Creativity A. Vampilov played big role in changing the nature of Russian drama in the 1970s. Vampilov's plays were ambiguous author's assessment heroes, which was obligatory in contemporary literature of the 1960s and 70s. His hero was somehow insufficiently defined, ambivalent. In one work, elements of different genres were synthesized (farce, vaudeville, psychological and everyday drama, tragicomedy and sitcom).
The play "Farewell in June" (1965) at first glance is a rather simple and uncomplicated play from student life, of which there were many in the "thaw" years of the heyday of "youth" literature. Her hero, biology student Kolesov, is graduating from university and wants to do science. A little self-confident, sometimes unceremonious talented varmint - typical figure Aksenov type. But already in this play, A. Vampilov shows that in the clutch life situations it is important to preserve inner freedom as the only wealth. Honesty towards yourself own freedom, impossible under the condition of compromises, are that moral compass, very sensitive to the slightest deviations, which corrects the life route of the hero A. Vampilov. Kolesov commits the first and only act - he tears up his diploma, refusing to join the corporation of bribe-takers. Illogical from an everyday point of view, incomprehensible within the limits of public morality, this act is natural for a Vampilian hero who does not want to submit to the prevailing conformism.
Vampilov's second play " eldest son"(1967) to some extent continues the ideas embodied in "Farewell in June". Starting with an irresponsible lie, with an almost vaudeville situation, the play acquires a genuine drama that can only be resolved in last scene. Vampilov ties up the intrigue with an eccentric trick, but all the action subsequently develops in accordance with the logic of the characters. It turns out (in relation to Vampilian dramaturgy one often has to resort to the word “it turns out”, since much develops contrary to stereotypes) that not everything in life is subject to simple moral rules that life is immeasurably more complicated, trickier; it is necessary that the moral postulate should still be spiritualized by feeling. Everyone knows that lying is bad, but sometimes a lie is more humane than the truth.
The action develops dynamically, moving from Busygin's thesis “People have thick skin and it is not so easy to break through it. It is necessary to lie properly, only then will they believe and sympathize with you ”- to Sarafanov’s conviction“ All people are brothers. At first it seems that Busygin is right: after all, no one wanted to let young people warm up when they said that they were late for the last train. But now Silva, overshadowed by a phrase accidentally thrown by Busygin, begins the game. Busygin, accustomed to not attaching any importance to common slogans, says to Vasenka: "Man is a brother to man, I hope you have heard about this." Of course, how not to hear, if these words are repeated constantly and worn out to such an extent that the meaning has disappeared, only one shell remains. Scoffing, Busygin is trying to restore content, to realize what has turned into a metaphor: “A suffering, hungry, cold brother stands at the threshold ...” This is the word “brother”, which has general meaning, and Silva seizes on it, giving it a concrete meaning of kinship. Busygin joins the game - deceit willy-nilly. He expects to warm up a bit and leave. But the spring has already been released, and events unwind beyond logic.
Busygin did not expect that an adult, already old man so recklessly believe lies, with such generosity and openness will accept him - his eldest son. Growing up without a father, Busygin, perhaps for the first time felt love for himself, materialized
Falling into the word "son". This moment becomes decisive. Volodya Busygin is inexplicably worried about everything that happens in the Sarafanov family. He, having lied so irresponsibly, feels his responsibility for Vasenka, who does not want to love "who is supposed to", but is in love with a frivolous person, who is also ten years older than him. Busygin wants to protect Nina from marriage with "positive in all respects" Kudimov. He, a stranger, is trying to rally this strange family in which everyone quarrels with each other, but in essence they love each other - madly, somehow twisted. Busygin does not just "enter the role" of the eldest son, he feels like him. Therefore, trying three times to leave, to stop the protracted performance, each time he hesitates: he is not released by responsibility for the family. When it is finally revealed that everything is fiction, a lie, and he is no son, it no longer matters. Busygin himself has matured, reborn, he will not be able to brush aside the worries about the people who accepted him as their own.
Busygin is the son of Sarafanov not by blood, but by spirit. He talked about thick skin, but he himself was not capable of cruelty. Like Sarafanov, he is sympathetic and kind and also looks like a "blissful" person, taking on the problems of strangers. Ex-wife Sarafanova called her husband "blessed" for his openness, inability to stand up for himself, to adapt. But it is interesting that not with her - a serious one who knows the price of everything - the children remained, but with the "blessed" father, for he could give something that you cannot buy and cannot replace with anything - love. Sarafanov says: “What happened - all this does not change anything ... Whatever it is, I consider you my son. You are my children because I love you; ... I love you, and this is the most important thing. If you think about it, what a deep Christian thought: "you are my children because I love you" and not "I love you because you are my children." In light of this, the title of Sarafanov's oratorio "All people are brothers" is filled with special spirituality. Love reveals the falsity of Busygin's premise about the thick skin of people, affirms the truth of another thesis -
About their brotherhood.
Vampilov destroys stereotypes like "bitter truth is better than sweet lies." Even M. Gorky in the play "At the Bottom" posed the problem of truth and lies, the solution of which is not at all as simple as for a long time interpreted in school textbooks. The textbook denial of the necessity and humanity of Luke's consoling tales is not entirely correct, and certainly not the only interpretation of Gorky's play.
