Ways to convey the internal monologue literary hero using the expressive means of the screen on the example of Chuck Palahniuk's novel " Fight club»

Introduction

monologue cinema novel

The transformation of ideas and images of one art by means of another has long been the most widespread in the history of culture. In particular, fiction is a multifaceted art, it is interconnected with painting and music, graphics and theater. How can one penetrate the mystery of a literary work? The problem of interpreting a work of art by other types of art continues to be extremely relevant at the present time. One of the forms of interpretation of a work of art, along with literary-critical and journalistic articles, biographical and literary monographs, and theatrical performances, is screen adaptation.

Both literary interpretations and film adaptations open up new aspects in the study and understanding of literary and artistic works. Screen adaptation "gives a lot for understanding the writer's work as a whole, its world significance, its role in the formation of modern artistic consciousness."

The relevance of the study is due to the fact that at present in the humanities there is a great interest in the nature of the synthesis of arts, that is, in the possibilities of creating artistic images of one type of art through images of other types of art. The problem of comprehending and reinterpreting the works of Russian classics through the embodiment of her works on the screen continues to be extremely relevant. This is due to the urgent need for Russian society for a new awareness of eternal artistic images. The interest of filmmakers, who appear as literary critics-interpreters, in particular, in the works of Chuck Palahniuk, is associated primarily with the relevance of philosophical, moral and social issues that were conveyed by the writer.

The subject of the study is a systematic study of the patterns of translation of artistic imagery from one type of art (fiction) to another (cinematography), determination of the correlation and mutual influence of the literary image of the hero’s internal monologue and its embodiment on the screen. The material for theoretical research was Chuck Palahniuk's novel "Fight Club", a film adaptation by David Fincher.

The object of study is the poetics of Chuck Palahniuk's novel "Fight Club". A special object is the ways of conveying the internal monologue of a literary character using the expressive means of the screen in David Fincher's film "Fight Club".

The purpose of this study is to reveal the points of contact between literature and cinema; explain the ways of interaction between literary and cinematographic means of conveying the hero's internal monologue; to illustrate the similarities and differences between literary images and film images.

To achieve the stated goal of the study, the following particular tasks are solved:

The definition of the essence of the internal monologue is given,

The internal monologue in the literature is analyzed,

The internal monologue in the cinema is considered,

The features of creating a pictorial structure are evaluated

films based on a literary script,

The concept of plasticity as an element of screen imagery is considered.

The functions of light on the TV screen are evaluated,

The dramaturgy of the color scheme of the screen work and the effective elements of editing are analyzed.

The ways of conveying the internal monologue in the novel Fight Club by Chuck Palahniuk are being studied.

The ways of transferring the internal monologue in David Fincher's film "Fight Club" are considered,

A comparison is made of the ways of conveying the internal monologue in the novel and the film adaptation.

The methodology of the dissertation research is determined by the peculiarities of the historical-theoretical, cultural-historical, structuralist and hermeneutic approaches.

1. Inner monologue

.1 The Essence of the Inner Monologue

One of the important elements of the composition of the work is an internal monologue, which indicates the significant role of the psychological principle in it. I.I. Crook believes that an interior monologue is a conversation, or rather a reflection, with oneself. N.I. Savushkina gives him a different interpretation, according to which, this is the state of a character immersed in his own spiritual world trying to understand himself and reflecting on deeply personal experiences and feelings. V.P. uses a different definition in his work. Anikin: inner speech every time conveys what the characters think about alone with themselves.

Consider the classification of internal monologues proposed by I.I. Crook. He identifies the following characteristic situations in which internal monologues are caused, one might say, by vital or worldly necessity, arise in the most natural way and seem quite appropriate and more than justified:

) their pronunciation precedes some act, the character, as it were, “plans” and motivates his actions;

) the unexpectedness of what is seen (heard) causes an appropriate emotional reaction in the character and results in an appropriate monologue;

) internal monologue compensates for the lack of action, while maintaining the dynamism of the plot.

It is also possible to identify a number of unaccounted for I.I. Crooked varieties of circumstances. Complementing I.I. Kruk, some scientists propose the following new classification of inner speech, in terms of its functional purpose.

She can:

) anticipate any intention, action, deed;

) express an immediate emotional reaction to an event that has just occurred;

) compensate for the lack of action;

) reflect the stream of consciousness of the character;

) represent the conversation of the hero with himself (auto-dialogue) in a question-answer form;

) take the form of rhetorical questions or statements in the form of questions that the hero poses to himself.

Three types of inner speech can be identified:

) visual - the hero sees something, and based on what he sees, draws conclusions to himself.

) auditory - the character of a fairy tale hears some sounds or someone else's speech and gives them his assessment, even in the form of a small replica, which can also be qualified as a kind of internal monologue. The interaction, which inevitably arises in the process of verbal communication of the participants in the dialogue, becomes, correspondingly transformed, a process, an event, a phenomenon that takes place "inside" the individual. His experiences are often indefinite and receive certainty only in the process of verbal communications with others.

) motor - the subject evaluates them before or after performing any actions.

The object of observation is an internal sign in the form of a word or speech, which can also become an external sign in the form in which the author proposes. The results of the hero's self-observation in the process of identifying what is happening must certainly be expressed by the writer to the outside through the internal monologue of the main character, which is most often maintained by the narrators in the form of direct or indirect speech. The inner world or the state of mind and psyche of the characters can be reproduced by the author himself. With indirect speech, the transition to the internal monologue is imperceptible. The reader's awareness that he is in the elements of someone else's inner world comes retrospectively, already in the process of his knowledge.

Inner speech is a product of planning and controlling speech actions to oneself. In this sense, it is close to thinking and can be considered as one of the forms of its implementation. Interesting in this respect is the theory developed by the famous English philosopher and psychologist R. Harre, who divides mental processes into 4 types:

) collective in the way they are implemented and public in the form of their expression;

) collective in the way they are implemented and private (private) in the form of their expression;

) private in the way they are implemented and private in the form of their expression;

) private, individual in the way of implementation, but public in the form of their expression.

Traditionally, only that which belongs to the third case was associated with the inner world or inner speech.

The internal monologue acts as the main method of revealing characters, penetrating into the spiritual world of characters, revealing what is important and valuable in them. In internal monologues, determined by the general aesthetic principles of the writer, acute social, moral, philosophical problems that concern society are expressed.

At the same time, it should be noted that only by combining various modifications of the internal monologue with other means of artistic analysis, one can achieve completeness, depth of reflection of the hero's inner world.

In modern literary criticism, there is an active theoretical understanding of the problems of the internal monologue, the classification of its varieties, the definition of the role and functions in works. Proceedings of V.V. Vinogradova, S. Zavodovskaya, M. Bakhtin, A. Esin, O. Fedotov and others clarified the controversial points associated with this expressive artistic technique, proved that internal

The monologue is a common device for all areas of modern prose, and not a typological feature of only modernist literature. But still in literary criticism there is no consensus on the definition of properties and classification of forms in which an internal monologue can appear.

For example, S. Zavodovskaya gives the following description of an internal monologue: “Internal monologue is a special style of prose that differs from traditional monologue speech in a number of ways, of which the most significant is the absence external signs logical progression of the story. The appearance of a direct recording of the thought process is created, while the stylistic features of speech “to oneself”, devoid of processing, completeness or logical connection, are preserved. In our opinion, the definition of S. Zavodovskaya is scientifically substantiated, but still not universal. The assertion that the signs of inner speech are preserved in all monologues is untenable. In the works there are monologues in a communicative form, in the form of the transmission of thoughts in a stylistically ordered, logically connected form, and not only in an immanent form.

V.V. Vinogradov wrote: “... the literary reproduction of inner speech cannot be naturalistic at all. It will always - even with the observance of possible psychological accuracy - there will be a significant admixture of conventionality.

