I wrote this skit on literature for 11th grade graduates, who staged it at the Last Bell (or graduation - sorry, I don’t remember exactly) under the guidance of their class teacher - a literature teacher.

I’ll say right away: the scene is NOT simple, the plot is twisted, and you will have to read a lot - first of all, explanations and introductions.

Please read carefully and listen to my words! Then your production will create a small sensation - or maybe not a small one)) Otherwise, you will encounter misunderstandings from teachers and spectators.

Suitable for whom and when?

Is this skit based on literature?

To whom:

11th grade throughout the entire school year without (or almost without) changes

9th and 10th grades with minor text correction

Philology students changing school to university

Literary and theater clubs and studios with children over 15 years of age

When:

For graduation and last call

On the birthday of your favorite literature teacher

For the birthday (anniversary) of your favorite writer from the 6 listed below (or adding him to the script if he is not there)

During Literature Week

At the student skit

At KVN, if the topic matches

Just a separate performance to the pleasure of himself and the audience.

But! All this is suitable if followed

Required conditions:

1. “Actors” and spectators know and love literature.

2. They know the biographies and statements of the writers portrayed in the sketch.

3. The most important thing is that they treat famous writers not as idols, but as the people they were. That is, accepting their weaknesses and possible shortcomings philosophically and with humor, without falsehood and unnecessary embellishments.

If only because these people are already history, and history must be known as it really was. And not the way someone for some reason wanted to portray her.

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Why is everything so difficult? – you may ask.

Because the Customer wanted it that way, I will answer you.

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This time the Author of the text is me, Evelina Shesternenko, but the Authors of the assignment/idea are literature teacher Ekaterina Aleksandrovna and then 11th grade student Pavel. ( I cannot write their full names because I do not have their consent to disclose personal data. But if Ekaterina Alexandrovna and Pavel want to reveal themselves in the comments under the article, I will be glad for their visit and feedback).

The work was difficult (I sifted through a lot of reference books with biographies, letters and statements), but interesting (I remembered forgotten old things, learned something new).

The result is that everyone was happy. I really hope you like it too.

Scene “Literary Salon”

From the Customer - idea, dedication and creative task:

“And we would like to dedicate this sketch to our class teacher - (teacher’s full name)! Teaching literature is a difficult matter; willy-nilly you will become imbued with sympathy for the author, but then, with this bunch of worldviews, teach us to write essays. The head of every writer is a literary salon, in which there is always a debate over the creation of an ideal model of writing and the world. Go!"

The scene should be active and, most importantly, comical, so that the writer can be recognized by each line (perhaps so that they point to each other’s names in an argument). Definitely using desks (so that at least 2 characters “lead” the entire stage and argue).

The idea is to depict the workings of a typical 19th century salon, featuring writers and poets such as Alexander Pushkin, Nikolai Gogol, Leo Tolstoy, Anton Pavlovich Chekhov, Marina Tsvetaeva and Mikhail Prishvin. It is necessary that all writers work together to create some kind of “ideal” work. But, according to the plot of the sketch, nothing would have worked out for them, since they all have different styles, shout and interrupt each other, add their own worldview, which is why, in the end, it is impossible to write an ideal work.

Sample roles in the scene

(how I would like to see them) :

1. Alexander Sergeevich Pushkin - cheerful and cheerful, perhaps a little drunk (he led a riotous lifestyle), his task is to insert his poetic lines into the dialogue (polylogue) of those arguing, to add more of a comic component to the scene.

2. Nikolai Vasilyevich Gogol - calm, but secretive, prone to mysticism, with a demonic squint. He actively argues with Tolstoy over the fact that the work lacks something mystical, magical (and maybe even a “warlock” theme).

3. Lev Nikolaevich Tolstoy is a powerful and firm man, whose foundations are visible in his every remark. But no one listens to him (except Gogol, who is offended by his insertions). He knocks his hand on the table and tries to prove to everyone that an ideal work cannot do without “common people”, without “peasant wisdom”, so that the work can be understood by everyone and at the same time be highly social.

4. Anton Pavlovich Chekhov is an unyielding critic. Criticizes any idea that is not related to his ideas about the world; criticizes everything that is divorced from reality, realism. One of the main characters who must speak relatively a lot and prove their point. (He zealously argues with Tsvetaeva about love, for example).

5. Marina Ivanovna Tsvetaeva is a character who wants to add romanticism and love themes to everything. Does not agree to any other place of events except Moscow. He responds caustically and briefly to Chekhov's long monologues.

6. Mikhail Mikhailovich Prishvin is a carefree and peaceful character. He doesn’t argue with anyone, runs around with a net and catches butterflies, admires nature and flowers. He hopes that everyone at the table will come to their senses and add more soulfulness, nature, and landscapes to the work, and will not argue about the romantic or realistic component. (People listen to him even less than Tolstoy, who is actively knocking on the table, but his remarks should be the most touching, so that the audience understands that they don’t listen to Prishvin in vain, he is the most reasonable of all)

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This was the text of the Customer's wishes.

What happened to me?

1. I tried to follow the task, although the plot tried to go its own way. The only thing I changed consciously was Prishvin’s rationality. She shifted it towards the truth: there is NO absolute truth, everyone has their own, every writer is right in his own way.

2. Most of the replicas consist of exact or slightly modified quotes - phrases from the programmatic (occasionally - and some other) works of writers, as well as from the diaries and letters of the authors. Feedback about writers from their colleagues was used in limited quantities.

3. Written with reserve. The rehearsal will show which unnecessary fragments can be removed. It is better to refrain from pruning before the rehearsal.

4. Also during the rehearsal, it will become clear which of the characters doesn’t have enough words, and neutral phrases (that are not quotes from specific individuals) can be redistributed differently.

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If suddenly, dear Reader, you began to worry about the Writers, then I assure you – you shouldn’t. Everything is written with very gentle humor and appreciation - both for their talent and for the color of their personality. If they weren’t such bright personalities, this scene wouldn’t exist. I believe that their famous works would not have existed either.

In addition, while working on the plot and text, I became so imbued with their destinies that I even fell in love with all my characters and their prototypes. So the sketch was written by me almost with tenderness))

If it seems otherwise to you, it means that this is not yours, or simply not your day. Try rereading it later in a different mood.

“Literary Salon” - a skit on literature

CHARACTERS and PROPS

The heroes (all 6 writers stated above) look similar to their well-known counterparts in their relatively mature age. Nuances:

• Leo Tolstoy - in a spacious long shirt-sweatshirt and spacious pants, as in his later photos. On your feet are modern sneakers of any bright color.
• Pushkin and Gogol - from under the edge of the sleeve of their coat they should have a cuff made of thin white cardboard or several sheets of paper - they will write on it. Imitates the starched cuff of a white men's shirt, with a cufflink.
• Pushkin has a pen imitating a quill pen in the breast pocket of his coat. If you don't find a similar pen, find a nib and use a ballpoint pen refill.
• Prishvin has a net with a long handle.
• Unintended character - Ekaterina Alexandrovna, the owner of the salon (played by Ekaterina Alexandrovna herself - a literature teacher - in a cameo role or a graduate girl in the image of Ekaterina Alexandrovna)

…………………………………………………………………………….

• There is a tray in a convenient, visible place, on it - a jug with dark juice or compote (cherry, pomegranate - similar to red wine), 2 glasses, 4 glasses. Everything is transparent. You can put cheat sheets with text nearby)) Pushkin walks around with a glass a quarter full almost all the time, the rest is optional. They pour themselves randomly.
• There are 1 or 2 desks (tables, chairs): for Tolstoy - a must, the rest of the characters can sit down at the table for a short time, get up, change - to maintain the dynamics.
• On the curtain or back wall there is a “window” (cardboard frame).
• Portraits of writers in prominent places (optional).

ACTION

Pushkin is the first to enter the salon (on stage). He looks around, catches a thought in the air, takes a pen from his breast pocket, pulls out his left cuff, and writes on it. He looked into space with satisfaction and looked around again. He sees a tray with a jug and glasses and screams joyfully - Oh, how thoughtful! - He rubs his hands in anticipation, pours juice into a glass and just wants to take a sip when he shudders from the scream of Tsvetaeva who came in behind him.