Vampilov's ideal postulate is filled with real life. And it turns out that sometimes a vice is a reckless truth. There are also lies in the Sarafanovs' house: the father lies to the children that he still works at the Philharmonic; the children, knowing that he has been playing in the funeral band for a long time, pretend that they believe their father, that is, they also lie. But the lie is here for the sake of preservation peace of mind father, lest he lose his dignity. This is what Kudimov did not feel - in all respects, absolutely positive person. Busygin gives him an ironic description, made up of common behavioral norms: “He is big and kind. Ugly, but charming. Cheerful, attentive, easy-going in conversation. Willful, purposeful. He knows exactly what he needs in life. He does not take much upon himself, but he is the master of his word. He is never late, he knows what awaits him tomorrow, he always speaks only the truth. He doesn't rest until he proves himself right. All these qualities are good, but they are not inspired by love. Kudimov as a well-oiled mechanism, next pattern and incapable of any spiritual impulses. He is not bad person. Just different, not fitting into the system of vampy-like values, where the most important thing is the ability to feel another, to love.
Silva is close to Kudimov. He also hardly lies: neither when he goes to the cinema with Makarskaya, nor when, in a fit of anger, “reveals” that Busygin is not Sarafanov’s son at all. Silva is not capable of love, can only flirt with girls. This is some kind of operetta character that jumped out with ease into life. No wonder he has such a nickname, operetta. Silva is related to Kudimov not by external behavioral parameters, but by the deafness of the soul, inhibition of feelings.
The play "Elder Son" carried the recognizable motives of the time. 1960s with moral code the builder of communism, who had to learn by heart at school, with the already begun splitting of morality into personal and public, are recognized and social status heroes (student, intellectuals - * gent), both in terms of social role (dude and dude), and in terms of dramatic stereotype (teenager Vasenka in the spirit of pink boys rebelling against the lies of adults). Vampilov caught the essential tendencies of the time, showed the nature of the deepening contradictions.
It is difficult to determine the genre of Vampilov's play, although it is called a comedy. Beginning with a vaudeville intrigue, “Senior. son" continues as an everyday drama, ending as a melodrama or - lyrical comedy. The cohesion of different elements reflects the heterogeneous nature of life itself, its "diversity - evenness". It is interesting that in the play the law of classical poetics about three unities in drama is observed with amazing accuracy - place (the house of the Sarafanovs), time (one day), action (development of one storyline). How in classic comedy the hero makes three attempts to get out of the situation he created. But each fails due to a paradoxical reaction actors and the hero himself. Another feature observed in the comedies of classicism is also characteristic - the dual existence of heroes. The hero appears in two forms: as something imaginary, whom he pretends to be (remember the plays of Moliere, Beaumarchais), and in his real essence. In The Elder Son, Busygin is also an imaginary son. But unlike the plays of classicism, where the imaginary in the finale was recognized and ridiculed as falsehood and: hypocrisy, in Vampilov the imaginary turns out to be an essence, turns into a true kinship of souls and cordiality. In the finale, when Sarafanov Sr. does not want to believe that Busygin is not his son, the hero admits: “Frankly, I myself no longer believe that I am not your son.” So play, pretense reveal the deep, innermost essence of the characters.
Vampilov's plays, possessing the energy of timeliness, nevertheless were born in the 1960s, bearing the signs of those years. According to them, one can trace how the moral climate in society changed, what happened to a person who did not want to lose his inner freedom. The heroes of Vampilov, who had matured by the beginning of the 1970s, are already different. These are tragic characters. They failed to realize the ideals of youth; hypocrisy, double morality that have become law public life eat away at their souls. They live an untrue life, which, however, the whole society lives, the falsity of which penetrates so deeply that it deforms a person. He still tries to resist, flounders, but the very forms of resistance to the environment are irreparably mutilated, overturned moral guidelines, the criteria for evaluating good and bad are shifted. The hero experiences a deep mental crisis, but he does not come out of it cleansed. Such is the hero of the tragicomedy duck hunting"(1970) Zilov, who is tormented by an existential longing for a different - real - life.
Alexander Vampilov left a small legacy - four one-act and four multi-act plays. However, in the literature and theatrical art the concept of "Vampilov's theater" was strengthened. This means that the playwright created his own unique art world, his aesthetic system. All Vampilian pieces are polyphonic, allow different interpretations despite the fact that the author's ideal is expressed quite clearly. It would be possible to call Vampilov a playwright-everyday-wik. Indeed, his characters live in everyday life, surrounded by everyday realities. In the sphere of everyday life, a social picture of time is realized. But everyday life accommodates the existential problems of being and moves apart to a philosophical understanding. human life, to the problems of universal brotherhood or universal alienation, the loss of one's own "I" or self-identification.
Being a reflection of the morality and ideas of the time, Vampilov's heroes also carry a general philosophical potential, which determines their constant relevance.
Vampilov came to literature in the late 1960s, his plays appeared against the backdrop of the Arbuzov-Rozovsky dramaturgy, which destroyed the concept of a cog-man. Unlike playwrights of the older generation, who saw the sources of conflicts in the past, Vampilov showed negative trends in contemporary life, discovered the growing lack of spirituality in society. He wrote about people experiencing everyday life, a calm and well-fed life. These tests turned out to be dramatic, filled with deep conflicts. Later, already in the mid-1970s, a “post-Vampilian” drama appeared, or the drama “ new wave”, which expanded the sphere of everyday life in its impact on character, showed the abysses and failures in the life of a new - marginal, transitional hero. But it was already another - not for you - Pilov's hero. The playwrights of the "new wave" did not try to "solder together" their characters with love, as was the case in Vampilov's plays.
Plays by Alexander Vampilov "Duck Hunt", "Elder Son", "Last Summer in Chulimsk", "Provincial Jokes" bring to the fore moral issues . The playwright is trying to "push" his characters to comprehend their lives, placing them in memories, dreams, everyday habitual situations.