In this work, the classification of internal monologues, the definition of their functions is carried out on the basis of empirical observations and does not pretend to be an exhaustive, undeniable analysis of the entire variety of forms and functions of this technique.

In reflecting acute social conflicts, in highlighting the true state of mind of the characters, in revealing their social and moral essence, in showing the evolution of consciousness, an important role belongs to internal monologues. Writers focus on internal conflicts, hidden from view psychological conflicts. Such an increase in attention to internal conflicts, spiritual quests, struggles of the individual expands the use of the internal monologue, enhances its role in the system of compositional and visual means. Internal monologue in various forms, modifications serves as a means of comprehending the dialectic of the hero's inner life. The works recreate various stages of the emotional and thought process. In some writers, in internal monologues, there are mainly the results of reflections, therefore they are logical, the flow of thoughts in them is given in an orderly manner. In others, only certain characteristic moments of reflection are transmitted, and not the entire psychological process in its complex course, while others seek to reproduce the reflections themselves, the very process of the evolution of consciousness in its natural course, in this case, signs of inner speech are preserved in its lower stage. But in the same work there may be internal monologues that reflect all of the listed stages of the thought process. The structure, the content of internal monologues in them depends on the temperament of the characters, on the specifics of the situation at the moment.

Traditionally, the author's speech connects an internal monologue with an objective story through the word "thought", gives an assessment of the hero's thoughts from the author's point of view, clarifies, supplements them, sets off the main idea of ​​the work. This helps in expressing a distinct authorial position, which may be fundamentally different from the position of the character put forward in the internal monologue.

An internal monologue is used when the writer needs to reveal the moral state of the hero at the moment he makes a vital decision. The internal monologue shows the complex, intense process of the work of consciousness. The impetus that sets the mind in motion is usually an important event in the character's life. Often the impetus that sets the hero's consciousness in motion is an accident.

One form of internal monologue is introspection, which becomes very important component in the spiritual development of the character. AT modern period there is a more attentive, deep approach to introspection, self-observation, self-assessment of one's "I" by the hero, carried out in close connection with the public, social environment. Sechenov believes that self-analysis gives a person the opportunity to "treat acts of one's own consciousness critically, that is, to separate all one's internal from everything that comes from outside, analyze it, compare, compare it with the outside - in a word, study the act of one's own consciousness" .

The internal monologue-introspection gives the writer the opportunity to more fully and vividly convey the contradictory dialectics of the character's soul. The process of introspection, the recognition of one's shortcomings, brings out the character's traits in perspective.

1.2 Internal monologue in literature

The study of the text of fiction as a multidimensional and multilevel structure has always been in the focus of attention of linguists, as evidenced by a large number of studies on textual categories, their features, place and role in a literary text.

Although inner world character is the semantic dominant of a literary text and a thorough analysis of not only actions, but also thoughts, feelings and sensations of a character contributes to a deeper understanding and interpretation of a literary text, the main means and ways of representing this inner reality, describing the internal state and feelings of characters are currently studied not complete enough.

We studied mainly the external manifestations of the character category, for example, "personal grid" in the structure of a work of art, the characteristics of the characters' speech, the language means of describing their appearance. The inner world of the character and the linguistic means used to represent him have not been the object of special research until now. The study of the linguistic features of those contexts where thoughts, feelings, sensations, memories, premonitions are recorded is the tool that allows you to reveal the motivation of the character's actions, form his image and, ultimately, reveal the author's intention.

The question of the means and methods of representing the inner world of a character in a work of art is closely related to the concept of character introspection, which is part of his inner reality. The concept of introspection of a character in a work of art is based on the concept of introspection borrowed from psychology.

In psychology, introspection is understood as a person's observation of his own internal mental state, self-observation aimed at fixing his train of thought, his feelings and sensations. The phenomenon of introspection is closely connected with the development of the highest form of mental activity - with human awareness surrounding reality, highlighting his world of inner experiences, the formation of an internal plan of action. It is a complex and multifaceted process of manifestation various parties mental and emotional life of the individual.

In the framework of this study, the introspection of a character is understood as the character’s observation of his feelings and emotions, fixed in the text of a work of art, an attempt to analyze the processes that take place in his soul. With the help of introspection as a literary device, the inner, not directly observed world of characters in a work of art becomes available to the reader.

In order to single out introspection as an object of linguistic research, it is necessary to distinguish the phenomenon of introspection from related phenomena. This article is devoted to the distinction between the concept of "introspection" and improperly direct speech.

“Improperly direct speech is a method of presentation when the character’s speech is externally transmitted in the form of the author’s speech, not differing from it either syntactically or punctuationally. But improperly direct speech retains all the stylistic features inherent in the character's direct speech, which distinguishes it from the author's speech. As a stylistic device, improperly direct speech is widely used in fiction, allowing you to create the impression of the co-presence of the author and the reader in the actions and words of the hero, imperceptible penetration into his thoughts.

MM. Bakhtin understands this phenomenon as the result of the interaction and interpenetration of the author's speech and the character's speech ("foreign speech"). In non-direct speech, the author tries to present someone else's speech coming directly from the character, without the author's mediation. At the same time, the author cannot be completely removed, and the result is the imposition of one voice on another, "crossing" in one speech act of two voices, two plans - the author and the character. MM. Bakhtin calls this feature of improperly direct speech "two-voicedness".

So, according to the definition of M.M. Bakhtin, improperly direct speech is such statements (text segments) that, in their grammatical and compositional properties, belong to one speaker (author), but in reality combine two statements, two speech manners, two styles. Such a combination of the subjective plans of the author and the character (speech contamination of the voices of the author and the character) constitutes, according to M.M. Bakhtin, the essence of improperly direct speech. This is a presentation of the thoughts or experiences of the character, grammatically completely imitating the speech of the author, but according to intonations, assessments, semantic accents, following the course of thought of the character himself. It is not always easy to isolate it in the text; sometimes it is marked with certain grammatical forms, but in any case it is difficult to determine at what point it begins or ends. In improperly direct speech, we recognize someone else's word "according to the accentuation and intonation of the hero, according to the value direction of speech", his assessments "interrupt the author's assessments and intonations".

According to the nature of the phenomena depicted, improperly direct speech is differentiated into three varieties.

Improperly direct speech in the narrow, traditional sense of the word, i.e. as a form of transmission of someone else's utterance.

Improperly direct speech, called "internal monologue", as the only viable form of transmission of the character's internal speech, his "stream of consciousness".

Improperly direct speech as a manner of depicting verbally unformed segments of life, natural phenomena and human relations from the position of the person experiencing them.

As we can see, a person's inner monologue can be interpreted in different ways. Many scientists consider the presentation of oral speech in works of art and distinguish different cases that relate to improperly direct speech and which reflect the different depth of immersion of characters in their inner world.

T. Hutchinson and M. Short identify the following categories of character speech presentation: reproduction of character speech acts - Narrator s Representation of Speech Acts (NRSA), direct speech - Direct Speech (DS), indirect speech - Indirect Speech (IS), free indirect speech - Free Indirect Speech (FIS). M. Short points to the existence of such categories as the reproduction of the actions of characters - Narrator s Representation of Action (NRA), an indication by the author that the verbal interaction took place - Narrator s Representation of Speech (NRS) . T. Hutchinson also considers it possible to single out free direct speech - Free Direct Speech.

The category of reproduction of character actions (NRA) does not imply the presence of speech, but reflects the actions of the characters (“They embraced one another passionately”, “Agatha dived into the pond”), certain events (“It began to rain”, “The picture fell off the wall"), description of states ("The road was wet", "Clarence was wearing a bow tie", "She felt furious"), as well as fixation by the characters of actions, events and states ("She saw Agatha dive into the pond", "She saw Clarence was wearing a bow tie").