Tsvetaeva almost screams with joy:

Oh, my Pushkin! ( He approaches Pushkin and shakes his hand in a handshake. ) I shake Pushkin’s hand, not lick it!

Pushkin, looking around with caution and freeing his hand from Tsvetaeva’s palm:

Marinochka, you are a very good poet, as I heard!

Tsvetaeva, passionately:

Only a poet? And what about love?

Pushkin:

Sorry, I already have Natalya Nikolaevna.

Tsvetaeva:

All women lead into the mists...

At this phrase Gogol enters:

Pushkin, my dear, you have long been appointed the main genius of Russian poetry. And therefore, every schoolchild knows that your poems are not dedicated to Natalya Nikolaevna, but to many different ladies. So do you feel sorry for dedicating a couple of stanzas to our Marinochka?

Chekhov appears, nodding politely to those present.

Pushkin:

Then, it's OK. Hold it! ( Hands a glass to Chekhov, reads - emotionally and with theatrical gestures addressed to Tsvetaeva )

I remember a wonderful moment:
You appeared before me,
Like a fleeting vision
Like a genius of pure beauty.

I loved you. Love still, perhaps
It has not completely faded away in my soul.
But don't let it bother you anymore -
I don't want to make you sad in any way.

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I don’t want to make you sad either)) Therefore, we’ll take a break here, and we’ll meet again in the next article: “.

Any ideas what will happen there? Please write in the comments.

With the wish to remember that I also want to read something from you,

Attention! The site administration is not responsible for the content of methodological developments, as well as for the compliance of the development with the Federal State Educational Standard.

Conducting a concert in the style of congratulations from famous literary heroes.

Purpose of the event: fostering a respectful attitude towards the work of a teacher through the inclusion of a literary context in the holiday script.

Tasks: promote the realization of acting, speaking, and musical talents of students, apply meta-subject results obtained in literature lessons, and create a friendly and favorable atmosphere of communication between teachers and students.

Practical significance: using the entire script or its individual parts in any school group to congratulate teachers on their professional holiday.

Event form: a festive concert concluding Understudy Day in the form of a literary and musical quest for students and teachers

Equipment: the hall is festively decorated with posters, balloons, fresh flowers in vases, student presentation, music, costumes are used

Progress of the event

The music “Ivan Kupala” - “Kolyada” sounds, voice-over.

Not in the kingdom-state far away,
Not in the royal white stone palace,
In the Perm gymnasium, taken separately,
The holiday has been going on all day already.
And many words have not yet been spoken,
And there are still numbers in stock.
All because it’s a teacher’s holiday,
One of the most important here.
Although this is not the year of literature, congratulations nonetheless,
They come from heroes of different books,
And today we are with you, without a doubt,
Let's share their important content.

Music for the cartoon "3 Bogatyrs". The presenters come out. Message in hand. (Paper – imitation of an ancient manuscript)

1 presenter: What a strange telegram. ( is reading) From the unknown author of “The Tale of Igor’s Campaign...”. I will read.

Isn't it time for us, brothers, to start
A word about great things,
To tell in an old speech
About the teacher’s actions again?

2 presenter (takes away from the first)

And let us sing, brethren, of him -
In praise of his labors and wounds -
According to the epics of this time,
Without chasing Boyan with your thoughts.

1 presenter (picks up again)

And today I want to glorify those
That, straining the mind, full of strength,
Success was found among the students,
The team spirit sharpened the heart.

2 presenter. The boys choir congratulates you, dear teachers, and everyone who has worked and is working in our glorious gymnasium.

Performance by the boys' choir, singing the song "Teachers, for us you are the light in the window."

The music “Mitrofanushka’s Exit” plays. A young man comes out dressed as a teenager...

1 presenter. Another congratulations. From whom? Mitrofanushka..

Mitrofanushka. I didn't want to study, I wanted to get married. I knew a little about science: I knew, for example, that the door that is attached to the jamb is an adjective, but the door at the bottom is not hung, so that is a noun. But my mother sent me to study at the gymnasium, thanks to good teachers I became smart, which is what I wish for everyone... But I know there are Mitrofanushki in your gymnasium, I would like to meet..

1 presenter. So... one of them

A disheveled young man comes out, his high school uniform is on inside out.

New Mitrofanushka(reads from a piece of paper) Well, in general, something needs to be said here. They asked... Like the class can perform, no one can sing, who dances, but here this... What's his name... in prose. Maybe they'll give it a five in literature. OK. I'll tell you

Well, that means I’m studying in this what’s his name, well, there are some letters, a lot of letters, they even decipher somehow - I remember writing on the title page of the research paper - well, it doesn’t matter, the main thing I remember is the number 5. And I also remember - to what stops to go, however, I sleep in the minibus all the time - and I have to go one more stop. I managed to move, but didn’t change the gymnasium. And who came up with the idea of ​​starting the educational process at 8.00? School? It’s okay if it’s close to home... But here... well, in general, I’m late... but that’s okay. The teachers here are understanding - they say I was driving through the market, stopped at the dam - come in - well done, like you came. I get enough sleep right here in class. But if they talk about money... some kind of economy, I immediately wake up.

I always left a bag of notebooks in the minibus, but I found a way out... I got one, I carry it in my pocket for all the items... the teachers are happy - well done, saying, write, it will come in handy in life.

There are a lot of different lessons there, I don’t remember the names - I remembered them from the classrooms. The first lesson is room 12, we read books there, the second is 23, I remember the debates were filmed there on TV, the third is 32, I thought it was there... well, so on, as in the schedule... At first, of course, I was confused, but then I understood - that’s it in the same ones. Yes, everyone knows us here. They shout, they rejoice, apparently, go, they say, yours are sitting at 23.

Favorite subject? Are you asking? Of course, Vasily Aleksandrovich... never played volleyball... And here... he already took part in the championship. And also all sorts of events, like... Run a marathon or play football. What about me? With pleasure - you don’t go to classes for a good reason. Me: why wasn’t you there? And I defended the honor of the gymnasium. How is it...

How am I studying? Well... I go, I’m not some kind of truant. They told me to walk, so I walk. Nooo... it was interesting during the lessons, I remember I often looked up from my mobile phone. I listened. Reply? - the teacher is smarter, so why argue with him?

I also remember the dining room, well, yes, there were all sorts of pasta and rolls - you can’t die of hunger - but we were always asking: what are you doing here? Why are you sitting here? And who knows how to adapt to this call... by the way, the call here is cool, I thought someone’s mobile phone was playing. I'm used to it.

Yes, by the way, why did I come out? Congratulations on Teacher's Day. What did I say then? In general... Happy holiday to you

Both leave, talking about something.

2 presenter. The story continues in the ditties of 8th grade students...

Student performance.

Music.

1 presenter. Look how beautiful the words are.

2 presenter (girl)

I am writing to you, what else?
I want to say heartfelt words.
I know on this autumn day -
We need to congratulate teachers.
I want to confess my love to all of you
And wish you happiness in life.
Don't fall in love with the Onegins
Submit programs on time.
There would be no teachers in the world,
Believe me, I wouldn't exist.
How the heart beats in ecstasy.
Patience, love, warmth to you.

1 presenter. Sings for you... Song "Autumn Blues".

Song.

Music 9.

2 presenter. The shortest congratulations. « Vivid impressions from life. And trips to Rio de Janeiro." Ostap Bender.

1 presenter. They dance for you... ( ballroom dance)

Music 11.

Leading (young man in a blond suit):

Here's another congratulation:
You know, of course you know everything,
You can answer any question.
You understand, you definitely understand
You know how to forgive with an open soul
You speak:
It's time for me to learn what has tormented you
My crazy life
And that it’s time for me to sit down for the Unified State Examination,
Instead of standing on stage in front of you, please
Live happily
Under the shadow of bright stars,
Deal with system updates.
With greetings to you always loving - Sergei Yesenin.

2 presenter. Sings for you...

Performance.

Music 12.

1 presenter. Another congratulations.

A young man playing Chichikov comes out.

Chichikov:“I admit honestly, the gymnasium is good, a wonderful gymnasium, and I spent a very pleasant time here: the company is most courteous, full of entrepreneurs. They're all businessmen, I like it... I came in and bought shoe covers. And also recommendations for parents, leave your passport details... well done... I wish you a big salary for little effort and entrepreneurial opportunities so that life is fun and happy. Pavel Ivanovich Chichikov."

