Epic and dramatic works. Identification of the specifics of teaching a dramatic work on the material of the play by A.N.

Drama analysis

The method of conversation used in the study of epic and lyric works is also effective for dramatic works. Most methodologists recommend using it mainly when analyzing the development of an action, clarifying the conflict, problems and ideological meaning of dramatic works. One cannot but agree with this, since the conversation makes it possible to widely involve the text of the work, to use the facts obtained by students as a result of independent work over the work.

Of particular importance in the analysis of dramatic works is the independent work of students on the text of the work. An analysis of the speech and actions of the characters helps students to understand the essence of their characters and create in their imagination a concrete idea of their appearance. In this case, the students' analysis of a particular phenomenon or scene dramatic work to some extent will resemble the work of an actor on a role.

Of great importance in the analysis of the play is the clarification of the subtext of a hundred replicas of the characters. Work on clarifying the subtext of the characters' speech can be carried out already in the 8th grade when studying "Woe from Wit" (act. 1, phenom. 7, Chatsky's meeting with Sophia).

In the process of analyzing a dramatic work, we pay special attention to the speech of the characters: it helps to reveal spiritual world the hero, his feelings, testifies to the culture of a person, his social position.

However, one cannot consider the speech of characters only in this function; it should be remembered and in the process of work to stop the attention of students more than once that each phrase of the character, each replica, “is charged with action, like electricity, for all of them must move the play forward, serve to develop its conflict, plot”.

In the play, a person, placed by the playwright in certain circumstances, acts according to his own logic, the characters, as it were, themselves, “without the prompting of the author”, lead the events to a “fatal finale”. “With each phrase, the character takes a step up the ladder of his fate,” wrote A. N. Tolstoy .. Therefore, when reading dramatic works, some students visual images heroes do not arise at all, for others the ideas are blurred, the contours and colors are constantly mixed, for the third (there are usually very few of them), visual representations of some persons are the basis of the images that arise in the imagination. So, students often recreate the appearance of the hero according to the external data of the actor who played his role in the play or movie.

In plays, everything is reported and everything is done through the speech of the characters themselves. The author, only in exceptional cases, points out the behavior of the character and the emotional and intonational side of his speech in an unusually short form(remarks).

Many students, when reading a play, cannot at all recreate in their imagination either the actions or the behavior of the characters. Others, proceeding from the logical and semantic side of the speech of the characters and perceiving it as a source of information, recreate in their imagination only the actions of the characters. Some students (usually very few of them) pay attention when reading a play to remarks that indicate the external actions of the characters, and on this basis they try to “see” the external (physical) side of their behavior, leaving without attention to the state of mind of the characters, which determines their external actions. In addition, the vast majority of schoolchildren do not notice at all the remarks indicating the psychological state of the characters. But, "seeing" only the physical side of the character's behavior and not "seeing" him internal state, students do not represent him as a person. For them, the hero remains an incorporeal being, the mouthpiece of the author's ideas, the character of the hero is not deeply known.

Schoolchildren cannot recreate the psychophysical behavior of the characters in a dramatic work on the basis of their speech, because they take into account only its content side (what is said) and lose sight of the form of expression of this content. This, however, is not limited to the features of "vision"

by students of the actions and behavior of the heroes of the drama on the basis of the perception of the content side of their speech. At best, students “see” the act itself, but, excluding it from a specific situation that predetermines it to some extent, they cannot, thus, reveal the subtext of this act.

The experience of perceiving the dramatic genre, acquired by students in the process of studying literature, is the most important help for the perception of a dramatic work. We mean the student's certain knowledge of the specifics of the genre - its structure, elements, features of recreating characters, etc.

Another thing is the circle of historical and everyday realities, human relations, language idioms.

So, merchant life, shown by Ostrovsky, or a certain "freedom" with which the wife and daughter of Gogol's Governor perceive Khlestakov's courtship, will certainly require a special comment.

Sometimes, to activate the imagination of students, you should turn to historical commentary. This is done in those cases when students, far from the era depicted in the drama, do not have the necessary ideas and knowledge and cannot recreate in their imagination the details of the external appearance of the protagonist of the play, for example: the uniform of the gorodni-chego, the clothes of Kabanikha, etc. If the students are not helped, then they will not have the appropriate ideas and they will learn only the meaning of the word.

Aspirations, moods, feelings of the character in the course of action, dialogue "move", change. All this is expressed by his speech, therefore, when analyzing the most important points dialogue, it is necessary to understand the behavior of the character, which must be considered in its "two-in-one" nature, that is, as psycho-physical. It is impossible to bypass such an important moment in dramaturgy as the text.

In "Uncle Vanya" by Chekhov characters they have just experienced very dramatic events, the collapse of hopes, the loss of ideals. And one of them, Dr. Astrov, suddenly, outwardly as if not motivated in any way, approaches the geographical map and, as if quite out of place, he says: “Ah, it must be, in this very Africa now it’s hot - a terrible thing!”

In Gorky's play "At the Bottom" Vaska Pepel leads the most important - and not only for himself - an explanation with Natasha. Bubnov at this moment inserts: “But the threads are rotten” - at this very time he really sews something from rags. But it is clear, after all, that this remark is not accidental, and does not carry the same meaning that lies, so to speak, “on the surface” in it. And this should be explained to the students.

"The first condition for analysis dramatic work there will be a recreation in ... their (schoolchildren's) imagination of the performance ... Therefore, it is necessary to attract material that tells about the performance of artists who gave not only bright, but also consonant images to the author. This is undeniable. But “seeing” and “hearing” how a character acts, speaks, feels, can only be based on reading and analyzing a dramatic work.

Here last scene"Inspector". Everyone has just learned that Khlestakov is "not at all an auditor." Anger and malice take possession of the mayor. He (according to remarks) imperatively “waves his hand”, indignantly “hits his forehead”, shouts “in his heart”, “threatens his fist at himself”, “knocks his feet on the floor with anger”. The mean author's indications should be carefully used when reading the play - they alone in many ways depict the psychophysical state of the hero.

Simultaneously with the expressive reading of the play or after it, an analysis of the work is carried out. This analysis is based on specific features building a drama and revealing its images and, of course, the peculiarities of the perception of this genre by school readers.

The specific subject of depiction in drama is life in motion, or, in other words, action, and it is a holistic analysis of the play following the stage action that makes it possible to understand the essence of this action.

In the play, along with the central line, there are always non-main lines, "side" lines, which "flow into the mainstream of the struggle, intensifying its course." Not to consider these lines in interconnection, to reduce everything to only one central line means to impoverish the ideological content of a dramatic work. Of course, this requirement is feasible only when studying the play as a whole or in montage. In the same national schools, in which only excerpts from the drama are studied, the teacher informs about the plot of the play.

