mayor. That's when he stabbed, so stabbed! Killed, killed, completely killed! I don't see anything. I see some pig snouts instead of faces, but nothing else ...
Bring it back, bring it back! (Waves his hand.) Where to turn! I, as if on purpose, ordered the superintendent to give the best three; the devil managed to give an order ahead.
Korobkin's wife. That's for sure, an unprecedented embarrassment!
Ammos Fedorovich. But damn it, gentlemen! He borrowed three hundred rubles from me.
Artemy Filippovich. I also have three hundred rubles.
Postmaster(sighs). Oh! and I have three hundred rubles.
Bobchinsky. Pyotr Ivanovich and I have sixty-five sir on banknotes sir, yes sir.
Ammos Fedorovich(raises hands in disbelief). How is it, gentlemen? How is it, in fact, we have so blundered?
mayor(hitting himself on the forehead). How am I - no, how am I, you old fool?
He survived, stupid ram, out of his mind! .. I have been living in the service for thirty years; no merchant or contractor could hold; he deceived scammers over scammers, rogues and rogues such that they are ready to rob the whole world, hooked on a hook! He deceived three governors!.. What governors! (waved his hand) there is nothing to say about the governors ...
Anna Andreevna. But that can't be, Antosha: he got engaged to Mashenka...
mayor(in hearts). Got engaged! Kukish with butter - here you are engaged! Gets into my eyes with a betrothal! .. (In a frenzy.) Look, look, the whole world, all Christianity, everyone, look how foolish the mayor is! Fool him, fool, old scoundrel! (He threatens himself with his fist.) Oh, you thick-nosed one! Icicle, rag mistook for important person! There he is now flooding the whole road with a bell! Spread history around the world. Not only will you go into a laughingstock - there is a clicker, paper maraca, they will insert you into a comedy. That's what's embarrassing! Chin, the title will not spare, and they will all bare their teeth and clap their hands. What are you laughing at? - You're laughing at yourself!.. Oh, you! Oh, clickers, damned liberals! damn seed! I would have tied you all in a knot, I would have wiped you all into flour and the devil in the lining! in his hat! .. (Pokes his fist and hits the floor with his heel. After some silence.) I still can’t come to my senses. Here, truly, if God wants to punish, he will first take away the mind. Well, what was in this heliport that looked like an auditor? There was nothing! It’s just that there was nothing like half a little finger - and suddenly everything: the auditor! auditor! Well, who was the first to let out that he was an auditor? Answer!
Artemy Filippovich(spreading hands). How it happened, for the life of me, I can't explain. It was as if some kind of fog had stunned, the devil beguiled.
Ammos Fedorovich. Yes, who released - that's who released: these fellows! (Pointing to Dobchinsky and Bobchinsky.)
Bobchinsky. Hey, not me! didn't think...
Dobchinsky. I'm nothing, nothing at all...
Artemy Filippovich. Of course, you.
Luka Lukic. Of course. They ran like crazy from a tavern: “I came, I came and I don’t make money ...” We found an important bird!
mayor. Naturally, you! city gossips, damned liars!
Artemy Filippovich. Damn you with your auditor and stories!
mayor. Just roaming around the city and embarrassing everyone, damned rattles! Sow gossip, short-tailed magpies!
Ammos Fedorovich. Cursed punks!
Luka Lukic. Caps!
Artemy Filippovich. Morels are short-bellied!
Everyone surrounds them.
Bobchinsky. By God, it's not me, it's Pyotr Ivanovich.
Dobchinsky. Uh, no, Pyotr Ivanovich, you're the first to...
Bobchinsky. And here it is not; you were the first.
On the very edge of the village of Mironositsky, in the barn of the headman Prokofy, the belated hunters settled down for the night. There were only two of them: the veterinarian Ivan Ivanovich and the teacher of the gymnasium Burkin. Ivan Ivanovich had a rather strange, double surname– Chimsha-Himalayan, which did not suit him at all, and throughout the province he was simply called by his first name and patronymic; he lived near the city in a horse farm and now came to hunt in order to breathe clean air. The teacher of the gymnasium, Burkin, visited Counts P. every summer, and in this area he had long been an insider.
Didn't sleep. Ivan Ivanovich, a tall, thin old man with a long mustache, was sitting outside at the entrance smoking a pipe; the moon illuminated it. Burkin was lying inside on the hay, and he was not visible in the darkness.