2 presenter. They dance for you... (incendiary dance, modern)

Dance.

1 presenter (comes out with a telegram). I don’t understand the next congratulation, some words: “A hot horse cannot have a steel bit. I am a free person and I wish you freedom. But I liked you, teachers, you touched my heart, I’m ready to exchange my will for study. Loiko Zobar"

2 presenter. Dancing for you... “Gypsy Hungarian”.

Dance.

1 Presenter

Why are you a meager fantasy?
Where are you vocabulary!
Sweet, gentle, wonderful!
Eh, I wish I could fall in love with you.

Vladimir Vysotsky

2 presenter. A song about a friend...

An ensemble of guitarists perform a song by Vysotsky.

Music 16.

1 presenter. (reads the text from the heart) Such a beautiful message: We wish you love. Real, true. Although you are the people who know what true love is. You constantly live the life of those you love: you fall asleep over their notebooks, you come up with something to make their life not boring, you know how to give a piece of your heart, you rejoice at the success of your students at conferences and olympiads. Love! Master and Margarita.

2 Presenter. For you, a performance performed by a master of sports in rhythmic gymnastics, silver medalist of international competitions...

Performance.

1 presenter. We have very important guests today; we welcome those who dedicated their lives to our college. The floor for greetings goes to the director...

2 presenter. The teachers' choir sings "Teacher's Waltz" for you.

1 presenter. May the important work you do every day bring you only joy. We wish you good health and new successes in your hard work.

2 presenter. And we, your students, in turn, will try to please you with our achievements as often as possible and, even after leaving our gymnasium, never forget those people who helped us explore the world and return here again and again.

Music is playing.

Characters:

Download:

Preview:

Scenario for a literary evening based on works of Russian classics

Characters:

Anna Pavlovna Sherer, servant, literary characters from the works of A.P. Chekhov “Surgery”, “Thick and Thin”, D.I. Fonvizin’s “Undergrowth”.

The characters are dressed as follows: the ladies are in 19th-century style outfits, but Anna Pavlovna is more elegant, with a fan, and wearing jewelry. A servant, in a formal suit, white gloves, in his hands is a tray for business cards.

There are chairs and armchairs on the stage, and in the center there is a table with candelabra (or just candlesticks) and burning candles. Every hero has a cup of tea in front of them. During the evening, guests sit down at the table and have secular and literary conversations.

A waltz sounds from the drama “Masquerade” by A. S. Griboyedov. The owner of the salon, Anna Pavlovna, comes onto the stage.

Anna Pavlovna – Natasha Chirkova

Maid - Valya

Anna Pavlovna . Good evening, dear friends! I’m very glad that you found some free time and came to our literary salon. I hope that you will spend your time here usefully and pleasantly. Guests will soon begin to arrive. Everything would be fine, but I somehow forgot who I invited. Well, what can you do - sclerosis! I'm already quite a few years old. Remember how the incomparable one wrote about me... By the way, who is my (and not only mine!) literary father! -….. Lev Nikolaevich Tolstoy. He wrote: “Anna Pavlovna, despite her forty years, was filled with animation and impulse. Being an enthusiast became her social position, and sometimes, when she didn’t even want to, she, so as not to deceive the expectations of people who knew her, became an enthusiast. The restrained smile that constantly played on Anna Pavlovna’s face, although it did not match her outdated features, expressed, like spoiled children, the constant consciousness of her dear shortcoming, from which she does not want, cannot, and does not find it necessary to correct herself.”

My friends, will you help me find out who is welcome to my salon? Today we will have not just business cards and letters, but also scenes from literary works.

Maid: The first guest has arrived! Or rather his letter, but soon he himself will arrive.

Anna Pavlovna : Read quickly!

Maid: “I had a terrible toothache. The local paramedic almost left me disabled. So, sorry for the delay, I’m getting myself in order.”

Anna Pavlovna : Who could it be? Let's ask the guys. What hero are we talking about? ()

Maid: And here they are. Anna Pavlovna. Let's listen to what the guests will tell us.

SKETCH “Surgery” based on the story by A.P. Chekhov

Kuryatin – Andyshev Alexey

Sexton – Sibagatullin Linar

He looks around in search of an image, but not finding one, he crosses himself onto a bottle of carbolic solution.

KURYATIN: A-a-a... mine for you! – (yawning). - What did you come with?

SEXMAN: Happy Sunday to you, Sergey Kuzmich... To your mercy…. The other day I sat down with an old woman to drink tea - and my God, not a drop, even lie down and die... Ah, ah, ah... You take a little bread and my strength is gone! And in the tooth itself, and this whole side... It hurts, it hurts!!! Excuse me, it feels like it’s in your ear, as if there’s a nail or some other object in it: it just shoots, just like that! Forgive me, Lord! This is for my sins, Sergei Kuzmich, for my sins! And I can’t sing at the service, you can’t understand anything... And what kind of singing is there if you can’t open your mouth, ahhhh....., all swollen, sorry, and not sleeping at night.....

KURYATIN: (scratching the top of his head) - M - yes... Sit down... Open your mouth!

The sexton sits down and opens his mouth. Kuryatin looks in with a knowing look, frowns...

KURYATIN: - You need to pull it out, that tooth! Definitely tear it up, Efim Mikheich!

SEXMAN: - You know better, Sergei Kuzmich. That’s what you’re trained for, to understand what to pull out and what to take out in drops or something else…. This is why you, benefactors, are appointed, God grant you health, so that we pray for you day and night, dear fathers... to the grave of our lives...(crosses himself).

KURYATIN: (modestly waves his hand)- It’s nothing... Surgery is nothing... It’s all about habit, steadfastness of the hand... Just a piece of cake... You can pull it out... Why not pull it out? Only here you can’t have a clue... There are different types of teeth. You tear one with tongs, another with a goat's leg, the third with a key... It depends on you!(at the same time he rummages through his tools; he takes one or the other in turn, looks at them questioningly; then he puts them down and picks up the tongs). He approaches the sexton with tongs. His eyes widen in fear.

KURYATIN: - Well, sir, open your mouth wider... Now we are…. Togo…. Just a piece of cake... Just cut the gum along the vertical axis... And that’s it... and that’s it...(trying to trim the gum).

SEXMAN: - You are our benefactors... We are fools, and unaware, the Lord has enlightened you...

KURYATIN: - Don’t argue if your mouth is open... This one is easy to tear, but it happens that there are only roots... This one is a piece of cake... (puts tongs on). Don’t twitch, sit still... It’s a piece of cake, the main thing is that the crown doesn’t break...(The sexton twists in his chair in pain and tries to grab the paramedic’s hands)

SEX: (shouting) - Our fathers... Holy Mother….. Vvvv…

KURYATIN: - Not right... not right... what's his name? Don't grab with your hands! Put your hands down! (pulls). Now... Here, here... It’s not an easy matter...

SEXMAN: (screams even louder)- Fathers... Guardians... Angels! Wow... Yes, pull, pull! Why are you waiting five years?

KURYATIN: - It’s impossible right away... That’s it... The thing is... Surgery!(raises index finger up)

The sexton raises his knees to his elbows, cries and breathes heavily. The paramedic stomps in front of him. The forceps come off the tooth.

KURYATIN: ( scratching the back of his head) -Oh, bad luck! It broke...

SEX: ( jumps up and puts his hands in his mouth)- A! On the spot! ( points a finger at the tooth and looks reproachfully at the paramedic).

KURYATIN: (throwing out his hands) - He pulled!

SEX: ( mimicking, in a crying voice) - Pulled... May you be drawn to the next world! Thank you very much! If you don’t know how to tear, don’t try it! I don’t see the light of God...

KURYATIN: - Why are you grabbing with your hands? I’m pulling, and you’re pushing my arm and saying all sorts of stupid words…. Stupid!

SEXMAN: - You yourself are a fool!

KURYATIN : - Do you think, man, it’s easy to pull teeth? It’s not for you to ring the bells in the bell tower!(teasing) “If you don’t know how, don’t try it...” Tell me which pointer you found. Look...

SEX: ( holding his cheek, crying, wailing and crossing himself)- I don’t see a white light... Oh... Lousy devil... They planted you here, Herods, for our destruction!

