Kovács Ferenc: Olvasópróba előtt (Skenotheke 1. Budapest, 1996)

Felhasznált irodalom

must describe the dramatic space for the audience and explain the rules which govern this space. A drama can be compared to a game of chess. If the audience does not understand the rules - how the different chess pieces move, etc. - then the game becomes for him or her only a series of unintelligible moves. In a drama it is the exposition that sets out the rules and provides all of the necessary information. The exposition can be divided into two phases: the opening and the introduction. The primary function of the opening is to arouse the curiosity of the audience and to make clear what type of work will be encountered. It should arouse the attention but should not disclose too much. The style and genre of the work should be clarified immediately and should remain consistent until the end. The expectations stimulated in the audience should be realized, and, what is more, should be accomplished through surprise. The introduction is that part of the work which sets out the conditions under which the dramatic action will develop. It is important that the audience not feel that the information being provided is for them. The situation should be natural. Here we present the characters, their relationships, possibilities, and position, as well as the setting, and the history of the conflict. The characters should be connected to one another and each relationship should be clearly positive or negative. Also the circumstances should be charged with conflict. What is introduced should have a role in the further development of the work. CONFLICT, DYNAMICS OF CONFRONTATION The heightening of the conflict begins with a compulsion to act, that is, by the protagonist's (or protagonists') being compelled to make a decision and to act The dramatic goal must be strongly motivated. We approach the dramatic goal through a series of confrontations. Crisis, confrontation, climax: the drama progressively becomes more sharply focused, until the final confrontation is inevitable. All cards are laid on the table. The climax reveals whether or not we have reached the dramatic goal. It is here that the central thought of the drama is hidden. In certain scenes of the play, a simplified curve describes the phase designated as the "development of the conflict" 63