The best drama books. Drama and its genres

Which allows short story show the conflicts of society, the feelings and relationships of the characters, reveal moral issues. Tragedy, comedy and even modern sketches are all varieties of this art, which originated in Ancient Greece.

Drama: a book with a complex character

Translated from Greek, the word "drama" means "to act." Drama (definition in literature) is a work that exposes the conflict between characters. The character of the characters is revealed through actions, and the soul - through dialogues. Works of this genre have dynamic plot, composed through dialogues of characters, less often - monologues or polylogues.

Modern dramaturgy

Today, drama continues to develop, but at the same time it is built according to all the classical laws of the genre.

In today's Russia, drama in literature includes names such as Nikolai Erdman, Mikhail Chusov. As boundaries and conventions blur, lyrical and conflictual themes come to the fore, explored by Wisten Auden, Thomas Bernhard and Martin McDonagh.

Andreev L. Human life. Thought (comparative analysis of the play “Thought” with story of the same name). Ekaterina Ivanovna. (The concept of panpsychism).

Anuj J. Antigone. Medea. Lark. (Woman's Theme)

Arbuzov A.N. Tanya. Tales of Old Arbat.

Aristophanes. Clouds. Lysistrata. (Absolute comedy)

Beckett S. The sound of footsteps. Waiting for Godot. (Stream of Consciousness Drama)

Brecht B. The Threepenny Opera. Mother Courage and her children. (Epic Drama)

Beaumarchais. Marriage of Figaro. (The ideal canon of a classicist play)

Bulgakov M.A. Days of the Turbins. Run. Zoya's apartment.

Volodin A. Five evenings. Elder sister. Lizard.

Vampilov A. Eldest son. Last summer in Chulimsk. Duck hunting.

Goethe I.-G. Faust. (“The Eternal Drama” or the Ideal “Play-to-Read”)

Gogol N.V. Inspector. Marriage. Players. (Mystical symbolism of the phantasm of reality)

Gorin G. A plague on both your houses. The House That Swift Built. (Game reminiscence)

Gorky M. At the bottom. Bourgeois. ( Social drama)

Griboyedov A. Woe from the mind. (The ideal canon of classicism)

Euripides. Medea. (Women's theme)

Ibsen H. Ghosts. Dollhouse. Peer Gynt. ("New Drama")

Ionesco E. Bald singer. Rhinoceros. (Anti-play and anti-theater)

Calderon. Worship of the cross. Life is a dream. Steadfast Prince.

Cornel P. Sid. (Tragedy ideal hero)

Lermontov M.Yu. Masquerade. (Romantic Tragedy Drama)

Lope de Vega. Dog in the manger. Sheep source. (Genre polyphonism)

Maeterlinck M. Blind. Miracle of Saint Anthony. Blue bird.

Moliere J.-B. A tradesman among the nobility. Tartuffe. Don Juan. Scapin's tricks.

Ostrovsky A.N. Dowryless. Snow Maiden. Forest. Guilty without guilt. Warm heart. (" Extra people Russia" on stage Russian theater)

Pushkin A.S. Boris Godunov. Little tragedies.

Radzinsky E. Theater of the times of Nero and Seneca. Conversations with Socrates.

Racine J. Phaedra. ("Psychological Tragedy")

Rozov V.S. Forever alive. (“Pathos without pathos”)

Pirandello L. Six characters in search of an author. (“Theatricality of the play”)

Sophocles Oedipus the King. Oedipus at Colonus. Antigone. (" golden ratio"dramas)

Stoppard T. Rosencrantz and Guildenstern are dead. (Tragedy little man)

Sukhovo-Kobylin A.V. Krechinsky's wedding. Case. Death of Tarelkin. (Dramaturgy of Russian cosmism)

Turgenev I.S. A month in the village. Freeloader. (Nuances of psychologism)

Chekhov A.P. Gull. Three sisters. Uncle Ivan. The Cherry Orchard. (Comedy human life)

Shakespeare W. Hamlet. King Lear. Macbeth. A dream in a summer night.

Shaw B. Pygmalion. The house that breaks hearts.

Aeschylus. Persians. Prometheus Chained. ("tragic myth")

V. TOPICS AND QUESTIONS ON THE COURSE “THEORY OF DRAMA”

(indicating personalities)

1. The balance of figurative and expressive principles in drama: the dialectic of “epic” and “lyros” (“musicality” as rhythm and polyphony). Personalities: Hegel, Belinsky, Wagner, Nietzsche.