Direct speech (DS) in a work of art can be presented in different ways: without author's comments, without quotation marks, without quotation marks and comments (FDS). Direct speech reveals the personality of the character and his vision of the surrounding reality most clearly.

Indirect speech (IS) is used to reflect the author's point of view (Ermintrude demanded that Oliver should clear up the mess he had just made).

Free indirect speech (FIS) is relevant for novels of the late 19th-20th centuries. and combines the features of direct and indirect speech. Free indirect speech is a category in which the voices of the author and the character are combined.

The presentation of thought differs from the presentation of speech in that in the first case there are verbs and adverbs indicating

mental activity. The first three categories above (NRT, NRTA, IT) are similar to their respective speech presentation categories.

Direct thought (DT) is often used by authors to reflect the internal mental activity of characters. A direct thought has a form similar to a dramatic monologue, when it is not clear whether the actor's words are a thought aloud or an address to the audience. Direct thought (DT) is quite often used to reproduce imaginary conversations of characters with others and therefore often appears in the form of a stream of consciousness.

Free indirect thought (FIT) shows the most complete immersion of the character in his consciousness. This category reflects the inner world of the character, which is inaccessible to others. The author of a work of art in this case does not interfere in the work of the character's consciousness and, as it were, goes aside.

In our opinion, for a linguist and within the framework of a possible linguistic approach, diary entries and inner speech (VR) presented in works of art can be considered as the result of the exteriorization of intrapersonal communication. It is in the process of intrapersonal communication that the true essence of a person is revealed, because, being alone with himself, in the absence of other people, a person feels free, boldly expresses his thoughts, feelings and sensations.

Studying inner speech from a linguistic point of view, we consider it necessary to consider the ways and forms of VR organization, its lexical and syntactic features, as well as the specifics of functioning in the text of a work of art. Having analyzed the acts of intra-speech communication, taking as a basis the criterion of dissection and volume, we believe that it would be most logical to divide all forms of exteriorized inner speech into replicated BP, which is short replicas, and expanded BP. Within the framework of expanded inner speech, in our work, internal monologue (BM), internal dialogue (ID) and stream of consciousness (PS) will be singled out separately. For each of the above forms of BP organization, we will consider the features of lexical content, the principles of syntactic organization and the specifics of functioning in the text of a work of art.

Replicated inner speech is the simplest form of exteriorization of BP and can be represented by a monologue, dialogic or combined replica. It should be noted that examples with replicated BP are much rarer than those with unfolded BP and account for only 37.74% of the total sample. A monologue replica is an isolated statement that has the features of monologue speech and is not part of the dialogue.

A dialogized replica is either an isolated interrogative sentence, or several minor sentences. interrogative sentences following each other. Unlike a spoken word, questions in BP are not listener-focused and are not aimed at getting a specific answer. Most likely, in this way, the hero marks for himself an obscure or unknown moment of reality or expresses his emotional state.

The combined replica conditionally consists of two parts: one of them is a statement, and the second is a question. Internal replicas are short and structurally simple. Usually they are a simple sentence, or a small complex sentence. In lexical terms, they are characterized by the widespread use of interjections (grr, mmm, Hurrar!), words with a sharply negative connotation, and even obscene expressions. The syntactic feature of the replicated VR is the presence of one-part nominal sentences and sentences with an eliminated subject. In a semantic sense, internal remarks represent an instantaneous reaction of a character to what is happening in the world around him or in his own inner world.

Along with short replicas, VR speech can also take extended forms. Internal monologue is the main and most common form of portraying VR characters (49.14% of the total sample). There are significant differences between spoken monologue and internal monologue. In particular, the internal monologue is characterized by appeal, psychological depth, maximum honesty and openness of the person pronouncing it. It is in the WM that the true essence of a person is manifested, which is usually hidden behind the masks of social roles and norms of social behavior.

To create a complete picture of such a linguistic phenomenon as an internal monologue, in our opinion, it seems necessary to identify its functional-semantic types. Taking into account the existing classifications, the criterion of textual dominant and the results of the analysis of factual material, in our work five functional-semantic types of SM will be distinguished: 1) analytical (26.23%), 2) emotional (11.94%), 3) stating (24.59%), 4 ) inciting (3.28%), and 5) mixed (33.96%).

It must be remembered that the classification of functional-semantic types of CM is conditional. We can only talk about a certain degree of dominance or predominance of one or another communicative setting, or about the presence of several textual dominants. In addition, the use of one or another type of CM depends on the style of the author's narration and the artistic task pursued by the author in this particular case. Each type of internal monologue has its own language features and performs certain functions. As an example, let's consider a mixed-type WM, which is the most numerous, since inner speech, reflecting the process of thinking, cannot always develop in a certain, predetermined direction. It is characterized by a change in topics and communicative dominants.

Another form of VR organization in the text of a work of art is an internal dialogue. VD is interesting in that it reflects the unique ability of the human mind not only to perceive someone else's speech, but also to recreate it and respond adequately. As a result, a different semantic position is born, as a result of which consciousness is dialogized and appears before the reader in the form of an internal dialogue. Taking into account the nature of the reaction and the topic of the dialogue, as well as the criterion of textual dominant, the following functional-semantic types of VD were distinguished: 1) dialogue-interrogation, 2) dialogue-argument, 3) dialogue-conversation, 4) dialogue-thinking and 5) dialogue of mixed type.

The most voluminous and least dissected form of BP exteriorization is the stream of consciousness. This form of BP organization is the smallest (only 12 examples) and makes up 1.38% of the total sample. PS is a direct reproduction mental life character, his thoughts, feelings and experiences. The promotion of the sphere of the unconscious to the fore largely affects the narration technique, which is based on an associative montage description. PS includes a lot of random facts and small events that give rise to various associations, as a result, speech becomes grammatically unformed, syntactically disordered, with a violation of causal relationships.

1.3 Internal monologue in cinema

The sound image is inherent only in cinema. However, for the sake of truth, one should make a reservation: there were and are non-cinematic attempts to combine music with the image. Let us recall the experiments of the creation of "color music" by the outstanding Russian composer A. Scriabin. And today - various kinds of art installations, the performance of musical works, accompanied by paintings, cast on the plane of buildings and walls of interiors in bunches laser beams. However, all this still looks like a pure attraction, devoid of internal artistic unity and its own organics. For cinema, the combination of a moving image with sound, on the contrary, is limited, meaningfully justified and deeply specific.

There are three forms of sounding speech in cinema:

) intraframe speech -it sounds in the space of the stage, and its source locatedin frame;

) out-of-frame speech- it sounds in the space of the stage, but its source not locatedin frame;

) off-screen speech -its source may or may not be in the frame, but speech does not sound in the stage spaceonly the audience can hear it.

Types of sounding speech in cinema.

Dialogue (from the Greek "di" - two, "logos" - a word) is the exchange of thoughts and messages between two or more characters in a script or film.

Monologue

Monologue (from the Greek "monos" - one, only, "logos" - the word) - a lengthy message of one of the characters in the film or his thinking aloud.

The monologue can be addressed to other characters, to himself, to the audience.

Differ two types of monologues:

monologue-message (the psychiatrist's final explanation of the Bates phenomenon in "Psycho" by A. Hitchcock);

monologue-reflection (monologue of Ivan the Terrible at the coffin of Tsarina Anastasia; classic monologue-reflection - “To be or not to be” by Hamlet);

The monologue-message can turn into reflection: in the film "Stalker" by A. Tarkovsky, the monologue of the hero's wife, addressed directly to the audience, begins with her story about how and why she fell in love with such an unlucky person, and ends with reasoning that "if there would be no grief in our life ... there would be no happiness either, and there would be no hope.