As mentioned above, the action of the drama is manifested in the characters entering into conflict. So, when analyzing the drama, one must consider action development and disclosure of characters in organic unity. Even V.P. Ostrogorsky suggested that the teacher, analyzing a dramatic work, pose the following questions to the students: Do the actions of people completely agree with their characters? .. What prompts the hero to act? Does he have an idea or a passion? What obstacles does he meet? Are they within it or outside of it?

A holistic analysis of the drama following the development of its action obliges us to proceed from this fundamental law of dramatic art. At the same time, we must not forget that action is understood not only as the actions of characters, but also as a manifestation of character in the details of behavior. The characters in the play are revealed either in the struggle for the realization of certain goals, or in the awareness and experience of one's being. The whole question is what action in this drama comes to the fore. Given this, the teacher in the process of analyzing the drama focuses either on the actions of the heroes of the drama, or on the details of their behavior. Thus, in the course of the analysis of The Storm, the focus will be on the "acts of will" of the characters, while in the analysis of The Cherry Orchard, the "detailed behavior" of the characters.

When analyzing the images of a play, one should not limit oneself only to clarifying the actions of the characters. It is necessary to draw the attention of students to how the character carries out his actions. And the teacher faces the task of forming and developing the recreating imagination of students.

The psychophysical behavior of the character of a dramatic work - especially when reading a play, and not when perceiving it from the stage - is difficult to imagine and comprehend due to the absence of the author's commentary in the drama. It can emerge only from the dialogue and mean author's remarks. Therefore, when starting to analyze the hero’s speech, it should be remembered that it characterizes the character with its causal character, its content, logical and semantic side and the form in which this content was embodied.

Starting to analyze the scene-dialogue, first of all, the question should be posed to the students: In what environment and why did this dialogue arise and be conducted? Here the author's remarks will provide some help, and, therefore, it is necessary to pay due attention to their consideration, to find out how much they have armed the students.

If the author's remarks, as often happens, do not give students sufficient support for the work of the recreating imagination, it will be necessary to give a series additional materials: either sketches of scenery (for example, for B. Kustodiev’s “Thunderstorm”), then author’s explanations (say, in Chekhov’s letters to Stanislavsky about the scenery of Act II of The Cherry Orchard), then use books (chapter “Khitrov Market” from the essays by Vl. Gilyarovsky "Moscow and Muscovites", photographs of doss houses from the album "Moskovsky Artistic theater"- to the play "At the bottom"), etc.

We should not miss the opportunities sometimes inherent in the work itself. So, in The Cherry Orchard, one should point out what the situation is before us in the speeches of the participants in the events themselves (Gaev: The garden is all white; Varya: The sun has already risen ... Look, mommy, what wonderful trees!. What air! Starlings sing! etc.).

It is clear that the reproduction in the imagination of students of a specific situation of events is not an end in itself, but contributes to the disclosure ideological content works.

Considering that schoolchildren, as a rule, have no visual representations of the hero of a dramatic work, and the process of understanding the image of the hero is associated with a visual representation of him, it is necessary, in the process of analyzing the work in the course of the development of the action, to find out what the author reports about appearance the hero, what other characters in the play say about the appearance of the character, what the hero himself says about his appearance, what details in the appearance of the hero indicate his origin and living conditions, how certain personality traits are expressed in his appearance.

Students cannot be expected to develop a complete understanding of the play and its characters as a result of textual analysis carried out in the classroom. Further work is needed - the synthesis of materials accumulated in the process holistic analysis, for example, a generalization of observations over the images of heroes.

This work in each case is specific, but you can specify a number of general issues, which are clarified in a generalizing conversation about the character: What is the role this hero in the general flow of the drama? What does this hero look like? In what scenes does he most expressively and fully reveal himself? Do we know his backstory and how do we find out about it? What thoughts, views, character traits does the hero discover in the dialogues and with whom does he conduct these dialogues? How does the character characterize his attitude towards other characters? What ideological meaning image.

It is necessary to identify the true conflict underlying the playwright so that students do not have erroneous ideas about it. So, it may seem to them, for example, that in Gorky's play "At the Bottom" the conflict is in the clash of interests of Natasha and Ash, on the one hand, and the Kostylevs, on the other. Meanwhile, if this were the case, the play would end in the third act and the fourth would simply be superfluous. And the conflict of the play is in the clash of worldviews, and the disappearance of Luke, also in the third act, only emphasizes the continuation of the spiritual struggle, the struggle with the “saving” lie, which ends in the fourth act with a vital test of “consolation”, the collapse of this "philosophy", the revelation of the futility and harmfulness of the illusions spread by Luke.

Revealing the main conflict of the play, the teacher shows the students that the author's worldview is expressed in the essence of this conflict.

The time of creation of the work, design history, a brief description of era.

The connection of the play with any literary movement or cultural era(antiquity, Renaissance, classicism, Enlightenment, sentimentalism, romanticism, critical realism, symbolism, etc.). How did the features of this trend appear in the work? 1

Type and genre of a dramatic work: tragedy, comedy (of manners, characters, positions, cloak and sword; satirical, everyday, lyrical, buffoonery, etc.), drama (social, everyday, philosophical, etc.), vaudeville, farce, etc. Specify the meaning of these terms in the reference literature.

The specifics of the organization of the action of the drama: division into actions, scenes, acts, phenomena, etc. Author's original components of the drama (for example, "dreams" instead of acts or actions in M. Bulgakov's drama "Running").

Playbill of the play (characters). Features of names (for example, "speaking" names). Main, secondary and off-stage characters.

Features of the dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.

Features of dramatic action: external - internal; "on stage" - "behind the stage", dynamic (actively developing) - static, etc.

Features of the composition of the play. Availability and specifics basic elements: exposition, an increase in emotional tension, a conflict and its resolution, a new increase in emotional tension, culminations, etc. How are all the "sharp points" (especially emotional scenes) of the work connected? What is the composition of the individual components of the play (acts, actions, phenomena)? Here it is necessary to name specific episodes that are these "sharp glasses" of action.

The specifics of creating dialogue in a play. Features of the sound theme of each character in dialogues and monologues. ( Brief analysis dialogue composition of one episode of your choice).

The theme of the play. Leading themes. Key episodes (scenes, phenomena) that help to reveal the theme of the work.

The problem of the work. Leading problems and key episodes (scenes, phenomena), in which the problems are especially acutely stated. The author's vision of solving the problems posed.

actions of characters (play of actors);

stage setting, costumes and scenery;

the mood and idea of a scene or phenomenon.

Meaning of the play's title.

1. Artistic image. Types of imagery.

2. Genera and genres of literature.

Artistic image - there is concretely - a sensual form of reproduction of the transformation of reality. A category of aesthetics that characterizes the result of the comprehension by the creator (artist) of any phenomenon, the process in ways characteristic of a particular type of art, objectified in the form of pr-tion as a whole or its department. fragments.

From the point of view of the theory of knowledge, the concept is also an image. However, there is a difference m \ du thin. image and concept: The concept highlights the general, essential features in the subject, it is not individual. Hood. the image reproduces the object in its entirety, the image is individual.

