Individual tasks. The most unusual theaters that are definitely worth visiting Moscow Theater of Children's Book "The Magic Lamp"


Read the list of characters. What do you learn from it about the characters in the play? What do their last names “say” about the characters in the comedy? The heroes of the play are representatives of the Moscow nobility. Among them are the owners of comic and telling surnames: Molchalin, Skalozub, Tugoukhovsky, Khryumin, Khlestova, Repetilov. This circumstance tunes the audience to the perception of comic action and comic images. And only Chatsky of the main characters is named by last name, first name, patronymic. It appears to be valuable on its own merits.

attempts by researchers to analyze the etymology of surnames. So, the surname Famusov comes from English. famous – “fame”, “glory” or from Lat. fama – “rumour”, “rumor”. The name Sophia means “wisdom” in Greek. The name Lizanka is a tribute to the French comedy tradition, a clear translation of the name of the traditional French soubrette Lisette. Chatsky’s name and patronymic emphasize masculinity: Alexander (from the Greek, winner of husbands) Andreevich (from the Greek, courageous). There are several attempts to interpret the hero's surname, including associating it with Chaadaev, but all this remains

at the version level.

Why is the list of characters often called a poster?

A poster is an announcement about a performance. This term is used most often in the theatrical field, but in a play, as in a literary work, as a rule, it is designated as a “list of characters.” At the same time, the poster is a kind of exposition of a dramatic work, in which the characters are named with some very laconic but significant explanations, the sequence of their presentation to the viewer is indicated, and the time and place of action are indicated.

Explain the sequence of characters in the poster.

The sequence of arrangement of characters in the poster remains the same as is accepted in the dramaturgy of classicism. First, the head of the house and his household are called, Famusov, the manager in the government place, then Sophia, his daughter, Lizanka, the maid, Molchalin, the secretary. And only after them the main character Alexander Andreevich Chatsky fits into the poster. After him come the guests, ranked by degree of nobility and importance, Repetilov, servants, many guests of all kinds, and waiters.

The classic order of the poster is disrupted by the presentation of the Gorich couple: Natalya Dmitrievna, the young lady, is named first, then Platon Mikhailovich, her husband. The violation of dramatic tradition is due to Griboyedov’s desire to hint already in the poster about the nature of the relationship between the young spouses.

Glossary:

    • speaking names in grief from mind
    • analysis of posters woe from mind
    • woe from mind saying names
    • read the list of characters and what you will learn from it about the characters in the play
    • why the list of characters is often called a poster

Other works on this topic:

  1. A. S. Griboyedov 1. What features of classicism were preserved in the comedy “Woe from Wit”? A. Speaking surnames b. Social conflict c. Compliance with the principle of the three unities of...
  2. An essay based on A. S. Griboedov’s comedy “Woe from Wit.” Chatsky and Molchalin (Comparative characteristics). In the work of A. S. Griboedov “Woe from Wit” two heroes are contrasted...
  3. Pavel Afanasyevich Famusov is one of the main characters in A. S. Griboyedov’s comedy “Woe from Wit.” Famusov is a Moscow gentleman, Sophia’s father and longtime friend...
  4. Griboedov, Woe from Wit. What conflict arises in the second act? What conflict arises in the second act? When and how does this happen? In the second act...

Speaking surnames;

The unusual presentation of the characters in the poster, which determines the conflict that will develop in the play;

The originality of names (often from Russian proverbs and sayings);

Folklore moments;

Parallel consideration of comparable heroes;

The significance of the hero's first remark;

9. “prepared appearance”, the main characters do not appear immediately, others talk about them first;

The originality of the speech characteristics of the characters.

REFERENCE MATERIAL

Features of the genre

Definitions In the play "The Thunderstorm"
In tragedy "...a particularly intense, irreconcilable conflict, most often ending in the death of the hero. The hero finds himself faced with an obstacle that exceeds his strength." "Literary Dictionary" ed. L. I. Timofeeva A tense, tragically acute conflict leads to the death of the heroine
“Only a person of the highest nature can be a hero or a victim of tragedies” (V. Belinsky). "She needs noble characters" (Aristotle) Katerina’s strong, passionate character allows us to consider her a victim of tragedy
The conflict of the tragedy is “exceptional in its significance, reflecting in the most acute form the leading, progressive trends of socio-historical development.” "Literary Dictionary" Katerina enters into a struggle not of a private nature, but of a public one: the “dark kingdom” is an awakening personality
Changing the starting position at the end of the tragedy A thunderstorm swept over the city and at the end of the play everything became different

Katerina’s strong, protesting character, her irreconcilable struggle ending in death, raise “The Thunderstorm” to the level of a national tragedy. But Ostrovsky himself calls it a drama, since the heroine of the play comes from a patriarchal bourgeois environment and much attention is paid in the play to the everyday side of life.