The author focuses on everyday, everyday situations, which brings him closer to V. Shukshin. Heroes of Vampilov - ordinary people, placed in ordinary events, but manifesting themselves in different ways. The heroes of Vampilov were "christened" "infants" for their specific features character (remember the “vitally” unadapted Zilov, who lives with a dream, but does not want to fulfill it).
Difficult to define genre affiliation plays by Vampilov: they combine elements of vaudeville, drama and even tragedy, which reflects all the vicissitudes of the time described by the author.
The peculiarity of Vampilov's plays is that all of his characters experience a certain turning point, the result of which is the discovery moral foundations life. So, the hero of "The Elder Son", who played bad joke with the owners of a random nightly haven, discovers the warmth of their family, the joy mutual love and worries in which the young man did not believe. Zilov for a moment becomes that romantic and tender young man with whom Galina once fell in love. In Last Summer in Chulimsk, young Valya becomes the embodiment of endless labor for the benefit of creation and goodness that blind people cannot see.
The heroes of "Duck Hunt" are special in that they, young, thirty years old, have lost their moral guidelines; they live for today, for chance pleasures. Few of them have a goal - justified, real. Vampilov, through the mouth of one of his heroines, calls this society “Aliks”, taking into account the fact that they do not disdain alcohol. This is a society of faceless people who have lost their moral orientation. Zilov is also a part of this company, but he differs from others in that he is pretty tired of this society, he knows all his tricks and his psychology; Zilov dreams of going hunting. The symbol of duck hunting is multifaceted: on the one hand, it is a pure desire of a lost soul to escape to the light, i.e. gain true life, freedom; on the other hand, hunting is killing, i.e. death. We also see such cardinal traits in our hero: he can be a traitor, or he can turn ordinary things into memories of a first date, he can love and admire beauty, or he can intentionally bring his girlfriend to a rich friend.
Zilov is also different in that for him the question of the meaning of life has ceased to be an everyday one - another reasoning in a drunken stupor, but has become an existential one - an attempt to truly understand life and understand what he lives for.
The play includes several pictures of the protagonist's memories, in each of which he sees himself as a sower of evil, a destroyer: he lies to his wife, signs fake documents at work, promises a girl who has fallen in love with him unrealizable. Zilov condemns himself (" I'm to blame, I know”), but does not change: the series of his “atrocities” is constantly growing. The hero is so 
disoriented in life, which cannot distinguish cynicism, lies from enthusiasm, high impulse, real human feelings.
Zilov is let down by his own ideals: he wanted to become such a hunter as the waiter Dimka. But Dimka - an alcoholic and a cynic, arrogant and soulless - by definition cannot be a role model. At the end of the play, Zilov accepts the waiter's invitation to hunt, thus confirming his moral degradation and depersonalization: " Whether he cried or laughed, we will never understand by his face". Zilov confirms the conclusions of his creator: often, in fact, intellectuals turn out to be typical ordinary people without the meaning of life and without a goal. Vampilov claims that the atmosphere around him largely depends on the person.
blog.site, with full or partial copying of the material, a link to the source is required.
Alexander Valentinovich Vampilov(August 19, 1937, Kutulik, Irkutsk region - August 17, 1972, Port Baikal) - Soviet playwright.
During literary work A. Vampilov wrote about 70 stories, sketches, essays, articles and feuilletons. In 1962 A. Vampilov wrote a one-act play "Twenty Minutes with an Angel". In 1963, the one-act comedy "The House with Windows in the Field" was written. In 1964, while studying, the first big play was written - the comedy "Farewell in June" (the playwright returned to work on it more than once: four versions of the play are known). In 1965, A. Vampilov wrote the comedy "The Elder Son" (the first name was "Suburb"). In 1968, the playwright finished the play Duck Hunt. In early 1971, A. Vampilov completed work on the drama Last Summer in Chulimsk (the first title was Valentina).
“A chance, a trifle, a combination of circumstances sometimes become the most dramatic moments in a person’s life,”- Vampilov developed this idea in his plays. A. Vampilov was deeply worried moral problems. His works are based on real life material. Awakening conscience, nurturing a sense of justice, kindness and mercy - these are the main motives his plays.
Type of hero of time - eccentrics, strange people, strange women, carrying a holiday (Valentina in the play “Last Summer in Chulimsk”.
Sound. There are no musical sequences - there is an interesting speech of the characters. The case is important - the random circumstance of the episodes, the case is a test for the heroes. The personality of the hero is revealed through dramatic and tragic episodes.
During his studies, he wrote the comedy Fair (other name Goodbye in June, 1964), which was highly appreciated by playwrights A. Arbuzov and V. Rozov. Vampilov's own theme is heard as a foreshadowing. She has not yet gained strength, only cuts through the plot of the “student comedy”, either too intricate or too simple, in the style of a faculty skit. There are many more spectacular provisions, they are generously sketched and illegible. An upset wedding, a failed duel, a hero serving fifteen days in forced labor ... The author still does not quite believe that he can hold our attention with a character sketch. And the character has already been presented, the fate of the young Kolesov has announced its own theme.
Zolotuev seems to be a completely introductory comic person, but the most important in the plan of the play. Violating all the laws of the genre, he delivers a three-page monologue. This monologue is about the misfortune of an old bribe taker who ran into an honest man. He still cannot believe that he would not take bribes - everyone takes it, it is important not to miss the price offered. Zolotuev is offended, indignant at his ostentatious honesty, and, even after serving his term, he is sure that he was sitting in vain: it means that he gave little.