The sexton, holding his cheek, wailing, leaves.

KURYATIN: (following him, putting away the tools)- Scold me again here! Look, what a peahen! It’s okay for you, you won’t die! Ignorant!

Examining the goat leg and tongs, he thoughtfully says to the audience:

KURYATIN: - It would be a goat's leg for me... Oh, opportunity!

Anna Pavlovna : We invite our heroes to our literary salon. Make yourself comfortable. Well, friends, do you recognize our heroes?

Maid: Anna Pavlovna, the letter has arrived.

Anna Pavlovna: And what do they write?

Maid: “I won’t come alone. I’ll take my classmate with me; I met him the other day. You’ve changed, you won’t recognize it.”

Anna Pavlovna: Who could this be? So, gentlemen, this is your version! Until the correct answer is given, the heroes will not be able to enter us.

(Answers "Thick and thin")

Anna Pavlovna: We invite guests to the stage.

SKETCH “Fat and Thin” based on the story by A.P. Chekhov

Fat: Maxim

Thin: Sasha

His wife: Ilsina

Son:

At the Nikolaevskaya railway station, two friends met: one fat, the other thin. The fat one had just had lunch at the station, and his lips, coated with oil, were shiny like ripe cherries... The thin one had just left the carriage.(The thin man was laden with suitcases, bundles and cardboard boxes... A thin woman with a long chin peeked out from behind him - his wife, and a tall high school student with a squinted eye - his son.)

Thick - Porfiry! - Is that you? My darling! How many winters, how many years!

Thin - Fathers! - the thin one was amazed .- Misha! Childhood friend! Where did you come from?

(The friends kissed each other three times and looked at each other with eyes full of tears. Both were pleasantly stunned.)

Thin :My dear! I didn't expect that! What a surprise! Well, take a good look at me! Just as handsome as he was! Such a soul and a dandy! Oh, my God! Well, what are you doing? Rich? Married? I’m already married, as you can see... This is my wife, Louise, nee Vanzenbach... Lutheran... And this is my son, Nathanael, a third grade student. This is Nafanya, my childhood friend! We studied together at the gymnasium!

(Nathanael thought for a moment and took off his hat.)

Thin We studied together at the gymnasium! Do you remember how they teased you? They teased you as Herostratus because you burned a government book with a cigarette, and they teased me as Ephialtes because I loved to tell lies. Ho-ho... We were children! Don't be afraid, Nafanya! Come closer to him... And this is my wife, née Vanzenbach... a Lutheran.

(Nathanael thought for a moment and hid behind his father).

Thick: Well, how are you doing, friend? Where do you serve? Have you achieved the rank?

Thin: I serve, my dear! I have been a collegiate assessor for the second year now and I have Stanislav. The salary is bad... well, God bless him! My wife gives music lessons, I privately make cigarette cases out of wood. Great cigarette cases! I sell them for a ruble apiece. If someone takes ten grand or more, then, you know, there is a concession. Let's make some money. I served, you know, in the department, and now I’ve been transferred here as the head of the same department... I’ll serve here. Well, how are you? Probably already a civilian? A?

Thick: No, my dear, lift it higher. I have already reached the rank of secret... I have two stars.

The thin one suddenly turned pale and petrified, but soon his face twisted in all directions with a broad smile; it seemed as if sparks were falling from his face and eyes. He himself shrank, hunched over, narrowed... His suitcases, bundles and cardboard boxes shrank, wrinkled... His wife's long chin became even longer; Nathanael stood tall and fastened all the buttons of his uniform...

Thin: I, Your Excellency... It’s a pleasure, sir! A friend, one might say, from childhood and suddenly became such a nobleman, sir! Hee hee sir.

Tolstoy: Well, that's enough! - the fat man winced.- What is this tone for? You and I are childhood friends - and why this respect for rank?

Thin: For mercy... What are you...-the thin one chuckled, shrinking even more. This, Your Excellency, is my son Nathanael... his wife Louise, a Lutheran, in some way...

(The fat one wanted to object something, but the thin one had so much reverence, sweetness and respectful acid written on his face that the Privy Councilor vomited. He turned away from the thin one and offered him his hand in farewell.

The thin one shook three fingers, bowed with his whole body and chuckled like a Chinese: “hee-hee-hee.” The wife smiled. Nathanael shuffled his foot and dropped his cap. All three were pleasantly stunned)

Anna Pavlovna: We invite our heroes to join us at the table.

Maid: Madam, the messenger brought a letter.

Anna Pavlovna: So what are you waiting for? Read faster!

Maid: “Live forever, learn forever, my dear friend!” I kept trying to reason with my son. And you yourself know what came of it. Now I’ll feed him, dress him, and we’ll definitely come to you.”

Anna Pavlovna: Who are they? Your version?

Answers (Denis Ivanovich Fonvizin “Minor”)

Maid: They are already in the living room.

Anna Pavlovna: So call them quickly. What are you waiting for?!

SKETCH “THE UNDERGROUND” based on the work of D.I. Fonvizin

Mrs. Prostakova – Ilvina

Starodum – Pavel

Mitrofan - Nikita

Mrs. Prostakova (to Starodum). Would you like to have a good rest, father? We all tiptoed around in the fourth room so as not to bother you; they didn’t dare look in the door; Let’s hear, but you deigned to come here a long time ago. Don’t blame me, father...

Starodum. Oh madam, I would be very annoyed if you came here.

Mrs. Prostakova. (To Starodum.) Let me, my father, now trouble you with our common request.(to his son.) Bow.

Starodum. Which one, madam?

Mrs. Prostakova. First of all, I would like to ask everyone to please sit down.

Everyone sits down except Mitrofan

Mrs. Prostakova. That's the thing, father. For the prayers of our parents - we sinners, where could we beg - the Lord gave us Mitrofanushka. We did everything to make him the way you would like to see him. Wouldn’t you like, my father, to take on the labor and see how we learned it?

Starodum. O madam! It has already reached my ears that he now only deigned to unlearn. I have heard about his teachers and I can see in advance what kind of literate he needs to be, studying with Kuteikin, and what kind of mathematician, studying with Tsyfirkin.I would be curious to hear what the German taught him.

Mrs. Prostakova: All sciences, father.

Mitrofan . Whatever you want.

Starodum (to Mitrofan). Why, for example?

Mitrofan (hands him the book). Here, grammar.

Starodum (taking the book). I see. This is grammar. What do you know about it?

Mitrofan. A lot of. Noun and adjective...

Starodum Door, for example, which name: a noun or an adjective?

Mitrofan. A door, which is a door?

Starodum. Which door! This one.

Mitrofan. This? Adjective.

Starodum Why?

Mitrofan. Because it is attached to its place. Over there at the closet of the pole for a week the door has not yet been hung: so for now that is a noun.

Starodum. So that's why you use the word fool as an adjective, because it is applied to a stupid person?

Mitrofan. And it is known.

Mrs. Prostakova. What, what is it, my father?

Starodum It couldn't be better. He is strong in grammar.

Mrs. Prostakova. Well, my father, he is still a hunter of stories.

Starodum (to Mitrofan). How far are you in history?

Mitrofan. How far is it? What's the story? In another you will fly to distant lands, to a kingdom of thirty.

Starodum A! Is this the story that Vralman teaches you?

Mitrofan. No, our Adam Adamych doesn’t tell stories; He, like me, is a keen listener himself.

Mrs. Prostakova. They both force themselves to tell stories to the cowgirl Khavronya.

Starodum: Didn’t you both study geography from her?

Mrs. Prostakova (to her son). Do you hear, my dear son? What kind of science is this?

Mitrofan: (quietly to his mother). How do I know?

Ms. Prostakova (quietly to Mitrofan).Don't be stubborn, darling. Now is the time to show yourself.

Mitrofan (quietly to his mother). Yes, I have no idea what they are asking about.

Mrs. Prostakova (to Skotinina). What, father, did you call science?

Starodum: Geography.

Mrs. Prostakova (to Mitrofan). Do you hear, eorgafiya.

Mitrofan. What is it! Oh my God! They stuck me with a knife to my throat.

Mrs. Prostakova. Ah, my father! But what are cab drivers for? It's their business. This is not a noble science either. Nobleman, just say: take me there, and they will take you wherever you please.

