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

Felhasznált irodalom

the plane of the recounting. This means that what we present in the complex space of events is observed and interpreted by us, the narrators. This presupposes - as well as makes the audience understand the fact that what we have represented here, can only be seen by them from a definite point of view. The represented material has been selected by someone from a complex reality. As we have seen earlier, the components in the dramatic structure (figure 4) show the development of dramatic conflicts. Each row presupposes the previous row, and there is a gradual narrowing towards the final element, which is the dramatic goal. The dramatic goal can only be achieved if we build the pyramid row after row. By contrast, the building components of epic structure (figure 5) represent various parts of reality. Each part illustrates the topic being scrutinized, though the parts are not independent from one another. However, from the observer's point of view these building components can constitute a pattern which will be clear only after he or she has separately scrutinized each component. The order in which the components are scrutinized is of little importance-, what matters is to examine each component with such thoroughness that the pattern is eventually revealed. The observer, confined in a space and bounded by a sphere, looks around and evaluates the situation. He or she sees only one group of the randomly distributed components at a time; then another group, and so on. The various groups are subsequently represented in the observer's consciousness by newer, bigger event elements. These newer sets are held together by something possessed in common. One thing is Dramatic and Epic Structures Figure 4: dramatic conditions 65