There are sensory-figurative and conceptual-logical forms of mastering the world. There are figurative representations as a phenomenon of consciousness and own images as a sensual embodiment of representations (visual and auditory).

St. thin. image.

1) Typicality. It contains a generalization. Even if the image is sketchy, unfinished, it carries integrity. Own the names of the heroes become common names. because of the generalizing meaning of thin. image. Creative typification - selection of certain aspects of life phenomena and their underlining, hyperbolization in art. image. Gogol "The Nose", S-Sch. Two description options: a) the writer can describe, creating the illusion of credibility b) secondary convention - the deliberate destruction of credibility, grotesque and fantasy.

2) expressiveness(expressiveness): The image usually surpasses reasoning in terms of emotional power. air ratings. Ideological-emotion. author's assessment -> division of heroes into lies, denies, contradicts. (conditionally). Forms expressions auth. estimates: a) explicit (Pushkin - Tatyana). b) implicit (Pushkin - Onegin). Estimate help express trails, st. figures. Create your own subject world.

3) Self-sufficiency, the image is alive in itself. Being the embodiment of the general, essential in the individual, thin. the image can give rise to various senses, interpretations.

Polysemy thin. image.

The figurativeness of the claim creates objective prerequisites for disputes about the meaning of the claim, for its various interpretations, sometimes polemical author's concepts. Authors are often unwilling to define the idea of their works th -> controversy. Turgenev "O and D".

Internal images - bear, window.

Internal word form- an increase in meaning.

For an image, one must possess a key, a literary code.

Image - appearance, appearance, method (means) with the help of which literature carries out its mission (see the previous lecture).

As part of psychology and philology, images are concrete representations, that is, a reflection by human consciousness of individual objects, facts, events, in their sensually perceived appearance.

They [images] are opposed to abstract concepts that fix the general constant properties of reality, ignoring individual features.

RESULT: there is a sensory-figurative and political-logical form of mastering reality.

Distinguish:

figurative representations as a phenomenon of consciousness;
actually "images", as a sensual incarnation of representations.

Distinguish images:

scientific and illustrative;

factual;

information and journalistic, which inform about the facts that really took place;

artistic, are created with the active participation of the imagination: they do not simply reproduce single facts, but condense, concentrate aspects of life that are essential for the author, in the name of its evaluative comprehension.

The artist's imagination is not only a psychological stimulus for his work, but also a certain antiquity.

In the imagination there is a fictitious objectivity that does not have a full correspondence with reality.

In modern science there is the concept of sign.

Sign – material object, acting as a representative, substitute for another object, property.

Definition of an artistic image - there are more than 70 of them!

One point of view:

Artistic image - a concrete-sensual form of reproduction and transformation of reality.

According to the nature of generalization, artistic images are divided into:

individual(originality, originality. Found among romantics and science fiction writers);

characteristic(is generalizing. It contains common features of characters and mores inherent in that time);

typical(the highest level of a characteristic image. This is the most probable, exemplary for a certain era. The image of typical images was one of the main goals, the achievement of the goals of realistic literature. Sometimes socio-historical objects of an era can be captured in an artistic image, as well as general human traits of a person’s character - eternal images);

images-motifs(go beyond individual images of heroes), (this is a theme that is consistently repeated in the writer’s work, expressed with the help of different aspects, with the help of variation);

topazes(place, locality, common place), (denote common and typical images created in the literature of an entire era, nation, and not in the work of an individual writer);

archetypes (beginning, image)(beginning of the 19th century, German romantics. Jung - understood the ARCHETYPE as a general human image, unconsciously transmitted from generation to generation. Most often mythological images. Universal symbols: fire, sky, house, road, garden, etc.).

Image structure:

sounding, rhythmic surface of speech;

artistic speech (sequence of words and their relations);

plot - the purpose of the movement of people, things;

plot - a system of main goals;

interacting images;

comprehension of the life meaning of the image.

Artistic image is a popular term used in different sciences. The most common definition is a subjective reflection of the objective world. The artistic image has a super-task - it is always a kind of thought embodied in art form. This is not just a description. Example: Pinocchio. The image is always concrete, pictorial. But this concreteness always expresses something general, some thought. The image is plastic, emotional, it expresses the state of the hero, everything in it is in unity. What in reality can be an antithesis converges in the image. Example: drawing a heart in lovers in response to an abstract feeling. Potebnya: "If we are given poetic image, then we ask ourselves what is the circle of ideas, observations, thoughts, remarks, perceptions from which this image arose? It could arise from direct observation, it could arise from tradition, that is, with the help of other images. abstract, philosophical ideas are depicted through objective realities, most often from nature. Example: Venevitinov's poem "Vetka". Observation of nature is the source of artistic images. Turgenev has many prototypes: Rudin - Bakunin, Bazarov - Dobrolyubov. But the image, even if it is written off from nature, is not literal, it is always autonomous, self-sufficient, it lives its own life.

Classification of images.

There are conditional and life-like images. Lifelike is a reality that is mirror-like to life. Conditional ones are violations, deformation, they have two plans - depicted and implied. Lifelike - character and type, conditional - symbol, allegory, grotesque.

Subject classification.

1 step. Details from one-word details to detailed descriptions (interior, landscape, exterior, etc.). They are static and fragmented.

2 step. The plot structure: events, actions, moods, aspirations of a person. This is dynamism and evolution.

3 step. Subject structure: characters, characters, image of the author, narrator, choir.

4 step. The image of the world.

Nature - Man - Society

Landscape portrait family

Interior system environment

people characters exterior

Generalized semantic: motive, topos, archetype.

A motive is a word or a set of words that are repeated (in the work of a writer, a group of writers, or an era).

Topos - designation of a place, repeated within a culture or nation (Peter. Forest, steppe).

The archetype (According to C. G. Jung) is the oldest mythological symbol generated by the archaic collective consciousness. Example: the image of the prodigal son, Cain and Abel, Ahasuerus, Faust.

The internal structure of the image:

1) the internal form of the word. Example: ink.

2) comparison: A=B

3) co and opposition: A is not equal or equal to B.

Everything is figurative - the word, the people, and the action.

- Small forms of figurativeness.

From the point of view of many researchers, only what is created with the help of the word is figurative. The possibilities and features of the word are a topic of discussion, this is how futurism arises. The word in a work of art behaves differently than in ordinary speech - the word begins to realize an aesthetic function in addition to the nominative (naming) and communicative. The purpose of ordinary speech is communication, discourse, information transfer. The aesthetic function is different, it does not just convey information, but creates a certain mood, conveys spiritual information, a kind of super-meaning, an idea. The word itself is different. The context, compatibility, rhythmic beginning is important (especially in poetry). Bunin: "punctuation marks - musical marks". Rhythm and meaning are combined. The word in a work of art has no definite meaning, as in everyday speech. Example: a crystal vase and a crystal time at Tyutchev. The word does not appear in its meaning. The same stream of associations with the author. Crystal time - a description of the sounds of autumn. The word in an artistic context gives rise to individual associations. If the author's and yours match, everything is remembered, no - no. Any artistic trope is a deviation from the rules. Y. Tynyanov "The meaning of the verse word." “The word is a chameleon, in which each time not only different shades appear, but also different colors". Emotional coloring of the word. The word is an abstraction, the complex of meanings is individual.