Starodum. Oh, of course, madam. In human ignorance, it is very comforting to consider everything that you don’t know to be nonsense.

Mrs. Prostakova. Without sciences people live and lived.

Starodum. Commendable.

Mrs. Prostakova. My father! What joy is it to learn? We see this with our own eyes and in our region. Whoever is smarter will be immediately elected by his brothers to some other position.

Starodum. And whoever is smarter will not refuse to be useful to his fellow citizens.

Mrs. Prostakova. God knows how you judge you today.

Starodum (stands up and everyone stands up).Go, my friend; however, I am not saying goodbye to you.

Anna Pavlovna : Come to our salon, we are very glad to see you!

Anna Pavlovna: Soon more guests will arrive, we need to prepare.

Maid: I forgot to tell you that you still have guests.

Anna Pavlovna: Why are you making them wait? Call immediately!

Maid: But you don’t know who yet. Maybe you don't want to accept them?

Anna Pavlovna: This is disrespectful to guests. Let them come in.

Anna Pavlovna: We invite guests to the stage.

Music sounds (Leonid Utesov. Oh, those black eyes...) Vasya and Masha come out. They dance, languidly looking into each other's eyes. Masha leaves her gentleman, goes to the mirror and is clearly about to leave. The party ended late.

Masha: Ilvina

Figure: Lena Delyanova

Vasya: Sasha

Vasya: Wait, my joy... Wait for the first tram. Where are you, by God, really... You can sit here and wait, and all that, but you go. Wait for the first tram, by God. And then you, for example, are sweating, and I am sweating... Well, you can get sick in the cold...

Masha: No. And what kind of gentleman are you who cannot see a lady out in the cold?

Vasya: So I'm sweating(almost crying)

Masha: Well, get dressed!

Vasya Chesnokov obediently put on his fur coat and went out into the street with Mashenka, firmly taking her by the arm.

It was cold. The moon was shining. And the snow creaked underfoot.

Vasya: Oh, what a restless lady you are, (looking with admiration at Mashenka’s profile.) - If it weren’t for you, but for the other one, I would never have gone to see him off. Here, by God, in fact. I only went because of love.

Mashenka laughed.

Vasya: So you laugh and bare your teeth, but I really, Marya Vasilievna, adore and love you dearly. Just tell me: lie down, Vasya Chesnokov, on the tram track, on the rails and lie down until the first tram - and I’ll lie down. By God...

Masha: Come on, look at the wonderful beauty around you when the moon is shining. What a beautiful city at night! What wonderful beauty!

Vasya: Yes, wonderful beauty, (looking with some amazement at the peeling plaster of the house)Indeed, very beautiful... And beauty, too, Marya Vasilievna, works if you really have feelings... Many scientists and party people deny feelings of love, but I, Marya Vasilievna, do not deny it. I can have feelings for you until death and self-sacrifice. By God... Tell me: hit the back of your head, Vasya Chesnokov, against that wall - I’ll hit you.

Masha: Well, let's go

Vasya: By God, I'll hit myself. Would you like it?

Vasya: By God, do you want me to throw myself into the canal? And, Marya Vasilievna? You don't believe me, but I can prove...

Vasya Chesnokov grabbed the railing and pretended to climb.

Masha: Oh! - Mashenka shouted. “Vasya!” What do you!

(Some gloomy figure suddenly emerged from around the corner and stopped at the lantern)

Figure: Why did you go crazy? -The figure said quietly, examining the couple in detail.

Mashenka screamed in horror and pressed herself against the bars.

The man came closer and pulled Vasya Chesnokov by the sleeve.

Figure: Well, you, mymra. Take off your coat. Yes, alive. If you make a sound, I’ll hit you on the bulldozer, and you’ll be gone. Got it, bastard? Give it up!

Vasya: Pa-pa-pa, excuse me, how can this be?

Figure: Well! - the man pulled his fur coat overboard.

Vasya unbuttoned his fur coat with trembling hands and took it off.

Figure: And take off your boots too. I also need boots.

Vasya: Pa-pa-pa,” said Vasya, “excuse me... frost...

Figure: Well!

Vasya: Don’t touch the lady, but take off my boots, she has a fur coat and galoshes, but I’ll take off my boots.

The man calmly looked at Mashenka and said:

Figure: You take it off and carry it in a bundle. I know what I'm doing.

Mashenka looked at the man in horror and did not move. Vasya Chesnokov sat down in the snow and began to unlace his boots.

Vasya: She has a fur coat and galoshes, and I take the rap for everyone...

The man put on Vasya’s fur coat, put his shoes in his pockets and said:

Figure: Sit and don't move, and don't hit your teeth. And if you shout or move, you’re gone. Got it, bastard? And you, lady...

The man hastily pulled his fur coat around him and suddenly disappeared.

Vasya sat limp, sour and in a heap in the snow, looking with disbelief at his feet in white socks.

Vasya: We waited. If I see her off, I will lose my property too. Yes?

Guard! They're robbing!

(Then he took off and ran through the snow, jumping in horror and jerking his legs. Mashenka remained by the grate)

Anna Pavlovna: Yes, indeed, this happens in life! Zoshchenko is right! We invite our heroes to our literary salon. Make yourself comfortable.

Maid: Anna Pavlovna, we have guests from Fyodor Abramov’s story “Golden Hands”

Anna Pavlovna: Please, we are very glad to see you.

Maria – Ilsina

Chairman-Alina

Maria: Alexander Ivanovich, I am invited to a wedding in Murmansk. A friend is getting married. Will you let me go?

Chairman: What about the calves? Who will stay with the calves?

Maria: I will recall my mother from retirement. I think it will somehow last a week.

Chairman: Go, go, Maria! But just sit away from the groom, otherwise he will confuse him with the bride.

Maria leaves.

Chairman: (addressing the hall)Oh, and the girl! Someone will get such a treasure!.. You might not call her a beauty, and she’s not very tall, but she’s full of fun and enthusiasm – enough for seven. And a worker... In forty-five years I have never seen one like her. Three women before her were stomping around in the calf barn, serious, family-oriented, and the calves were dead. And this one came - just a girl - on the very first day: “Get lost! I can handle it alone." And as soon as she started fooling around, she created such a revolution - it became a pleasure to go to the calf barn.

Maria has returned. Gloomy. With tightly pursed lips.

Chairman: Why did you return from the wedding so quickly?

Maria: I wasn't at the wedding.(with rage, with anger she put her hands on the table).Where will I go with such hooks? To make people laugh?

Chairman: I don’t understand...

Maria: Why not understand? I went to a restaurant at the airport in the city - something to eat, I think there was still a two-hour wait for the plane to Murmansk, and I sat down at one table - it was full of people: two dandies and a kind of fragal with makeup. I looked, and they stopped eating.(She screamed). I didn’t like my rake! All cracked, all red, like twigs - but why would they like it?

Chairman: Maria, Maria...

Maria: All! I've got enough. Look for another fool. And I’ll go to the city to put beauty on my hands, manicures... I’ll make them look like this curly haired girl.

Chairman: And because of this... You didn’t go to the wedding because of these dudes?

Maria: How are you going to go? Froska works as a nurse, the groom is an officer - how many dyed and curled ones will there be? But is it really my fault that from morning to night I shovel into ice water, swill, and manure... But why would I have hands?

Chairman: Maria, Maria... you have golden hands... The most beautiful in the world. By God!

Maria: Beautiful... Only with this beauty you can’t show up in the city.

Maria leaves.

Chairman (addressing the audience):Maria calmed down a little only when she crossed the threshold of the calf barn. With seventy-five gulps, with seventy-five loud trumpets, the calves trumpeted for joy.

Anna Pavlovna: So the heroes of Dragunsky came to visit.

“The secret always becomes apparent” by Dragunsky

Mom - Ilsina

Deniska-

Policeman

Uncle

(At the table. Breakfast)

Deniska. What does this mean, mom: “The secret becomes clear”?

Mother. This means that if someone acts dishonestly, they will still find out about him, and he will be ashamed, and he will be punished. Understood? Eat!

Deniska. I can’t see the semolina porridge!

Mother. Look who you look like! Looks like Koschey! Eat. You must get better.

Deniska. I'm choking on her!..