In Russia, it is Ostrovsky’s plays that remain relevant at all times, helping in the search for an answer to life’s challenges. Ostrovsky brought the poetry of Russian life to the stage, without him there would have been neither the Maly Theater nor the Moscow Art Theater as the country's national theaters. Ivan Goncharov wrote to the playwright, summing up his great creative destiny: “You alone completed the building, at the foundation of which Fonvizin, Griboyedov, Gogol laid the cornerstones.” It is necessary to note the general meaning of the work; it is no coincidence that Ostrovsky named his fictional, but surprisingly real city with the non-existent name Kalinov. This city of Kalinov will appear again in the play "The Forest". In addition, the play is based on impressions from a trip along the Volga as part of an ethnographic expedition to study the life of the inhabitants of the Volga region. The playwright visited many large and small cities on the Volga. Katerina, remembering her childhood, talks about sewing on velvet with gold. The writer could see this craft in the city of Torzhok, Tver province.



Studying the list of characters, one should note the telling surnames, the distribution of heroes by age (young - old), family ties (Dikay and Kabanova are indicated, and most of the other heroes by family ties with them), education (only Kuligin, a self-taught mechanic, and Boris). "

Task 1. ENTER: Speech characteristics (individual speech characterizing the hero):



1. Katerina_______________________________________________

2. Kuligin ______________________________________________

3. Wild ________________________________________________

4. Kabanikha_______________________________________________

5. Feklusha ______________________________________________

Task 2. The role of the first replica, which immediately reveals the character of the hero (write out):

· Kuligin_________________________________________________

· Curly_________________________________________________

· Wild_________________________________________________

· Boris __________________________________________________

· Feklusha________________________________________________

· Kabanova________________________________________________

· Tikhon__________________________________________________________

· Varvara_________________________________________________

· Katerina________________________________________________

Recent 3. Using the technique of contrast and comparison(what contrasts did you see) ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

The main conflict of the play is revealed in the title, in the system of characters who can be divided into two groups - “masters of life” and “victims”, in the unique position of Katerina, who is not included in any of the named groups, in the speech of the characters corresponding to their position, and even in the technique of contrast, which determines the confrontation of the heroes.

Task 4. How are the characters of Wild and Kabanikha revealed in their speech characteristics (give examples)?

Wild Kabanikha
About him: About her:
Himself: She herself:
Conclusion Conclusion

General conclusion. The Boar is more terrible than the Wild One, since her behavior is hypocritical. Dikoy is a scolder, a tyrant, but all his actions are open. Kabanikha, hiding behind religion and concern for others, suppresses the will. She is most afraid that someone will live in their own way, by their own will.

The results of the actions of these heroes:

the talented Kuligin is considered an eccentric and says: “There is nothing to do, we must submit!”;

the kind, but weak-willed Tikhon drinks and dreams of breaking out of the house: “... and with this kind of bondage you will run away from whatever beautiful wife you want”; he is completely subordinate to his mother;

Varvara adapted to this world and began to deceive: “And I wasn’t a deceiver before, but I learned when it became necessary”;

educated Boris is forced to adapt to the tyranny of the Wild in order to receive an inheritance.

Photo: DR

The immersive performance, based on Henrik Ibsen’s play “Ghosts,” will take place on four levels of an ancient 19th-century mansion in the center of Moscow. Modern immersive performance implies the complete involvement of the viewer - each of them seems to find themselves in the world of films by David Lynch and Guillermo del Toro, in which a mystical action, full of hints and sensual temptations, will unfold at arm's length.

During the show, viewers, wearing masks that preserve their anonymity, will be immersed in a dramatic story of mysterious family relationships, where each of the characters keeps a difficult secret from the past. Each of the 50 rooms will feature action in which two dozen actors will skillfully mix the energy of modern theater with incredible choreography, the visual aesthetics of cinema and impressive special effects.

“The Returned” was the result of a creative and professional union between directors Victor Karina and Mia Zanetti from the New York theater company Journey Lab and Russian producers Vyacheslav Dusmukhametov and Miguel, director and mentor of the show “DANCES” on TNT.

“An immersive performance of this level will be staged in Russia for the first time. In the work on creating the show, not only the dedication and professionalism of the team was extremely important, but also the latest technologies for working with the audience and the experience of my American colleagues,” says show producer Miguel.

Therr Maitz leader Anton Belyaev is responsible for the musical design of the show, and the speakeasy bar of the show will receive a special musical program with the participation of Russian and foreign artists.

“Ghosts” or “Ghosts” is a play by the Norwegian classic Henrik Ibsen, written exactly 135 years ago, in 1881. Critics often compare the plot to a web of mysteries. A certain house is preparing for a big event - at the expense of the widow of the venerable captain Alving, an orphanage is to be opened in memory of her husband. Relatives and old friends gather on this occasion, but strange events and ghosts, as if returning from the past, tragically change the fates of all the heroes.