Told different stories. Among other things, they said that the headman's wife, Mavra, a healthy and intelligent woman, in her whole life had never been further than her native village, had never seen either a city or railway, and in the last ten years she has been sitting at the stove and only went out at night.
– What's so amazing! Burkin said. - There are many people in this world who are lonely by nature, who, like a hermit crab or a snail, try to escape into their shell. Perhaps here is the phenomenon of atavism, a return to the time when the ancestor of man was not yet a social animal and lived alone in his lair, or maybe this is just one of the varieties of human character– who knows? I am not a naturalist and it is not my business to deal with such questions; I just want to say that people like Mavra are not uncommon. Yes, it’s not far to look, about two months ago, a certain Belikov, a teacher of the Greek language, my friend, died in our city. You have heard of him, of course. He was remarkable for the fact that he always, even in very good weather, went out in galoshes and with an umbrella, and certainly in a warm coat with wadding. And his umbrella was in a case, and his watch was in a case made of gray suede, and when he took out his penknife to sharpen his pencil, his knife was also in a case; and his face, too, seemed to be in a case, for he hid it all the time in his upturned collar. He wore dark glasses, a jersey, stuffed his ears with cotton wool, and when he got into a cab, he ordered to raise the top. In a word, this person had a constant and irresistible desire to surround himself with a shell, to create for himself, so to speak, a case that would seclude him, protect him from external influences. Reality annoyed him, frightened him, kept him in constant anxiety, and, perhaps, in order to justify this timidity of his, his disgust for the present, he always praised the past and what had never happened; and the ancient languages that he taught were for him, in essence, the same galoshes and umbrella, where he hid from real life.
"Thunderstorm" A.N. Ostrovsky
wild. Look, you've soaked everything. ( Kuligin.) Get away from me! Leave me alone! ( With heart.) Foolish man!
Kuligin. Savel Prokofich, after all, this, your degree, is of benefit to all the townsfolk in general.
wild. Go away! What a use! Who needs this benefit?
Kuligin. Yes, at least for you, your degree, Savel Prokofich. That would be, sir, on the boulevard, on clean place, and put. And what is the expense? Empty consumption: stone column ( shows with gestures the size of each thing), a copper plate, so round, and a hairpin, here is a straight hairpin ( gesturing), the simplest one. I'll put it all together and cut out the numbers myself. Now you, your degree, when you deign to walk or others who are walking, now come up and see what time it is. And that sort of place is beautiful, and the view, and everything, but it seems to be empty. With us, too, your degree, and there are passers-by, they go there to look at our views, after all, an ornament - it is more pleasant for the eyes.
wild. What are you doing to me with all sorts of nonsense! Maybe I don't want to talk to you. You should have known first whether I was in the mood to listen to you, fool, or not. What am I to you - even, or something! Look, what an important case you have found! So right with the snout something and climbs to talk.
Kuligin. If I had climbed with my business, well, then it would be my fault. And then I am for the common good, your degree. Well, what does ten rubles mean for society! More, sir, is not needed.
wild. Or maybe you want to steal; who knows you.
Kuligin. If I want to give away my labors for nothing, what can I steal, your degree? Yes, everyone here knows me, no one will say bad things about me.
wild. Well, let them know, but I don't want to know you.
Kuligin. Why, sir Savel Prokofich, do you want to offend an honest man?
wild. Report, or something, I'll give you! I don't report to anyone more important than you. I want to think about you that way, and I think so. For others you fair man and I think you're a robber, that's all. Would you like to hear it from me? So listen! I say that the robber, and the end! What are you going to sue, or what, will you be with me? So you know that you are a worm. If I want - I'll have mercy, if I want - I'll crush.
Kuligin. God be with you, Savel Prokofich! I, sir, small man, offend me for a short time. And I’ll tell you this, your degree: “Virtue is honored in rags!”
wild. Don't you dare be rude to me! Do you hear!
Kuligin. I'm not doing you any rudeness, sir; but I tell you because, perhaps, you will take it into your head to do something for the city sometime. You have a lot of strength, your degree; there would only be a will for a good deed. Let’s just take it now: we have frequent thunderstorms, and we won’t start lightning rods.
wild (proudly). All is vanity!
Kuligin. But what's the fuss when the experiments were?
wild. What kind of lightning rods do you have there?
