The role of internal monologue in creating the character of the hero. (Based on one of the works of Russian literature of the 19th century.)

This is an internal speech addressed to ourselves that periodically appears in our heads. When does it occur?

1. When you are dissatisfied with the result of a conversation with someone.

2. When you just want to talk to someone.

3. When you do some action that requires concentration.

4. When you create something (for example, write a fairy tale) and therefore need to say something.

However, people usually get stuck in monologue number one.

How to stop internal monologue?

First, admit to yourself that this monologue exists.

Secondly, realize what will be the logical conclusion of this monologue. If this is a conversation with a person, then what would be the result of that unfinished conversation, argument, resentment, etc. Keep in mind that when an action is unfinished, your brain tries to complete it. But, since this did not happen in reality, he runs the program again and again. Trying to complete it.

Thirdly, you need to track when the internal dialogue appears. This could be a specific place on the street while walking, or during some activity. Perhaps music is also the key that launches this monologue (monologue trigger). In other words, you need to observe yourself and understand what action, music, time, word, person or people trigger this monologue.

Fourthly, decide for yourself what action you will take at the moment when the monologue trigger appears nearby.

Fifthly, next time, consciously do this action when you see the monologue trigger.

Because your brain is used to a certain conversation, it needs time to relearn how to think differently. This usually takes 3 to 6 weeks. To start, set yourself a limit of 3 weeks. In approximately 3-6 weeks you will finish this monologue. Try to transform your internal monologue into a useful habit of thinking the way you need to.

Inner monologue with all the clarity of these words and the understanding of its necessity for the actor when creating an image (see: Stage image) - one of the most difficult elements of acting, since the actor always has a latent desire to limit himself only to external expressors familiar in a given scene.

Internal monologue, both in life and on stage, is internal speech, spoken not out loud, but to oneself, a train of thoughts expressed in words that always accompanies a person, except during sleep.

The process of continuous internal monologue in life is familiar to everyone. It is born from what is happening, from the goals facing a person, from the actions of a life partner, etc. It causes certain of our actions, from it those words are born outwardly that seem the most accurate, the most powerful in a given situation. At critical moments in life, these monologues become intense, emotional, and conflictual. And always internal monologue goes to the degree of tension in which a person lives.

The same is true on stage, if we talk about the characteristics of this stage process. There is only one difference, but a significant one. In life, a person’s internal monologue arises on its own, except for the moments when he consciously examines the situation within himself. On stage, this is the internal monologue not of the artist, but of the character. The artist must create this monologue, having previously understood what it is about, its nature and degree of tension, and appropriate it to himself, making it habitual for himself. It should be emphasized that the artist’s internal monologue must be built in the vocabulary, in the language that is specific to the given character, and not to the artist.

The primary source of an actor's work on a role is literature - staged prose or poetry and drama. If in prose in most works the writer, creating a scene, gives internal monologues of his characters, and the artist can use them, of course, not verbatim, but adapting them to his decision, his own data, then in drama, as a rule, there are no internal monologues. There are pauses, ellipsis, text from a partner - what in the theatrical process is called “zones of silence.” The actor must, as mentioned above, himself become the author of the character’s internal monologues.

Based on the fact that internal monologue, as in life, only achieves its goals when it is continuous, there is no need to strictly divide it into internal monologue at the moments of pronouncing the text and in “zones of silence.” The difference is that, firstly, in “silent zones” it is much more difficult to maintain an internal monologue and is only possible when it is well prepared and when the actor is completely absorbed in what the partner is saying and doing. Secondly, when the text is spoken, the text itself helps to maintain the train of thought, and sometimes all or part of the internal monologue is expressed out loud by the character. As they say: what I think is what I say.

Internal monologue as a process that occurs in life gives authenticity to the performance, helps the actor become captivated by the image and requires him to penetrate deeply into the inner life of his character. Without internal monologue, perception and interaction on stage is impossible; it helps to master the “background” of the role, the rhythm of the role, and even changes the timbre of the voice (see: Perception, Interaction, “Background” role, Rhythm. Pace. Tempo-rhythm). Vl. I. Nemirovich-Danchenko argued that how to tell depends on the internal monologue, and what to tell depends on the text.