To convey the atmosphere of Ibsen's play in our time, the show's team of artists, decorators and costume designers recreated an interior that absorbed the spirit of the Nordic countries in a historical 19th-century mansion.

The Moscow premiere immediately aroused great interest not only among viewers, but also among the professional community. “The Returned” became the headliners of the program of one of the most prestigious theater shows in the capital - the festival of the New European Theater NET.

“One of the themes of the festival was immersive theater - as a genre that is quickly gaining an audience, which yesterday seemed like a marginal exotic. Therefore, the project, which should become a landmark for the development of this genre, attracted our attention,” says festival art director Roman Dolzhansky.

Address: Dashkov lane, building 5 (Park Kultury metro station)

Ticket price – 5000/30000 rubles

Age limit: 18+

Official website of the project: www.dashkov5.ru

Lesson 30. Topic: Life and work of A. N. Ostrovsky. Traditions of Russian drama in the writer’s work.

Lesson objectives:

Educational:

  • arouse interest in the life and work of the playwright;
  • introduce the main stages of Ostrovsky’s creative path;
  • tell students about the features of the drama genre, about the creative history of the play “The Thunderstorm”;
  • find out what the essence of the main conflict is;
  • get acquainted with the characters, determine the meaning of their names and surnames.

Educational:

  • contribute to the education of a patriotic attitude towards Russian literature;
  • to cultivate the moral reading position of students.

Developmental: promote the development of students’ imagination, mastery of self-analysis skills; development of skills to compare, contrast, generalize.

Equipment: Multimedia screen (presentations of Ostrovsky’s biography and the history of the creation of “The Thunderstorm”), table, genre diagram.

During the classes

Epigraph

Why do they lie that Ostrovsky is “outdated”?
For whom? For a huge number of people, Ostrovsky is still completely new - moreover, quite modern, and for those who are refined, looking for everything new and complicated, Ostrovsky is beautiful, like a refreshing spring from which you will drink, from which you will wash, from which you will rest - and again on the road.
Alexander Rafailovich Kugel(theater critic)

I. Motivation.

-The topic of our lesson will be the conflict between the older and younger generations, which was voiced by the famous 19th century playwright Alexander Nikolaevich Ostrovsky in his work “The Thunderstorm”. The problem is as old as the world, but nevertheless it is still relevant for us.

The main goal of our lesson: to get acquainted with the main stages of the life and work of Alexander Nikolaevich Ostrovsky, and also to begin work on reading and analyzing his work “The Thunderstorm”. At the end of the lesson you will be required to answer the following question in writing and then orally:

II. Learning new material.

1) The teacher’s message about the main stages of the life and work of Alexander Nikolaevich Ostrovsky.

Teacher's story + presentation of Ostrovsky's biography

Alexander Nikolaevich Ostrovsky was born on March 31, 1823 in Moscow.His father, Nikolai Fedorovich, worked most of his life in the judicial department. Mother, Lyubov Ivanovna, died when Alexander was eight years old. The environment in which A.N. lived and was raised. Ostrovsky, contributed to his acquaintance with the life and customs of the “third estate”: his father’s clients, neighbors in Zamoskvorechye, and friends were mostly merchants and townspeople. On Slide you see the Shchelykovo estate, where Alexander Nikolaevich spent every summer. Here he wrote nineteen plays. The main house, built in the 18th century, has never been rebuilt. It houses the memorial museum of A.N. Ostrovsky.

On the slide House-Museum of A. N. Ostrovsky in Zamoskvorechye (Malaya Ordynka, 9). In this house, where the Ostrovskys rented an apartment from the deacon of the Church of the Intercession on Goliki, the great playwright was born.

Studies

In 1835, Alexander entered the Moscow provincial gymnasium. During his studies, he showed particular interest in literature: his father had a rich library. An important event in his life was the appearance of his stepmother, Baroness Emilia Andreevna von Tessin, in the house. She paid great attention to teaching children music, foreign languages, and social manners.

After graduating from high schoolin 1840 A.N. Ostrovsky entered the Faculty of Law of Moscow University, however, he studied here for only three years: his passion for theater and literary creativity got in the way.

Service

In 1843 A.N. Ostrovsky entered the service as a scribe at the Conscientious Court, where criminal offenses and civil actions based on complaints were heardparents against children and children against parents. In 1845 he was transferred to the Commercial Court.

Family life

In the 1840s A.N. Ostrovsky became interested in the simple bourgeois Agafya Ivanovna and in 1849 brought her into the house as his wife. Despite the difference in upbringing and education, Agafya Ivanovna brought order and comfort into his life. However, father A.N. Ostrovsky was against it - he broke off relations with his son and refused him financial assistance. Unfortunately, all the children born in this marriage died, and in 1867 Agafya Ivanovna herself died.