Kuligin. Steel.
wild (with anger). Well, what else?
Kuligin. Steel poles.
wild (getting more and more angry). I heard that the poles, you sort of asp; yes, what else? Adjusted: poles! Well, what else?
Kuligin. Nothing more.
wild. Yes, a thunderstorm, what do you think, huh? Well, speak up.
Kuligin. Electricity.
wild (stamping his foot). What else there elestrichestvo! Well, how are you not a robber! A thunderstorm is sent to us as a punishment so that we feel, and you want to defend yourself with poles and some kind of goads, God forgive me. What are you, a Tatar, or what? Are you Tatar? Ah, speak! Tatar?
Kuligin. Savel Prokofich, your degree, Derzhavin said:
I'm rotting in the ashes,
I command thunder with my mind.
wild. And for these words, send you to the mayor, so he will ask you! Hey, venerable ones, listen to what he says!
Kuligin. Nothing to do, you have to submit! But when I have a million, then I'll talk. (Waving his hand, he leaves.)
wild. What are you, steal, or something, from someone! Hold it! Such a fake man! What kind of person should be with this people? I don't know. ( Addressing the people). Yes, you damned ones, you will lead anyone into sin! I didn’t want to be angry today, but he, as if on purpose, made me angry. For him to fail! ( Angrily). Has it stopped raining?
1st. It seems to have stopped.
wild. Seems! And you, fool, go and have a look. And then - it seems!
1st ( coming out from under the arches). Stopped!
The third phenomenon
Barbara and then Boris.
barbarian. It seems he is!
Boris (passes through the back of the stage). Sssss!
Boris (looks back). Come here. ( beckons hand.)
Boris (included). What are we to do with Katherine? Say mercy!
Boris. And what?
barbarian. The trouble is, and only. My husband has arrived, do you know that? And they did not wait for him, but he arrived.
Boris. No, I didn't know.
barbarian. She just didn't make herself!
Boris. Apparently, only I lived for ten days while he was gone. You won't see her now!
Show answer
Remarque - the author's explanation in a dramatic work, with the help of which the scene of action, the external or spiritual appearance of the characters, various psychological states experienced by them. Remarque, along with action and dialogue, is a sign of drama as a special literary genre.
remark
Prepare for the exam in social science, mathematics, Russian online for 85+ in 3 months
Read the text fragment below and complete tasks B1-B7; C1-C2.
Wild. Look, you've soaked everything. (Kuligin.) Get away from me! Leave me alone! (With heart.) Foolish man!
Kuligin. Savel Prokofich, after all, this, your degree, is of benefit to all the townsfolk in general.
Wild. Go away! What a use! Who needs this benefit?
Kuligin. Yes, at least for you, your degree, Savel Prokofich. That would be, sir, on the boulevard, in a clean place, and put it. And what is the expense? Empty consumption: stone column (shows the size of each item with gestures), a copper plate, so round, and a hairpin, here is a straight hairpin (gestures), the simplest one. I'll put it all together and cut out the numbers myself. Now you, your degree, when you deign to walk or others who are walking, now come up and see what time it is. And that sort of place is beautiful, and the view, and everything, but it seems to be empty. With us too, your degree, there are passers-by, they go there to look at our views, after all, decoration is more pleasant for the eyes.
Wild. What are you doing to me with all sorts of nonsense! Maybe I don't want to talk to you. You should have known first whether I was in the mood to listen to you, fool, or not. What am I to you - even, or something! Look, what an important case you have found! So right with the snout something and climbs to talk.
Kuligin. If I had climbed with my business, well, then it would be my fault. And then I am for the common good, your degree. Well, what does ten rubles mean for society! More, sir, is not needed.
Wild. Or maybe you want to steal; who knows you.
Kuligin. If I want to give away my labors for nothing, what can I steal, your degree? Yes, everyone here knows me, no one will say bad things about me.
Wild. Well, let them know, but I don't want to know you.
Kuligin. Why, sir Savel Prokofich, do you want to offend an honest man?
Wild. Report, or something, I'll give you! I don't report to anyone more important than you. I want to think about you that way, and I think so. For others, you are an honest person, but I think that you are a robber, that's all. Would you like to hear it from me? So listen! I say that the robber, and the end! What are you going to sue, or what, will you be with me? So you know that you are a worm. If I want - I'll have mercy, if I want - I'll crush.
