alienates them from each other. The omnipotent and autocratic Troyekurov decides to vent his irritation by plotting to take away the estate from Dubrovsky. He orders Shabashkin, the assessor, to find a “legal” way for this. He fulfills his wish, and Dubrovsky is finally called to resolve this case. These events are described in the work "Dubrovsky" by an episode in court.

In the presence of the parties at the court hearing, the decision is read, which is executed by many legal incidents. According to it, the Kistenevka estate, owned by Dubrovsky, passes into the possession of Troekurov. The former owner has a fit of madness.

Dubrovsky dies

The health of the elder Dubrovsky is deteriorating, and the old woman Egorovna, who looked after him, writes a letter to the landowner’s son in St. Petersburg, notifying him of what happened. Vladimir goes home, having received leave. The coachman on the road tells the young man about the circumstances of this case. At home he finds his decrepit, sick father.

Key episodes of "Dubrovsky" are ahead. And the story continues with Andrei Gavrilovich slowly dying. Troekurov, tormented by his conscience, sets out to make peace. At the sight of a guest, the ill landowner is overcome by paralysis. The sick man's son tells his neighbor to get out of their house, and then Dubrovsky Sr. dies.

After his funeral, the police chief and judicial officials come to Kistenevka to introduce Troekurov into ownership. The peasants refuse to obey him and want to deal with the officials. Vladimir Dubrovsky stops them.

Dubrovsky sets fire to the house

In his house at night he finds Arkhip, a blacksmith, who decided to kill the clerks, and Dubrovsky manages to dissuade him from this matter. Vladimir decides to leave his estate and also orders people to be taken out to burn the house. He sends Arkhip to unlock the doors so that officials can leave the house, but he violates the order and locks them. Dubrovsky sets fire to the house and leaves the yard, and the clerks die in the resulting fire.

News of the robbers

The main character is suspected of murdering officials and setting a house on fire. Troekurov begins a new case by sending a report to the governor. But here another event distracts everyone’s attention from Dubrovsky: robbers appeared in the province. They rob all the landowners, and only Troekurov’s property is not touched. Everyone believes that Dubrovsky is the leader.

Deforge

For Sasha, his illegitimate son, Troekurov from Moscow appoints Monsieur Deforge, a French teacher, who is greatly impressed by the beauty of Marya Kirilovna, his seventeen-year-old daughter. But the girl, who is a hired teacher, puts Deforge to the test by pushing him into the room along with a hungry bear (this is a common joke in dealing with guests in the Troekurov family). The teacher kills the beast. Masha is strongly impressed by his courage and determination. She becomes close to the teacher, and this closeness develops into love.

Holiday in Troekurov's house

The key episodes of "Dubrovsky" continue with the celebration in Troekurov's house. Guests come here. Over dinner the conversation turns to Dubrovsky. Spitsyn Anton Pafnutich, a landowner, one of the guests, admits that he gave false testimony in court at one time in favor of Kirilla Petrovich against Dubrovsky. One lady reports that the main character dined with her a week ago, and says that the clerk sent with money and a letter for his son returned and said that Dubrovsky had robbed him. However, he was caught in a lie by a former colleague of his late husband who came to visit. The clerk says that, indeed, Dubrovsky stopped him on the way to the post office, but did not rob him after reading his mother’s letter. There was money in the clerk's chest. The lady believes that the person who pretended to be her husband’s friend was Dubrovsky himself. However, according to her descriptions, she had a man about 35 years old, and Troekurov, meanwhile, knows for sure that the main character was 23 years old. This fact is confirmed by the new police officer who is dining with him.

This holiday ends with a ball. Anton Pafnutich decides to spend the night with Deforge in the same room, because he knows about his bravery and hopes that he will protect him in the event of an attack by robbers. However, at night he robs him and tells him that he is Dubrovsky. He met a Frenchman traveling to see Troyekurov, gave him money, and in return received the teacher’s papers. So Dubrovsky settled in Troekurov’s house.

Dubrovsky's date with Masha

Key episodes in the novel "Dubrovsky" continue with the protagonist's date with Masha. Spitsyn leaves the house in the morning without mentioning the incident. Marya Kirilovna falls in love with Deforge. One day he asks for a date. Masha appears at the appointed time, and he announces his imminent departure, revealing who he is. Dubrovsky says that he has forgiven the girl’s father.