2. Action as an internal and external form of drama: “imitation of action by action.” Personalities: Aristotle, Brecht.

3. External and internal architectonics of a dramatic work: act-picture-phenomenon; monologue-dialogue-remark-pause.

5. Imaginative and event-based modeling of action in drama. Personalities: Aeschylus, Sophocles, Shakespeare, Pushkin, Chekhov.

6. Nature dramatic conflict: external and internal conflict.

7. Typology of dramatic conflict.

8. Ways to organize a dramatic conflict along the line: image - idea - character (actor).

9. Collision and intrigue in the plot development of the play.

10. Structure-forming and structurally meaningful elements of the plot: “vicissitudes”, “recognition”, “motive of choice” and “motive of decision”.

11. Dramatic character: image - hero - character - character - role - image.

12. Character and deep levels of action development: “motive”, “actant models”, “typical” and “archetypal”.

13. Discourse and character: levels and zones of dramatic expression.

14. Poetics of dramatic composition: structural analysis.

15. The problem of the relationship between the compositional elements of drama and the effective (event-based) analysis of the play.

16. Genre nature of drama: comic and tragic.

17. Evolution of the genre: comedy. Personalities: Aristophanes, Dante, Shakespeare, Moliere, Chekhov.

18. Evolution of the genre: tragedy. Personalities: Aeschylus, Sophocles, Euripides, Seneca, Shakespeare, Calderon, Corneille, Racine, Schiller.

19. Integration processes in mixed dramatic genres: melodrama, tragicomedy, tragic farce.

20. Evolution of the genre: drama - from “satire” and “naturalistic” to “epic”. Personalities: Diderot, Ibsen, Chekhov, Shaw, Brecht.

21. Evolution of the genre: symbolist drama - from “liturgical” to “mystical”. Personalities: Ibsen, Maeterlinck, Andreev.

22. General evolution of the genre: from drama to “anti-drama” of existentialism and absurdity. Personalities: Sartre, Anouilh, Beckett, Ionesco, Pinter, Mrozhek.

23. Form, style and stylization in dramatic art: era - direction - author.

24. Text, subtext, context in drama. Personalities: Chekhov, Stanislavsky, Nemirovich-Danchenko, Butkevich.

25. “Monodramatic” principle of unfolding action in a classical tragedy. Personalities: Sophocles (“Oedipus the King”), Shakespeare (“Hamlet”), Calderon (“The Steadfast Prince”), Corneille (“Cid”), Racine (“Phaedra”).

26. The free principle of self-developing action in a dramatic work. Personalities: Shakespeare (“King Lear”), Pushkin (“Boris Godunov”).

27. Dramatic character in comic situation: sitcoms, comedies of errors, comedy of characters. Personalities: Menander, Terence, Shakespeare, Moliere, Gozzi, Goldoni, Beaumarchais.

28. Principles of action development in comedy: tempo-rhythmic organization of the play. Personalities: Shakespeare (“The Taming of the Shrew”), Moliere (“The Tricks of Scapin”), Beaumarchais (“The Marriage of Figaro”).

29. Paradoxes and contradictions in the drama of romanticism (Musset).

thirty. " Fantastic realism"in Russian drama: from the grotesque to the phantasmagoria of "cosmism". Personalities: Gogol (“The Inspector General”), Sukhovo-Kobylin (“The Death of Tarelkin”).

31. Comparative analysis research method naturalism (Zola, Daudet, Boborykin) and artistic method Russian " natural school"(Gogol, Turgenev, Sukhovo-Kobylin).

32. Organization of action in symbolist drama. Personalities: Maeterlinck (“Sister Beatrice”), Andreev (“Life of a Man”).

33. Retrospective organization of action in analytical drama. Personalities: Sophocles (“Oedipus the King”), Ibsen (“Ghosts”).

34. Principles of constructing an epic drama (the concept of a double system). Personalities: Brecht (“Mother Courage and her children”).

35. The relationship between theme and idea in intellectual drama. Using the example of analysis works of the same name: “Medea” by Euripides and Anouilh; "Antigone" by Sophocles and Anouilh.

37. Principles of interaction between plot and plot in Griboedov’s comedy “Woe from Wit.” (Using the example of V.E. Meyerhold’s production of “Woe to Wit.”)