Kuligin. God be with you, Savel Prokofich! I, sir, am a small man; it will not be long to offend me. And I’ll tell you this, your degree: “Virtue is honored in rags!”
Wild. Don't you dare be rude to me! Do you hear!
Kuligin. I'm not doing you any rudeness, sir; but I tell you because, perhaps, you will take it into your head to do something for the city sometime. You have a lot of strength, your degree; there would only be a will for a good deed. Let’s just take it now: we have frequent thunderstorms, and we won’t start lightning rods.
wild (proudly). All is vanity!
Kuligin. But what's the fuss when the experiments were?
Wild. What kind of lightning rods do you have there?
Kuligin. Steel.
wild (with anger). Well, what else?
Kuligin. Steel poles.
wild (more and more angry). I heard that the poles, you sort of asp; yes, what else? Adjusted: poles! Well, what else?
Kuligin. Nothing more.
Wild. Yes, a thunderstorm, what do you think, huh? Well, speak up.
Kuligin. Electricity.
wild (stomping foot). What else there elestrichestvo! Well, how are you not a robber! A thunderstorm is sent to us as a punishment so that we feel, and you want to defend yourself with poles and some kind of goads, God forgive me. What are you, a Tatar, or what? Are you Tatar? Ah, speak! Tatar?
Kuligin. Savel Prokofich, your degree, Derzhavin said:
I'm rotting in the ashes,
I command thunder with my mind.
Wild. And for these words, send you to the mayor, so he will ask you! Hey, venerable ones, listen to what he says!
Kuligin. Nothing to do, you have to submit! But when I have a million, then I'll talk. (Waving his hand, he leaves.)
Wild. What are you, steal, or something, from someone! Hold it! Such a fake man! What kind of person should be with this people? I don't know. (addressing the people). Yes, you damned ones, you will lead anyone into sin! I didn’t want to be angry today, but he, as if on purpose, made me angry. For him to fail! (Angrily). Has it stopped raining?
1st. It seems to have stopped.
Wild. Seems! And you, fool, go and have a look. And then - it seems!
1st (coming out from under the arches). Stopped! The third phenomenon
Barbara and then Boris.
Barbara. It seems he is!
Boris (passes backstage). Sssss!
Boris (looks around). Come here. (Beckons with hand.)
barbarian (included). What are we to do with Katherine? Say mercy!
Boris. And what?
Barbara. The trouble is, and only. My husband has arrived, do you know that? And they did not wait for him, but he arrived.
Boris. No, I didn't know.
Barbara. She just didn't make herself!
Boris. It can be seen that only I lived a dozen days, bye! He was absent. You won't see her now!
A. N. Ostrovsky "Thunderstorm"
DRAMATURGY
Typical questions about dramatic works
What literary direction created this work? Classicism, realism
What term refers to the form of speech of characters, which is an exchange of remarks? Dialogue
Determine the genre of the work.
Fonvizin "Undergrowth" - comedy
Griboyedov "Woe from Wit" - comedy
Gogol "The Government Inspector" - comedy
Ostrovsky "Thunderstorm" - drama
Chekhov " The Cherry Orchard» - comedy
Gorky "At the bottom" - drama
One of the characteristic techniques of classicism is the disclosure of the character of the hero through his last name. What are these surnames called? Talking
What is the name of characters in literary criticism who do not appear on stage?