With his second wife, Marya Vasilievna, A.N. Ostrovsky lived happily until his death. They had five children: Alexander, Sergei, Lyubov, Maria and Mikhail.

Collaboration with magazines

In the early 1850s A.N. Ostrovsky joined the “young editorial staff” of the magazine"Moscowite" Its members (poet and critic A.A. Grigoriev, writer A.F. Pisemsky, folk singer G.I. Filippov, artist P.M. Sadovsky, etc.) spoke out for preserving the originality and nationality of art.

At the end of the 1850s, frequent trips from Moscow to St. Petersburg, in connection with productions at the Alexandrinsky Theater, brought A.N. Ostrovsky into a new literary circle - the salon of I.I. Panaeva. Here he met L.N. Tolstoy, I.S. Turgenev, F.M. Dostoevsky and became one of the authors of the magazine"Contemporary". For many years A.N. Ostrovsky collaborated with it, and after its closure in 1866 he began publishing his plays in the magazine"Domestic Notes"(the editor-in-chief of both magazines was N.A. Nekrasov).

Social activity

November 14, 1865 A.N. Ostrovsky together with composer N.G. Rubinstein, playwright and translator K.A. Tarnovsky and writer V.F. Odoevsky opened in MoscowArtistic circle. Musical and literary evenings were held here, plays were performed, works were read, and costume balls were held. An amateur orchestra was formed under the circle, and then an amateur choir, and a library was opened.

In 1863, A.N. Ostrovsky published an article in the newspaper “Northern Bee” “Circumstances hindering the development of dramatic art in Russia” about the excessive severity of censorship and the lack of rights of authors. In order to solve these problems under his leadership inThe Society of Dramatic Writers and Opera Composers was founded in 1874..

Creation of a folk theater

In 1882 A.N. Ostrovsky sent to the special Commission a “Note on the situation of dramatic art in Russia at the present time,” where he expressed his opinion on the need to create a Russian folk theater in Moscow: “We have a Russian school of painting, we have Russian music, it is permissible for us to wish for a Russian school of dramatic art... The national theater is a sign of the coming of age of the nation.”

The petition was granted, and A.N. Ostrovsky began to implement the project. However, it was not possible to complete it.In 1885 A.N. Ostrovsky was appointed head of the repertoire department of Moscow theaters and head of the theater school of the Imperial Moscow Theaters, and 2 June 1886 he diedat work in his office on the Shchelykovo estate.

Features of Ostrovsky's style (writing in a notebook):
- speaking surnames;
- an unusual presentation of the characters in the poster, which determines the conflict that will develop in the play;
- specific author's remarks;
- the role of the scenery presented by the author in determining the space of the drama and the time of action;
- originality of names (often from Russian proverbs and sayings);
- folklore moments;
- parallel consideration of compared heroes;
- the significance of the hero’s first remark;
- “prepared appearance”, the main characters do not appear immediately, others talk about them first;
- originality of speech characteristics of the characters.

– Everything that we have now learned about Ostrovsky’s life and work was undoubtedly reflected in his works. In addition, Alexander Nikolaevich is an innovator in the development of the traditional genre - drama, to which the work “The Thunderstorm” belongs.

Therefore, first, let’s look at the features of the drama in order to understand the features of “The Thunderstorm”.

Drama - This is a difficult type of literature not only for the writer, but also for the reader. It takes imaginative thinking to imagine the hero in a given situation. A real reader does the same work in understanding the character of the hero that the actor does in the process of working on the role.

Everyone has a handout on their desk, let's look at the diagram that analyzes the drama(Scheme of genera and types of literature).Read the features of the drama.

– So what is the difficulty in perceiving a dramatic work?

Drama is characterized by entertainment and acting. Also, the text is divided into actions and phenomena; we learn about events from the characters’ remarks; there is no author’s speech in the play. This is where the difficulty will lie in reading “The Thunderstorm”.

II. Creative history of "Thunderstorm"(prepared student)

– In fact, every work has its own creative history of creation, and “The Thunderstorm” is no exception. To understand what moments and details from Ostrovsky’s life influenced the writing of “The Thunderstorm,” let’s now listen to the history of the creation of this work.

The creation of “The Thunderstorm” was preceded by Ostrovsky’s trip along the Upper Volga, undertaken on instructions from the Maritime Ministry. The result of this trip was Ostrovsky’s diary, which reveals much in his perception of life in the provincial Upper Volga region.

“Merya begins from Pereyaslavl,” he writes in his diary, “a land rich in mountains and waters, and a people who are tall, and handsome, and intelligent, and frank, and obliging, and a free mind, and a wide-open soul.

“We are standing on a steep mountain, the Volga is under our feet, and along it ships go back and forth, sometimes with sails, sometimes in barge haulers, and one charming song haunts us irresistibly... And there is no end to this song...