But what does the pensioner Zolotuev have to do with it, when we are interested in the dashingly brave, honest and charming guy Kolosov? In Kolesov, the energies of the young are seething, harmless mischief, but in general he is an excellent fellow and, when he is kicked out of the institute, most of the guys are on his side.
Trouble comes to young hero on the other side: when it is necessary to make the first serious life choice. It’s not the blood that flows through the veins, it’s a serious matter: institute or love?
Having laughed at Zolotuev, Kolesov himself does not notice how he is converting to his faith: everything is bought and sold, the price and goal are important. Leaving the girl you love, as her father demands, is both hard and mean. But if the diploma burns? If fate is at stake? Kolesov was characterized by everything that is characteristic of a good, honest young man: next to enthusiasm and across it - a skeptical pose, next to the romance of the soul, distrust of the phrase, educational pressure, moral prescriptions that the elders always annoy. Hence, perhaps, mischief, youth. Hence the demonstrative practicality, ostentatious rationalism, a little funny and still innocent at a young age, but imperceptibly, like Kolesov, justifying the first deals with conscience.
In Kolesov, the negative shines through, which will be the essence of Victor in Duck Hunt. The transformation of Kolesov - a wheel, betrays the girl for the sake of a diploma, scientific work. It can roll here and there. Zilov in "Duck Hunt" - a Zil truck, goes through destinies. Between these heroes 20 years, the winner of the student became selfish and scoundrel. 3 stories in "Farewell in June" - Kolesov and Tanya, a student wedding and a mono drama - a man who measures everything for money.
In 1967 Vampilov wrote plays Elder son and duck hunting in which the tragic component of his drama is fully embodied. In the comedy The Elder Son, within the framework of a masterfully written intrigue (deception by two friends, Busygin and Silva, of the Sarafanov family), there was talk of the eternal values of being - the continuity of generations, the breaking of spiritual ties, love and forgiveness by close people to each other. In this play, the "theme-metaphor" of Vampilov's plays begins to sound: the theme of the house as a symbol of the universe. The playwright himself, who lost his father in early childhood, perceived the relationship between father and son especially painfully and sharply.
Not in the foreground love stories, but the relationship of father and son, although they are not blood relatives. I remember the return prodigal son from the bible . Theme to go crazy or not to go crazy– they all go crazy with feelings. All this develops into a love relationship.
The plot of the play "Elder Son" is simple. The title of the play "The Elder Son" is the most apt, since its main character- Volodya Busygin - fully justified the role he took on. He helped Nina and Vasenka understand how much their father means to them, having raised both of them without a mother who left the family. The gentle character of the head of the Sarafanov family is manifested in everything. He takes everything to heart: he is ashamed of his position in front of the children, hides that he left the theater, recognizes the “eldest son”, tries to calm Vasenka, to understand Nina. You can’t call him a loser, since at the very peak of his mental crisis, Sarafanov survived, while others broke down. Unlike the neighbor who refused Busygin and Silva an overnight stay, he would have warmed up the guys, even if they had not invented this story with the “eldest son”. But most importantly, Sarafanov cherishes his children and loves them. Children are callous towards their father.
Silva, like Volodya, is also essentially an orphan: with living parents, he was brought up in a boarding school. Apparently, his father's dislike was reflected in his character. Silva told Volodya about how his father “admonished” him: “Hey, he says, you have the last twenty rubles, go to a tavern, get drunk, make a brawl, but such a brawl that I won’t see you for a year or two.” Vampilov did not accidentally make the origins of the fates of the heroes similar. By this, he wanted to emphasize how important a person’s own choice is, independent of circumstances. Unlike orphan Volodya, "orphan" Silva is cheerful, resourceful, but cynical. His true face is revealed when he "exposes" Volodya, declaring that he is not a son or brother, but a recidivist. Nina's fiancé - Mikhail Kudimov - is an impenetrable man. Such people are found in life, but you will not immediately understand them. “Smiling. He still smiles a lot. Good-natured,” says Vampilov about him. In fact, the word that he gave himself for all occasions is dearest of all to him. He is indifferent to people. This character occupies an insignificant place in the play, however, he is a pronounced type of “correct” people who create a suffocating atmosphere around themselves. Involved in a family intrigue, Natasha Makarskaya is shown as a decent, but unhappy and lonely person. Vampilov deeply reveals in the play the theme of loneliness, which can bring a person to despair. In the image of the neighbor Sarafanovs, a type of a cautious person, an inhabitant, who is afraid of everything (“looks at them with apprehension, suspicion”, “removes silently and timidly”) and does not interfere in anything is deduced. Issues and main idea the plays are stated in the very title of the dramatic work. It was no coincidence that the author replaced the original name "Suburb" with "Elder Son". The main thing is not where the events take place, but who participates in. To be able to think, understand each other, support in difficult moments to show mercy - this is the main idea of the play by Alexander Vampilov. The author does not define the genre of the play. Along with the comic, there are many dramatic moments in the play, especially in the subtext of the statements of Sarafanov, Silva, Makarska.