Ideally, during a performance, the developed internal monologue comes to the actor in a variable way as the scene develops. But it would be a delusion to think that he generally comes to the actor himself.

Like everything on stage, its emergence during performance depends on the preparatory work during the rehearsal process, especially during rehearsals at home, and at first even the prepared internal monologue comes to the actor by force of will, like everything he does on stage.

A special role, according to Vl. I. Nemirovich-Danchenko, they play monologues - slander, as he called them.

What are monologue and dialogue? These are forms of utterance that are found in cinema, literature, and everyday speech. We participate in dialogues every day. Monologues are less common in colloquial speech. What is dialogue? How is it different from a monologue? What are the features of these forms of expression? What types of monologue and dialogue are there? The answers to these questions can be found in today's article.

Monologue

What is dialogue? This is a conversation between several people. Only one person takes part in the monologue. This is its main difference from conversation. General Feature monologue and dialogue is that these forms of expression can be expressed both orally and in writing.

In works of fiction, characters share statements. One of the characters suddenly makes a long speech, while asking many rhetorical questions. In other words, he reasons without expecting to receive a response from his listeners. This is a monologue. Translated from ancient Greek, the term means “speech”.

Students are well aware of what a monologue is. They hear it in lectures almost every day. School teacher also tends to reason, but his speech, as a rule, includes elements of conversation. Examples of monologue and dialogue can be heard on television. What form of speech is the president's New Year's speech? Of course, a monologue. But if the same president or any other public figure answers questions from journalists, this is already a dialogue.

In ancient literature

A monologue is a passage of a lyrical or epic nature. He interrupts, distracts the reader, switches him to thinking. The monologue appeared in Antiquity. It is not surprising, since the first dramatic authors were the ancient Greeks.

Often a monologue in ancient drama was a discussion on a topic that was not related to the main action. In the comedies of Aristophanes, for example, the chorus from time to time addresses the audience - talks about events that cannot otherwise be told on stage. Aristotle called monologue an important component of drama. However, among its other elements, he gave this form of utterance the last place.

Kinds

In the 16th-17th centuries, monologue in plays was already played more than important role. He helped reveal the character of the hero, and sometimes brought some poignancy to the plot. The following types of monologues are found in works:

• Apart. The character says a few words to the side, thereby revealing his inner state.
• Stanzas. The hero makes a long poetic speech.
• Mindflow. This type of monologue represents the character's thoughts, which do not require obvious logic and do not have a clear literary structure.
• Author's word. The author's appeal to the reader through one of the characters.
• Dialogue in solitude. Character reasoning with another actor who doesn't hear him.

Dialogue

Above we figured out what a monologue is. Dialogue is a form of utterance that is invariably present in dramatic, prose works, in addition, is constantly used by people in everyday speech. I treated this type of speech quite respectfully ancient Greek philosopher Plato. He systematically used dialogue as an independent literary form.

Monologue and dialogue have been used by poets and writers for more than two thousand years. Nevertheless, the second form of speech was very popular among ancient authors. Dialogue became the main thing after Plato literary genre in ancient Greek literature.

Types of dialogues:

• Versatile.
• Dialogue of questions.
• Structured.

The meanings of the words “dialogue” and “monologue” have hardly changed since ancient times. “Logos” is translated from Greek as “word”. “Mono” means “one”, “dia” means “two”. However, the term “dialogue” today refers to a conversation between two or more people. Although there is another, more suitable concept - “polylogue”.

It is worth saying a few words about the famous work Plato. The Dialogues were created in the 3rd century BC. In this work, the ancient Greek author outlined the philosophical reasonings of famous sages. The title of each part of the book contains the name of the most significant character. Plato’s “Dialogues” include “Apology of Socrates”, “Phaedo, or On the Soul”, “Sophist, or On Being”, “The Feast, or On the Good”, etc.