Impressions from the Volga region cities and villages, from the most beautiful nature, from meetings with interesting people from the people accumulated in the soul of the playwright and poet for a long time before such a masterpiece of his work as “The Thunderstorm” was born.

For a long time, it was believed that Ostrovsky took the plot of the drama “The Thunderstorm” from the life of the Kostroma merchants, and the basis of the work was the sensational case of the Klykovs.

Until the beginning of the 20th century, many Kostroma residents pointed with sorrow to the site of Katerina’s suicide - a gazebo at the end of a small boulevard, which in those years literally hung over the Volga. They also pointed to the house where she lived.

A.P. Klykova was extradited at the age of sixteen to a gloomy merchant family, consisting of old parents, a son and a daughter. The mistress of the house, a stern Old Believer, forced her young daughter-in-law to do any menial work and refused her requests to see her relatives.

At the time of the drama, Klykova was 19 years old. In the past, she was raised by her beloved grandmother, she was a cheerful, lively, cheerful girl. Her young husband, Klykov, a carefree, apathetic man, could not protect his wife from her mother-in-law’s nagging and treated them indifferently. The Klykovs had no children.

And then another person stood in Klykova’s way, Maryin, an employee of the post office. Suspicions and scenes of jealousy began. It ended with the fact that on November 10, 1859, the body of A.P. Klykova was found in the Volga. A noisy trial ensued and received wide publicity.

Many years passed before researchers of Ostrovsky’s work established for sure that “The Thunderstorm” was written before the Kostroma merchant Klykova rushed into the Volga. But the very fact of such a coincidence speaks of the brilliant insight of the playwright, who deeply felt the growing dramatic conflict between the old and the new in the merchant life of the Upper Volga, a conflict in which Dobrolyubov saw “something refreshing and encouraging” for a reason.

Ostrovsky began writing “The Thunderstorm” in June–July 1859 and finished it on October 9 of the same year. The play was first published in the magazine “Library for Reading” in the January issue of 1860. The first performance of “The Thunderstorm” on stage took place on November 16, 1859 at the Maly Theater during a benefit performance by S.V. Vasilyeva with L.P. Nikulina-Kositsina as Katerina

– As a result, we can say that it was Ostrovsky’s trip along the Volga that left an undoubted mark on his work, since it is the beauty of these places that he describes in “The Thunderstorm.” What do you think of the story about Klykova? Here Ostrovsky already acts as a clairvoyant.

III. Reading and analysis of the actions of "Thunderstorm". Role-playing reading of Act 1 of the play.

Questions and tasks for the analysis of 1 act of the play (1-4 phenomena)

– Where does the action take place? (the city of Kalinov, which is located on the Volga River).

– What picture appears before the viewer when the curtain opens? Why does the author paint this picturesque picture before us? (The beauty of nature emphasizes the ugliness and tragedy of what is happening in the human world).

– The meaning of the first 4 phenomena of 1 action? (From them we learn about the order prevailing in the city of Kalinov, about its most influential residents, about Boris’s love for Katerina).

– What have we learned from what we read about Dikiy, Boris, Kuligin, Kudryash?

– What characterization does Kuligin give to the life of the city?

Questions and tasks for the analysis of 1 act of the play (phenomena 5–6)

In the fifth scene, we are introduced to the main characters of the play - Katerina and Kabanikha.

– What conclusion can be drawn about these two heroines from this dialogue?

– Why does Kabanova hate Katerina so much? What What is the conflict in the play?

– What does the word “order” mean in the mouth of a boar?

IV. Summarizing

- Our lesson is coming tocompletion, but in the next lesson we will continue to work on “The Thunderstorm”, to analyze the conflict that we just started talking about today.

In conclusion, let's answer the question that was posed at the beginning of the lesson:What is the significance of Ostrovsky’s dramaturgy for the culture of the Russian people?(note to the epigraph ) In what ways was he a continuator of the traditions of Russian theater?

– Student assessment.

V. Homework.

Group assignment:

Group 1 – the meaning of the title of the play;

Group 2 – characterize the characters;

Group 3 - select examples for the speech characteristics of the characters (Kuligin, Dikoy, Kabanikha, Feklusha, Tikhon, Boris)


Goal and tasks:

1) reveal the role of A.N. Ostrovsky in the development of Russian drama and theater using the example of educational material using ICT;

2) show the innovation of Ostrovsky, a playwright;

3) to develop the skill of students to work independently with educational material, the ability to isolate the main thing, compare, compare the content of the material presented in educational literature and supplemented with Internet materials

4) arouse students’ interest in the life and work of the writer.

Lesson type: Lecture with elements of conversation and dramatization. A lesson in studying and initially consolidating new knowledge about the great playwright and his work.

