Abstract
The aim of the work described in the article is to consider the problem of philosophical understanding of the art of conflict as a model of dialectical contradictions; to justify prefigures the role of art in relation to theoretical knowledge through a comparison with the individual creative act, which gives the idea of a solution in a figurative and symbolic form; to consider «substantial» artistic conflicts in the drama as a manifestation of antinomic contradictions; to show the resolution of the data «eternal» contradictions in a particular situation by shifting to a qualitatively different semantic level of their perception on the example of catharsis in a new, modern drama, and to emphasize the role of art in education, in the understanding and assimilation of educational material, to learn the profession. Methods . Solution of the work purpose is carried out by analyzing dramatic works using the method of «slow reading» by D. S. Likhachev, and the technology of didactic design by V. E. Steinberg. Results. The more than twenty years experience of practice teaching of theatre history and drama theory, theatre criticism at the theatre department (the Ufa State Academy of Arts named by Zagir Ismagilov) for students mastering at theatre critics and directors courses. Developed and tested teaching method to the analysis of drama. The method of training in the analysis of the drama is developed and approved. Features of specifics formation of the concepts «conflict» and «contradiction» in the context of philosophy and art are considered. The main content of the specified concepts, their fundamental difference and a dialectic ratio is disclosed, and their role in the course of knowledge and training is emphasized. The general model of interaction of a contradiction and the conflict is developed. Practical significance. The article can be interesting and useful to teachers of creative and humanitarian universities, as well as directors, playwrights and theater critics.
Highlights
The more than twenty years experience of practice teaching of theatre history and drama theory, theatre criticism at the theatre department for students mastering at theatre critics and directors courses
Шекспира «Король Лир» недовольство Гонерильи, старшей дочери Лира, поведением свиты своего отца и, как следствие, демонстративный отказ от встречи с ним – это противоречие, а ссора Лира и Гонерильи, его горечь, гнев, разочарование и поспешный отъезд – это перерастание противоречий в открытый конфликт
Summary
Тем не менее необходимо осмыслить различные виды и формы данного диалектического противоречия для углубления нашего понимания как человеческого творческого процесса, так и личностной и общественной жизни вообще. Зонди) сами идеи спекулятивной диалектики выводят из воздействия драматического искусства – трагедии, поскольку, по их мнению, как пишет Е.
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