Let's look at the most famous monologues and dialogues in Russian. Among the examples given below are descriptions of scenes from foreign literature.

"Hamlet"

Monologue, dialogue - types of speech that are components of any work of art. Those created by talented authors are scattered into quotes. The monologues spoken by Shakespearean characters are extremely famous. And above all, Hamlet. By the way, unlike dialogue, monologue is a form of speech that allows you to fully reveal the hero’s experiences.

Hamlet's thoughts about the meaning of life, his doubts about the correctness of the chosen actions - all this was reflected primarily in the monologues, especially in the speech, which begins with the words “To be or not to be?” In the answer to the eternal question, the essence of the tragedy of Shakespeare's character was revealed - the tragedy of a person who came into this world too early and saw all its imperfections.

Should we rise “on the sea of ​​turmoil” and defeat them or submit to “the slings and arrows of furious fate”? Hamlet must choose one of two possibilities. And at this moment the hero, as before, doubts: is it worth fighting for life, which “produces only evil”? Or give up the fight?

Hamlet understands that fate has destined him to restore justice in the Danish kingdom, but for a long time he does not dare to join the fight. He understands that the only way to defeat evil is to use the same evil. But this path can distort the most noble goal.

Shakespeare's hero does not want to live by the principle followed by the majority of ordinary people - “to achieve the goal, all means are good.” Therefore, he decides to “fall asleep and die - and that’s it...” Death is one of the possible consequences of the internal struggle, which is expressed in this expressive monologue.

Every actor dreams of playing Hamlet. This hero's monologue is invariably read by talented and untalented applicants to entrance exams to theater universities. On the list best performers In the role of the famous Shakespearean character, one of the first places is occupied by the Soviet actor Innokenty Smoktunovsky. In order to understand what a monologue is and appreciate its role in revealing the artistic image, it is worth watching the 1964 film.

Marmeladov's speech

Dostoevsky is a master of creating vivid monologues and dialogues. Unique, extremely deep in content speeches are delivered in his books by both main and secondary characters. One example is the monologue of the official Marmeladov - an unhappy, insignificant, degraded man. In the words that the character utters when addressing Raskolnikov, there is boundless pain, self-flagellation, a strange desire to humiliate you. Key words in Marmeladov’s monologue: “Poverty is not a vice, poverty is a vice.”

It is worth saying that the excerpt from “Crime and Punishment”, which shows the meeting of the main character with Sonya’s father, can also be called a dialogue. Raskolnikov talks with Marmeladov, learns about the details of his life. However, it is the drunken official who delivers a speech here that reveals not only his personal tragedy, but also the tragedy of an entire social stratum of St. Petersburg in the 19th century.

Conversation between the killer and the investigator

An interesting dialogue is present in one of the scenes with the participation of Rodion Romanovich and the investigative officer. Raskolnikov talks with Porfiry Petrovich three times. The last meeting takes place in the student's apartment. In this scene, the investigator displays subtle psychological abilities. He knows who committed the murder. But he has no evidence.

Porfiry Petrovich puts psychological pressure on Raskolnikov, forcing him to confess. This dialogue plays an important role in the plot. However, the key phrase in Dostoevsky's novel is the words of Raskolnikov, which he utters in a conversation with Sonya Marmeladova. Namely, “Am I a trembling creature or do I have the right?”

"Idiot"

Anastasia Filippovna is one of the most famous heroines in Russian literature. The monologue she pronounces when last meeting with Menshikov, is invariably popular among applicants to theater universities. Nastasya Filippovna’s speech is permeated with pain and despair. The main character proposes to her. She refuses him. The words spoken by Nastasya Filippovna are addressed to the prince. At the same time, this speech can be called a monologue in solitude. Nastasya Filippovna decided to leave with Rogozhin, understands that she is doomed, and makes a farewell speech.