The play "Duck Hunt" written by Vampilov in 1968. Researchers note that ""Duck Hunt" is Vampilov's most bitter, most bleak play. As critics point out, Alexander Vampilov "managed to sensitively capture and convey the loss in everyday bustle of a sense of kindness, trust, mutual understanding, spiritual kinship." “You need to write about what makes you unable to sleep at night,” Vampilov argued. "Duck Hunt" - personally experienced, felt, silent. The action of the play "Duck Hunt" takes place in the late 60s. Before the eyes of the reader is the city apartment of the main character, Zilov. Throughout the play, the hero's memories draw us separate episodes of his life. Zilov is “about thirty years old,” as the author notes in a remark. Despite the young age of the hero, we can feel his spiritual decline, lack of moral and heart strength. Vampilov points out that “both in his gait, and in gestures, and in conversation, he shows some uncertainty and boredom, the origin of which cannot be determined at a glance.” In the course of the play, the reader learns that Zilov's outward well-being and physical health is an appearance. Something destroys the hero from the inside. Some kind of power overwhelmed him. This force is life itself, with which Zilov does not want to fight. He does not live - he outlives himself. At some point, fate swallowed up Zilov, the routine and routine of life became the norm, moreover, a habit, second nature. The theme of “outliving oneself”, spiritual decline, runs like a leitmotif through the entire action of the play. funeral music, funeral wreath, the phrase "life, in essence, is lost" - characteristic details that accompany the development of the action. The worst thing is that Zilov has long come to terms with his fall. “Come on, old man,” he says to Sayapin, “there will be nothing of us anymore ... However, I could do something else. But I do not want. I have no desire." This phrase - “I have no desire” - is the personification of the entire internal and outer life hero: his relationship with his wife, women, friends, colleagues, himself. Zilov voluntarily surrenders. He enters into vicious circle where the only action is to escape from oneself. Zilov is surrounded by people with whom he can communicate without any effort - whether heartfelt or mental. Probably, the hero came to such an existence after a terrible shock. The researchers note that "...behind Zilov<…>an undoubted disappointment, a spiritual breakdown, as a result of which he is ready to stop believing in goodness, decency, vocation, work, love, conscience. He turns into a cynic after experiencing an internal catastrophe. Suffering is opposed by indifference and denial. "Cynicism from suffering?... Have you ever thought about it?" . However, it is cynicism that allows Zilov to be aware, to understand, to determine. Still, he does not live in a world of illusions. As writer Sergei Dovlatov, a contemporary of Alexander Vampilov, noted, “cynicism presupposes the existence of common ideals.” Of course, Zilov had ideals. But they could not stand the rough touch of reality, when "turbulent life turned into mean prose." Myself the image of the coveted duck hunt devoid of romantic, idyllic coloring. For Zilov, duck hunting is nothingness, silence on the hunt is “the silence of eternal oblivion, the silence of an almost otherworldly world”: “Do you know what kind of silence it is? You're not there, do you understand? No. You haven't been born yet. And there is nothing. And it wasn't. And it won't." Action is needed to break out of the dark circle. Not decorations, not preparations for action, but action. In spiritual despair, Zilov tries to commit suicide. But this act of his is a game with himself, a gloomy irony, a mockery: “I sat down on a chair, put the gun on the floor, leaned my chest on the trunks. Tried on the trigger with one hand, tried on with the other. He put down a chair, sat down, arranged the gun in such a way that it rested on the chest with the barrels, with the butt on the table. He put the gun aside, pulled off his boot from his right foot, took off his sock, again arranged the gun between his chest and the table. I felt the trigger with my big toe ... ". In our opinion, the problems of the play "Duck Hunt" can be defined by the words of one of Alexander Vampilov's contemporaries - the writer Valentin Rasputin: “The main question that Vampilov constantly raises is: will you remain a man, a man? Will you be able to overcome all that false and unkind ... ". "Duck Hunt" is the tragic culmination of the main theme of the theater by Alexander Vampilov: "Will a living soul overcome the routine of life?" . And perhaps not all is lost for Zilov. Maybe the hero will get a second wind and he will see that “the rain has passed outside the window, a strip of sky is turning blue, and the roof of the neighboring house is lit by a dim afternoon sun.” Maybe Zilov's words “I'm ready. Yes, I’m leaving now ”- a real action, the beginning of a new life. Without a doubt, Alexander Vampilov possessed a rare gift - the gift of a dramatic writer. His work is alive; sense of proportion, talent, a considerable share of genius - features dramaturgy of Vampilov. In the play "Duck Hunt" there is no place for untruth. That is why it is read freely and at the same time turns thought into the depths of human existence. The author managed to turn the dialogical speech of the characters into a "sparkling, energetic stream" . Truthfulness and the gift of human sensitivity - this is what provides the work of Alexander Vampilov with an incomparable attraction.
In drama Last summer in Chulimsk(1972) Vampilov created his best female image - a young provincial tea worker Valentina. This woman strove to preserve the “living soul” in herself with the same persistence with which throughout the play she tried to preserve the front garden, which was trampled down by indifferent people every now and then.
Almost all heroes of Vampilov young and carefree. They easily go through life, doing their beautiful stupidity. But there comes a day when it becomes clear that carelessness is just a game, a shield covering the vulnerable core of the soul. There comes a day when they must show their true self, make a choice that will largely depend on them. further fate. They say that we all live for some most important moment of life, when we have to pour everything that we put into it out of the bag of our life in order to choose something most important - something that will help us not to break in a difficult situation. but get stronger. However, for the author, the hero is not the one who does not stumble, but the one who finds the strength to rise and move on.
In general, the peculiarity of Vampilov's plays is that he does not pronounce the final verdict on his heroes. The author prefers to put ellipsis. We see such an ending in the author's last play, Last Summer in Chulimsk. This play is rightly called the author's most "Chekhovian" play, from which even a comma cannot be removed. The image-symbol of this play - the fence of the front garden - is an indicator of humanity for the heroes of the play. Most of them are constantly destroying the gate, sincerely not understanding why Valentina stubbornly continues to repair it ("People walk across and will walk").