Masha, returning to the house, finds alarm here, and Troekurov tells her that Deforge is Dubrovsky.

The Episode with the Ring

The next summer, Prince Vereisky returns to his estate. He amazes Masha with his beauty, but the girl does not want to marry him, thinking about the main character. We continue to describe the key episodes in the novel "Dubrovsky". The lovers meet at night and agree that Masha will not marry Vereisky. Dubrovsky gives her a ring as a farewell, saying that in case of trouble, she will need to lower it into a hollow tree, and the girl will know what to do.

On the eve of the wedding, Masha writes a letter to Vereisky, begging him to abandon her. But Kirilla Petrovich, having learned about the letter, schedules a wedding for another and orders the girl to be locked up. Sasha comes to her aid and takes the ring to the hollow. But the ragged boy, at the sight of him, tries to take possession of the decoration. The gardener helps out. On the way back, he meets Troyekurov, who, under threats, forces Sasha to talk about the assignment. He locks the boy, but soon he manages to get into Kistenevka.

Masha's wedding

Let us also note another important episode from “Dubrovsky” - the wedding. The young people set off for Arbatovo, but suddenly the carriage is surrounded on the road, and a man in a half-mask opens the door. The prince wounds him. They grab him and want to kill him, but Dubrovsky orders him not to touch him. The young man loses consciousness.

Dubrovsky is hiding in the forest with a gang of robbers. One day soldiers arrive, but the robbers defeat them. After this, Dubrovsky talks about his decision to leave the gang. He disappears. Rumor has it that he is somewhere abroad.

To analyze an episode of a literary work, you need to analyze in detail and conclusively all its aspects, which we present for you below in the form of a complete plan 1.

Define the boundaries of episode 2, give it a title.
Describe the event underlying the episode.
Name the main (or only) participants in the episode and briefly explain:
- who are they?
- what is their place in the system of characters (main, main, secondary, off-stage)?
Reveal the features of the beginning of the episode (and, accordingly, the ending).
Formulate the question, the problem that is in the spotlight:
- author;
- characters, especially if it is a dialogue episode.
Identify and characterize the contradiction (in other words, mini-conflict) underlying the episode.
Describe the characters participating in the episode:
- their attitude to the event;
- to the question (problem);
- to each other;
- briefly analyze the speech of the participants in the dialogue;
- analyze the author's explanations of speech, gestures, facial expressions, and poses of the characters;
- identify the characteristics of the characters’ behavior, the motivation for their actions (the author’s or the reader’s);
- determine the balance of forces, grouping or regrouping of heroes depending on the course of events in the episode.
Characterize the structure of the episode (what micro-episodes can it be divided into?); conduct a brief analysis of the compositional elements of the episode: its beginning, climax, denouement.
Identify artistic details in the episode and determine their significance.
Identify the presence of artistic descriptions: portrait, landscape, interior; characterize the features and meaning of these elements of the episode.
Understand the author's attitude to the event; correlate it with the culmination and idea of the entire work as a whole; determine the author’s attitude to the problem (detailed analysis) and the severity of the conflict in the author’s assessment.
Formulate the main idea (idea) of the episode.
Analyze the plot, figurative and ideological connection of this episode with other episodes or other elements of the structure of the work (with the author’s prefaces, prologue, epilogue, dedication, epigraph, inserted fragments, etc.).

Pay attention! The only proof of your rightness and argument for your reasoning can be a literary text. Therefore, any analysis of a literary work must include the use of quotations to the necessary and sufficient extent.

Let's look at an example. We offer you an already compiled, detailed problem-based outline for an essay on the analysis of the episode “The Battle of Borodino” from L. Tolstoy’s novel “War and Peace.” This plan is called problematic because its points constitute questions that are supposed to be answered in the essay. Read it carefully, following the logic of reasoning and their motivation. In order for the content of this work to be clearly understood, re-read the indicated chapters of L. Tolstoy’s novel.