"Garnet bracelet"

Kuprin's story contains many interesting dialogues. For example, General Anosov’s conversation with the main character. In one of the scenes, after Vera’s name day celebration, a conversation took place between them, which in some way influenced her attitude towards Zheltkov. The most striking monologue in “ Garnet bracelet" is, of course, the telegraph operator's suicide letter.

"Master and Margarita"

In Bulgakov's book great amount unique dialogues and monologues. The heroes' statements have long turned into aphorisms. The first chapter is called “Never talk to strangers.” Berlioz and Bezdomny, knowing nothing about the author’s warnings, enter into a conversation with the foreigner. Here the characters' characters are revealed. The homeless man shows ignorance. Berlioz has a broad outlook, high intelligence, but at the same time cunning and caution.

Monologue of the Master

The most vivid, interesting dialogues in Bulgakov's novel are those with the participation of Woland's assistants. The most profound monologue belongs to the main character - the Master. At the clinic, he meets the former poet Bezdomny and tells him about his former life. The dialogue smoothly turns into a monologue of loneliness. Or perhaps this is the author’s word, that is, Bulgakov himself’s appeal to the reader through his hero? The author of “The Master and Margarita” is one of the most controversial writers of the 20th century. Literary scholars have been analyzing the monologues, dialogues and descriptions created by him for decades.

"Dog's heart"

There are some pretty interesting internal monologues in this piece. They belong to the main character. But, what is noteworthy, he reads them before and after the operation. That is, he thinks mentally, reflects on life, only as a dog. After Sharik transforms into Polygraph Poligrafovich, witty dialogues open before the reader, causing both a smile and sad thoughts. We are talking about Sharikov’s conversations with Professor Preobrazhensky and Bormental.

"Flying over Cuckoo's Nest"

In Ken Kesey's book, the narrative is built on a monologue. Although there are some memorable dialogues involving McMurphy. Yet the main character is Chief Bromden, who pretends to be deaf and mute. However, he perfectly hears and understands everything that happens around him. He acts as an outside observer, a narrator.

The role of internal monologue in creating the character of the hero. (According to one of the works of the Russian literature of the 19th century centuries.)