Lesson plan:

  1. The teacher reads out the epigraph for the lesson.
  2. Introductory speech by the teacher on the topic of the lesson.
  3. Presentation by students with facts from the biography of the playwright (independent search work with encyclopedias, Internet sources, textbook).
  4. Students’ dramatization of an excerpt from the play “Our People – Let’s Be Numbered.” The unusual presentation of the characters in the playbill, which determines the conflict that will develop in the play.
  5. We reveal the meaning of the comedy title. The originality of names (often from Russian proverbs and sayings).
  6. Parallel consideration of comparable heroes with speaking names.
  7. The significance of the characters' remarks; The significance of the hero's first line.
  8. The originality of the speech characteristics of the characters.
  9. The relevance of the theme of the play in today's time.
  10. Conclusion on the topic of the lesson.
  11. Grading for the lesson.
  12. Homework.

During the classes

Epigraph to the lesson: “You alone completed the building, at the foundation of which Fonvizin, Griboyedov, Gogol laid the cornerstones. But only you, Russians, can proudly say: “We have our own Russian national theater...”

(I.A. Goncharov)

(Slide No. 2)

1. Introductory speech by the teacher about the role of A.N. Ostrovsky in the development of literature and theater.

In the mid-19th century in Russia there was a need to create a national repertoire in the theater. The theater audience of the late 1840-1850s was not satisfied with the repertoire, where “plays from Russian everyday life” made up only a certain proportion, and of the Russian classics, only “The Minor” by D.I. Fonvizin, “The Inspector General” and “Marriage” by Gogol, scenes from the comedy by A.S. Griboyedov, “Woe from Wit.” That's all.

The national repertoire for the Russian theater was destined to be created by A.N. Ostrovsky. The powerful talent of the great playwright answered the demand of the time. But it is impossible to study the work of the great Russian playwright without becoming acquainted with the important and interesting facts of his biography. (Slide No. 3)

Speech by students who prepared a report on the writer’s biography.

Student: On March 31, 1823, in Moscow, in Zamoskvorechye, a son, Alexander, was born into the family of a successful official. He grew up imperceptibly in small rooms, in a house with narrow windows and creaky floorboards. He ran to play in the yard and on the street - quiet, deserted, unpaved Malaya Ordynka - dusty in summer, dirty in spring and autumn. I watched how on holidays a motley crowd of merchants, young ladies, clerks, tradesmen, young officials in fashionable tailcoats and ordinary people were moving towards late mass. (Slide No. 4)

Disciple: motley, colorful, wild, bizarre, strange and lovely Zamoskvorechye nourished Ostrovsky, nourished his soul with his first impressions, and remained in the writer’s memory for the rest of his life. (Slide No. 5)

Student: before us is a portrait of Alexander Ostrovsky’s mother. She was from a poor clergy, distinguished by extraordinary spiritual qualities, but died early (in 1831): her stepmother was from an old noble family of Russified Swedes, she transformed the patriarchal Zamoskvoretsky life of the family into a noble way, and took care of the good home education of her children and stepchildren.

Student: in 1840 Ostrovsky graduated from the first Moscow gymnasium. Then he studied at the Faculty of Law of Moscow University. In 1843, at the insistence of his father, he left the university and became a clerk at the Moscow Soviet Court, where property disputes and juvenile crimes were dealt with. In 1845 he was transferred to the Moscow Commercial Court, from where he left in 1851 to become a professional writer.

Student: work in the courts significantly enriched Ostrovsky’s life experience. What had been hidden for years behind the high plank fences of merchant houses, behind gates with double clanging bolts, all of this spilled out in front of the judge’s table and fell under the pen of the clerk: passions flared up, tongues were loosened, family secrets were spoken out loud, relatives did not spare each other.

Student: Ostrovsky found here the opportunity to draw from the very thick of life, to get acquainted with its hidden springs. A serious writer does not need to specifically “study life.” She herself comes to him, he lives by her and - willingly or unwillingly - absorbs her.

Student: For many years Ostrovsky lived on the brink of poverty. Being the recognized leader of Russian playwrights, he was constantly in need even in his declining years, earning a living through tireless literary work. The writer died at his desk in Shchelykovo (this is his father’s estate), working on a translation of Shakespeare’s play “Antony and Cleopatra.” (Slide No. 6)

Student: Ostrovsky created 47 plays. The Maly Theater has been introducing its audiences to these works for three decades. It was no coincidence that the Maly Theater was called the Ostrovsky House. Near its walls there is a monument to the great playwright.

Student: While working on his works, Ostrovsky realized that the whole power of comedy is in language. Characters should speak naturally. And at the same time, their speech - old-Moscow, flowery - should leave a joyful feeling of art. He concentrated all his efforts while working on the play “Bankrupt” (1849, in the magazine “Moskvityanin”). (Slide No. 7)

Teacher: in modern language, a bankrupt is a bankrupt businessman who is unable to pay his debts. This word also has a figurative meaning. A bankrupt is a person who has suffered spiritual ruin.