PROBLEM ESSAY PLAN
Episode Analysis
"Battle of Borodino"
from L. Tolstoy's novel "War and Peace" (vol. 2, part 2, chapter 19-39)

Introduction:

We prove that the episode of the Battle of Borodino is the culmination of the depiction of war in the novel.
Let us briefly characterize its connection with the depiction of the war of 1805-1807. and with a description of the War of 1812.

Main part:

Which of the novel's heroes takes part in the episode?
1. Why is the battle shown through Pierre's eyes? What strikes Pierre on the eve of the battle (we quote)? What discoveries does he make on the Borodino field (we quote)?
2. How and for what purpose are Boris Drubetskoy and Dolokhov shown in the episode?
3. What thoughts and feelings possessed Prince Andrei on the eve of the battle (can be quoted)? Why was his meeting with Pierre unpleasant? (Briefly compare with the episode of Pierre’s arrival to Prince Andrei in Bogucharovo.) What does Prince Andrei think about military tactics, about Kutuzov, about the outcome of the battle (we provide quotes)?
What micro-episodes can this large episode be divided into? Let's briefly compare the micro-episodes "Pierre on the Battery" and "Prince Andrey in the Reserve". Why did Tolstoy decide the fate of the heroes this way?
How did Tolstoy see Kutuzov and Napoleon in this episode? How does he contrast them?
1. What techniques does Tolstoy use to reveal the characters of Napoleon and Kutuzov before the battle begins? What details of their appearance and behavior does he pay attention to? Be sure to include quotes.
2. How do Kutuzov and Napoleon behave during the battle? Let us show that they are opposed as commanders and as individuals (we can use the term “conflict”). We quote.
3. Why did Tolstoy consider Napoleon's actions to be the opposite of good and truth? We present the author’s judgments (in a detailed retelling or in a quotation.) We formulate the thoughts (ideas) of the author expressed in this opposition, and therefore in the entire episode.
4. How are Kutuzov and Napoleon connected in the “true-false” antithesis? Let us formulate the author’s thoughts on this issue.
How is Tolstoy's humanism manifested in his depiction of the Battle of Borodino?
1. What is the attitude of Prince Andrew, Pierre, Napoleon, and the author to the war? Here are the quotes.
2. Why does the episode begin and end with a landscape? We briefly analyze the landscape and draw conclusions.
3. How is the content of the word “peace” revealed in the episode? When else did it sound in a novel in this sense? (This will connect the episode to the main ideas of the novel and the meaning of its title.)
We reveal Tolstoy's skill in creating the episode:
1. Why, when describing the Battle of Borodino, does Tolstoy alternate scenes in which commanders and generals participate with those in the center of which are ordinary soldiers or fictional characters familiar to us? This is how you characterize the composition of the episode.
2. How is Tolstoy’s desire for generalization, on the one hand, and for detail and specificity, on the other, combined in the description of the battle?
3. Let us prove that Tolstoy, depicting the Battle of Borodino, acts as a historian, as a philosopher, as a realist artist and as a psychologist (it is advisable to use all these words in the essay).

Conclusion. We draw conclusions from the reasoning of the main part:

We prove that this episode is the compositional center of the novel.
What role does the episode play in the events described in the novel? We draw a conclusion.
What role does the episode play in the fate of the main characters of the novel (we are talking about those heroes who were discussed in paragraph 1 of the main part)? We draw a conclusion.
How were Tolstoy’s views on the role of the individual in history and the causes of military victories and defeats expressed in the episode? We draw a conclusion.

Pay attention! When working on an essay, including an analysis of an episode, draw up a plan of reasoning. A problem plan is preferable, as it allows you to immediately formulate problematic questions, detailed and evidence-based answers to which will form the bulk of your work.

It should be remembered that not all points of this plan must necessarily be worked out in the essay: it all depends on the nature of the episode and the availability of material for analysis in it. The choice of points and the content of the work depends entirely on your reader’s vigilance, the ability to determine the main thing in an episode, without which the analysis will not be complete, as well as your attention and degree of preparation.

An essay devoted to the analysis of an episode should begin with a general brief description of the content of the work.

Writing an essay is one of the most important and challenging tasks in your studies.

Let's consider the meaning of the word "with rank writing": it includes the root "-chin-", which means "order, hierarchy." That is, an essay is the ordering of thoughts, bringing them into proper order, dictated by the chosen topic and material of analysis.