If in the construction of views inside (outside) the frame speech, the cinema used the traditions of theatrical dramaturgy, then in the construction of the types of voice-over speech, the traditions of prose and poetry are used, first of all.

Although in theatrical dramaturgy, especially in past times, including the 19th century, a special way of expressing the inner thoughts and feelings of the heroes of the play was widely practiced: this refers to the remarks “aparte” (French) - spoken "to the side", as if "to himself" or for the audience. Here is A. Chekhov, for example, in the "Proposal":

« Lomov...Repeatedly, I have already had the honor to turn to you for help, and always you, so to speak ... but I'm sorry, I'm worried. I'll drink some water, dear Stepan Stepanych. (Drinks water.)

Chubukov (aside). I came to ask for money! I'm not giving it! ( To him.) What's the matter, handsome?

So, types of voiceover:

Internal monologue (or dialogue) of characters.

Narration.

Poems and songs.

Internal monologue -thoughts that arise in the soul of the character at the moment, but are not expressed aloud by him; the stream of his consciousness (“Man and Woman” by Claude Lelouch, “Theme” by G. Panfilov).

With regard to cinema, this type of speech was first developed at the theoretical and scenario levels in the early 1930s by S. Eisenstein. True, he included in the internal monologue not only words, but also visible images-visions.

The construction of speech "in an internal monologue" is in many ways not similar to the construction of a "character's voice". If the latter is most often a story about the past and is written, as a rule, in the past tense in syntactically complete sentences, then the internal monologue is the present tense, and the spontaneous nature of the hero’s momentary “running of thoughts” is fixed in it “then suddenly by chasing intellectually formulated words ... sometimes incoherent speech with only nouns or only verbs.

The peculiarity of this type of off-screen speech is formulated in a very peculiar way in the prologue of the film "The Piano". Ada's internal monologue begins with the words: "What you nowlisten, this is not my real voice, it is the voice of my soul... "At the same time, it is not the voice of actress Holly Hunter, who plays the role of a silent heroine, but a child's voice - after all, Ada stopped talking when she was six years old.

Usually a person does not express all thoughts aloud. We keep some of the ideas that are born in our heads to ourselves, not telling anyone their content. It is not at all necessary that everyone knows what you think about this or that issue and how you feel about it. different people. Sometimes even the closest. Around each of us there is a certain secret of the inner world.

And in fact, our life flows in such a way that we often talk about ourselves, say some words to ourselves, express thoughts, ideas. Sometimes distinctly, sometimes fragmentarily, and sometimes even interjections. Especially if we are faced with a choice, we will certainly begin to figure out what is better in words, without saying them out loud.

This human ability to reason "about oneself" just formed the basis of the literary, and later the cinematic method of "internal monologue". This is an artistic way to reveal the life of the inner world of a person, his secret, the work of his psyche, the action of psychological motives and motivations of the individual.

An internal monologue is a technique of sound-visual editing, when on the screen the hero, without opening his mouth, or the characters imaginary by him, pronounce a text behind the scenes that other participants in the scene do not hear, but only the audience hears.

In the cinema, this form of conventionality is, of course, also possible, but its deliberateness in most cases will necessarily come into conflict with the naturalness of the depiction of life on the screen.

G. Kozintsev, having conceived and carried out the production of Hamlet, translated the monologues of the main character into internal monologues, and the power of their influence from the screen to the viewer only increased.

The last scene of the French movie Police Story also uses an interior monologue. The detective (A. Delon) caught the hardened criminal (J.L. Trintegnan). The policeman speaks out loud to the villain, but he does not react to his words. Then Delon's hero switches to an internal monologue. The capture of this sophisticated criminal will finally make him the head of the department, allow him to take the position he so aspired to. Now he, one might say, paid off with the one who so long and deftly mocked him.

But it turns out that the internal monologue has a much wider reception. And to be convinced of this, let us return to S. Eisenstein.

The whole internal struggle of the hero's thoughts comes through in the intonations, in the mean words of an importunate idea. The voice of his deeply religious mother - "Baby ... Baby ..." also sounds in his mind. This is a reminder of the mortal sin she told him about as a child.

And only at the very end of the scene does S. Eisenstein take the path of a direct internal monologue. We hear Clyde's albeit confused, but detailed thought: “Well, Roberta is not here ... you wanted this ...” and so on.

So, three sound spheres can be distinguished: 1) everything that Clyde himself hears - voices in his mind, his own speech and Roberta's speech; 2) all that Robert hears is his conversation with Clyde and, possibly, the cry of a bird; 3) everything that the viewer hears, and he is given the whole sound situation.

The internal monologue is not a stingy montage technique, but a palette rich in colors for sound-visual comparison and expression of the struggle of different principles.

How to shoot such a scene?

The internal monologue in television productions can perform the same artistic tasks, there are no restrictions on the use of this technique in works of the small screen.

The word in the frame, and especially behind the scenes, in combination with the image, is much more weighty than the word on the radio or on the stage. On the screen, as in poetry, it is measured in pieces. Picked up like diamonds in a crown. And the muddy verbal flow of modern journalists is just the fashion of the past millennium. 158

“The word is not a toy ball flying in the wind,” V. Korolenko wrote, “It is a tool of work: it must lift a certain weight behind it.

And only by how much it captures and raises someone else's mood, we evaluate its significance and strength. Therefore, the author must constantly feel others and look back (not at the very moment of creation) to see if his thought, feeling, image can stand before the reader and become his thought, his image and his feeling.

2. Features of creating the visual structure of a film based on a literary script

.1 The concept of plasticity as an element of screen imagery

The plastic expressiveness of the frame is determined primarily by the correctly found shooting point.

When working on studio broadcasts, it is possible to determine in advance the most advantageous shooting points, choose a good angle, find a lighting solution, and think over a linear pattern of intra-frame movement. When shooting events, at the time of reporting, you have to navigate in a matter of fractions of a second, instantly limit the most significant material to the frame of the frame, visually highlighting the semantic center of the composition. As good example all films of the director-operator J. Podnieks, talentedly and with the highest skill created by the author, can be presented.

Starting to study the plastic expressiveness of the frame, first of all, consider the scale of the image.

It is well known that plans can be general, medium and large. Although such a subdivision is conditional, it is necessary not only for theoretical research, but also for practical work(in the process of filming and editing).

The image scale (plan size) depends on the distance between the object being filmed and the camera, as well as on the optical parameters of the camera lens.

General plans can be less and more general: from a full-length photo model to a bird's-eye view of the city, from the interior (a small office) to verdant fields stretching to the horizon.

General plans, the so-called "distant", are used to characterize the scene, to reflect the scale of the event, to convey the atmosphere of the action, the mood of the episode.

The expressiveness of a frame taken in a general plan depends on the same compositional components as a graphic work or a painting.

A strict balanced composition is obtained thanks to the symmetrically arranged elements of the frame. A stable composition can also be obtained by placing objects in the center of the frame. In this case, the linear pattern creates the necessary balance. The viewer's eye is usually directed towards the center of the frame if there are no visual accents. The visually highlighted semantic center - the centric composition - has a strong impact on the audience.

Medium shots refine the image, deepen information about the object being shot, and are often transitional from wide shots to close-up shots.

The style of many modern TV shows mainly involves the use of medium shots, especially when playing dialogues, debates, and round tables on the screen.

Close-ups are always a concretization of an object, a more accurate description of it.

The leading role on the television screen is played by a large, so-called portrait, plan of a person, since it is a person who is in the center of attention of television artists.

