This August marks the 65th anniversary of the birth of Alexander Vampilov, who left a deep mark on Russian drama. The style of his texts constantly attracts the attention of researchers (see, in particular, "Russian Speech". 1993. N 3). The dialogues in his plays are surprisingly light and organic, short lines give them a rush. The abundance of ellipses creates pauses between lines, forms "air layers", allowing performers to play what is not written, "between the lines". Characters are "molded" by the author not only with the help of dramatic actions, psychological details and nuances. To create them, Vampilov uses word sequences that reveal the main psychological and social personality traits. Often they are:- page 32 Lena is a playwright at the first appearance of the character on stage. The accentuated first appearance of the actor on the stage is called the old theatrical word "entree". The character, as they say, is served. Consider how, avoiding excessive theatricality, but not without some mystery, Vampilov builds antre Sarafanov - one of the two main characters of the comedy "The Eldest Son". The output contains the motives that connect it with the further text of the play, and determines in the main features the development of both external and internal dramatic action. We will give this short scene almost completely. Neighbour. Hello, Andrey Grigoryevich. Sundresses. Good evening. Neighbor (sarcastically). From work? Sundresses. What? ... (Hurriedly.) Yes, yes... From work... Neighbor (with a sneer). From work?.. (Reproachfully) Ah, Andrey Grigoryevich, I don't like your new profession. (...) Neighbour. Wait (...) Sarafanov stops walking. [Points to the clarinet.]Sundresses. That is? Neighbour. Who died, I ask. Sarafanov (startled). Shh!.. Hush! The neighbor covers his mouth with his hand and nods quickly. (Reproachfully.) Come on, I asked you to. God forbid, my people will hear... Neighbour. Okay, okay... (In a whisper) Who was buried? Sarafanov (in a whi ... Read more