IN work of art inner world hero in to a greater extent is revealed not through external speech, but through
internal, which, as a rule, results in the hero’s monologue. I would like to consider the work of A.S. Pushkin "Evgeniy"
Onegin" is the first Russian novel that begins with an internal monologue:
"My uncle has the most honest rules
When I seriously fell ill,
He forced himself to respect
And I couldn't think of anything better.
His example to others is science,
But, my God, what a bore
To sit with the patient day and night,
Without leaving a single step!
What low deceit
To amuse the half-dead,
Adjust his pillows
It's sad to bring medicine,
Sigh and think to yourself:
When will the devil take you?
Never before has an internal monologue been placed at the beginning of a work. Pushkin did this for the first time. It is also interesting that
that the content of the monologue is incomprehensible and even mysterious, it seems to take us by surprise, because we do not understand what it is about
there is a speech. These are the properties of thought, in contrast to speech: it is not addressed to anyone and does not count on anyone’s understanding, it
emotional and inconsistent. This is the inner world of the person himself without any embellishment, which is often
are revealed in conversations with other people. Before us is the psychology of a nephew, expressed in a hypocritically caring
attitude towards a dying uncle. In this monologue, Onegin's character begins to reveal itself. In any case, we can say
that this young man is sincere to himself and in some ways even merciless. Reading the novel further, we are convinced that
that the hero is devoid of theatricality and does not show off to himself. So, for example, Onegin’s pre-duel reflections also
distinct and laconic.
He blamed himself for many things...
There is an undeniable difference between the monologues of Onegin and Lensky. Lensky's words are dominated by rhetorical questions and
exclamations. Lensky is a man of external, theatrical existence. His monologues are artificial. He can't be
in the present even with himself, reality is replaced by blind faith in his high romantic ideals. Onegin
capable of broad self-analysis. He assesses the situation not just soberly, but with intelligent versatility. Attitude
He calls Lensky for Olga “timid and tender love,” at the same time believing that “sometimes he’s fooling around,” Onegin feels for
to a younger friend and tenderness and condescension. He unconditionally condemns himself for his boyishness, immaturity and
stupidity. However, Onegin’s conscientious reflections and repentance turn out to be weaker than social conventions. He is afraid
gossip - Zaretsky can slander him. Evgeniy understands that slander deserves contempt, but the fear of being funny
outweighs. In Onegin's inner speech, suddenly!
a sharp, rude word appears: “the laughter of fools” - this is what determines the final decision.
And here is public opinion!
Spring of honor, our idol!
And this is what the world revolves on!
In this definition public opinion Onegin, as always, is merciless. However, it can be noted that his words, although
harsh at times, but always incredibly accurate and truthful. They are full of skepticism, but devoid of imitation of anyone.
The less we love a woman,
The more she likes us.
This is what Evgeny thought when he received a naive and passionate letter from Tatyana, who was in love with him. He doesn't love her, he's tired and
disappointed in life, he is not even able to appreciate it. In front of him is just a young village girl, to whom he gives cruel
a rebuke in response to a declaration of love. However, accustomed to flirting and being hypocritical with women, he does not cheat here either.
to your own rules.
I love you with the love of a brother,
Or maybe even more tender.
And then, in the internal monologue:
Who doesn't get bored of being a hypocrite!
But everything changes when Evgeniy and Tatiana meet a few years later in Moscow. Tatyana is already a married woman,
stately and quite beautiful. Onegin is still the same, “without service, without wife, without business.” And seeing Tatyana in the guise of a mistress
ball, indifferent and unapproachable, love flares up in Eugene’s soul for her. From an arrogant egoist he transforms into
a yearning lover.
“Really,” thinks Evgeniy, “
Is she really? But exactly... No...
How! From the wilderness of steppe villages..."
Pushkin conveys the hero’s mental turmoil, which is later again expressed in Onegin’s inner speech:
“Where, where is the confusion, compassion,
Where are the tear stains? They don’t exist, they don’t exist!”
At the very end, the author deprives the hero of direct expression of his thoughts and conveys them indirectly:
She left. Evgeniy stands,
As if struck by thunder.
What a storm of sensations
Now he's heartbroken!
What has been said about Onegin and Lensky is enough to come to some conclusions: internal speech, as opposed to external
conveys deeper and more accurately emotional movements heroes; The more a character’s internal speech differs from external speech, the more
the character is more psychologically meaningful. So, for example, Tatyana is deeper than Onegin in the texts of her internal monologues, in
In them, everything characteristic of Onegin is brought to the highest degree. Onegin is more meaningful and deeper than Lensky, and Lensky is more meaningful than Olga,
which is not characterized by any thought at all, which is why Olga’s monologues are not in the text.

Tasks and tests on the topic "The role of internal monologue in creating the character of a hero. (Based on one of the works of Russian literature of the 19th century.)"

• Speech is oral, written, internal. Monologue and dialogic speech. Replica - Our speech 2nd grade

What is a monologue in literature? This is a fairly important writing technique, with the help of which you can clearly place emphasis, express your position, and demonstrate your beliefs. Many writers use monologue in their works to express their most cherished thoughts, putting them into the mouth of the hero.

The difference between a monologue and a dialogue

If people communicate together, this is a dialogue. If a person speaks to himself, it is a monologue. This is how we can briefly describe the difference between dialogue and monologue.

But if you approach the issue academically, trying to figure out what a monologue is in literature, then this topic requires a more substantive study. A monologue is a certain way of constructing artistic speech. It is, as a rule, a form of reflection, an assessment of certain actions or a person, a call to one or another action. The reader can agree or internally argue with the main character, but there is no opposition in the text itself.

Dialogue involves an argument or discussion; the interlocutors can either complement each other with their remarks or express completely opposite views and ideas, trying to find the truth.

General patterns of monologue

This one has been used by authors for a very long time. If you carefully study what a monologue is in literature and analyze the most various works, then you come to the conclusion that despite all the diversity of approaches, there are common patterns.