A large - portrait - plan makes it possible to look into the inner world of the hero, to delve into his experiences. This is the exclusive privilege of screen art. The portrait genre also exists in the visual arts (painting, sculpture). But pictorial and sculptural portraits do not have the category of time. They do not live in time, but capture only a moment torn from eternity - beyond movement, beyond development. By means of screen art, and, first of all, with the help of a close-up, one can get, in the words of the film director A. Tarkovsky, "the imprint of the human soul, the only human experience of its kind." Of course, a positive result can only be obtained when the hero of the program feels free, calm in front of the camera, not pinched and not constrained by an unusual position for himself. It takes time to get used to the camera for people who do not have pronounced acting abilities.

The screen makes it possible to see the eyes (the mirror of the soul) in close-up and through them to catch the finest nuances of a person's inner life. The viewer has the opportunity to peer into the facial expression, catch a glance and through it understand what the hero lives at the moment, what worries him, pleases or upsets him. Moreover, we have the opportunity to follow the facial expressions and even fix one phase of the gaze using a freeze frame or phase-by-phase printout of the material. Suffice it to recall close-ups from the director's films.

To enhance the perception of the image, its deep meaning, the angle is also used.

Not only the composition of the frame, but also a kind of on-screen interpretation of the material largely depends on the angle - the angle of view on the subject of shooting. With the help of foreshortening, the authors have the opportunity to highlight some essential feature of a particular character, to focus the viewer's attention on the most important moment of the story, to give a hint for the perception of those moments of action that are not readable from an ordinary point of view.

With the help of foreshortening, it is possible to examine the scene of action more voluminously, having richer spatial characteristics, more accurately orient the viewer in space, and most importantly, give an emotional explanatory epithet to the events taking place, as well as to the behavior of the hero or his psychological state.

Thus, among the plastic means of conveying the hero's internal monologue, or rather, for focusing attention on it, the close-up and shooting angle become important. It is with the help of a close-up that you can feel all the inner experiences of the hero.

2.2 TV light functions

The active element of the composition of the frame, its shaping and aesthetic factor is light. Light can reveal the depth of space, transform volumetric forms, emphasize the linear outlines and relief of elements, more tangibly convey the airy atmosphere, and also create the right mood in the frame.

In all three-dimensional arts, light has always been used as the strongest means of expression.

The image on the film is fixed using either natural or artificial light.

Natural - natural - lighting can be sunny (frontal, side, diagonal, backlight, zenith) and overcast. It is constantly changing both in terms of spectral composition and intensity, therefore, when shooting on location, backlighting is used. They also conduct “mode shooting”, shooting at dawn or at sunset - at dusk. In this case, an image of the night is obtained on the screen.

The light in the frame can be direct (directional), diffuse (diffusion) and reflected.

Using artificial light sources, operators distinguish between key, fill, background, modeling and backlight (contour) light.

In the graphic and pictorial composition of the frame, the shadow is of no small importance. The shadow is divided into its own (from an object, structure, person, that is, from the subject) and falling (overlapping).

With the frame of the frame, we carve out what we need from the surrounding reality. We twist the once snatched object in a change of angles that can plastically reveal the secrecy of what we see in front of the camera. We permeate the object with a powerful arbitrariness of throws of light and shadow in the interests of what we want to represent.

Thus, to focus attention on the hero's internal monologue, light can be used to illustrate his facial expressions. Coupe with a close-up, it allows you to look into his soul through the eyes, to see all the experiences visually.

Bibliography

1.Kruk I.I. East Slavic fairy tales about animals. Images, composition. Minsk: Science and technology, 1989. 163 p.

Savushkina N.I. Ideological and artistic features of everyday fairy tales and its social and educational role in modern times: author. dis... cand. philol. Sciences. M., 1955. 20 p.

Anikin V.P. The art of depiction in fairy tales about animals // Folklore as the art of the word. M.: MGU, 1969. 147 p.

Bakhtin M.M. Tetralogy. M.: Labyrinth, 1998. 607 p.

Lektorsky V.A. Epistemology classical and non-classical. M.: publishing house of the Russian State Humanitarian University, 2001. 333 p.

Imaeva G.Z. The peculiarity of the use of internal monologues in fairy tales // Bulletin of Bashkirsk. university 2010. №1.

Similar works to - Ways of conveying the internal monologue of a literary character using the expressive means of the screen on the example of Chuck Palahniuk's novel "Fight Club"

What is monologue and dialogue? These are forms of expression that are found in cinema, in literature, and in everyday speech. We participate in dialogues every day. Monologues are less common in colloquial speech. What is a dialogue? How is it different from a monologue? What are the features of these forms of expression? What are the types of monologue and dialogue? These questions can be answered in today's article.

Monologue

What is a dialogue? This is a conversation between several people. Only one person takes part in the monologue. This is its main difference from the conversation. A common feature of monologue and dialogue is that these forms of utterance can be expressed both orally and in writing.

In works of art, characters share statements. One of the characters suddenly makes a long speech, while asking a lot of rhetorical questions. In other words, he talks without expecting to get a response from his listeners. This is the monologue. Translated from the ancient Greek language, the term means "speech".

Students are well aware of what a monologue is. They hear him in lectures almost every day. The school teacher also tends to reason, but his speech, as a rule, includes elements of a conversation. Examples of monologue and dialogue can be heard on television. What form of utterance is the president's New Year's speech? Of course, a monologue. But if the same president or any other public person answers journalists' questions, this is already a dialogue.

In ancient literature

A monologue is a passage of a lyrical or epic nature. He interrupts, distracts the reader, switches him to reflections. The monologue appeared in Antiquity. It is not surprising, because the ancient Greeks were the first dramatic authors.

Often the monologue in the ancient drama was a discussion on a topic that had nothing to do with the main action. In the comedies of Aristophanes, for example, the choir addresses the audience from time to time - it tells about events that otherwise cannot be told on stage. Aristotle called the monologue an important component of the drama. However, among its other elements, he gave this form of utterance the last place.

Kinds

In the 16th and 17th centuries, the monologue in plays played a more important role. He helped to reveal the character of the hero, sometimes bringing some sharpness to the plot. In the works of monologues there are the following types:

• Apart. The character says a few words to the side, thereby revealing his inner state.
• Stanzas. The hero delivers a long poetic speech.
• Mindflow. This type of monologue is a character's thoughts that do not require obvious logic, do not have a clear literary structure.
• Author's word. Appeal of the author to the reader through one of the characters.
• Dialogue in solitude. The reasoning of the character with another actor who does not hear him.

Dialog

Above, we figured out what a monologue is. Dialogue is a form of utterance that is invariably present in dramatic, prose works, in addition, it is constantly used by people in everyday speech. The ancient Greek philosopher Plato treated this type of speech quite respectfully. He systematically used dialogue as an independent literary form.

Monologue and dialogue have been used by poets and writers for over two thousand years. Nevertheless, the second form of speech was very popular among ancient authors. After Plato, dialogue became the main literary genre in ancient Greek literature.

Types of dialogues:

• Diverse.
• Question dialogue.
• Structured.

The meanings of the words "dialogue" and "monologue" have hardly changed since ancient times. Logos means "word" in Greek. "Mono" - "one", "dia" - "two". However, the term "dialogue" today means a conversation between two or more people. Although there is another, more appropriate concept - "polylogue".

It is worth saying a few words about the most famous work of Plato. "Dialogues" were created in the III century BC. In this work, the ancient Greek author outlined the philosophical reasoning of famous sages. The title of each part of the book contains the name of the most significant character. Plato's "Dialogues" include the "Apology of Socrates", "Phaedo, or On the Soul", "The Sophist, or On Being", "Feast, or On the Good", etc.

Consider the most famous monologues and dialogues in Russian. Among the examples below, there are descriptions of scenes from foreign literature.

