Philological science

Key words: Drama, actions,acute conflict,playwright,the audience, conversation, traditions, destiny, argue.

Introduction
The difference between drama and other literary genres is that in drama, the author addresses a whole mass through the stage and the impression obtained from the work takes place in all the spectators at the same time. If the reader does not like a work, he puts it aside and stops reading. The
reader can choose another piece that he likes. In drama, the situation is different, the audience may shake hands with the play, but on the spot and only then the work is lively referred to the judgment of the audience, so they lose the opportunity to see it at any other time.According to the German philosopher Hegel, the drama describes a completely limited event to the public as a real event. However, not all images and events can be dramatic.[1; 81]On this basis, the famous theorist V.G Belinskiy also emphasizes that drama is not just a conversation, if two people exchange views on the nature of each other, or argue, then drama emerges.[ 2;6]Drama as a type of pathos plays an important role in determining the author's attitude to his work; it is this type of pathos that distinguishes the genre of drama from other genres. In the drama, just as in the epic genre, as the author creates a sequence of events, he shows the actions of the protagonists in an interconnected way.
Main part
By XVII–XIXcenturies, two different traditions had emerged in the representation of space and time in drama. These are the emergence of classical and epic drama. It should also be noted that classical drama entered a period of renewal in the late nineteenth and early twentieth centuries.By the XVII and XIX centuries, two different traditions had emerged in the representation of space and time in drama. These are the emergence of classical and epic drama. It should also be noted that classical drama entered a period of renewal in the late nineteenth and early twentieth centuries.In particular, the emergence of "readable dramas" ("dramas for readinmg") in the work of the English writer B. Shaw turned the concept of time in the drama in the same chronotope direction as in the epic works.
The so-called “new drama” type of drama began with realism associated with the artistic achievements of Ibsen, Bjornson, Hamsun, Sgrindberg, Gauptman, Shaw, but embodied the ideas and transitional trends of other literary schools, primarily naturalism and symbolism.The decisive condition for the emergence of a “new drama” in Ibsen’s work was his address to the problems of modern reality. His first socio-critical drama, The Social Pillars, deepens the satirical tendencies inherent in the Youth Union, condemning the vices that prevent bourgeois society from being ‘itself’ and deciding its own destiny.[5]
Bernard Shaw laid the foundation for the formation of intellectual theater. The playwright set himself the task of raising the consciousness of the audience. He wanted to teach his people to understand the social laws of life, the ways of rejecting bourgeois morality.At the same time, he was fully convinced of the possibilities of the human mind, the need to change the world. In the first decade of the twentieth century, Shaw wrote a number of plays in various genres. Although Shaw devoted much effort to criticizing the lavish works of Shakespeare’s plays on the modern stage, he achieved a deep and effective development of Shakespearean traditions in his work, especially in his historical dramas, despite the fact that he sometimes spared the greatest playwright.
By the 1930s of the XX century, theorists began to use the word "epic theater" actively in relation to the work of the playwright B. Brecht. In this process, the views on the concept of artistic time began to enter the chronotope system, as in relation to the above epic works.As a result, the image of the author in the "epic theater" began to serve not only as the organizer of the plot of the work, but also as a dispatcher, providing artistic time.[2;658]In
the 1930s, Diderot's idea was used as a basis in literature until the German theorist and playwright Barthold Brecht's theory of "epic theater" was widely applied in practice. In Brecht’s works, the fable had no significance, so the staging directors took the whole scene and limited it to the study of space and time.At this point, it is necessary to recall a comparative trend that has existed since ancient times and has played a major role in the development of the art of drama.
At this point it is necessary to recall a comparative trend that has existed since ancient times and has played a major role in the development of the art of drama.It seems that the literary phenomena that have existed in the practice of drama and theater since ancient times have undergone a serious development in literary criticism in the XIII-XIV centuries,although the drama reflected space and time, it received new serious attention from researchers after the fifteenth century (i.e., after Shakespeare’s works).Especially in the eighteenth century, theatrical theorists such as D. Diderot began to study the relationship of space and time in drama as an epic concept.
The author builds into the structure of the drama a significant number of choirs,polyphonic songs, "zongs" and does not at all turn to the reception of recitative description. By using a special cultural code in the form of song inclusions, B. Brecht achieves the fact that the play really acquires a resemblance to an opera.In the monologue and dialogues that continue unabated in the drama, the epic concept does not take center stage. In the drama, first, there is no state of space and time peculiar to the speaker. Only this will be the basis for an action that has its own expression. Monologues and dialogues form an integral part of an event and have an impact on subsequent events.
The author’s control of speech reveals new aspects of action and reality. The event to be conveyed to the audience takes place within the monologues and dialogues of those heroes or is understood through them.In this regard, the words of the German playwright F. Schiller are noteworthy:“An epic, a novel, a simple story, in its own form, advances the story, and there is a narrator (i.e., a writer) between the reader and the moving protagonist.According to the forms of the statement, all that is happening now becomes outdated. In drama, however, all past events take place in the present (i.e., in
front of the viewer’s eyes). [4;58]Fitrat pays more attention to the art of historical events. As a result, in the eyes of the viewer, it is possible to understand that although the events of the past pass with their complexity, it logically connects the present and the future.