All methods of changing the basic meaning of the word are paths. The word has not only a direct, but also a figurative meaning. The definition usually given in textbooks is not entirely complete. Tomashevsky "Poetics of speech". Example: the title of Shmelev's story "The Man from the Restaurant". First man means waiter, and the word is used, as the client usually calls it. Then the action develops, the hero reflects that the elite of society is vicious. He has his own temptations: the money he returns. The waiter cannot live with sin, the main word becomes "man" as the crown of nature, a spiritual being. Pushkin's metaphor “The east is burning like a new dawn” is both the beginning of a new day and the emergence of a new powerful state in the east.

Dramaturgy of the play based on the play by Leonid Andreev

"The one who gets slapped"

Music for the play:

Spleen: "Rock and Roll Star", "Romance", "You're dreaming about it"

"We sat and smoked", "Riki-Tiki-Tavi"

"Plastic Life", "Sihanoukville"

"Chateau Margo"

L. V. Beethoven The third part of the 14th sonata in Spanish. Viktor Zinchuk.

ANALYSIS OF A DRAMATIC WORK

1) The theme of the play is Love, which everyone is looking for, but not found, because. they themselves do not know how to love, trying to achieve it, even from "predators" and only the hero loves, loves sincerely and openly, without trying to seize it completely himself. Ready for any sacrifice in the name of this high feeling, which he experienced for the first time in his life, being already a married person and completely disappointed in people, and in existence itself, as a bright and extraordinary personality, which he himself was.

2) The idea of plays s: The arrival of a stranger, very often in classical works Russians and foreign authors the appearance of a stranger in the wrong place leads to tragic consequences. (Destruction of two families - " Wuthering Heights”E. Bronte.) Also in Andreev: a man from an aristocratic society who appears in a traveling circus destroys the established way of life with his appearance, thereby introducing a note of discord, both between circus workers and condemning his life to death along with an innocent girl, endowing himself with a divine symbol.

Andreev himself is an unusual symbolist writer, a friend of A. Blok, etc. The symbols of his work begin with the name of the hero and heroine. "That" - Where from? Why? "Thoth" is the god of wisdom in Egyptian mythology. "Consuella" - consolation. In order to start work on a play, having the name of the heroine and knowing that it is taken from the novel by George Sand (pseudonym French writer Aurora Dupin, beloved of Frederic Chopin, the great composer, who wore trousers and smoked a pipe, thereby challenging the aristocratic society, the mother of five children, a romantic writer, in her prose one can guess the features of Gothic prose, from which we can conclude that a huge influence on it was provided by Walter Scott) the name of the heroine, which was taken by Leonid Andreev not by chance, the heroine was not only consoled, but also rested in peace in young age. It is difficult to accurately define the idea, the more you delve into the material, the more it seems with a double, and sometimes with a triple bottom. A deeply philosophical tragedy in which the real names of all the characters are not explained, they are all carriers stage name. Nameless heroes, looking at us from the past, in spite of everything, keep in themselves and carry all those human qualities and eternal human mistakes, and therefore they themselves become some kind of symbols of eternal values and great losses, where values acquire a different character. The idea of the play is that the height of the spirit is determined by the baseness of the situation, the power of money for some reason gives the right to buy innocent children's souls? In the wake of perestroika in our state, this play seemed to me especially relevant, where people commit crimes that are redeemed thanks to their wealth, and do not bear any responsibility for this. We come across stories like this all the time.

3) The main conflict is “... after all, they buy everything beautiful!” Zinida. As they are bought and sold human souls. The hero came to this world in order to change it, since he himself got into this system of buying and selling (the scene of the appearance of the Master). We know that the world cannot be changed.

4) The main events of the play: There is not a single event in L. Andreev, in which there would be no symbols of mysticism and riddles.

a) Initiating event: The hero leaves his usual habitat, the hero's internal moral conflict leads him to a traveling circus.

b) The appearance of the hero in the circus where his life flows, where his laws and his ideas about it, but even in the circus the hero plunges into the infinity of problems, and the circus is a "model" of the world order from which he escaped.

c) The meeting of the hero and the heroine stirred up the soul of the hero, since the heroine possessed, according to him, divine innocence and purity of soul. "Stricken by the arrows of Cupid", he is ready to do anything to stay by her side.

d) The hero is forced to open the circus director its origin, thereby leading to confusion and amazement.

e) Clarifying the relationship between Zinida and Bezano Becoming a witness to this scene, the hero discovers the secret aspects of the life of this circus, as the secret aspects of the life of the world and any society already familiar to him, in which people are forced to live.

f) The teacher of the heroine intended sell it to a perverted baron who is clearly in advanced years. This fact leaves indifferent all the characters, except for the hero in love.

g) Jim the Clown forbids the hero peer and sneer at Providence, by virtue of something already experienced. The hero receives a real slap in the face, because he has not yet learned that one cannot work for nothing. Here the author vividly draws a parallel between himself and the hero of the play.

h) Confidential conversation of the hero with the "tutor" of the heroine. The conversation is paid for by the hero in material terms. Another step to save the heroine from the web, which should fall into an innocent creature, was not successful, because. too much power of money.

i) Zinida the tiger tamer loses consciousness after a colossal dedication and nervous tension in the arena with tigers, having crossed the permitted boundaries, being already sure that predators would tear it apart, and thereby blowing up auditorium, appears, still trying to hold on, but loses consciousness, which causes a general commotion of the entire circus. I limited this bright event of the play with the internal discord of the tamer with the dislike of people and the devotion of predators.

j) Divine innocence of the heroine in this event asks the hero a question - "What is love?" Already trying to enjoy the love of others (Jim, Thomas, Tilly and Polly, Bezano, Zinida, Papa Briquet). The hero does not directly answer her question, but tries to frankly confess his love himself, raising himself to one level with divine innocence, clothing his soul in divine wisdom, trying to make an illiterate girl, who is unable to comprehend, understand his thoughtful words and look into "second bottom" (or second plan), which the hero uses. Receiving a slap in the face, the hero translates everything into a game, fortune-telling, etc. And she just wants to be full all the time.

k) The Coming of the Master, the climax of the work. This event fully reveals the life of the hero before joining the circus, and in this event the author clearly makes it clear how endlessly the destruction of their own kind due to envy, self-interest, desire for fame.

m) Trying to persuade the rider, also in love with the heroine, to save the girl, stumbles upon silence, and the impossibility of doing this, by virtue of his own convictions.

m) The tamer makes it clear to the hero that he is “superfluous”, if he is superfluous in the world from which he came, and superfluous here, then what is the point in further existence?

o) Clowns during the benefit performance the heroines feel like fraudsters, because understand that they cannot go against fate.

o) The heroine understood what threatens her life with the baron, and in tears asks the hero for help, although he understands that nothing can be returned.

p) Poisoning, that's the only thing what remains for the hero in order to save an innocent soul, and he himself passes away.

c) Staying conscious, after the heroine's breathing has stopped, he hears Thomas running in and reports that the baron has shot himself. A hero's score is the end of a tragedy human life, where very often close souls are forced to live apart.

r) Clown Jim's outrage, and the explanation of the tamer, here is the final point of the mysterious and mystical work L. Andreeva.