off-stage
What is the name of the character who expresses the author's position? reasoner
The fragment depicts a sharp clash of positions of the heroes. What is the name of such a collision in the work? Conflict
Type of conflict? public, love, social
What stage in the development of the action does this fragment belong to? Ending, climax, denouement
What is the name of the genre of literature to which the play belongs...? Drama
What is the extended statement of one character called? Monologue
Name the term used to describe the characters in the play. // What is the name of a particular phrase of the interlocutor in the stage dialogue in dramaturgy? Replica
What is the name of the part of the act (action) of a dramatic work in which the composition actors remains unchanged? Scene
What is the term that is used in literary criticism to refer to an expression that has become winged? // The actor pronounces a capacious, concise phrase: "Without a name - there is no person." What is the name of this type of sayings? // What are the names of the sayings of the heroes, which are distinguished by brevity, capacity of thought and expressiveness? Aphorism
The above scene contains information about the characters, the place and time of the action, and describes the circumstances that took place before it began. Indicate the stage in the development of the plot, for which the named signs are characteristic. exposition
What is the main means of characterization in this fragment plays? Speech
Name the medium of art
TRADITION AND INNOVATION IN DRAMA
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FULL NAME. work |
Innovation |
Traditions |
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Denis Ivanovich Fonvizin Comedy "Undergrowth" |
"Undergrowth" is satirical comedy, in which, according to Gogol, the writer revealed "the wounds and diseases of our society, severe internal abuses, which are exposed by the merciless force of irony in stunning evidence." On the stage, Mitrofan - the same undergrowth that the title of the play speaks of - is a secondary person, but the history of his upbringing explains where he comes from. scary world Skotinins and Prostakovs. This means more than just staging problems of education, and consideration circumstances that influence the formation of personality, which is in line with realism. Hence, a kind of fusion of traditional and innovative elements in comedy arises. And finally, the innovation of the "Undergrowth" was manifested in the fact that, while maintaining one line of development of the intrigue (several applicants are fighting for Sophia's hand and heart: Milon, who sincerely loves her and is beloved by her, as well as Skotinin and Mitrofan, who learned about the rich dowry, or rather, his mother, trying to arrange the happiness of her son), Fonvizin includes several interrelated problems in the play. The main ones are the problems of serfdom, education and form state power which in comedy, as in reality, are interdependent. The author also raises questions about the steady performance of the "position" by each citizen, about the nature family relations, on the education of the nobility and others. |
Built according to the rules of classicism (the rules of three unities: the unity of place, time and action); also uses such a technique of classicism, which helps to reveal the characters of the characters, such as talking names and surnames; in the spirit of classicism, Fonvizin draws and his favorite hero Starodum as a reasoning hero expressing the author's point of view; as it should goodie in the plays of classicism, Starodum speaks correctly, bookish language. But Fonvizin expands the narrow framework of classicism, introducing into the speech of the hero and other individual features: aphorism, saturation with archaisms. |
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Alexander Sergeevich Griboyedov Comedy "Woe from Wit" |
The artistic form of the play created by Griboedov was indeed very unusual and unusual for his contemporaries, as it combined traditional and innovative elements. comedy, like no other work, combined the features that were characteristic of both classicism that resisted new trends, romanticism that was rapidly gaining strength, and realism taking its first steps. In this sense, "Woe from Wit" remains one of the most unique artistic creations early nineteenth century in Russian literature. Firstly, his comedy was written "not in iambic six-meter with piitic liberties, and free verses, as before only fables were written. Secondly, it was written "not in a bookish language that no one spoke, but lively, easy conversational Russian". Thirdly, “every word of Griboyedov’s comedy struck with the speed of his mind, and almost every verse in it turned into a proverb or proverb. Fourthly, Griboyedov's comedy "rejected artificial love, reasoners, razluchnikov and all the vulgar worn-out mechanism of the old drama." Griboyedov miraculously managed connect " public comedy» with love drama, and besides, he strengthened the plot tension with an invention about the madness of Chatsky, He introduces into a comedy romantic hero,
“exceptional person in exceptional circumstances” (this is typical of romanticism). Chatsky opens a gallery of “superfluous"people in Russian literature: Onegin, Pechorin, Bazarov. All of them stand, as it were, outside of society, cannot find application for their forces, love drama and oppose a society that does not understand them. Another innovation of A. S. Griboedov, which allowed him to expand the time frame of the work and indicate character traits whole era, affect even the reign of Catherine II, - they are off-stage characters. |