« ... I know I won't be old"- so Alexander wrote in his youth in his notebooks. He really lived an undeservedly short life, but he understood so much about life and about all of us ... His simple and bright works, at the same time deep, poignant and paradoxical confessional plays, remain completely unsolved. What did he write about and why?
But who are we and where are we from?
When from all those years
Remaining gossip,
Are we not in the world?"
B.Pasternak
The future famous playwright was born in the regional center near Irkutsk, “ similar to all regional centers of Russia”, in 1937 in a family of teachers.
At that difficult time, their family, like many other families, was not spared by trouble. A denunciation was written against his father, a Buryat by nationality, classifying him among the "pan-Mongolists" advocating the secession of Buryatia from the USSR. Such an accusation was considered especially serious, and the father was shot in 1938.
The mother was left alone with four small children in her arms. For the Vampilov family came Hard times, had to live under the sidelong glances of others. The father's relatives did not help them at all, because they did not like his Russian wife.
Only 19 years later, his honest name was returned to his father.
After graduating from school, Vampilov entered the Faculty of History and Philology on the second attempt. Irkutsk University, he already understood that literature is his vocation. In 1961, a separate book was published with his short humorous stories. True, in order to avoid criticism, he used a pseudonym - A. Sanin. The young author was noticed and invited to work in a publishing house.
But soon Vampilov left the publishing house, deciding to devote himself entirely to writing.
At first, everything goes well, in one of the magazines his first play, “The House with Windows in the Field”, is published.
Encouraged by this success, Vampilov goes to Moscow, takes another of his plays there - Farewell in June. But all attempts to offer the play in the capital's theaters were in vain, the capital refused to accept it. Among other things, the author was pointed out that his plays did not correspond to the spirit of the times, Soviet image life and the general line of the party.
Vampilov in his plays revealed the forgotten world of the Soviet "outback", but this world for the capital turned out to be both uninteresting and unnecessary. But everyday provincial life contains many emotional dramas and broken destinies, and they are perceived there much sharper. But although there is a lot of pessimism and melancholy in Vampilov's plays, they always show a ray of hope, which, fortunately, he managed to keep in his soul.
The impossibility of changing anything becomes unbearable for Vampilov, he falls into despair, he simply gives up.
But in 1972, hope finally dawned - the attitude in the capital towards his plays gradually began to change. Many new plans appeared, rehearsals began in theaters.
However, unfortunately, he did not live to see the Moscow premieres; on August 17, 1972, Alexander Vampilov died on Lake Baikal. The motorboat in which he was sailing with his friend overturned. The friend remained near the boat, holding on to the bottom, while Alexander swam for help. And he almost swam to the shore, but his heart could not stand it. In two days he would have turned 35 years old.
A year after his death, the triumphant procession of Vampilov's plays began in the theaters of the country, who just did not undertake to stage them. They successfully passed in the most famous theaters- Sovremennik, Moscow Art Theater and BDT.
« Seems, main question, which Vampilov constantly asks: will you, a man, remain a man? Will you be able to overcome all the false and unkind that is prepared for you in many life's trials, where love and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement... "(V. Rasputin).
eldest son
When Yevgeny Leonov fell into the hands of the play "The Elder Son", he immediately realized that the role of Andrei Grigorievich Sarafanov was written about him, the author was somehow in an incomprehensible way I could see into his soul.And then a miracle happened - director Vitaly Melnikov called Leonov, who had just taken up the shooting of "The Elder Son" and said that he saw only him in the role of Sarafanov.
Looks like fate...
During the filming of the film, Evgeny Leonov wrote to his son: “ So they worked for film set, they were so wise and had fun, I even wanted you to be here and see it yourself. Have you read the play "The Elder Son"? I haven't been this excited about a play or a script in a long time. What a writer this Siberian boy Vampilov is! Mighty talent!»
The funny and the sad are always intertwined in Vampilov's works.
The author called this play a comedy.
It really has a lot of funny things in it, and it starts with a rather ridiculous situation.
Two students, who were seeing off the girls, are late for the last train and in an unfamiliar place try to find an overnight stay under the delusional pretext that one of them - illegitimate son father of the family and came to visit him. And, oddly enough, they believed ...
This stupid lie leads to such dramatic events that it was impossible to imagine. And the question arises before the participants of all these events - what is more important - a “white lie” or a “bitter” truth ...
duck hunting
At the cost of incredible tricks, director Melnikov managed to film even the most forbidden play by Vampilov, Duck Hunt, example of pessimism”, as officials commented on it.This play, written in 1967, is indeed Vampilov's most bitter and desolate play, deeply suffered by him. It's about the generation whose mature age fell on an era of stagnation, saturated with lies and hypocrisy.
Vampilov only shows us his hero Zilov, but does not give a direct answer to the question: “Who really is this cynic, behind whom many sins stretch, but in which, nevertheless, there is something irresistibly attractive? What do we see - a mask or his true face, and is it possible to get through to his heart?
Vampilov, who himself is always sensitive to good, looks at his restless, reflective hero with bitterness and regret, but does not condemn him. After all, he himself had such periods in his life.
"The soul is empty, as in the decanter of an alcoholic. Everything was spent stupidly, drunkenly, scattered, confused. I can hear the wind howling in my chest, like in a chimney. There is nothing more terrible ... Completely empty, completely dark ...' he wrote in his diary.
This role seemed to have been specially written for Oleg Dal and it became one of his best roles. He seemed to be able to guess all the nuances of the character of his hero and, as if, even feel the smallest movements of his soul. The actor gave a lot of energy to this role, but the film did not wait for the release. For eight years the picture lay on the shelf.