Teacher: The topic of bankruptcy was in the air then. A play with that title was banned. And Ostrovsky wrote “Bankrupt” on the title page sent to the censor, and below in large handwriting “We are our own people - we will be numbered.” This is how the play received its second name.

The theater season began, but there was still no permission to stage the comedy. Finally, news came from St. Petersburg that the play was banned. The censor pronounced his verdict: “All the characters: the merchant, his daughter, the solicitor, the clerk and the matchmaker are notorious scoundrels. The conversations are dirty, the whole play is offensive to the Russian merchants.” And the comedy was staged only after the death of Nicholas I, in 1861. Her success was enormous, unprecedented.

Teacher: let's now try, together with Ostrovsky, to relive some interesting moments of his comedy.

(Students dramatize an excerpt from Ostrovsky’s play “Bankrupt”).

Act 1. Living room in Bolshov's house

Lipochka: what a pleasant activity these dances are! How good it is! What could be more amazing? Most of all, I don’t like dancing with students and clerks. Is it different from the military? Oh lovely! Delight! And a mustache, and epaulettes, and a uniform, and many even have spurs with bells. The only killer thing is that there is no saber!

Agrafena Kondratyevna (entering). So, so, shameless one! .. neither light nor dawn, without eating the bread of God, and immediately for dancing!

Lipochka. How are you, mummy? I drank tea and ate cheesecake. Look, okay? One... two... three, one, two...

Agrafena Kondratievna. I'm telling you, don't turn around!

Lipochka. What a sin! Nowadays everyone is having fun with it. One... two... I don’t need you, I need a husband! What it is! I'm afraid to meet friends... Listen, find me a groom - everything will be different and different. Who will not be touched to the quick... Otherwise it will be worse for you: on purpose, to spite you, I will secretly get an admirer, run away with the hussar, and get married on the sly.

Agrafena Kondratievna. What, what, dissolute... Oh, you stub of a dog! Well, there's nothing to do! Apparently, I'll have to call my father.

Lipochka. All you have to do is call your father; You’re afraid to talk in front of him, but try it yourself!

Agrafena Kondratievna. So, what do you think, am I a fool? What hussars you have, your shameless nose!

Lipochka. I’m all bad, but what are you like after that! Why do you want to send me to the other world ahead of time? Lime with your whims? (Crying). Well, perhaps I’m already coughing like a fly! (Cries, then sobs.)

Agrafena Kondratievna. Lipochka, well, it will be! Well, stop it! Well, don’t be angry with me (cries), I’ll buy a stupid woman... an unlearned woman (cry together) I’ll buy earrings...

Lipochka (crying). What do I need your earrings for... and you buy bracelets with emeralds.

Agrafena Kondratievna. I’ll buy it, I’ll buy it, just stop crying!

Lipochka. (Through tears) Then I’ll stop as soon as I get married!

Agrafena Kondratievna. Come out, come out, my darling... Today Ustinya Naumovna wanted to come, and we’ll talk.

Ustinya Naumovna enters.

Ustinya Naumovna. Phew, what is it with you, silver ones, what a steep staircase: you climb, you climb, you crawl!

Lipochka. Ah, here she comes!

Agrafena Kondratievna. Well, what's new, is there anything, Ustinya Naumovna? Look, my girl is completely homesick.

Lipochka. And in fact, Ustinya Naumovna, you walk and walk, but there’s no point.

Ustinya Naumovna. Look, it won’t take you long to figure it out, you braliant ones. Your little brother thinks he's rich. Mama is also striving for her own pleasure: give her a merchant without fail. You have your own thing on your mind too.

Lipochka. I won’t marry a merchant, I won’t marry him for anything. Then this is how I was brought up, I learned French, the piano, and dancing! No no! Wherever you want, find me a noble one.

Agrafena Kondratievna. So you talk to her.

Fominishna. What did you get from these noble ones? What's that special flavor about them? Naked sitting on naked... But even if you’re married, you’ll get tired of the sauce and gravy.

Lipochka. You, Fominishna, were born among peasants and you will stretch your legs like a peasant. What do I care about your merchant! What weight can it have? Where is his ambition? Do I need his washcloth?

Fominishna. Not a washcloth, but God’s hair, madam, that’s it!

Lipochka. Why are you here? I already said that I wouldn’t marry the merchant, so I still won’t!

Ustinya Naumovna. Perhaps, if you have such an interest, we’ll find you a noble one. Which one do you want: more solid or crispy?

Lipochka. Nothing thicker, he wouldn’t be small, of course, it’s better to be tall than some kind of fly. And most of all, Ustinya Naumovna, so as not to have a snub nose, he must be dark-haired; Well, of course, he should be dressed like a magazine.

Ustinya Naumovna. And now I have a fiancé, as you, brilliant one, describe: both noble, and tall, and brûlée...