Similar information.

ANALYSIS OF THE EPISODE OF A DRAMATIC WORK

1. The boundaries of the episode are already defined by the very structure of the drama (the phenomenon is separated from other components of the drama); name the episode.

2. Describe the event underlying the episode: what place does it take in the course of the development of the action? (Is this an exposition, a climax, a denouement, an episode in the development of the action of the whole work?)

3. Name the main (or only) participants in the episode and briefly explain:

· Who are they?

· what is their place in the system of characters (main, capital, secondary, off-stage)?

4. Reveal the features of the beginning and ending of the episode.

5. Formulate a question, a problem that is in the center of attention:

· author; characters.

6. Identify and characterize the theme and contradiction (in other words, a mini-conflict) underlying the episode.

7. Describe the characters in the episode:

· their attitude to the event;

· to the question (problem);

· to each other;

· briefly analyze the speech of the participants in the dialogue;

· make an analysis of the author's remarks (explanations for speech, gestures, facial expressions, postures of the characters);

· identify the features of the behavior of characters, the motivation of actions (author's or reader's);

· determine the alignment of forces, grouping or regrouping of heroes depending on the course of events in the episode.

8. Characterize the dynamic composition of the episode (its exposition, plot, climax, denouement; in other words, according to what scheme the emotional tension develops in the episode).

9. Characterize the dialogic composition of the episode: what is the principle of highlighting the topic of the dialogue?

10. Understand author's attitude to the event; correlate it with the climax and the idea of the whole work as a whole; determine the attitude of the author to the problem.

11. Formulate the main idea (author's idea) of the episode.

12. Analyze the plot, figurative and ideological connection of this episode with other episodes of the drama.

COMPLEX ANALYSIS OF A DRAMATIC WORK

1. The time of creation of the work, the history of the idea, a brief description of the era.

2. The connection of the play with any literary direction or cultural era (antiquity, renaissance, classicism, Enlightenment, sentimentalism, romanticism, critical realism, symbolism, etc.).How did the features of this trend appear in the work? 1

3. Type and genre of a dramatic work: tragedy, comedy (of manners, characters, positions, cloak and sword; satirical, everyday, lyrical, buffoonery, etc.), drama (social, everyday, philosophical, etc.), vaudeville, farce, etc.Check the meaning of these terms in the reference literature.

4. The specifics of the organization of the action of the drama: division into actions, scenes, acts, phenomena, etc. Author's original components of the drama (for example, "dreams" instead of acts or actions in M. Bulgakov's drama "Running").

5. Playbill of the play (characters). Features of names (for example, "speaking" names). Main, minor and non-stage characters.

6. Features of the dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.

7. Features of dramatic action: external - internal; "on stage" - "behind the stage", dynamic (actively developing) - static, etc.

8. Features of the composition of the play. The presence and specificity of the main elements: exposition, an increase in emotional tension, a conflict and its resolution, a new increase in emotional tension, culminations, etc. How are all the "sharp points" (especially emotional scenes) of the work connected? What is the composition of the individual components of the play (acts, actions, phenomena)? Here it is necessary to name specific episodes that are these "sharp glasses" of action.

9. The specifics of creating dialogue in a play. Features of the sound theme of each character in dialogues and monologues. (A brief analysis of the dialogic composition of one episode of your choice).

10. The theme of the play. Leading themes. Key episodes (scenes, phenomena) that help to reveal the theme of the work.

11. The problem of the work. Leading problems and key episodes (scenes, phenomena), in which the problems are especially acutely stated. The author's vision of solving the problems posed.

12. The specifics of the author's remarks explaining:

· actions of characters (play of actors);

· stage setting, costumes and scenery;

· the mood and idea of a scene or phenomenon.

· The specificity of the author's position, expressed through remarks.

Conduct form: a combined lesson of summarizing what has been studied.

The purpose of the lesson: to show students the dependence of a correct understanding of the idea of an episode and a dramatic work as a whole on the ability to analyze its key episodes.

Continue familiarizing students with the features of analyzing an episode of a dramatic work using the example of analyzing scene 21 of III actions comedy A.S. Griboyedov "Woe from Wit"; give an idea of the features of stylistic devices gradation and grotesque; repeat the elements of the composition: the plot, the denouement, the development of the action, the exposition and the climax.
To form in students the skill of analyzing an episode of a dramatic work, the characteristics of characters; to develop students' speech by introducing literary terms and theatrical vocabulary into active word usage.
To educate students in honesty and integrity, an uncompromising attitude towards lies, hypocrisy and unscrupulousness, goodwill towards others, persistent cognitive interest to the study of both dramatic works and literature in general.

Decor boards.

Number.
Lesson topic.
Epigraphs for the lesson.

Texts ... outwardly, even the most clear and pliable ones speak only when you know how to ask them. Mark Bock

But everyone in the living room takes
Such incoherent, vulgar nonsense,
Everything in them is so pale, indifferent,
They slander even boringly. A.S. Pushkin

... Comedy is immortal because its conflict is immortal - the conflict between Chatsky and Molchalin, talent and mediocrity, intelligence and common sense. I.S. Grachev

Literary terms:

gradation, grotesque;
plot, exposition, development of action, denouement.

Homework: analyze Chatsky's final monologue in a notebook and prepare it expressive reading by heart.

During the classes

1. Organization of students for the lesson. Communicating to students the topic and objectives of the lesson. (Slide 1). Presentation

- Hello guys! Which of you can say that you have read and understood the comedy “Woe from Wit” by A.S. Griboyedov? I want to start our lesson with an excerpt from a version of the poem "Retribution" by A. Blok.

Whoever you are - among dinners,
Or keeping official fervor,
You may have completely forgotten
That the official Griboyedov lived,
That the duty did not interfere with the service
He sees in a disturbing dream
Chatsky's nonsense about the impossible,
And Famusova noisy ball,
And Lisa plump lips
And - the end of all miracles -
You, Sophia ... Messenger of heaven
Or a small imp in a skirt?..
I hear an outraged cry:
"Who doesn't know Griboyedov?"
- You, you! - Enough. falls silent
My satirical language, –
Have you read " A million torments”,
We watched "Woe from Wit".
In the minds - all a dream of half-consciousness.
In the hearts - all the same semi-darkness.