Preparatory work:
Divide the class in advance into 2 teams, offer to come up with names, choose a captain;
- deeply analyze the plays: “Elder Son”, “Duck Hunt”;
- to study the biography of A. Vampilov, to answer in writing the question of the contest “Homework”;
- work on " explanatory dictionary” based on the plays by A. Vampilov.
For the presenter to prepare cards with questions, tokens for fans, 2 trays with objects and 2 napkins, cards for the Gambling contest, protocols for the jury, invite jury members, prepare prizes.
Decor:
- Exhibition of books with works by A. Vampilov, books about Vampilov.
- Portrait of A. Vampilov, illustrations for plays.
The purpose of the tournament - lesson:
- to interest students in the personality of A. Vampilov, to acquaint them more deeply with his dramaturgy, to activate independence research activities students;
- make the study of literature exciting, interesting and deep;
- educate the ability to think in extreme conditions.
Introduction
Leading: Today we are holding a tournament-lesson based on the works of A. Vampilov: “The Elder Son” and “Duck Hunt”. Two teams participate, the captains of these teams (names their names), members of the jury (represents them), and I, the host (names myself).
Fans, remember that you can give your team two extra points towards the final result of the game if you earn more tokens for your answers.
The jury has the right in all competitions to add to the team from 0.5 to 1.2 points for a particularly liked answer, as well as to penalize teams or fans for tips, incorrect behavior, etc.
Teams, conduct a draw, whose team will be the first to start the game.
Competition “Tests”
Captains receive printed tests. The teams write their name on the test sheets and underline the correct answer from their point of view for each test.
Teams take turns answering each test. The answer is given by any player who reads
test and answer.
At the end of the competition, the teams pass the sheets with underlined answers to the jury.
The time for thinking about the test is 1 minute per question. The maximum score for all tests is equal to their number multiplied by two.
The jury announces the correct option after each answer.
Facilitator while the teams are preparing answers to tests, holds a fan contest.
For each correct answer - 2 points.
I. Who came up with the version that Andrei Grigoryevich Sarafanov is Busygin's father?
- Busygin.
- Silvia.
- Sarafanov.
II. Who suggested sending a wreath to Zilov?
- Sayapin.
- Kuzakov.
- Sash.
III. Why does Zilov feel lonely?
- Because of the wreath sent by friends.
- Because of the resurrected in the memory of the past;
- Due to the hangover
IV. Sarafanov is...
- The man who saved the soul of a child.
- Jonah.
- Accomplished musician.
V. “Elder son” - this is by genre
- Happening,
- Paradox.
- Joke.
VI. What interests A. Vampilov most of all in "Duck Hunt"?
- Understanding the role of man in society.
- The process of moral destruction of man.
- Spiritual idealism of heroes.
VII. Zilov is characterized
- Alienation from real life and self-absorption.
- outright cynicism.
- Repentance
fan competition
- What is the date of birth of Alexander Vampilov (1 937)
- What day was tragic for A. Vampilov? (August 17, 1972)
- What dream of father Alexander Vampilov became prophetic?
(The father tells his wife his dream: “Probably, there will be a son of a robber, and I’m afraid that he would not be a writer, because I see writers in a dream. I saw Leo Tolstoy.) - In honor of whom Vampilov is named Alexander and why?
(The year of Vampilov's birth was the year of the 100th anniversary of the death of A.S. Pushkin, after whom he was named.) - To which of the Russian playwrights is Vampilov close? (To L. Chekhov)
- What are the plays by A. Vampilov known to you? (1 token for a play.)
- What words were for Vampilov a guiding star in his work? (You need to write about what makes you unable to sleep at night).
- What theater became Vampilovsky after his death? (Moscow Theatre of Drama them. M.N. Yermolov).
Explanatory dictionary (according to the work of A. Vampilov)
(Fans give an interpretation of the words - homework)
1. Pessimism - an attitude full of despondency, hopelessness, a tendency to see the bad, unpleasant in everything.
2. Intelligence - education, culture.
3. Cynicism - rude frankness, shamelessness, disregard for norms
morality, decency, to something that is universally recognized,
respect.
4. Sacramental question -
1) worthy of worship ,
reverence;
2) become a custom, tradition, consecrated by tradition.
5. Idealism -
1) commitment to high moral ideals;
2) a tendency to idealize reality.
Notes on the Fan Contest
The facilitator reads the question. For the correct answer, the fan who raised his hand first receives a token. At the end of the game, the fans count the tokens. This is how the first 3 winners in the individual competition are determined. Then the fans of each team add up their tokens.
Competition “The World of Literary Things”
Leading: Captains, come up to me and select a tray that contains "literary things" covered with napkins.
The captains, having chosen a tray, take off their napkins and take turns showing all the participants in the tournament the items on their trays, calling them ...
The teams think about the answer and give them in turn: first one, then the other.
Thinking time 3 minutes.
The maximum mark of the competition by the number of items.
The host at this time conducts a fan contest (those questions that have not yet been answered in the “Fan Contest”.)
Team I items:
- Silver snuffbox. (Sarafanov gives it to Busygin, believing that he is his eldest son. The snuffbox, according to the custom of the family, is passed into the hands of the eldest son.)
- Ashtray. (Zilov gives Galina an ashtray - “flowers” when he remembers the past.)
- Plush cat. (Vera gave it to Zilov as a housewarming gift.)
Team II items:
- Button. (Vasenka cuts it off, sewn on by Makarska).
- Gun. (Zilov wants to shoot himself with a gun)
- Guitar. (Silva plays the guitar)
Competition “Create a literary image”
Leading. Captains, come to me, select the envelopes.