An essay on literature is a special school literary genre, primarily a written analysis of literary works, and you need to start working on it small, for example, with episode analysis. Having learned this, you will master the specifics of handling a literary text, and work on the skills of literary analysis on a small amount of material, because the analysis of an episode is the analysis of a literary work in miniature. In addition, in order to deeply and fully reveal many topics in an essay, you need to be able to briefly or in detail analyze some episodes or scenes of the work.

Pay attention! In recent years, Russian schools have always offered essay topics during the final exam that are related specifically to the analysis of an episode of a literary work. Having mastered this work, you will thereby work on one of the topics of your final essay.

There are many tasks in this work that require a long answer. You can perform them either in the task window itself or in any text editor and then copy it to the answer window.

We remind you that it is better to first give all answers on paper and then transfer them to the computer.

Recommended reading for work 6:

How to write an essay. Comp. N.M. Elkina. - M., 1997.
Poltavets E. How to write an essay: For schoolchildren and applicants. - M.: ZAO IZD-vo EKSMO-Press, 2000.

Instructions

Determine the boundaries of the episode being analyzed. Sometimes it is already determined by the structure of the work (for example, a chapter in a prose work, a phenomenon in a dramatic work). But more often it is necessary to delimit the episode using information about the place, time of action and the participation of the characters in the work. Title the episode.

Name the characters of the work participating in the episode. Explain who they are, what place they occupy in the system of images (main, title, extra-plot). Find within the episode quotation material related to the portrait and speech characteristics of the characters, expressing the author’s assessment of the characters and their actions. Tell us about your personal relationship to the characters.

Formulate the problem posed by the author in the episode. To do this, first determine the topic of the fragment (what?), and then the conflict (between characters, the internal conflict of one character). Observe how the relations between the participants in this conflict develop, what goals they pursue and how to achieve them. Pay attention to whether the episode shows the result of their actions and what it is.

Consider the compositional structure of the episode: beginning, development of action, ending. Determine how the episode is connected to the subsequent piece of text. Find out whether the tension between the characters in the episode increases or whether the emotional background remains smooth and unchanged.

Determine the role of auxiliary artistic devices: lyrical digressions, descriptions of nature, figurative parallelism, etc.

Analyze the plot, figurative and ideological connection of the episode with other scenes, determine its place in the context of the work.

Analysis works– the process is synthetic. It is necessary to record your feelings and at the same time subordinate their presentation to strict logic. In addition, you will need to break down the poem or story into its component parts without ceasing to perceive it as a whole. An analysis plan will help you cope with these tasks. works.

Instructions

When starting to analyze any artistic works, collect information about the time and conditions of its creation. This applies to social and political events of that time, as well as the stage of development in general. Mention how the book was received by readers and critics of the era.

Regardless of type works it is necessary to determine its topic. This is the subject of the story. Also formulate the main problem that the author is considering - a question or situation that does not have a clear solution. In the context of one topic, several problems can be considered in a work.

Analyze the content and form of the book. If you have a poetic work in front of you, stop at the image of the lyrical hero. Tell us how it is created and described, what thoughts and feelings it expresses. Guess how far this is from the real, biographical author. Pay attention to the form works. Determine what size it is written in, what rhyme and rhythm the author uses, and for what purpose. Describe the tropes and figures found in the text and give names for each.

If you are analyzing an epic work, after identifying the themes and issues, name all the plot lines that are in the book. Then, for each of them, write down a plot outline (exposition, plot, development of action, climax, denouement).

Speaking of composition, pay attention to how all the parts are arranged works whether they are accompanied by the author’s reasoning (lyrical digressions), additional images and paintings, insertions of additional plots (“in the story”).

Describe the images of the main characters works, look at how they interact, how conflicts develop.

Next, determine the literary direction to which the book belongs and the genre works. Name the signs that indicate this. If the author somewhat violated the “canons”, tell us how and why he did it.

The ability to analyze a work of fiction is an indicator of reading culture. In this case, it is necessary to distinguish between academic analysis and reader analysis. In order to perceive the work not in the format of the educational process, you should try to delve not so much into the ideological and artistic originality, but into the motivation of the characters’ actions.