- Today in the lesson we will try to dispel this “darkness” in the hearts and the “sleep of half-consciousness”, and for this we will analyze the episode of a dramatic work, you will get acquainted with a new literary term, repeat the compositional features of a dramatic work using the example of A.S. Griboyedov "Woe from Wit". You have to understand what are the features of the analysis of the episode of a dramatic work, to consolidate the skills of characterizing the characters and their language, to find out the significance of the analysis of the episode for understanding the idea of the work. I suggest you choose an epigraph for the lesson from among the following statements ... (Slide 2). Which of them is suitable as an epigraph - we will discuss at the end of the lesson.

2. Finding out the features of dramatic works and their composition (frontal conversation).

What work is called dramatic and what can be considered as its episode?

(A dramatic work is intended to be staged, therefore a feature of its composition is the division into actions, which, in turn, consist of scenes (or phenomena). They should be considered as episodes of a dramatic work). (Slide 3)

- Whatever the work you are analyzing, it will definitely contain elements of the composition that are written on the board. Arrange them in the order in which they appear in the work. Are any of the compositional elements missing? (Slide 4)

(The exposition, the plot of the action, the development of the action, the climax, the denouement. The climax was missed - the moment of the highest tension in the action of the work).

2. Determining the criteria for episode analysis (drawing up a plan).

What does it mean to analyze an episode (scene)? Formulate the questions to be answered.

(To analyze the scene means to determine the relationship of the characters, to understand what this scene gives for understanding the characters of the characters, their state of mind, to show what techniques are used in this scene to reveal the characters and what is the role of this scene in the development of the action and conflict of the play.

What is the place of the episode in the composition of the work?
What kind of characters take part in the action in this episode?
What means did the author use to portray the characters?
How does this episode help to understand the idea of the work?).

– Your questions resonate with the analysis plan for the episode we will be working on today. ( Students are provided with printed materials.

3. Analysis of scene 21 from act III of the comedy.

– Who and why might need to analyze a dramatic work? (This is necessary for the director of the performance in order to correctly select the actors, choose the appropriate scenery; for the actors in order to best play the role of a particular character; for the theater workers who take part in the production of the performance; for the audience so that they correctly understand the essence of what is happening on the stage; for critics who should give a true assessment of both a literary work and a theatrical production).

Determination of the place and role of phenomenon 21 in the work, its connection with the problematic.

– In the role of a director who will acquaint us with his vision of the composition of the comedy and the place in it, 21 scenes will perform ... If you do not agree with the interpretation of the director, you can express your critical remarks after the performance. (A student who has prepared in advance talks about the place of the episode in the composition of the work).

- The comedy begins with an exposition, then in the first act the plot of the action takes place. Moreover, first the action of a love conflict - Chatsky's arrival at Famusov's house and his conversation with Sophia - and almost immediately a public conflict - Chatsky's conversation with Famusov, in which for the first time the opposite of their views on the social structure and life principles. Throughout Acts II and III, these conflicts continue to develop. Chatsky, in love with Sofia, understands that he is unloved and is looking for a happy rival. The confrontation between Chatsky and Famusov, Chatsky and Molchalin, Chatsky and all Famus Society. It turns out that Chatsky is a stranger to everyone, disagrees with the rest in his views on all public issues. In 21 scenes, this social conflict culminates: everyone unanimously calls Chatsky crazy. highest point reach the anger, hatred and fear of those present in relation to Chatsky. Chatsky's feelings (“a million torments”) and his loneliness reach the highest tension in the next scene 22. Scenes 21 and 22 can be called the culmination of social (social) conflict. In act IV, the culmination reaches and love conflict. There we also find their denouement, and the denouement of the social conflict is not only moved away from the culmination, but also somehow erased, indefinite.

- Why is there no denouement of the social (public) conflict in scene 22, as is usually the case after the climax?

-Decoupling involves a decrease in tension, a successful resolution of the conflict or an open confrontation between the characters. None of this happens in comedy, nor in the life that comedy reflects.

- Why don't representatives of the Famus society go into open conflict with Chatsky?

- They are afraid of him, he seems dangerous to them not because they declared him “crazy”, but because in an open fight with him they can lose, give in, remain in the cold, and common sense tells them: it’s better to stay away from Chatsky don't mess with him.

- Which idioms of scenes 21 and 22 could be titles for these episodes?

- 21 scenes - "Mad around"; Scene 22 - "A million torments."

- What, in your opinion, would the comedy be called if it did not have these two scenes?

(Students give their own options, for example: “Woe from love”).

Main heroes. (Slides 5, 6, 7)

- I want to continue our conversation with another quote from the comedy: “Well, ball! Well Famusov! He knew how to call guests! Let's get to know Famusov's guests better. What is the best way to do this? It would be nice if they told about themselves or someone “introduced” them. K.S. Stanislavsky before staging the comedy Woe from Wit at the theater distributed a special questionnaire to the actors playing the roles of guests, which allowed the actors to better understand the character, habits, views of their characters and get used to the character. Our "actors" received in advance a small "questionnaire" compiled on the basis of Stanislavsky's questions. Now they will tell about themselves, more precisely, about Famusov's guests, based on these questions. (Students talk about Famusov's guests in the 1st or 3rd person).

- I Khlestova Anfisa Nilovna. Woman 65 years old, I live on Pokrovka in my house, large and majestic, but somewhat dilapidated. The atmosphere is old, already slightly worn and dusty. I am rich.

During the day I managed to see my sister Praskovya, discuss what kind of arapok Zagoretsky brought us, and gossip about Moscow balls, aces, etc.

I treat Famusov well, but as a sister-in-law I argue with him and command everyone.

Famusov himself invited to the ball. I met the rest of the guests earlier at Famusov's and in other places, and hosted many of them. I fully share life position Famusova. And Chatsky, although he revolts me with his disrespect, evokes sympathy. However, this will not prevent me from telling Sister Praskovya about his madness tomorrow.

- I Princess Tugoukhovskaya. I am very proud of my title, which I received along with my marriage. I live with my family in a large Moscow mansion, but there is no great wealth left: I have to give balls to find a worthy match for my six daughters, and spend money on a dowry. We need rich grooms, which means you can’t invite just anyone to the balls.

During the day I prepared for the ball, gathered my daughters, commanded the servants. I am familiar with many of Famusov's guests. I consider Famusov himself an intelligent and respectable person. What Chatsky says is not at all interesting to me. My daughters and I are interested in clothes and men. Tomorrow, and especially on Thursday at the evening, I will tell everyone I know about the ball at Famusov's. Of course, I will also mention the madness of Chatsky.

- Allow me to introduce you Platon Mikhailovich Gorich. Former military man, now retired, recently married. Lives in a small house of his wife, in Moscow. There is an estate with serfs, but my wife likes to live in Moscow. There are few rooms in the house and the furnishings are modest, so the Gorichs themselves often do not give balls, but rather like to go to others.