Mother. Do you want us to go with you to the Kremlin?

Deniska. Of course, I want to go to the Kremlin! Even more!

Mother. Well, eat all the porridge and let's go. In the meantime, I'll wash the dishes. Just remember - you have to eat every last bit!

(mom left)

(Denisa:

Slaps porridge with a spoon

We need to add salt! (salt, taste)

Wow, so thick. We need to add water! (try) Horror!

O.fuck! You can eat anything with horseradish! (adds, tries, waves his hands on his face, grabs the plate and pours it out the window)

(mother enters)

Mother . What a guy Deniska is! I ate all the porridge to the bottom! Well, get up, get dressed, working people, let's go for a walk to the Kremlin!

(a policeman entered).:

Policeman Hello! And also an intelligent person. What a shame! The state provides you with new housing, with all the amenities and, by the way, with a garbage chute, and you pour all kinds of crap out the window!

Mother. Don't slander. I don't spill anything!

Policeman . Oh, don’t you pour it out?! Victim!

(uncle came in)

Uncle (stutters) The main thing is, I’m going to take pictures... And suddenly such a story... Porridge... mm... semolina... Hot, by the way, through the hat and then... it burns... How can I send my... ff... photo when I'm covered in porridge?!

(Mom looks sternly at Deniska).

Mother. Excuse me, please allow me to clean you up, come here!

(three leave, mother returns)

Deniska Yes, mom, you said it right today. The secret always becomes clear!

Mother .Did you remember this for the rest of your life?

Deniska. Yes.

Maid: A fairy tale rushes towards us through the centuries.

Anna Scherer: I really like reading fairy tales. When I want to relax and believe in something good, I read fairy tales. Please take the stage.

(Russian folk tale “Teremok”) - primary school

Anna Scherer : My friends, what books do you like to read?

Alexey: Book Alexandre Dumas "The Three Musketeers"

(Alyosha reads an excerpt)

Anna Scherer: Great!!!

Maid: Can I also read my favorite passage?!

All: Please, please!

(Valya reads)

Anna Scherer: I am delighted with you, my dear!

Maid: Oh, I forgot to receive guests. Some pioneers have come to us!

Anna Scherer: Invite them soon!

(Pioneers on stage. Daily routine: elementary school)

Somebody: Anna Pavlovna, it’s time for us to leave. We would like to finally listen to another poem.

(Valya reads a poem)

Thick: Gentlemen, it’s time for me personally to return to the pages of my story.

All: And it's time for us!

Anna Pavlovna . Well, let's say goodbye, gentlemen. Goodbye, see you again at the Literary Salon!

) is a completed film-dramatic work. It must contain a complete, consistent and specific description of the plot, consisting of developed scenes and episodes, dialogues and reveal the images of the characters. A literary film script, regardless of genre, form and stylistic features, must also meet the production and economic requirements of cinema. (standard script agreement approved by order of the Chairman of the Cinematography Committee under the Council of Ministers of the USSR dated April 14, 1971 No. 188)

Literary script- a full-fledged work of art that meets the specific and production requirements of film production, where, taking into account visual and sound images, a description of film episodes with dialogue between actors is given (B. N. Konoplev “Fundamentals of Film Production” M. “Art” 1969 p. 91)

In fact, what was previously called a literary script is a film script in today’s understanding (“Instructions on the procedure for drawing up agreements between film studios of the union and republican subordination with authors for writing film scripts for feature films, as well as accounting for and monitoring the implementation of contracts,” approved by order of the minister Cinematography of the USSR dated December 28, 1946 No. 217; “Instructions on the procedure for launching feature films into production”, approved by order of the Chairman of the State Committee of the USSR Council of Ministers for Cinematography dated March 7, 1964 No. 76).

Although some companies still use the concept of Literary script to define a film script.

Some script agencies, in order to “increase the volume of work,” specifically separate the creation of a literary script and a film script, which is nipped in the bud by experienced producers.

The concept of “Literary script” was introduced solely to distinguish between the director’s script and the film script, which formed the basis of the film, since both the director’s and literary script were film scripts.

In Soviet times, the creation of a literary script was allocated to a separate period of film creation. They still do the same.

Story

After the October Revolution, although already in 1919, a decree was issued according to which all photographic and cinematographic trade and industry was nationalized through requisition (“On the transfer of photographic and cinematographic trade and industry to the jurisdiction of the People’s Commissariat of Education,” Collection of laws and orders of the workers and Peasant Government, 1919, No. 44, Article 433), and therefore all further regulation of cinema was production-related. Film production began to enter the sphere of state interests.

It was during the Soviet period of the formation of cinema that the basis of film production technology was formed, which is still used in the domestic film industry, certainly taking into account new economic and technical realities.

In Soviet times, there were mainly two types of film scripts:

• literary script

The writing of the literary script was mainly carried out by graduates of the screenwriting department of the All-Union State Institute of Cinematography (VGIK), taking into account the production requirements set by the USSR State Committee for Cinematography.

Each film studio had script editorial boards (or script departments). There, script authors sent creative (script) applications or a libretto for the film. Further, based on these applications, a thematic plan of the editorial board was created, which was approved by the Cinematography Committee under the Council of Ministers of the USSR.

There was no approved application form. However, in the standard screenplay agreement (approved by order of the Chairman of the Cinematography Committee under the Council of Ministers of the USSR dated April 14, 1971 No. 188), clause 2 stated that the film script must comply with the Author’s creative application approved by the Studio and attached to the agreement, “outlining the idea, plot concept and characteristics of the main characters.”

A standard screenplay agreement was always drawn up in the form approved by the USSR Minister of Cinematography (Order of the USSR Minister of Cinematography of December 28, 1946 No. 217).

At film studios, there were also production requirements that the author of a literary script had to fit into when creating it. For 1956, for example, the following standards were in effect:

• Film length (for full-length feature films from 2500 to 2700 meters, for films for children from 2100 to 2300 meters) The literary script of a full-length film had to fit into 70-80 pages of typewritten text, printed double-spaced on one side of the sheet.
• Number of filming objects: from 30 to 35 (of which 7 to 12 are pavilion sets and 1 to 2 on-location sets, the rest are on-location shooting)
• The total area of ​​the pavilion decorations was to occupy from 2200 to 5000 sq.m. for films of varying difficulty
• Number of group and extras participants up to 6,000 man-days
• The number of actors performing main and episodic roles was discussed separately.

The following could also be discussed: the seasons for filming the film, the approximate volume of summer and winter filming, the participation of certain actors and other production parameters of specific film studios.

On average, a literary script had up to 30 main episodes and contained from 4 to 5 thousand words of dialogue.

It was established that each script prepared by the studio was assigned an editor responsible for the ideological and artistic quality of the script accepted by the studio and assisting the author in the process of writing the script (From the circular letter of the Ministry of Cinematography dated May 26, 1948 No. 8/13-35).

The studio was obliged to review the film script submitted by the Author and notify the Author in writing either of the acceptance (approval) of the film script, or of its rejection on the grounds provided for in the contract, or of the need to make amendments to the film script with a precise indication of the essence of the required corrections. Requirements sent to the Author in writing about the need to make amendments to the film script with a precise indication of the essence of the required corrections could be presented to the Author no more than two times. The deadline for submitting the film script after amendments were made was established by agreement of the parties.

After the creation of the script and their approval by the management of the film studio, a limit was attached to the literary scripts for film production and the literary scripts of feature films were reviewed by the Main Directorate of Feature Cinematography of the Cinematography Committee under the Council of Ministers of the USSR and submitted for approval to the management of the Committee. And only after approval could the film be staged.

In 1977, the USSR Goskino Instruction made an attempt to divide the screenwriting period into the creation of a literary script and the so-called “film script,” which is a creative and production development of a literary script.

In the “film script,” the dramatic development of the action was carried out according to scenes and episodes, and the production development was carried out according to the objects being filmed.

Before each scene, its number was written, then the object and time of shooting (Example: Object - Village Council. Pavilion. Day (summer)), and then the sheet was divided into two parts. The first part described the action, and the second wrote the dialogues.

The form approved by this instruction lasted at least until 1985. And later this form migrated to television, forming a special type of script: “Television script”.

