As before, in this Chapter we only talked about the most simple and basic concepts. All are infinitely important and infinitely revealing private transient has been omitted. Meanwhile, there is a rich field. What, for example, the musical? It is called a genre, but as far as musicals are tragic and sometimes comic musical is not a genre? More likely than not. Only difficult, but maybe it does not fit into our proposed logic.

In common usage, theatre and everyday sense of the musical the most that neither is a “synthetic theater”. In this capacity, he responds as if syncretic ancient Greek play. But in what respect it is synthetic? In relation to the language most likely: in the musical, talking, dancing and singing (though more often at a time rather than simultaneously, so that “synthesis” languages are very problematic thing). In relation to forms? In practice, this “theatre of the living person”, but a musical you can play in the puppet theatre and shadow theatre too. In relation to the content? Most probably an open question.

We did not set. Our job was not “filling of all cells”, the empty four-dimensional theater in the periodic table, not a game types of theatre and searches for illegal American children. Our job was to navigate in the area of basic theatrical phenomena and concepts, it is possible to collect them and compare. And this seemed sufficient to find the criteria on the basis of which these concepts are necessary and sufficient, on the one hand, and on the other art capabilities, clear and definitely informative.

Question about types of theater, which is now considered, in this sense, of course, not the only example, because there is one of the necessary drama studies concepts. But the example, moreover, appears to be quite significant just from the standpoint of the criteria used.

Repeat one important thing. The structure of the play, as if we’re typologically and, accordingly, differentiated, no matter how crushed and milled, in any case, by its very nature, tells about the performance of something “commercial vehicles”. Each play has its own elements within this whole, these elements are connected among themselves these and no other connections all true, but to the uniqueness of this play structure will never “get it”: she can tell about the type of actor, but I will not say never that is the actor; it clearly indicate the type of role, but is not this precisely the role etc. But the content, form and language 231 of the play, although they always have relatives in other productions, ultimately talking about the content only of this performance, on this, the only form, such as a unique combination of in language.

When we talk about the play as a work of theatrical art, and about the same performance as a work of theatre of a particular kind, in the second case we are dealing not only and not simply more “private”, more specific phenomenon we are dealing with a fundamentally more meaningful phenomenon. That is to say, the second stage in depth. Third, you should consider specific performance, that is, the totality (if any), the nightly performances. Each such representation is and will be the last stage of discernment, the greatest conceivable theatrical wealth.

Because even at the level of “performance” to a three story (not counting structure) definition this performance will add just the personality of that role, this actor, these relations between them and between these actors in these roles between themselves, and between them and all the other elements of the play; here, the whole stage part of the structure “embodied”. But here is not final. For though throughout the life of the play the actors will (in principle) the same, the role of “treated” the same relations between them, in principle, in whole, set, and performance will be the same combination of language features, the same genre, etc. at this level remains too abstract, generalized one of the crucial variables the viewer. Real she (and all the rest with it in a terrible and wonderful from it, depending) will be only at the last level of discernment, such “representation”, which is happening here now.

And only in this case the actor and the role will be included in a real relationship, not only with the audience, but also among themselves, and it turns out, what is the genre of the play, and only then the sharpness of the turn the heads of the actor and the height of the grate scene to make sense. Here and only here the theatrical structure will be themselves, content will be not just “species”, but this and only this, form will find their own uniqueness and the language to speak. There is a fundamental maximum values that can be attached to the concept of “work of theatrical art”. But theories they are not given.