38. Compositional principles in the drama of the absurd. Personalities: Beckett (“Waiting for Godot”), Ionesco (“The Bald Singer”).

39. Myth, fairy tale, reality in Schwartz’s plays. "Dragon", "Ordinary Miracle".

40. Myth, history, reality and personality in Radzinsky’s plays (“Theater of the Times of Nero and Seneca”, “Conversations with Socrates”).

41. Internal conflict as a way of poeticizing heroics and everyday life in Soviet drama. Personalities: Vishnevsky (“Optimistic Tragedy”), Volodin (“Five Evenings”), Vampilov (“Duck Hunt”).

42. Play theater in Gorin’s plays (“The House That Swift Built”, “A Plague on Both Your Houses”, “The Jester Balakirev”).

43. Dramatic transformations " feminine theme"(from the tragedy of Euripides to the plays of Petrushevskaya, Razumovskaya, Sadur).

14 rules that will help you be yourself Rules that will help you be yourself in the best version of yourself possible, not on someone else’s terms, but on your own. Be yourself. By trying to be someone else, you simply lose yourself. Preserve your individuality - your ideas, beliefs, beauty. No one else has it, so why lose it? Be who you know yourself to be – the best version of yourself possible, and not on someone else’s terms, but on your own. And above all, be true to yourself.Get started today...1. Set your priorities correctly. In fact, in twenty years it will not matter at all to you what shoes you wore, what your hair looked like, or what brand of jeans you bought. What will really matter is how you loved, what you learned, and how you applied that knowledge.2. Take responsibility for your goals. If you want good things to happen in your life, you must help make them happen. You can't sit still and hope for someone's help. Do not think that your destiny depends on the activities of other people. Undoubtedly, there is a connection, but only we ourselves decide our future.3. Know your worth. Some people may view others as tools to solve their problems. Behind the request for help lies a desire to relieve oneself of tasks or obligations. That is why you need to look closely at people to understand whether you mean as much to a person as they mean to you. Don't let anyone take advantage of you. Don’t be afraid to refuse - this is not pride, but self-respect. If you surround yourself with selfish people, negative people– don’t expect positive changes in life. Know the value of yourself and what you offer to people. Never settle for less than you deserve.4. Choose the right perspectives. There is perspective in everything. A good example: We often encounter long queues and long traffic jams. Waiting all this time, a person can go in two ways. The first option is to become upset, disappointed, or even angry. The second option is to take this situation as a reason to think about your life, dream, or simply concentrate on contemplating the world around you, because in the daily bustle it’s not so often possible to admire the same clouds. As a result, in the first case, a person’s blood pressure will rise from negative emotions, and in the second - the mood, at the same time the consciousness will expand.5. Don't let old problems get in the way of your dreams. Learn to give up what you can't control. Avoid outbursts of anger - rash spontaneous actions can ruin your dreams forever. Every time you feel like thinking about an unfair situation, try to redirect your thoughts in a different direction. Don't let problems overwhelm you, and you will be on a straight path to a bright future.6. Focus on what really matters. Some things don't really have the importance that we might attribute to them. For example, the contents of the car we drive. Does it play any role in your life plan? Not at all. What about the contents of your heart? Playing. And so it is in everything. The problem with most people is that, although they understand what is really important in life, they do not attach any importance to it. Instead, they concentrate on trifles and are distracted from real life.7. Love yourself. Let them love you for who you are. People often mistakenly consider themselves unattractive and feel that they are unworthy of anyone's attention. No matter what shortcomings you have, remember - you are worthy of love. Let someone give it to you. At first, this someone will be you yourself, then the circle of fans will expand 8. Accept your strengths and weak sides as is. Don't be afraid to be yourself. We often spend time analyzing other people and comparing ourselves to them, wanting to become someone we are not. Every person has both advantages and disadvantages, so there is no need to look for the ideal in someone. You yourself must become an ideal, but this will only succeed after you accept yourself as you are.9. Rise up for yourself. You were born to be real, not perfect. Each of us is here to be ourselves, not who others want us to be. Don't let others change this setting. Don't be afraid to stand up and fight back. Feel free to look your enemies in the eyes and say: “Don’t judge me until you know me. Don't underestimate me until you challenge me. Don't talk about me until you talk to me."10. Learn from others and move on when necessary. Never expect people to change. You either accept them as such or start your life without them. Don't be afraid to end a relationship. If something ends in life, then so it should be. Don't be sad about it - rather see it as a valuable experience. Any event, whether good or not, enriches you with experience and makes you wiser. It’s the same with people: someone comes into your life to bless you, and someone to teach you a lesson.11. Be honest in your relationships. Don't cheat. When you are truly in love, fidelity is not a sacrifice, but a pleasure. If you are unhappy, have the courage to say so directly - this is the only true way.12. Learn to find a way out of uncomfortable situations. Everyone knows that life is unpredictable and can change dramatically at the most unexpected moment. Communication that does not foreshadow a warm relationship can develop into strong friendship, the career that occupies the most important place in life may be lost along with the hope of rehabilitation. Some situations may make you feel uncomfortable, frustrated and devastated, but remember, this is temporary. You won't always feel out of place, but it takes effort to get rid of it. Don’t be afraid of change, get rid of what causes you discomfort and your life will be transformed.13. Be who you were born to be. It is important to understand as early as possible that life path It has not only length, but also width. No matter how many years we live, long life It won't make sense if it's empty. In order not to regret later about wasted years, do not deny yourself your desires. Live the way you want. It's better to live short life according to your own rules, rather than long according to others. Follow your heart, but don't forget your mind.14. Never give up. This is your life and you can only live it once. So why let someone else decide for you? Be strong and stand up for your interests. Strength isn't just about holding on to your dreams and goals. Strength also lies in the ability to start over if previous attempts have failed. It is very important to find the strength within ourselves and take revenge, since everything we dream of is achievable. Realizing your dreams is only a matter of time, so don’t give up, citing failures, bad luck or “old” age. Remember: it’s never too late to become who you could be. Continue to study, work, fight every day, every minute. You may not immediately reach your goal, but you will be closer to it than you were yesterday.