Today, during the day, Platon Mikhailovich Gorich managed to complete many small assignments for his wife. At the ball, he does not know everyone. All the time is next to his wife. Thoughts Famusova, basically, approves. He married because it was time to do it, and his wife was found with a small fortune. He does not believe in Chatsky's madness, but does not argue with the rest of the guests, especially with his wife. The views of Chatsky a year ago may have been close to him.

– Natalya Dmitrievna Gorich, a young lady who recently married a retired military man, a man not very rich, but who has a village with peasants. In Moscow, she lives with her husband in her house, since the prospect of moving to the village does not appeal to her. Fortunately, she managed to get her husband in her hands so much that even the thought does not arise to argue with her.

During the day, Natalya Dmitrievna prepared for the ball at Famusov's, sent her husband for hairpins and ribbons to a fashion store. Famusova respects, is proud of meeting him and receiving an invitation to the ball. He knows all the guests of Famusov, since this is not the first time at such a ball. The next day, she will discuss with her husband, and if possible, with friends, Chatsky's madness and his success at the ball.

– Countess granddaughter lives in his grandmother's house, after her death he will receive both a house and a fortune. She is not married, so she leaves with her grandmother so as not to cause rumors. The house is large and rich, but my grandmother has not updated either the furniture or decoration for a long time, so balls at the Khryumins are extremely rare. Therefore, the Countess loves to travel to others.

During the day, the countess prepared for the ball, urging her grandmother to go. Famusova knows guests, but she has a very low opinion of many. I did not meet worthy dance partners at the ball, so I was disappointed with the ball. The only entertainment for her is the rumor about the madness of Chatsky, the spread of which the Countess granddaughter herself greatly contributed to. The dream is to get married. Wealth and title are already there, it remains to find a husband among the people of his circle.

Tomorrow she will have to explain to her grandmother what kind of rumor spread at the ball, and also tell all her friends about it.

– Zagoretsky Anton Antonovich. Let me be called: “ A swindler, a rogue and a toady…”. It doesn't bother me. I live in a small, poorly furnished apartment. I don’t arrange evenings at my place, because I barely have enough money to look decent. Yes, in such a small apartment with variegated furniture and you will not invite anyone.

During the day I managed to go to Khlestova and her sister - I brought them arapok, which I bought on the occasion inexpensively (at the sale of the serfs of some ruined nobleman). Khlestov called the price much higher, so today with the money.

Famusov is my idol, as, in fact, any wealthy person. To become such a Moscow gentleman is my dream. In the meantime, I will play around and crawl, provide services and spread rumors around Moscow. Chatsky's thoughts are alien to me. Tomorrow I will travel all over Moscow to tell about the madness of Chatsky. Perhaps they will feed me, or even some Lucky case pretend to serve those in power.

– Sergei Sergeevich Skalozub. Colonel, a well-known and respectable person. I have many awards. Very rich and unmarried. I am an enviable groom for any young lady from high society. I live in my mansion, the atmosphere in the house is rich, but there is no time to give balls: the service, and even to my friends I need to have time to go. If I get married, then my wife will take care of the balls.

This morning I already visited my potential father-in-law. Having learned about the ball, I managed to go home to change clothes. Such an enviable groom as I can be late. I have already met the rest of the guests at the balls. I've seen Gorich somewhere before, but I don't remember where. After all, it seems that he fought, and I served in the Jaeger regiment.

I look at life the same way as Famusov. I fully support and respect him. In addition, they give a good dowry for Sophia. And wealth, as you know, reaches for wealth.

Tomorrow there will be something to tell in the regiment. A funny incident with the madness of Chatsky, perhaps, will make everyone laugh.

- Yes, of course it is. different people but they have a lot in common. What? Describe them. Find among the notes on the board a statement in which they have already been given a characteristic. Do you agree with her?

- They all live according to the same laws, they have a common ideal, they all eagerly pick up gossip about Chatsky's madness and spread it. These are vulgar, indifferent and prudent people. Their slander is not boring, but terrible.

The birth of a rumor about Chatsky's madness.

– How did it all start? How was the rumor about Chatsky's madness born?

Act III, phenomenon 1

Sophia (to herself): That reluctantly drove me crazy!

Event 14

Sofia: He's out of his mind.

G.N.: Have you lost your mind?

Sofia (after a pause): Not really...

G.N.: However, are there signs?

Sofia (looks at him intently): I think so.

Event 15

GN: Did you hear?

G.N.: About Chatsky?

GD: What is it?

G.N.: I've gone crazy!

GD: Empty.

G.N.: I didn’t say it, others say…

GD: And you are happy to glorify it.

Event 16

GD: Do you know about Chatsky?

Zagoretsky: Well?

GD: Crazy..!

Zagoretsky: Ah! I know, I remember, I heard...

Event 17

Countess granddaughter: ... I spoke to him.

Zagoretsky: So I congratulate you.
He is crazy...

Countess granddaughter: What?

Zagoretsky: Yes, he went crazy.

Appearance 19

Zagoretsky: In the mountains, his forehead was wounded, he went crazy from the wound.

phenomenon 20

Countess grandmother: Prince, have you heard?

Prince: A - hmm?

Grandma Countess: He can't hear anything!

Though, maybe you saw the chief of police was here?

Prince: E-hm?

Countess grandmother: In prison, prince, who grabbed Chatsky?

phenomenon 21

Zagoretsky: Mad about everything!

Thus was born gossip about Chatsky's madness. And he owes the birth of this gossip to his beloved Sophia. (Slide 8)

Figurative means of language.

(Commented reading of scene 21. Speech characteristics).

- Gossip about the madness of Chatsky found lively support from all the guests of Famusov. Or is it not for everyone? Which of the guests does not agree with the wattle and why does not object to its distribution?

–This is Platon Mikhailovich Gorich, who previously served with Chatsky in the same regiment and was considered his friend. He does not refute the gossip for several reasons: firstly, his wife says so, and it is better not to argue with her; secondly, the Moscow aces Famusov and Skalozub say so. How can you argue with them? That and look, you, too, are recognized as crazy! It's better to remain silent.

- What do Famusov's guests and the host himself see as a manifestation of Chatsky's madness?

- He scolded the authorities, condemned meanness, laughed “out of place”, advised one to live in the village, the other not to serve in the archives ...

- By the way, which of those present, accusing Chatsky, lied?

– Molchalin, to whom Chatsky did not advise anything of the kind, really wants to be on a par with everyone even here, in the birth of gossip.

- Do you think Chatsky is crazy?

- No. He is smart. He has a critical mindset, a serious education and high moral qualities, which do not allow him to put up with the shortcomings of society that he encounters in Famusov's Moscow.

– What does the word “mind” mean for Chatsky? And what about Famusov and his guests?