"Hamlet"

Monologue, dialogue - types of speech that are components of any work of art. Those created by talented authors scatter into quotes. The monologues uttered by Shakespeare's characters are extremely famous. And above all, Hamlet. By the way, unlike dialogue, a monologue is a form of speech that allows you to maximize the experience of the hero.

Hamlet's reflections on the meaning of life, his doubts about the correctness of the chosen actions - all this was reflected primarily in mοnοlοg, οsοbennο in speech, which begins with the words "To be or not to be?" In response to the eternal question, the essence of the tragedy of Shakespeareοvskοgο manifested itself - the tragedy of personality, which came into this world too early and saw all its imperfections.

Stand up "on the sea of ​​troubles" and slay them, or pοkοrish "with slings and arrows of a violent fate"? Hamlet must choose one of two possibilities. And at this moment, the hero, as before, doubts: is it worth fighting for life, which "feeds only evil"? Or refuse to fight?

Hamlet understands that fate has destined him for the establishment of justice in the Danish kοrοlstvo, but οn οlgο does not dare to join the fight. Οn understands that there is only one way to defeat evil - to use the same evil. But this way can distort the most noble goal.

The hero of Shakespeare does not want to live according to the principle that most of the inhabitants follow - "to achieve the goal, all means xοrοshi." Therefore, he decides to "sleep and die - and that's all..." Death is one of the possible consequences of the internal struggle, which is expressed in this expressive mοnοlοge.

Every actor dreams of playing Hamlet. The monologue of this hero is invariably read by talented and mediocre applicants at entrance exams to theater universities. In the list of the best performers of the role of the famous Shakespearean character, one of the first places is occupied by the Soviet actor Innokenty Smoktunovsky. In order to understand what a monologue is, to appreciate its role in revealing the artistic image, it is worth watching the 1964 film.

Marmeladov's speech

Dostoevsky is a master of creating vivid monologues and dialogues. Unique, extremely deep in content speeches are made in his books by heroes, both main and secondary. One example is the monologue of the official Marmeladov - an unfortunate, insignificant, degraded man. In the words that the character utters, referring to Raskolnikov, there is boundless pain, self-flagellation, a strange desire to belittle you. Key words in Marmeladov's monologue: "Poverty is not a vice, poverty is a vice."

It is worth saying that an excerpt from Crime and Punishment, which shows the meeting of the protagonist with Sonya's father, can also be called a dialogue. Raskolnikov talks with Marmeladov, learns about the details of his life. However, it is the drunken official who delivers a speech here that reveals not only his personal tragedy, but also the tragedy of the entire social stratum of St. Petersburg in the 19th century.

Conversation between the killer and the investigator

An interesting dialogue is present in one of the scenes with the participation of Rodion Romanovich and the bailiff of investigative cases. Raskolnikov talks with Porfiry Petrovich three times. The last meeting takes place in the student's apartment. In this scene, the interrogator shows subtle psychological abilities. He knows who committed the murder. But he has no evidence.

Porfiry Petrovich puts psychological pressure on Raskolnikov, forcing him to confess. This dialogue plays an important role in the plot. However, the key phrase in Dostoevsky's novel is the words of Raskolnikov, which he utters in a conversation with Sonya Marmeladova. Namely, “Am I a trembling creature, or do I have a right?”

"Moron"

Anastasia Filippovna is one of the most famous heroines in Russian literature. The monologue she delivers last meeting with Menshikov, is invariably popular with female theater students. Nastasya Filippovna's speech is riddled with pain and despair. The main character proposes to her. She refuses him. The words that Nastasya Filippovna utters are addressed to the prince. However, this speech can be called a monologue in solitude. Nastasya Filippovna decided to leave with Rogozhin, understands that she is doomed, and delivers a farewell speech.

"Garnet bracelet"

There are many interesting dialogues in Kuprin's story. For example, General Anosov's conversation with the main character. In one of the scenes, after the celebration of Vera's name day, a conversation took place between them, which in some way influenced her attitude towards Zheltkov. The most striking monologue in the "Garnet Bracelet" is, of course, the dying letter of the telegraph operator.

"The Master and Margarita"

Bulgakov's book contains a huge number of unique dialogues and monologues. The statements of the characters have long turned into aphorisms. The first chapter is called "Never Talk to Strangers". Berlioz and Bezdomny, not knowing anything about the author's warnings, enter into a conversation with a foreigner. Here the characters are revealed. The homeless man shows ignorance. Berlioz - a broad outlook, high intelligence, but at the same time cunning, caution.

Monologue of the Master

The most vivid, interesting dialogues in Bulgakov's novel are dialogues with the participation of Woland's assistants. The deepest monologue belongs to the main character - the Master. In the clinic, he meets the former poet Bezdomny, tells him about his former life. The dialogue smoothly turns into a monologue of loneliness. Or maybe this is the author's word, that is, the appeal of Bulgakov himself to the reader through his hero? The author of The Master and Margarita is one of the most controversial writers of the 20th century. Literary critics have been analyzing monologues, dialogues and descriptions created by him for decades.

"Dog's heart"

There are some pretty interesting interior monologues in this piece. They belong to the main character. But, what is remarkable, he reads them before and after the operation. That is, he mentally argues, reflects on life, he, only being a dog. After the transformation of Sharik into Polygraph Poligrafovich, witty dialogues open up before the reader, causing both a smile and sad thoughts. We are talking about Sharikov's conversations with Professor Preobrazhensky and Bormental.

"Flying over Cuckoo's Nest"

In Ken Kesey's book, the story is built around a monologue. Although there are some memorable dialogues involving McMurphy. Nevertheless, the main character is the leader Bromden, who pretends to be a deaf-mute. However, he perfectly hears and understands everything that is happening around. He acts as an outside observer, a narrator.

THE SAME FORMS OF VERBAL EXPRESSION AS IN NON-ARTISTIC WRITING ARE USED IN A ARTWORK. Different forms of verbal expression in a work of art serve to create a picture of life, to express the thoughts and feelings of the author.

What forms of verbal expression are presented in excerpts from the story "Mumu" by I. S. Turgenev? The next morning she ordered Gavrila to be called an hour earlier than usual. “Tell me, please,” she began, “as soon as he, not without some trembling, crossed the threshold of her office, what kind of dog was barking in our yard all night?” Didn't let me sleep! - A dog - with ... what - with ... maybe a dumb dog - with, - he said in a not quite firm voice. The narration on behalf of the author, the dialogue of the characters.

Forms of verbal expression in poems Monologue "Winter Morning" Dialogue "Borodino" Description Under the blue skies Magnificent carpets, Shining in the sun, the snow lies. Reasoning Yes, there were people in our time, Not like the current tribe: Heroes - not you! Narration And as soon as the sky lit up, Everything suddenly stirred noisily, The formation flashed behind the formation.

Get acquainted with the episode from the play - fairy tales by S. Ya. Marshak "Twelve months". This scene depicts a lesson: The Professor is trying to teach the young Queen, and she does not want to obey the laws of science. What can you say about the characters in the episode? Why does the whole further course of the play depend on the event depicted in the episode?

Professor. Months go one after another. As soon as one month ends, another immediately begins. And never before has February come before January, and September before August. Queen. What if I wished it was April now? Professor. It's impossible, your majesty! Queen. Are you again? Professor (pleasantly). It is not I who object to your majesty. This is science and nature! Queen. Tell me please! What if I make such a law and put a great seal? PROFESSOR (helplessly throws up his hands). I'm afraid that won't help either. But it is unlikely that Your Majesty will need such changes in the calendar. After all, every month brings us its gifts and fun. December, January and February - ice skating, a New Year tree, Shrovetide booths, snowmelt begins in March, in April the first snowdrops peek out from under the snow ...