In film production, the Hollywood format of the film script was established, which absorbed all the best from the Literary script of the pre-1977 model and the “film script”. In the old fashioned way it is called a Literary Script, although in some companies it is already called a “Film Script”.

Where do Literary Scripts Come From?

Any of the following sources can become the basis for a future Literary Script:

• Images
• Characters
• Concepts
• Historical events
• Folk epic
• Places
• Real events
• Fantasies
• Memories
• Social problems
• News
• Newspaper articles
• Reworking or adaptation of literary works (the script becomes a derivative work - a film adaptation)

You need to be careful with the latter source, since the rights of other authors are affected.

Basic Elements of a Literary Script

A literary film script is almost always an arrangement of the following building blocks:

• BLOCK “Time and place of action”
• BLOCK “Description of action”
• BLOCK “Hero’s name”
• BLOCK “Hero’s Reply”
• BLOCK “Remarque”
• BLOCK "Title"

The form of the Literary script is primarily dictated by the production features of the final film product.

Plot structure of a literary script

Any Literary film script, regardless of its genre, can be divided into parts:

• exposition - where the viewer gets acquainted with the main character or characters, the world in which the characters live, place and time;
• plot - the first event where the hero or heroes find themselves in the very dramatic situation that will lead to complication;
• complication - an event after which the hero or heroes are forced to take some actions;
• twists and turns are the biggest part of the film, when the characters encounter obstacles that they overcome;
• climax - the highest boiling point, when it seems that “there is nowhere to go further”;
• denouement - resolution of a dramatic situation;
• finale (“happy end”; philosophical reflections of the characters; an event that leads to a new circle; etc.)

Genres of Literary Scripts

The structure of the genres of film scripts, which form the basis of the film, in Russia is wide and ramified, so the Russian system of genres is left for the entertainment of film critics, and now it is customary to use the Hollywood system for determining genres. Hollywood identifies four main components for determining ratings or rental parameters:

• Movie theme
• The mood that the film conveys
• Movie format
• The target audience

The theme of the film is divided into:

• Crime - talks about criminals and the fight against them, reveals the place, its character and the scope of criminal activity
• Historical (Historical) - talks about historical figures and events
• Science fiction - technology, space, etc.
• Sports - talks about sporting achievements and struggles with oneself.
• Teen - revolves around the usual conflict of teenagers
• War - battlefields and places related to wartime
• Westerns - stories about the exploration of the wild west
• Disaster - talks about disasters leading to the apocalypse

The list of topics can basically go on and on.

The mood conveyed by the film is divided into:

• Action - as a rule, involves a moral influence on the choice between “good” and “bad” and is played out using violence or physical force.
• Adventure - Involves feelings of danger, risk and/or chance, often with a high degree of fantasy.
• Comedy - with the aim of causing laughter
• Drama - Focuses primarily on character development, often in situations that are familiar to a wide audience.
• Fantasy is a fiction of external reality (that is, myth, legend).
• Horror - with the purpose of causing fear.
• Mystery is the transition from the unknown to the known by identifying and solving a number of almost insoluble problems.
• Romance - focuses on the elements of romantic love
• Thrillers - the purpose of creating excitement and/or nervous tension in the audience.
• Noir is characterized by a special atmosphere of pessimism and hopelessness.

The film format is in turn divided into:

• Live action is the most common. Living people in the proposed circumstances
• Animation - quickly displaying a sequence of 2-D drawings or 3-D models to create an illusion
• Biography - Also known as a "biographical film", a format that tells the true story of a historical figure and the events that took place in her life.
• Documentary - filmed based on real events, facts, personalities
• Musical - songs performed by characters and woven into the narrative.

Based on the target audience, films are divided into:

• Children's films - films for young children; unlike family films, no special effort is made to make the film appealing to other audiences.
• Family film - This should be attractive to people of all ages and suitable for viewing by a youth audience. Examples of this are Disney films
• Adult films - intended for viewing by adult audiences only, content may include violence, violation of norms, obscene language or explicit sexual behavior.

The process of creating a literary script

Brilliant scripts are created on a whim, but the same principle applies as in literature: “If you don’t have to write, don’t write.”

They are born in the mind of the screenwriter, and then spill out onto paper.

But what to do when you have an idea, but you don’t know how to put it on paper? Or when there is no desire to write, but you need to write?

There are special subtleties for this that are familiar only to professional screenwriters.

Once you have an idea, put it into words. Two or three sentences that will answer the question: “What is the film about?” This description is called a “log line”.

Once your idea is put into words, your idea must be put into plot. You choose the genre of its presentation, and then write the plot. There is a separate document for this - the “synopsis”. A synopsis is a presentation of the plot in literary form. Some new screenwriters make the mistake of not writing this document. In the future, in their completed film script, the plot may go in a completely different direction.

Once you have decided on a plot, you need to create a description of the characters who are involved in your plot. When describing, characters are divided into main and secondary ones, the following details are indicated: first name, patronymic, last name, age, occupation, family and other connections with other characters. For this there is a “character description sheet” (“Character”). A common mistake novice screenwriters make is confusion in the characteristics of characters. In one scene the character is 30 years old, and in another he is already 35, and the action takes place the next day.

The number of filming objects and their description are very important for production. The filming location is the location of the action. The location of the action largely characterizes the characters, and therefore requires description. New screenwriters make the same mistakes with subjects as they do with characters. One day the apartment is decorated with paintings, another day it’s an “empty room.” The question arises: was the apartment robbed? To describe the filming objects, there is a separate document - “Sheet of filming objects”.

The log line, synopsis, character description sheet and filming objects sheet further serve for the screenwriter’s self-control when writing the script, as well as for avoiding basic logical errors. These documents can be expanded, and in the future they simplify the work of the film crew.

The fewer filming objects and characters, and the more interesting the plot, the greater the likelihood of the film being staged according to the script.

After you have generated all these documents, you need to determine the sequence of scenes and episodes. For this purpose, there is also a separate document called “scenario plan” (“episode by episode”, “by series”, “block by block”, etc.). In it you outline the sequence of events and actions.

When the “script plan” is formed, you begin to write dialogues (the film script itself) based on all of the above. Particular attention in dialogues is paid to revealing the characters’ personalities and “telling details”, since the action itself has already been worked out in detail.

The technology for creating literary scripts has not changed since Soviet times. Applications are still being submitted. The selection of script ideas is carried out by the same film studio editors, but now taking into account the opinions of the main market players: film distributors and television companies. Some time ago, Internet companies began to enter this market and are gaining momentum in ordering film products.

And only then, after signing the contract, the Literary script is written.

Based on the Literary script, the director writes the so-called “Director’s script”, which is a visual solution to the Literary script.

Features of creating Literary scripts for TV series

When creating scripts for TV series, there is a special technology.

When creating screenplays for TV series, the team of screenwriters includes: “chief author”, “plot writers” and “dialogists”.

The responsibilities of “storytellers” usually include creating script plans: serial and episode-by-episode, as well as detailed synopses.

The responsibilities of “dialogists” usually include writing dialogues (actually film scripts) based on the approved “series concept”, script plans and detailed synopses.

• project name;
• genre;
• logline, main characters, summary (short synopsis);
• the target audience;
• estimated duration of the film/series;
• number of episodes (if it is a series).

Sometimes the full composition of the project is indicated.

Subsequently, through the efforts of the main screenwriter (main author), this application is expanded and turned into a “project bible” (or project concept). The concept of the series (description of the project, project bible), according to business customs, is a separate document that is developed by the screenwriters before starting work on the series and includes in its entirety:

• Project name
• A project's log line is a one or two sentence story that tells everything about the show and can be used as a means of double-checking while writing the script.
• Project format - Vertical, horizontal or vertical-horizontal series. Number of episodes. Number of minutes in an episode. Required Notes.
• Genre and structure of the project - genre of the project, composition of the project
• Brief synopsis of the series - In order not to remember every time how the Greek word “sinopsis” is translated, it is enough to remember its Latin synonym “conspectus” (synopsis). The short synopsis is no more than a page long. Includes the entire series.
• Idea and theme of the series - An idea is a mental prototype of the series, highlighting its main, main and essential features. Theme (Greek thema, literally “what is the basis”) is the subject (essence) of the series.
• Storylines - vertical and horizontal storylines, main and secondary storylines.
• The world and the anti-world - the world in which the heroes live and act, and the world into which they find themselves. The descriptions of these worlds add color to the project and work to contrast the characters and their environment.
• Descriptions of characters - a complete list of characters (main and secondary - first name, patronymic, last name, age, occupation, relationship with other characters)
• Detailed episode-by-episode synopsis - description of the plot of the episodes.
• List and description of Objects - description of the objects in which the action occurs.