Instructions

In the process of reading a work of fiction, it is necessary to identify the main characters, determine the role of secondary characters and try to understand what role they are called upon to play in the fate of the main characters. It is necessary to highlight the author’s position on the characters and what is happening - this is not difficult. The author's attitude can be expressed in a certain emotional coloring of the description; sometimes the author acts as a full-fledged character. A classic example of the author's presence is “Eugene Onegin”.

When assessing the actions of the heroes of a work, it is necessary to start from the idea that this is a work of art and analyze the actions of the hero as a real person. Studying the “image of Pechorin,” a girl can ask herself a question: would she marry him if such an opportunity presented itself? The answer to this question will reveal the positive and negative aspects of the hero’s personality. With this approach to assessing a character’s personality, contradictions may arise with the traditional literary interpretation of the work, but this is a real opportunity to apply the skills of psychological analysis in reality.

When analyzing the storyline, it is interesting to fantasize and imagine the lives of the characters before they appeared on stage. Alexander Andreich Chatsky is traditionally considered a positive hero, not understood by “Famus society.” But if the released episodes are restored, the question of its “positivity” will be called into question. The hero was brought up in the Famusov family, was friends with Sophia, and then disappeared to an unknown location for several years. The play “Woe from Wit” begins with his return, and what does the reader see? An intelligent person begins to impose his vision of the world, demand an immediate revision of the key positions of Famus society, and most importantly, demands former love from Sophia and considers himself sincerely offended by not receiving a response. Is it possible that it was Chatsky’s incomprehensible absence that killed Sophia’s love?

The level of perception of a work of art is not limited to its analysis. We can talk about full perception if the reader can identify himself with the characters of the work, and this means through the prism of his own experience, modeling the situation and finding solutions to problems. It would be interesting to try to continue the work. What could be the future fate of the heroes? What would have happened to the characters if it had not happened, then, author? How would the heroes behave based on the characteristics that were identified during the analysis? What would have happened if Karandyshev had not killed Larisa, but only wounded her? Answers to such questions not only expand the understanding of the work, but also refer to the study of additional sources. Here we can already talk about the influence of reading culture on the general culture of the individual.

Video on the topic

Analysis of chapters 2 and 3, Dubrovsky, 1. Borders of the episode and its conventional title 2. Characters 3. Place and time of action 4. The essence of what is happening 5. Character of the characters: behavior, speech, actions 6. The role of the episode in the plot of the work

Answers:

2 Kirila Petrovich Troekurov, daughter Marya, adopted son Vanya, Andrey Gavrilovich Dubrovsky, son Vladimer

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EPISODE– (Greek “individual incident, event” is a relatively independent unit of action, which has a complete figurative solution and is built according to the laws of composition.

As a rule, several dissimilar materials are combined in it. The episode plays an important role in the architectonics of the TP: the unity of action is determined by the climaxes of the episodes. A script always consists of episodes, each of them has an internal logic of construction and must necessarily end before another episode begins. Knowing that the script consists of episodes, we can say that the movement of the author’s dramatic logic goes from one episode to another. An episode in a script is an artistic embodiment, a reflection of a particular problem in the action. Each episode contains aspects of the overall conflict. The expressive artistic means used in the episode are subordinated to the genre and style of the entire performance.

The junction between episodes can be purely editing, i.e. one episode is a semantic continuation of the other. The junction can be a poetic opening, expressed by any means, and a banal entertainer. Ideally, connections are not needed at all; it is necessary that the last number be a natural continuation of the other. The combination of numbers can be any, but it must be creative.

Brecht said: “It is necessary to connect individual events with each other so that the nodes are obvious; events should follow one another unnoticeably; The episode is like a small play." The episodes are given a title, the headings should contain the essence and determine the style of performance. A laconic, succinct title of an episode always indicates the definiteness of the theme, the specificity of its ultimate task, the role and place in the architectonics of the entire performance.
Sometimes performances are structured as a suite, i.e. successive numbers create the integrity of the image and the unity of action; there is no clear boundary between them. but most representations are characterized by division into numbers and episodes. In TP, figurative, scenic, artistic material is combined, “glued” with a fact of reality, documentary material.