Queen. So I want it to be April already. I really love snowdrops. I never saw them. Professor. April is not far away, Your Majesty. Just some three months, or ninety days... Queen. Ninety! I can't wait even three days. Tomorrow is New Year's party, and I want to have these on my desk - what did you call them? - snowdrops. Professor. Your Majesty, but the laws of nature... Queen (interrupting him). I will issue a new law of nature!

All these monologues and dialogues were created by the author to solve an artistic problem Depiction of the characters' characters Story of events Reflection of the author's thoughts and feelings All forms of verbal expression serve as the material from which a work of art is created.

Practicum Get acquainted with the reflections of Mikhail Ilyich Romm from his book Oral Stories. Romm was a wonderful storyteller and, at the insistence of his friends, telling something, he began to turn on the tape recorder, and then a book was compiled from these records. At the same time, the author left the test as it was recorded on a tape recorder. What is it - a dialogue or a monologue, colloquial or bookish language? On what basis did you determine this? Why didn't the author edit the text - perhaps the form of verbal expression he has chosen has its own advantages and is precisely what is required here? Is it so? Argument your opinion.

Rivalry. I won't say much, but when Shukshin and Tarkovsky, who were the exact opposite of one another and didn't like each other very much, they worked side by side, it was very useful for the workshop. It was very bright and opposite. And a lot of gifted people were grouped around them. Not around them. And thanks to, say, their presence. Shukshin and Tarkovsky If somewhere this sum of questions is raised (now I speak illegibly, but the thought itself is important), then it becomes possible to teach a person without a pointer, without a finger: this is how you need to build a mise-en-scene, this is how you need to work - as many teach. They teach that there is a system that must be taught in such and such a way. First this and that, then that and that, first editing, first working with the actor, etc. mise-en-scene editing. So, for the most part, artists turn out well, it seems to me, when there is no such person with a pointer and finger, such a teacher, but there is a person who would help to think. Or did not interfere at least to think. Who made sure that there was an atmosphere, so that the sprout of creativity itself would germinate, it would turn out on its own. on one's own.

Theory of Literature Khalizev Valentin Evgenievich

§ 7. Speaking person. Dialogue and monologue

Turning the word into an object of representation, literature comprehends a person as a carrier of speech (see pp. 99–100). Characters invariably manifest themselves in words spoken aloud or silently.

In the early stages of verbal art (including the Middle Ages), the forms of characters' speech were predetermined by the requirements of the genre. “The speech of the character,” writes D.S. Likhachev about ancient Russian literature - this is the author's speech for him. The author is a kind of puppeteer. The doll is devoid of its own life and its own voice. The author speaks for her with his voice, his language and his usual style. The author, as it were, restates what the character said or could say<…>This achieves a peculiar effect of dumbness of the actors, despite their outward verbosity.

From era to era, the characters began to increasingly receive a speech characteristic: to speak out in their own manner. This is either an endless stream of speech (recall the heroes of F.M. Dostoevsky with their "talkativeness of the heart", what Makar Devushkin is, or the resourcefulness of the mind, what is Pyotr Verkhovensky), or, on the contrary, individual short remarks, or even complete silence, sometimes very significant : Tatyana is silent, listening to Onegin's rebuke, Onegin is also silent during her monologue, which concludes Pushkin's novel; The Prisoner answers in silence to the confession of the Grand Inquisitor in The Brothers Karamazov. The speech of the persons portrayed by the writers can be ordered, meeting certain standards (Chatsky in A. S. Griboyedov “speaks as he writes”) or confused, inept, chaotic (the tongue-tied Bashmachkin in N.V. Gogol’s “Overcoat”, Akim in “The Power of Darkness "L.N. Tolstoy with his repeated "tae").

The method, manner, nature of "speaking" are often put forward in the center of the writer's work and creativity. According to S. G. Bocharov, “the first internal problem” of A.P. Platonov is “the very process of saying, expressing life in a word”: “ difficult expression"Consciousness in speech constitutes a kind of center of existence and appearance of Plato's heroes -" people who are tongue-tied and mute, "whose thought that is born receives a" dark, rough, inarticulate expression. So, the hero of Platonov's story "Yamskaya Sloboda" (1927) Filat, destitute, having lived "thirty years of a dense life", lonely, depressed by everyday village work, "never had the need to talk with a person, but only answered", although the need to speak out in him lived: “at first he felt something, and then his feeling got into his head” and “the thought shook so roughly that it was born a monster and it was impossible to pronounce it smoothly.” And one more thing: “When Filat's thought stirred, he heard its rumble in his heart. Sometimes it seemed to Filat that if he could think well and smoothly, how. Other people, it would be easier for him to overcome the oppression of the heart from a vague, yearning call. This call<…>turned into a clear voice, speaking incomprehensible deaf words. But the brain did not think, but gnashed. Let us also remember “A Cloud in Pants” by V.V. Mayakovsky:

The street is writhing without language.

She has nothing to scream and talk.

But in most cases, the faces portrayed by writers in one way or another realize their speech ability. The “talking person” manifests itself in dialogic and monologue speech. Dialogues(from other - gr. dialogos - conversation, conversation) and monologues(from other - gr. monos - one and logos - word, speech) constitute the most specific link in verbal and artistic imagery. They are a kind of link between the world of the work and its speech tissue. Considered as acts of behavior and as the focus of the character's thoughts, feelings, will, they belong to the subject layer of the work; taken from the side of the verbal fabric, they constitute the phenomenon of artistic speech.

Dialogues and monologues have a common property. These are speech formations that reveal and emphasize their subjective affiliation, their “authorship” (individual and collective), one way or another intoned, imprinting the human voice, which distinguishes them from documents, instructions, scientific formulas and other kinds of emotionally neutral, faceless speech units.

Dialogue is made up of the statements of different persons (usually two) and carries out two-way communication between people. Here, the participants in communication constantly change roles, becoming for some time (very short) either speaking (i.e., active), or listening (i.e., passive). In a situation of dialogue, individual utterances appear instantly. Each subsequent replica depends on the previous one, making up a response to it. Dialogue, as a rule, is carried out by a chain of laconic statements, called replicas. The words of Socrates are significant: "If you want to talk with me, use brevity." When the replicas grow very large, the dialogue as such ceases to exist, breaking up into a series of monologues. The dialogical cue has two kinds of activity. First, she responds to just now spoken words and, secondly, addressing the interlocutor, expects from him immediate speech response. Dialogue cues "know about each other and are built in this mutual knowledge". They are significant, first of all, momentarily, the main thing in them lives only in the situation of the given moment. Through dialogues, people navigate in everyday life, establish and strengthen contacts with each other, communicate intellectually and spiritually.

Dialogues can be ritually strict and etiquette ordered. The exchange of ceremonial remarks (which tend to grow, becoming like monologues) is characteristic of historically early societies and traditional folklore and literary genres. Dialogues of this kind make up almost the bulk of the text of Lermontov's "Songs about Tsar Ivan Vasilievich, a young guardsman and a daring merchant Kalashnikov." Here is one of Ivan the Terrible's remarks in a conversation with Kalashnikov:

Answer me truthfully, honestly,

Willingly or reluctantly

You killed my faithful servant to death,

Movo of the best fighter Kiribeevich?

But the dialogic form of speech manifests itself most fully and vividly in an atmosphere of unconstrained contact of a few people who feel themselves equal to each other. The hierarchical distance between the communicants hinders the dialogue. About it folk proverb: "Standing without a hat, you won't talk."