When the concept is formed, the scripts for the first episodes of the series are written and the scripts for the episodes are accepted, filming of the series begins.

It should be noted that in TV series the main author of the film is not the director, but rather the “main scriptwriter”.

Literary Script Formatting Standards

In Soviet times, the volume of the script was calculated based on the footage of the film. 2500-2700 meters of film equaled 70-80 pages of typewritten text, double-spaced. With the advent of video filming equipment, measuring by footage of film became irrelevant.

Now almost everyone has a miracle of technology - a computer - with the MS Word program, so it’s enough to install a markup template and then use it using the “Format by Sample” button.

The first to use computer markup in Hollywood were the Writers Guild of America. With their page layout, 1 A4 sheet was approximately equal to one minute of screen time.

With available software, writing a script in the correct format has never been easier. Some of the modern American programs for this purpose are: FinalDraft, Scriptware, Movie Magic and Script Thing. Most of them can format text as you type.

However, when using these programs in Russia, problems related to language arose and one page no longer equaled approximately one minute of screen time.

Therefore, Russian screenwriters have developed their own format for writing a script and even their own “Scribe” program.

At the moment, the markup of the Russian script looks like this:

• Font: Courier New
• Font size: 12
• Alignment: left
• Bold, italic and underlined fonts are NEVER used.
• Page margins: Top - 2.5 cm, Bottom - 1.25 cm, Left - 3.75 cm, Right - 2.5 cm. The rest is unchanged.
• “Paragraph” parameter of the “Hero’s name” block: Left - 6.75 cm, The rest is unchanged.
• “Paragraph” parameter of the “Hero’s Reply” block: Left - 3.75 cm, Right - 3.75 cm, the rest is unchanged.
• Parameter “Paragraph” of the “Remark” block: Left - 5.5 cm, Right - 4.5 cm, the rest is unchanged.

The innovation was accepted by major film producers and, above all, television channels. On TV channels everything is measured in terms of timing. Scripts written in a different format on channels may be sent to the trash can without being read. The exception is famous screenwriters.

Literary script as an object of copyright

A literary script belongs to a separate type of work - screenplays, and serves as the main work for creating a derivative audiovisual work - a film or a screenplay - director's script (Article 1259 of the Civil Code of the Russian Federation).

A literary script created on the basis of works of literature is a derivative work from these works of literature - a film adaptation (Article 1259-1260 of the Civil Code of the Russian Federation). The creation of a film adaptation can only be carried out with the consent of the author of a literary work and on the basis of an appropriate agreement (Articles 1260 and 1270 of the Civil Code of the Russian Federation).

Literature

“Unified Regulations on the Film Crew for the Production of Feature Films and the Rights and Obligations of Its Main Members” Moscow, Goskinoizdat, 1947

“Handbook for the production of feature films” Moscow, Art, 1958

B. Konoplev Fundamentals of film production - 1st ed. - M.,: “Art”, 1969.

“Filmmaking. Systematized collection of regulations and departmental instructions. Chipboard" Moscow, Art, 1973

B. Konoplev Fundamentals of filmmaking. - 2nd ed. - M.,: "Art", 1975.

G. N. Goryunova “Organization of film production” M, Art,” 1983

David K. Irving and Peter W. Rea “Producing and directing short films and videos” Moscow, GITR, 2008

O. Smirnova “Script markup format”

Literary script: simple rules

There are two types of scripts: literary and directorial.

First the literary script is written, then the director's script. In feature films, such a sequence is mandatory; in documentary films, they often make do with the director’s script or script plan.

Literary script, as the name suggests, is directly related to literature.

Why do you need a literary script? Who came up with this form?

The literary script was invented at the beginning of the 20th century and was then simply called a “film script.”

So why was it invented? Or more precisely, for whom? For people, for everyone who can read and loves making movies. A literary script describes the plot of the film, the characters, dramatic situations, conflicts and their resolution. That is, history, with all its cause-and-effect relationships.

Over the years, the literary script has developed a certain form of writing. What does it mean? For simplicity, we will use the comparison method: an accounting report, a business plan or a thesis project has its own form, and a literary script has its own.

The four elements of a literary script:

- remark

Voiceover

REMARK

The remark, or descriptive part, should answer the questions: who? Where? When? what's happening? What are the connections between the current action and the previous one?

A stage direction in a film script is a figurative description of an action currently taking place; characteristics of characters, events, dramatic situations and settings.

The stage directions describe the action precisely and visually, since when reading a script we must see the action.

Examples (we use them inside links, i.e. whoever wants to watch, let him watch. In addition to the text, you can give a fragment from this film illustrating the remark):

Ivan Vyrypaev “Euphoria” (an example of a script stage direction).

From a bird's eye view, the muddy Don River meanders like a wide ribbon; the yellow-red sun-bleached steppe trembles with small ripples in the wind; white feather grass, like white water, green mounds and a lonely tree of a bizarre shape. It seems that a huge wild deity lay down with his whole body on the ground. The Don is more than a river. The Don is steppes, small farms, lonely growing trees, the Don is red, yellow, white spots and many more fancy colors. Don is a free, riotous, ferocious, passionate, rebellious and incredibly beautiful god. The hands of God are the Don starry sky, his feet are the earth cracked from the heat.

Bird's eye view of a cliff above the river. On the edge of the cliff is a small figure of Vera in a red dress. Vera looks somewhere into the distance. It is she who lives inside this huge organism, inside the Lord God named Don.

DIALOGUE

Dialogue, those. communication between two or more characters. Dialogues are written in capital letters. Unlike a theatrical play, where dialogue makes up 99%, and only 1% remains for stage directions, in a film script there is a different relationship between stage directions and dialogue.

Usually 50% to 50%, 70% (remark) versus 30% (dialogue), and sometimes 100% remark and 0% dialogue. In Otar Ioseliani’s film “April,” the characters do not utter a word, and the project only benefits from this. (An example from Otar Ioseliani’s film “April” is needed).

If in a movie you can show something instead of talking, then it is better to show it, i.e. describe the action in a remark. Dialogues in a good movie begin when the characters cannot help but speak. Those. the silence already looks unnatural. Different ratios work in television series, where the main load, as in the theater, falls on the dialogues.

VOICEOVER TEXT

Announcer (any television report where there is no author's attitude to what is happening on the screen);

Voiceover commentary ( “Mongol” S. Bodrov senior);

Inner monologue (“Mirror” by A. Tarkovsky);

Fragments from Tarkovsky, Romm, Bodrov are needed

TITLES

Captions, or intra-frame captions known since the days of silent cinema. When there was no sound in cinema yet, credits, and they were also called explanatory notes, not only the text of the characters’ dialogues was recorded, but also the characters’ states of feeling, seasons, time of day (night, day, dawn, etc.) and much more. With the advent of sound in cinema, the function of titles became as follows:

Informational (description of circumstances)

Separation (separation of one period of time from another).

What should be in a literary script?

The script is written not as a literary work, implying the complete freedom of the author, but taking into account the fact that it will be made into a film. That is, a screenwriter is an applied profession, you are not free, you are confined to the movie screen. You need to understand this right away, then it will become clear how to write a script and how it differs from a short story, story or novel.

External structure of the script

The script consists of scenes and episodes.

Scene- this is the unity of place, time and action. That is, a certain one place of action: a field, a forest, a city street, an apartment or a bathroom. If the film takes place in a room in a city apartment (scene No. 1), then in the front door (scene No. 2), then moves to a city street (scene No. 3), then into the forest (scene No. 4), and after the forest again into the room (scene No. 5), then, accordingly, there are 5 scenes in your film.

Episode consists of scenes. An episode, like a film in miniature, has its own internal development: beginning, middle, end. There are about 5-7 episodes in an hour and a half film. A short film, up to 10 minutes long, usually consists of one episode.

A standard feature film script has 32 episodes. An episode is approximately 4-5 pages.