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Most of the “respectable” novels included in all sorts of “best of” lists are drama books. We are proud that among them there are many Russian classics (here you have Dostoevsky and Leo Tolstoy), but, to be honest, the mass reader sometimes gets a little bored in the famous jungle of the plot of the same “War and Peace”, and even with our “relatives” We know each other at least from school. Therefore, today we will look for the best drama books in foreign literature.

For the sake of the child

Despite the fact that Stephen King has long and deservedly worn the crown of the “King of Horror,” he is like no other modern writers knows how to dramatically twist the plot. Wedged into everyday life ordinary people elements of mystery and thriller, he writes painfully about their problems: domestic violence, alcoholism and racial strife. This is the novel “Dolores Claiborne,” which tells about the sacrifice that a mother made for the sake of her daughter’s happiness. She did not appreciate (and, to tell the truth, did not understand) the act itself loved one- after all, she deprived the girl of another dearest person, her father. Fortunately for Dolores, her guilt in the death of her husband was not proven, and she closed herself off in her little world, still working hard for the capricious rich woman. But when the woman was accused of the death of the oppressive mistress (by that time paralyzed), the daughter was forced to return to the city of her childhood. This is where the terrible truth will be revealed.

Guilty without guilt

Another book is a drama (albeit with a mystical flavor, but we watch endless “Battles of Psychics”, so people like Coffey live next to us) - “ Green Mile" Two little girls are killed and the evidence points to a black day laborer. Well, who will figure it out when the thug has “Maniac!” written on his forehead. Semi-literate John could not justify himself, and there was no money for a lawyer. Therefore, he ended up on death row, past which the very “Green Mile” passes - a piece of the corridor leading to the electric chair. And here the “ordinary miracles” began.

Hope and perseverance

"Rita Hayworth, or the Shawshank Redemption" is perhaps King's most powerful drama, although in terms of volume it is only a short story. Another man unfairly accused of brutal crime, scoops up the horrors of imprisonment with a spoonful. But this man enormous strength a will that will not let him break. He will not let anyone into his inner world (except his prison friend Red) and will not reveal his main secret. The book has a very life-affirming ending, so we recommend that if your heart is heavy, re-read it. It won't take much time, but it will give you hope! Of course, this, like King’s two previous books, were filmed, and very successfully. It’s not for nothing that Stephen is considered one of the most beloved authors by filmmakers; there are countless adaptations of his works!