Oral speech is most favorable for dialogue in the absence of a spatial distance between the speakers: the replicas here are significant not only in their own logical sense, but also in emotional shades that affect the intonations, gestures and facial expressions that accompany speech. At the same time, the statements in the dialogue often turn out to be inconsistent, grammatically incorrect and amorphous, they may look like "omissions", which, however, are quite understandable to the interlocutor. The listener often interrupts the speaker, interfering during his speech, and this enhances the “entanglement” between the replicas: the dialogue appears as a continuous stream of speech of two, and sometimes more people (speech communication, in which more than two or three people participate “on equal terms” , called polylogue).

The ability to conduct a dialogue is a special area speech culture, where a person is “required” sensitivity to the interlocutor, flexibility of thought, sharpness of mind) as well as a harmonious correspondence between the ability to speak (responding to the situation of the moment) and the ability to listen to the words of a nearby person.

As linguists have repeatedly noted, dialogical speech is historically primary in relation to monologue and constitutes a kind of center of speech activity: "We talk with interlocutors who answer us - such is human reality."

Hence the responsible role of dialogues in fiction. In dramatic works, they certainly dominate, in epic (narrative) works they are also very significant and sometimes occupy most of the text. The relationships of the characters outside of their dialogues cannot be revealed in any concrete and vivid way.

In life, and therefore in literature, the monologue is also deeply rooted. This is a detailed, lengthy statement that marks the activity of one of the participants in communication or is not included in interpersonal communication.

Distinguishable monologues converted and secluded. The former are included in the communication of people, but in a different way than dialogues. Inverted monologues affect the addressee in a certain way, but in no way require an immediate, momentary speech response from him. Here one of the participants in communication is active (acts as a continuous speaker), all others are passive (remain listeners). At the same time, the addressee of the addressed monologue can be both an individual and an unlimited number of people (public speeches by politicians, preachers, court and rally speakers, lecturers). In such cases, there is a hierarchical privilege of the speaker: “They listen to someone who has power or enjoys special authority, in general, in an environment of inspiring influence, implying a certain passivity of perception or a predominantly sympathetic response, when mainly“ assenting ”replicas break through.

Inverted monologues (unlike dialogue replicas) are not limited in scope, as a rule, they are thought out in advance and clearly structured. They can be reproduced repeatedly (with full preservation of meaning), in various life situations. For them, both oral and written forms of speech are equally acceptable and favorable. The monologue, in other words, is much less limited than dialogic speech by the place and time of speaking, it easily spreads over the breadth of human existence. Therefore, monologue speech is able to act as a focus of extra-situational meanings, stable and deep. Here is its undoubted advantage over dialogue replicas.

An inverted monologue, apparently, is an integral part of the culture of mankind. Its origins are the statements of the prophets and clergy, as well as the speeches of orators, who, in particular, played such an important role in the life of the ancient Greeks and Romans. Reversed-monologic speech, remembering its oratorical and preaching origins, willingly resorts to external effects, relies on the rules and norms of rhetoric, often acquires a pathetic character and inspires, contagious power, causing enthusiasm and delight, anxiety and indignation of listeners. Today, these possibilities of a reversed monologue are clearly reflected in the speeches at meetings.

Solitary monologues are statements made by a person either alone (literally) or in psychological isolation from others. Such are diary entries that are not oriented to the reader, as well as "speaking" for oneself: either out loud, or, which is observed much more often, "to oneself". In inner speech, as shown by L.S. Vygotsky, linguistic forms are reduced as much as possible: “... even if we could record it on a phonograph, it would turn out to be abbreviated, fragmentary, incoherent, unrecognizable and incomprehensible compared to external speech.”

But solitary monologues are not completely excluded from interpersonal communication. Often they are responses to someone's words spoken earlier, and at the same time - replicas of potential, imaginary dialogues. This kind of dialogized self-consciousness is widely depicted by F.M. Dostoevsky. “You will say,” the hero of “Notes from the Underground” reflects alone about his own confession, “what is vulgar and vile to bring all this to the market now, after so many raptures and tears, which I myself confessed. Why mean, sir? Do you think that I'm ashamed of it all<…>?»

Solitary monologues are an integral part of human life. In the words of a modern scientist, “to think means, first of all, to talk with oneself.” These monologues are organically connected with the fact that Yu.M. Lotman called "autocommunication", which is based on the situation "I - I", and not "I - HE". The European culture, the scientist argued, is consciously and purposefully oriented towards the “I - HE” system, but there are cultures that are mainly oriented towards auto-communication (probably referring to the countries of the East): they “are capable of developing great spiritual activity, but often turn out to be less dynamic, than the needs of human society require.

If autocommunication is to think broadly, in the spirit of Yu.M. Lotman, as a sphere not only of individual, but also of public consciousness, then, apparently, the conclusion is legitimate that it is associated mainly with an orientation towards monologue speech: both on solitary monologues (this is self-evident), and on converted ones, which demand from the listener obedience rather than "counter" initiative. The system "I - HE" is more actively based on dialogue.

Monologue speech is an integral part of literary works. A statement in lyrics is from beginning to end a monologue of a lyrical hero. The epic work is organized by a monologue belonging to the narrator-narrator, to which the dialogues of the depicted persons are “connected”. The "monologic layer" is also significant in the speech of the characters of epic and dramatic genres. This is both inner speech in its specificity, quite accessible to short stories and novels (remember the heroes of L.N. Tolstoy and F.M. Dostoevsky), and conditional “side remarks” in plays (“I’ll ask this postmaster for a loan” , - Gogol's Khlestakov utters, "looking into the eyes" of the postmaster, who, according to the laws of the stage, does not hear the spoken words). These are also lengthy statements aloud, to which, for example, Griboyedov's Chatsky, Turgenev's Rudin, and almost most of the characters in Dostoevsky's novels are inclined.

The forms of manifestation in the literature of the "talking person" are, apparently, varied. But how and to what extent is the speech of the author himself present in the works? Is it right to speak of him as a "carrier of speech"? MM. Bakhtin answers such questions in the following way: “The primary author, if he speaks with a direct word, cannot be simply writer: nothing can be said on behalf of the writer (the writer turns into a publicist, moralist, scientist, etc.). Therefore, the primary author is clothed in silence. But this silence can take many forms of expression.” Indeed: in some cases (narrative tale; role-playing lyrics; drama, where they say actors only; works with “false” authorship, such as, for example, Pushkin’s “Tales of Belkin”), the author’s position is expressed purely indirectly, not being realized in a direct word, in others (the speech of a non-personalized narrator, say, in the novels of L.N. Tolstoy; “autopsychological” lyrics, which is the self-disclosure of the poet), it is revealed in speech openly and directly. Often the author "instructs" the heroes of the work to express their worldview, their views and assessments. So, in the monologues of the Marquis Posa (“Don Carlos”), the voice of Schiller himself is clearly felt, and Chatsky is to a large extent a mouthpiece for the ideas of A.S. Griboyedov. Position F.M. Dostoevsky is revealed in a number of statements by Shatov, Myshkin, and also by Alyosha Karamazov, who, after listening to the “Grand Inquisitor” composed by his elder brother, sadly exclaims: “And the sticky notes, and expensive graves, and the blue sky, and the young woman! How will you live?<…>With such a hell in the chest and in the head, is it possible? And we, the readers, have no doubt that it is the author who is tormented by the fate of Ivan Karamazov and spiritual wanderers like him.

The statements present in the verbal and artistic text, consistent with the author's position and expressing it, at the same time, never exhaust what is embodied in the work. Addressing the reader, the writer expresses himself not in the language of direct verbal judgments, but in artistic images and, in particular, images of characters as speech carriers.

It is right to characterize a literary work as a monologue of the author addressed to the reader. This monologue is fundamentally different from oratorical speeches, journalistic articles, essays, philosophical treatises, where the direct author's word certainly and necessarily dominates. He is a kind of supra-verbal education is, as it were, a “super-monologue”, the components of which are the dialogues and monologues of the depicted persons.