Lipochka. Ah, Ustinya Naumovna! Not brulee at all, but brunette!

Ustinya Naumovna. Yes, I really need to break my tongue in your old age, your way. Just go and get dressed, and mummy and I will talk about this matter.

Lipochka leaves...

Student. Ostrovsky chooses a plot based on a fairly common case of fraud among merchants in Russia in the 40s of the 19th century. Samson Silych Bolshov borrows a lot of capital from his fellow merchants and, since he does not want to repay his debts, declares himself bankrupt, an insolvent debtor. He transfers his fortune to the name of the clerk Lazar Podkhalyuzin, and to strengthen the fraudulent transaction, he gives his daughter Lipochka in marriage to him. Bolshov is sent to debtor’s prison, but he does not lose heart, because he believes that Lazar will contribute a small amount of the received capital for his release. However, he is mistaken: “their own man” Lazar and his own daughter Lipochka do not give their father a penny.

Teacher: Let's reveal the meaning of the name of the comedy.

  1. Find a scene in the play that contains words that support this title? (p. 91, act 3, phenomenon 7).
  2. Which passages from Act 4 make this clear?
  3. Does the title of the comedy reflect the essence of the main conflict?

(Yes. The main conflict of comedies is the exposure of social relations based on property inequality and the thirst for profit. There is another conflict in the play - this is the conflict between fathers and children)

Teacher. Now let's read the list of characters. Are there any “talking” names?

  • Bolshov - from the peasant “bolshak”, i.e. head of the family. Bolshov is a merchant of the first generation. Samson Silych means strong, his strength is in power, in money.
  • Lipochka (Alimpiada Samsonovna) – fake, that is, false.
  • Podkhalyuzin is a thrice despised surname. It was composed by the playwright in such a way that meanness seems to ooze from every syllable: pod and hal and, in addition, yuzin.
  • Sysoy Psoich Rispozhensky - sys, dog.

Teacher: The last name is one thing, but what are these heroes really like? Let's start with Samson Silych Bolshov. Let's consider his social status, actions, speech. He is a merchant of the first generation, a man in the recent past (p. 32, words of Ustinya Naumovna about the Bolshov family) Samson Silych is a typical tyrant.

  1. How do you understand the meaning of this word? (In Ostrovsky’s comedies, the concept of “tyranny” becomes synonymous with the word “despotism.”) The comedy shows how tyrants grow up. The play introduces three stages of the merchant's biography.
  2. Through what images does the author show these stages?

(Bolshov himself, a small trader in his youth, suffered enough from tyrants, good people called Samsoshka, fed him with slaps on the head. Having become rich, he began to give slaps on the head himself. Podkhalyuzin followed the same path. In the comedy there is another character - a boy - Tishka. Everyone he runs errands, receives countless slaps on the head, but he also gets it. He endures everything for now and secretly collects capital).

Bolshov's tyranny knows no bounds as long as he feels solid ground beneath him - wealth. But greed and passion for money destroy him. Bolshov is put in a debt trap. It can be saved by paying creditors a small part of the debts. But the son-in-law and his own daughter refuse to help the old man.

  1. How do you think this kind of cruelty can be explained? What about the main character's speech? Let's see how he talks to his family).
  2. What conclusion can be drawn? (it is not surprising that in a family where relationships are based on fear and humiliation, there cannot be mutual love and respect for a person. Such monetary calculation, of course, cripples human souls).

At the end of the play, Bolshov emerges from the pit, disgraced and unhappy, and one even begins to feel sorry for him. But what can he blame? After all, he himself taught his clerk and his daughter to live by this law: “if you don’t deceive, then they will deceive you.”

Dobrolyubov correctly noted that there is a potential tyrant in Podkhalyuzin. This is a prudent, shameless businessman of the new era, in front of whom Bolshov himself may seem like a naive simpleton.

Teacher's word: Let's draw a conclusion: A.N. Ostrovsky turned a page unfamiliar to the viewer, bringing a new hero onto the stage - a merchant. Before him, Russian theatrical history included only a few names. The playwright made a huge contribution to the development of Russian theater. His work, continuing the traditions of Fonvizin, Griboyedov, Pushkin, Gogol, is distinguished by innovation in the depiction of heroes, in the language of characters and in the social and moral problems raised.

Guys, do you think the topic of bankruptcy and tyranny is relevant for our modern society?

Recently, an event occurred in our city that we cannot remain silent about today. The newspaper “Komsomolskaya Pravda” published an article “Kalacheevskaya Saltychikha”: the case of bloody millions” (http://www.kp.ru/daily/26148/3037626/) Thirst for profit, greed, deception, murder of relatives and friends - everything vices on the face.

So it turns out that the works of the great playwright, unfortunately, are relevant in our 21st century.

Homework: Write a short essay on the topic: “Why do people lie? Is Ostrovsky outdated?



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