The drama of a good man

"The Godfather" by Mario Puzo - what do you think it is? The basis for the next Hollywood hit? A mafia saga beautiful in style and language? Yes, this is a drama, a real drama, clearly showing how good man may descend to baseness and murder. Of course, you say, Michael had to stand up for his family! But degradation is obvious. It’s interesting that after the release of the bestseller, everyone immediately began to drag the author into connections with the mafia. And he honestly admitted that he drew knowledge from books, newspapers and other sources, but not from personal experience.

Who is normal in our world?

Another bestseller on our list (and its adaptation won a bouquet of Oscars) has been among the leaders for more than half a century: Ken Kesey wrote his dramatic book “Over the Cuckoo’s Nest” in the early 1960s. Unlike Puzo, he relied on his own impressions (obtained by the writer while working in a psychiatric hospital). Even then, as an orderly, Ken realized: not all people in the hospital are mentally normal, they are just somehow different from you and me. Others are reduced to the state of a “vegetable” by various pills, electric shock (and once upon a time the now prohibited lobotomy).

Guilt and forgiveness

Even those who never got around to Bernhard Schlink’s novel “The Reader” watched the film based on this drama book (or at least heard about it). In a plot covering long period lives of heroes, many have been raised moral problems– from the “forbidden” love of a minor boy and adult woman to the Holocaust and the question of forgiveness and guilt.

Protest of the “little man”

Behind all the surrealism of Chuck Palahniuk’s novel “Fight Club” there is also a drama of its own; recognizable features of the “little man” flash (depicted by Gogol in the immortal “The Overcoat”). The author himself claims that the film adaptation of the book, thought out with great care by Fincher, is even better than its original text. Well, thanks for this not only to the director, but also to the magnificent Pitt, Norton and, of course, Helena Bonham Carter, who played the sociopath Marla with great brilliance.

A dream comes true... And it doesn’t come true!

We couldn't get by on our list best books dramas without classics (even foreign ones). Written by Francis Scott Fitzgerald during the Jazz Age, The Great Gatsby remains one of the most poignant novels about love, about unfulfilled (and fulfilled) dreams, about that turbulent time when a pauper could become a prince (and vice versa). It is not for nothing that this novel is one of the leaders in the number of film adaptations: the directors were very interested in understanding the characters’ personalities. Once upon a time, Robert Redford appeared in the image of Gatsby, so he was replaced by the British Toby Stevens. "Modern" Gatsby - Leonardo DiCaprio. Who did better is up to you to decide.

When home is not a fortress, but a prison

It’s even somehow insulting for the British classic Archibald Joseph Cronin - his most famous work received a second life in cinema only once - in the distant forties. Castle Brodie was the Scot's debut and is considered his most powerful novel. The writer’s father was a hatmaker, and in “Brody’s Castle” the main character is engaged in making hats. John is a rare egoist and tyrant; he doesn’t hesitate to ruin the lives of his loved ones. Will any of the relatives be able to leave “their home – their fortress”?

Having reached all the peaks...

For some reason, the novel “Martin Eden” is very popular theater directors. Who hasn't played title character! They say that this young man showed the features of the author himself. Jack London became famous for his works about courageous people, conquerors of the Wild North. "Martin Eden" is a story about strong man, who built his life “according to the rules” and tried to break through from the bottom. When he seemed to have everything, the bourgeois swamp became disgusting to him, and he accepted unexpected decision…

On the one hand, when working on a drama, the means that are in the writer’s arsenal are used, but, on the other hand, the work should not be literary. The author describes the events so that the person who reads the test can see everything that happens in his imagination. For example, instead of “they sat at the bar for a very long time,” you can write “they drank six beers,” etc.

In drama, what is happening is shown not through internal reflections, but through external action. Moreover, all events take place in the present tense.

Also, certain restrictions are imposed on the volume of the work, because it must be presented on stage within the allotted time (maximum 3-4 hours).

The demands of drama, as a stage art, leave their mark on the behavior, gestures, and words of the characters, which are often exaggerated. What cannot happen in life in a few hours, in a drama it very well can. At the same time, the audience will not be surprised by the convention, the implausibility, because this genre initially allows them to a certain extent.

In times when books were expensive and inaccessible to many, drama (as a public performance) was the leading form of artistic reproduction of life. However, with the development of printing technologies, it lost its primacy epic genres. Nevertheless, even today dramatic works remain in demand among society. The main audience for the drama is, of course, theatergoers and moviegoers. Moreover, the number of the latter exceeds the number of readers.