The captains read the tasks aloud, the teams think about the task for 30 seconds.
The maximum score of the competition by the number of tasks.
The host announces the correct answer after each answer.
I. Who is behind this portrait?
First team:“He is about 30 years old, he is quite strong build: in his gait, features, manner of speaking, there is little freedom that comes from confidence in his physical usefulness.” (Zilov, “Duck Hunt”)
Second command:“He is about 30. He does not stand out with a bright appearance. For the most part thoughtful, introspective. He speaks little, knows how to listen to others, is dressed very sloppily.” (Kuzakov, "Duck Hunt")
II. Who is speaking?
First team:“People have thick skin and it's not easy to pierce it. It is necessary to lie properly, only then will they believe and sympathize with you. They need to be scared or moved to pity.” (Busygin, "Elder Son")
Second command:“Each person will be born a creator, each in his own work, and each, according to his strength and capabilities, must create, so that the best that was in him remains after him. (Sarafanov, "Elder Son")
III. Whose apartment is this?
First team:“Among the things and furniture is an old sofa and a battered dressing table. Curtained window to the courtyard. (Sarafanov's apartment).
Second command:“Furniture is ordinary. On the windowsill is a large plush cat with a bow around its neck. Mess. In the foreground is an ottoman. At the head of the table with a telephone. (Zilov's apartment).
Captains competition.
Captains receive two questions each, think them over for 1 min. and answer in turn to one question, both, then to another question.
Find and correct the semantic error.
1 captain:“Cold, hot? Beauty! Gas? Beauty! So, so, so ... and here? 18 squares?
Beauty! Loggia? South? North? Beauty! (Valeria. "Duck hunting" - wrong loggia, you need a balcony.)
2 captain:“I had the rank of major, they left me in the army. With sin in half, I was demobilized. I served in the artillery, and you know, it’s bad for hearing.” (Sarafanov “Elder Son” - wrong major, you need a captain).
Remember and answer.
1 captain: What song is sung by one of the heroes of “Elder Son”? (“We rode in a troika - not
You will catch up” or “When the night lanterns swing” Silva)
2 captain: What was included in the items of hunting equipment donated to Zilov? (Knife, bandolier. Several wooden ducks.)
Competition "Homework"
The tasks of the competition, its purpose and conditions are communicated to the teams in advance, during the preparation for the tournament - a lesson.
Subject homework is announced to the teams two weeks before the tournament, the task itself is carried out in the classroom or at home.
Each team reads a written work. The maximum score is 5 points.
Assignment: Answer in writing the question: “So who is Zilov - a hero or a nonentity, an executioner or a victim?”
Competition “Gambling”
Leading. Two rows of cards of two suits (hearts and spades) from ace to four lie face down on the table. The value of each card also indicates the “cost” of the question. Two more cards “Joker” and “Empty” lie separately. They are played after the main eight cards. I have the same eight cards in my hand. I I deal the captains one card at a time. Which card fell out, under such a captain and takes the question printed on the card. After eight cards have been played, the captains themselves choose the remaining two cards. With the “joker” they do this: they either answer themselves or pass it on to the opponent (they do not have the right to refuse), the “dummy” eliminates the question.
Teams take turns answering questions. Time 30 seconds.
The jury evaluates the answers and immediately informs each team how many points it receives or loses.
The “salt” of the competition is that this is the only competition when a team receives points for a correct answer, and loses for an incorrect one.
Moreover, the number of points that a team can lose is inversely proportional to the complexity of the question.
For an incorrect answer, rated:
at 5 points, the team loses 1 point,
4 points - 2 points,
in 3 points - 3 points,
2 points - 4 points,
1 point - 5 points.
The “cost” of the “wild card” is initially unknown. When it is known who will answer, the number of points for him is announced.
Who calls Sarafanov “blessed” (wife) - 2 points.
What is Zilov's reaction to his father's letter? (rude comments) - 2 points.
Zilov says: “I can’t imagine how it rains.” What is he talking about? (About duck hunting) - 3 points.
“City apartment in a typical house. The furniture is ordinary. Through the window you can see the last floor and the roof of a typical house.” What sign is the author giving us here by repeating the same detail? (this is a slice of our life) - 2 points.
The plot of which play is built on the gap between the slogan “Man is a brother to man” and everyday life? (“Elder son”) – 3 points.
What did the stupid prank of Silva Busygin lead to? (Busygin beat Sarafanov like a father) - 5 points.
What is the basis of the plot of "The Elder Son"? (draw) - 2 points.
In which play by A. Vampilov does the weather affect the hero's mood? (“Duck hunting”) - 1 point.
The question is a joker. Why does Zilov “lose himself”, becomes a vulgar consumer? (he lost the meaning of life, or maybe he did not have time to find it) - 5 points.
Conclusion.
Leading. Fans. How many points did your team score? Who won in the individual competition? Jury, count the points and evaluate the game of the teams as a whole, taking into account the results of the fans. The general result of the tournament is announced by the chairman of the jury.
The host awards the team and fans with prizes and thanks for participating in the tournament - a lesson.
Literature.
- USSR Academy of Sciences. Russian Language Institute. Dictionary of the Russian language in 4 volumes. M.: "Russian language". 1985
- A.Vampilov. House with windows in the field. Plays. Essays and articles. Feuilletons. Stories and scenes Irkutsk. East Siberian book publishing house, 1981
- Dolinina S.Ya., literary tournament. M.: “Flint. Science”, 2001
- Gushanskaya E.. Alexander Vampilov. Sketch of creativity., M.: 1990
- Sushkov B., Alexander Vampilov., M.: 1989