- For Chatsky, the mind is the ability to think, high intellectual abilities. For Famusov, the mind is the ability to keep one's own benefit, get along with rich people, earn high ranks, i.e. prudence, ability to adapt.

Who do you agree with and why? Whose side is the author on?

(Students express their opinion, including how the author understands the word "mind". Griboyedov has in the comedy "25 fools for one smart person", in his own words). (Slide 9)

– As we found out, there are no crazy people in comedy, it’s just that the characters understand the word “mind” differently. Illustrate your point of view with one of the statements of the critics. What do the guests see as the reasons for Chatsky's madness?

- In the abuse of alcoholic beverages, in teaching, in books.

- You wrote out the definition of gradation. Read it out and use the example of scene 21 to show how and why the author uses this stylistic device.

– gradation- the arrangement of words and expressions in increasing or decreasing importance. (Students give an example of gradation from scene 21.) (Slide 10)

- What else language tools uses the author in this scene?

- The grotesque is used - an exaggeration brought to the point of absurdity. (For example, a proposal to close schools and lyceums or burn all books in order to save society from the danger of insanity). Many characters use colloquial, rude expressions or just colloquial vocabulary in their speech: “crazy jumped off”, “champagne glasses pulled”, “on fables laid down”, “tea, drank out of season”, “requires cutting", "All lie calendars”, etc. Others use clichés (“stop the evil”, “I humbly ask”, etc.), foreign words, the meanings of which are not understood (“Lancart” is a distorted word for “Lancaster”) or simply military terminology (“They will only teach in our way: one, two ...”). These and other linguistic means help to characterize the characters, their interests, life philosophy. We understand from this distorted illiterate, sometimes incoherent speech, how uneducated they are.

- Zagoretsky pronounces his lie about Chatsky's drunkenness "with heat." So he enjoys lying and gossiping. Famusov speaks with Chatsky "cautiously", that is, carefully, because he does not want to go into conflict, just in case he avoids an open quarrel. And all the rest want to dissociate themselves from Chatsky, so they "back away from him in the opposite direction."

4. Ideological role episode. (Slide 11)

(Determining the importance of the episode for understanding the idea of the work).

- So, scene 21 is the culmination of the conflict between Chatsky and Famusov's Moscow, whose representatives started a rumor about his madness. There was no disconnect. Who is the winner and who is the loser in this confrontation, and is Chatsky alone in his struggle?

- Chatsky is not alone, as off-stage characters appear in the work every now and then, causing dissatisfaction with the Famus society: this is Skalozub's cousin, who left the service, and Prince Fedor, who, having received an education, leaves for the village, and "professors" who practice split. Surely there will be more. And even if there is no denouement, and Chatsky leaves with a broken heart, slandered and lonely - the time of the Famusovs is already ending. New people have appeared who do not allow the Famus society to live in peace. The future is undoubtedly theirs.

5. Summing up the lesson. (Slide 12)

– We talked today about one episode of the comedy “Woe from Wit”. And what have we learned? Make a conclusion about the work in the lesson.

– Those who oppose the Famus society cannot immediately win, they are considered strange, they are declared crazy. They are still in the minority, but the future is theirs, and Chatsky is one of them.

- A correct understanding of each episode helps to correctly understand the main idea of the whole work, its idea.

- Our work is coming to an end, and we still have not picked up an epigraph for the lesson. What do you think, which of the statements written on the board is more suitable as an epigraph? (Slide 13)

- This could be a statement by A.S. Pushkin, the meaning of which coincides with our assessment of the Famus society in scene 21, as, indeed, in this comedy. Could become an epigraph and the words of I.S. Gracheva, which speaks about the essence of Chatsky's opposition to the entire Famus society, about a different understanding of the meaning of the word "mind". But it was thanks to the analysis of 21 scenes that we were able to better understand what this conflict is.

But it was the analysis of the episode of the dramatic work that we performed today that helped us better understand the idea of comedy and the nature of its characters. We have learned to “ask for texts” better, which means that Mark Bock’s statement more accurately reflects the content and results of our work in the lesson. So, it is this statement that can serve as an epigraph to the lesson.

- Today at the lesson you were attentive to the word, active and interested, so you learned a lot. I think that in your hearts there is no “darkness” left, and in your minds there is no “sleep of half-consciousness”.

6. Comments on homework. (Slide 14)

- At home, analyze one of Chatsky's monologues in writing and memorize it.

Literature

Leonov S.A. Literature. Integrated lessons. 8-9 grades. A guide for the teacher. [Text] - M .: Iris-press, 2003.
Leifman I.M. Cards for differentiated control of knowledge in literature. [Text] Grade 9. – M.: Materik-Alfa, 2003.
Semenov A.N. Russian literature in questions and assignments. XII-XIX centuries: 9-10 classes. A guide for the teacher. [Text] - M .: Vlados Humanitarian Publishing Center, 2000.
Reading. We think. We argue ... Didactic materials on literature: Grade 9. / Compiled by V.Ya. Korovina and others [Text] - M .: Education, 2004.
Reading. We think. We argue ... A book for independent work of students in literature: Grade 9. / Compiled by G.I. Belenky and others. Ed. G.I. Belenky. [Text] - M.: Enlightenment. Educational literature. 1996.

Annex 1

Episode Analysis Plan

1. The place and role of this episode in the work, its connection with the problem. (The significance of the episode for the further development of events, connection with the previous ones).

2. The main characters, figurative means of language. What is new for us is the observation of these characters in this episode in order to understand their views on life, characters, and actions.

What means does the author use to disclose inner world heroes, the meaning of their actions:

A) ways to create images;

B) artistic features languages, their meaning.

3. How important is the episode for understanding the meaning of the whole work, its main idea.

Appendix 2

Questionnaire for Famusov's guests, compiled by
Based on the “questionnaire for actors” K.S. Stanislavsky

Who you are? First name, patronymic, last name. The composition of your family social status. Where do you live?
What did you do today in a day? Who did you see?
What is Famusov to you? How do you feel about him? How did you hear about the ball at his house? Do you know the rest of the guests? Where?
How do you feel about the thoughts expressed by Famusov? Chatsky?
To whom and what will you tell tomorrow about how the ball went?

Annex 3

Sayings of critics

Chatsky ... is nothing more than a madman who is in the company of people who are not at all stupid, but uneducated, and who is clever in front of them, because he considers himself smarter.

M.A. Dmitriev

Chatsky Griboyedov is the only truly heroic face of our literature... an honest and active nature, and, moreover, the nature of a fighter.

A.P. Grigoriev

The comedy [“Woe from Wit”] is an accurate, completely accurate self-report of how an intelligent person lives, or rather, dies, how an intelligent person dies in Rus'.

A.V. Lunacharsky

Optimism is the main mood of “Woe from Wit”. Whatever the outcome, the internal impotence of the Famus society and the strength of Chatsky are obvious to the reader and viewer.

N.K. Piksanov

Appendix 4

Texts of scenes 21 and 22 from act III of the comedy