Depending on the method of production, dramatic works can be in the form of plays and scripts. All dramatic works intended to be performed with theater stage, are called plays (French pi èce). Dramatic works based on which films are made are scripts. Both plays and scripts contain stage directions to indicate the time and place of action, indicate age, appearance heroes, etc.

The structure of a play or script follows the structure of a story. Usually parts of a play are designated as an act (action), a phenomenon, an episode, a picture.

Main genres of dramatic works:

– drama,

– tragedy,

– comedy,

– tragicomedy,

- farce,

– vaudeville,

– sketch.

Drama

Drama is literary work, depicting a serious conflict between actors or between actors and society. The relationship between the heroes (heroes and society) in works of this genre is always full of drama. As the plot develops, there is an intense struggle both within individual characters and between them.

Although the conflict in drama is very serious, it can nevertheless be resolved. This circumstance explains the intrigue and tense anticipation of the audience: will the hero (heroes) succeed in getting out of the situation or not.

Drama is characterized by a description of the real Everyday life, posing “perishable” questions of human existence, deep revelation of characters, inner world characters.

There are such types of drama as historical, social, philosophical. A type of drama is melodrama. In it, the characters are clearly divided into positive and negative.

Widely known dramas: “Othello” by W. Shakespeare, “The Lower Depths” by M. Gorky, “Cat on a Hot Tin Roof” by T. Williams.

Tragedy

Tragedy (from the Greek tragos ode - “goat song”) is a literary dramatic work, based on an irreconcilable life conflict. Tragedy is characterized by an intense struggle between strong characters and passions, which ends in a catastrophic outcome for the characters (usually death).

The conflict of a tragedy is usually very deep, has universal significance and can be symbolic. Main character As a rule, he suffers deeply (including from hopelessness), his fate is unhappy.

The text of the tragedy often sounds pathetic. Many tragedies are written in verse.

Widely known tragedies: “Prometheus Bound” by Aeschylus, “Romeo and Juliet” by W. Shakespeare, “The Thunderstorm” by A. Ostrovsky.

Comedy

Comedy (from the Greek komos ode – “ happy song") is a literary dramatic work in which characters, situations and actions are presented comically, using humor and satire. At the same time, the characters can be quite sad or sad.

Usually a comedy presents everything that is ugly and absurd, funny and absurd, and ridicules social or everyday vices.

Comedy is divided into comedy of masks, positions, characters. This genre also includes farce, vaudeville, sideshow, and sketch.

A sitcom (comedy of situations, situational comedy) is a dramatic comedy work in which the source of humor is events and circumstances.

A comedy of characters (comedy of manners) is a dramatic comedy work in which the source of humor is inner essence characters (morals), funny and ugly one-sidedness, exaggerated trait or passion (vice, flaw).
A farce is a light comedy using simple comic devices and designed for coarse taste. Usually farce is used in circus shows.

Vaudeville is a light comedy with entertaining intrigue, which contains a large number of dance numbers and songs. In the USA, vaudeville is called a musical. IN modern Russia it is also common to say "musical", meaning vaudeville.

An interlude is a small comic skit that is performed between the actions of the main play or performance.

A sketch (eng. sketch - “sketch, draft, sketch”) is a short comedy work with two or three characters. Usually they resort to presenting sketches on stage and television.

Wide famous comedies: “Frogs” by Aristophanes, “The Inspector General” by N. Gogol, “Woe from Wit” by A. Griboedov.

Famous television sketch shows: “Our Russia”, “Town”, “Monty Python's Flying Circus”.

Tragicomedy

Tragicomedy is a literary dramatic work in which a tragic plot is depicted in comic form or is a disorderly jumble of tragic and comic elements. In tragicomedy, serious episodes are combined with funny ones, sublime characters are shaded by comic characters. The main technique of tragicomedy is the grotesque.

We can say that “tragicomedy is the funny in the tragic” or, conversely, “the tragic in the funny.”

Widely known tragicomedies: “Alcestis” by Euripides, “The Tempest” by W. Shakespeare, “The Cherry Orchard” by A. Chekhov, films “Forrest Gump”, “The Great Dictator”, “That Same Munchasen”.

More detailed information on this topic can be found in the books of A. Nazaikin