No matter from which monologue we take, its text will always obey certain rules:

1. This is a speech talking man, which does not expect an answer and does not imply objections, clarifications or additions. Essentially, this is the protagonist’s internal manifesto.
2. The monologue is always directed at the intended interlocutor. The hero mentally addresses either one person, or a group of people, or all of humanity.
3. This is not a method of communication, but rather verbal self-expression. The hero delivering the monologue does not set out to communicate. His the main task- express painful issues and express yourself.
4. There are also stylistic features of what a monologue is. In literature, it is a single speech fragment both in its structure and in its semantic load. If the dialogue consists of replicas, then it is possible to compose a monologue so that it turns out beautiful and correct only from a solid, coherent text.

Own experiences and general idea

To construct a monologue, a wide variety of literary devices. The list of them is quite wide, but, as a rule, this is speech in the first person, which has semantic completeness.
In Griboyedov's comedy "Woe from Wit" main character- Chatsky - quite often resorts to monologues:

I won’t come to my senses... it’s my fault,
And I listen, I don’t understand
It’s as if they still want to explain it to me.
Confused by thoughts... waiting for something.

This is the beginning of a monologue, which from the first lines characterizes general mood the hero - confusion, bewilderment, an attempt to find the truth. Next, the hero talks about human feelings, talks about deception and his own delusions, and in the end comes to the understanding that he needs to escape from this society:

Get out of Moscow! I don't go here anymore.
I’m running, I won’t look back, I’ll go looking around the world,
Where is there a corner for an offended feeling! -
Carriage for me, carriage!

This monologue contains not only personal experiences. The author managed to compose a monologue in such a way that he put the main idea of ​​​​the work into the mouth of the main character.

Stylistic devices

The author always tries to ensure that the monologue, the test of which is very important for understanding the essence of the work, is included organically and justifiably. Well, he won’t just declare some values ​​or ideas out of the blue. Therefore, the approach to constructing a monologue is very serious. There are certain lists of which are known even to novice writers:

• The presence of pronouns, addresses and verbs of the 2nd person. Heroes often mentally address their imaginary interlocutor, sometimes simply as “you,” sometimes even by name.
• Depending on the purpose of the monologue, its speech types are distinguished. This could be a story about an event, confession, reasoning, self-characterization, and so on.
• The authors often use expressively colored vocabulary, sometimes even talking to the intended interlocutor.

Inner monologue

A monologue, the definition of which can be briefly expressed as a detailed statement by one person, can also be internal. Writers such as James Joyce first began to actively use this technique.

Internal monologue in literature is also called stream of consciousness. It was first used by Proust in 1913 in the novel Towards Swann. And J. Joyce began to use internal monologues more thoroughly in the novel “Ulysses,” which was published in 23 issues of the American magazine from 1918 to 1920. The main character's stream of consciousness is constructed in the same way as an internal monologue with himself. A person dives into reality and mixes it with his inner experiences. Internal monologue, as a rule, describes thinking processes, conveys the subtlest movements of thoughts, and demonstrates feelings. Sometimes it is difficult to separate reality from fiction, experiences from fantasies.

The most famous monologues in world literature

Anton Chekhov was excellent at the art of monologue in his works. In the play “The Seagull,” the heroine Masha delivers a touching monologue, the text of which is dedicated to her future husband. The conflict is that he loves her, but she doesn’t love him.
Another hero of this play, Konstantin, talks out loud about how his relationship with his mother developed. This monologue is sad and tender.

William Shakespeare often used monologues in his plays. In the play The Tempest, the hero Trinculo, who has an excellent sense of humor, delivers a passionate appeal. He tries to hide from the storm, while interspersing his speech with such piquant details and funny turns that the reader acutely understands his disgust with reality.

Lermontov, Ostrovsky, Dostoevsky, Tolstoy, Nabokov organically integrated monologues into their works. Very often, the monologues of the main characters reflect the personal position of the author, which is why they are so valuable in works.