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

Felhasznált irodalom

development of the conflict Figure 3 b Our starting point here should be that the development phase consists of several scenes which build upon one another. There should be a transition from one scene to another and during that transition the audience should be "released," though we must ensure that their interest is preserved. Time is needed to digest what has occured and to recognize connections. The RESOLUTION offers an opportunity for relief and for identifying with the conclusion. It is beneficial to draw the curve of dramatic tension whenever a drama is subjected to analysis. Even though we always manage to convince ourselves that we have discovered the rising curve in a work, we must still be critical: we should mentally review once more the various scenes; in doing so, perhaps we should even leave the imaginary director's chair for a less comfortable seat in the auditorium in order to follow the principal stages of the curve. The Epic Model While a drama recreates events in the guise of concrete actions, an epic recounts events in a descriptive way. In order for a playwright to compose a drama, he or she must know the essential aspects of all the characters, their relationships, the settings, etc. That is why a drama is homogeneous on the plane of actions. By contrast, reality is complex. If we decide to preserve the multifaceted nature of reality on the plane of actions (epic form), then we must create structure and unity on 64