съвременни

Nowadays, the call for literature and art to contribute to the construction of the soul, to the renewal of the morality of modern man is increasingly insistent, overly insistent. They must participate in the great and complex battle for the destruction of some - obsolete - moral values ​​and the establishment of others - new and necessary. Artists, musicians and poets need to be involved in the grandiose task of life in our rapidly developing century: the re-education of the individual personality. They must enrich it with ethics, which is drawn from the leading positions of life. But from art, in addition to sinking into the depths of human soul and its renewal, something else is required. It must become a free and unforced source of joy and inspiration" (Program of the CPSU). It must ennoble with its most immediate ideological, ethical and aesthetic impact. These requirements, sounded categorically, oblige us to look more closely at the complex, unified essence of artistic creativity. It is necessary to embrace it comprehensively, rejecting those ossified, didactically theses concepts that until recently did not allow art to educate and entertain, to provide pleasure, to be a bright source of human joy. The need for a more complete and more penetrating interpretation of art forces us again and again to return to the principled essence of a basic aesthetic concept, sometimes neglected: the artistic method.

Here the curtain is lifted and the reality, which is supposedly so familiar to us, is revealed in some unseen, unsuspected light. The reason, of course, is at least in the modern, unfamiliar, often a little bizarre artistic means, although they are sometimes necessary. The reason is in the unusually fresh, wise, communist contemporary view of the author, in his new discovery of the world. The bearer of "innovative power" in the play, of that dreamed thing that the viewer seems to want to take with him after the performance, is the dramatic image. Through it, the playwright achieves his ultimate goal: to influence the viewer. Without a dramatic image, the most fulfilling idea, the most complexly conceived conflict, and the most original dramatic composition hang in the air. Only the dramatic image-discovery can give them flesh and blood, revive the author's innermost thoughts, excite the viewer with his fate, make him think, believe in the improbable.

The strong emphasis on the moral moment, revealing the revolutionary essence of the spiritual atmosphere of our time and days, inevitably led to a certain didacticism in dramaturgy. The socialist ideal, expressed in the concrete idea of ​​the work, as the norm of life, i.e. as its driving and determining force and the reverse process - the revelation of life, from which the idea is logically derived, determined part of our newest dramaturgy.