Like the script as a whole, each episode has its own effective structure, expressed in the situation. The main thing is the climax of the episode, as the integration (unification) of the climaxes of all the numbers. The numbers are mounted in such a way as to activate the viewer's attention; the apparent plotlessness of the numbers within the episodes affects the perception of the entire work as a figurative and artistic specific form of reflecting important contradictions of reality.

EPISODE IN TP SCRIPT- this is a specific assembly-organized set of numbers (assembly units), united thematically and effectively into a single relatively complete structure.

EPISODE– (Greek “individual incident, event”) is a relatively independent unit of action, which has a complete figurative solution and is built according to the laws of composition.

Episode(Silin) - fusion, collage of multi-genre performances, film projections, documentary material as a result of which a new quality is born . A work of a completely new, synthetic, complex genre is being created. Episode- a microstructure complete in thought, possessing. its beginning of the conflict, its development and completion. Those. Hegel's triad lies at the heart of the episode. At the climax we take the brightest shots. arts works that will impact the viewer.

Episode – bridge - the link between the episodes. They should be small. This is a logical connection between the main episodes, a link between the previous and subsequent episodes, without which the transition from one to another would be incomprehensible.

Episode - touch- for additional disclosure of character or situation. Gives an additional shade, decorates with halftones. If you take it out, the course of action will not cease to be understandable.

Episode is a fragment that includes a complete moment of content.

An episode is a complex microstructure that has the beginning of a conflict, its development and completion. The episode must have a high artistic level. Have a documentary basis. Have an effective plot, a figurative solution. It has an internal logic of construction and must necessarily end before another episode begins. It is important for the director to find a way of presentation, i.e. find a director’s technique through which he will convey to the viewer the idea of a specific episode. Each episode contains aspects of the overall conflict. The expressive artistic means used in the episode are subordinated to the genre and style of the entire performance.

Dual character: an independent structural unit and at the same time part of the whole scenario.

There are 3 types of episodes:

As a rule, several dissimilar materials are combined in it. The episode plays an important role in the architectonics of the TP: the unity of action is determined by the climaxes of the episodes. Knowing that the script consists of episodes, we can say that The movement of the author's dramatic logic goes from one episode to another. An episode in a script is an artistic embodiment, a reflection of a particular problem in the action.

The episodes are given a title; the titles should contain the essence and determine the style of performance. A laconic, succinct title of an episode always indicates the definiteness of the theme, the specificity of its ultimate task, the role and place in the architectonics of the entire performance.

EPISODE IN TP SCRIPT – This is a specific assembly-organized set of numbers (assembly units), united thematically and effectively into a single relatively complete structure.

NUMBER is a separately completed stage work, compositionally balanced in all parts, with its own plot, climax and denouement.
FOR A VARIETY NUMBER IT IS CHARACTERISTIC:
1). A clear composition: a tempting premise, a sharp climax, an unexpected ending.
2). Refined external shape.
3). Laconism.
4). Showmanship: requires the use of specific means of expression, special scenography, bright costumes, props, clear and rapid rhythm, visual mise-en-scène.

PECULIARITIES:

I. SHORT-TERM, because the concert consists of many numbers, therefore:
They should immediately capture the viewer’s attention and should not have a long build-up;
The action develops rapidly;
The performers are required to have maximum concentration of action, paradoxicality;
The actor must immediately capture the audience's attention;
The character of the hero should be immediately clear;
The act must be designed for an immediate reaction from the audience;

THE PERFORMER is the basis of the performance, a specific person with his own unique personality.
The same number performed by different actors takes on its own sound;
The act is the creative expression of the actor;

In the script of a theater performance, the number is part of the episode. If in a concert the number is included in any order, then in the stage the theater. performance number is part of the script. You can't throw it away. It cannot be changed. The number becomes an integral part of the episode. This is no longer a number, but part of the action. The room acquires a new quality. In an episode, the number has to be redone and shortened. The performers of the act face a new acting task. The performer of the act becomes the protagonist of the episode. The main thing is the climax of the episode, as the integration (unification) of the climaxes of all the numbers. The numbers are mounted in such a way as to activate the viewer's attention; the apparent plotlessness of the numbers within the episodes affects the perception of the entire work as a figurative and artistic specific form of reflecting important contradictions of reality.