Griboyedov preserved the unity of time (the action of the comedy takes place within one day) and place (the whole action takes place in Famusov's house). A. S. Griboyedov in comedy continues the traditions of D. Fonvizin - he uses “speaking” surnames. The plot of the comedy also resembles typical classic works. A wandering hero returning to the house where he grew up; youthful love, preserved after three years of separation; a maid to whom Sophia entrusts her secrets of the heart; strict Sophia's father, a marriageable girl who is concerned about finding a worthy groom (“What a commission, creator, to be a father to an adult daughter!”), And, finally, a love triangle in which six people are actually involved: Sofia, Molchalin, Chatsky, Famusov, Liza and Petrusha are all fairly common plot elements for a classic. |
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Nikolai Vasilyevich Gogol Comedy "Inspector" |
Developing Griboedov's tendencies, he creates a comedy that is completely new in terms of the principles of construction and subjects of exposure. Looking back at the works of his predecessors, Gogol comes to the conclusion that the love affair has already run its course. Seeing her become the foundation dramatic conflict too often, Gogol decides to take a different path. He finds a new plot, more relevant to the present: the story of the auditor. "Inspector" - realistic comedy. All characters are typical characters. The situation shown in the comedy is unusual, but it develops quite realistically; the exclusivity of the situation is psychologically justified. In the dramaturgy of the 18th century, the vulgar world, the accusatory world, is always opposed to the bright beginning. In Gogol's comedy there is no ideal, there is no other than the one portrayed. From this we can conclude that everything that happens in the play is the norm, the law of reality. the only the positive character in the play is laughter, designed to denounce and ridicule social vices. The image of this city is not a specific image, but a collective. In terms of the concentration of any abuse here, it is unrealistic, but at the same time typical. Gogol's innovation in the comedy "The Government Inspector" lies in the fact that he depicts a situation in which deception occurs involuntarily, since Khlestakov does not pretend to be anyone, and only his inner emptiness and passivity confirm the possibility of such a situation. Khlestakov - the brilliant discovery of G naked, who considered him the most complex and difficult character in his play. The main feature of his character is, in the words of Gogol, "in the desire to play a role with a rank higher than one's own." This is the most essential feature of "Khlestakovism" as a socio-historical phenomenon. Khlestakov is a nonentity who, by the force of circumstances, was raised to a pedestal. All actions of the play are based on the behavior of the characters in an emergency. the arrival of the auditor, corresponding to the nature of each of them. |
Gogol continues the traditions of Fonvizin and Griboedov, but at the same time he overcomes the instructive features of dramaturgy and creates an example of social |
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Alexander Nikolaevich Ostrovsky Drama "Thunderstorm" |
Thunderstorm is drama and not a tragedy. At the heart of it lies not a tragedy individual, and the conflict between Katerina and the dark kingdom, and although Katerina is dying, in terms of genre this is precisely a drama. At the same time, it also has comedy traditions, this applies satirical image of the mores of the patriarchal merchant environment. Ostrovsky for the first time in dramaturgy showed this environment, for which he received the nickname Columbus of Zamoskvorechye, which emphasizes his role as the discoverer of the topic. Accordingly, I acquire great importance speech characteristics of heroes reflecting their level of education and culture, manners of behavior, attitude to life. Important role I play V drama symbols,
emphasizing state of mind characters or the attitude of the author towards them. Yes, one of symbolic images a bird with which Katerina compares herself more than once. Also one of the most significant characters in the drama, having a connection with its title, thunderstorm symbol denoting discord in the soul of Katerina God's punishment for her sin. Finally, it can be pointed out that a lightning rod is associated with the image of Kuligin as a symbol of enlightenment, knowledge that he is trying to bring to his fellow countrymen, the inhabitants of Kalinov. N. A. Dobrolyubov, considering the question of the innovation of A. N. Ostrovsky the playwright, notes two characteristics. First, a certain moral inconsistency reflected in the conflict of the drama. The traditional struggle of feeling and duty in the soul of the heroine is resolvedҭ
in favor of feeling, and this causes the compassion of the reader. Katerina is a criminal, from the point of view of moral and religious principles, a sinful wife who cheated on her husband, but the readers sympathize with the sinner who violated her duty. |
Ostrovsky's work is a legacy of Gogol's realism. |
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Anton Pavlovich Chekhov Play, comedy "The Cherry Orchard" |
Chekhov's play "The Cherry Orchard", written at the turn of the two centuries, was fundamentally different from the plays of Fonvizin, Griboedov (already combining the features of classicism and realism in their work), Gogol and even Ostrovsky. There is no conflict or action in it that creates the "electricity" of the play, nor love triangle, not even the usual composition. Chekhov completely departs from the canons of classicism. Each hero is individually not endowed with a label; this is a living person. There is no climax as such, no denouement of the action. The play seems to be about nothing. Some moment in the life of some people. The work begins and ends with an ellipsis. But Chekhov's way of life is not only the background against which events unfold, as in Ostrovsky's, it is a story behind which is hidden another, the history of souls. Therefore, the conflict develops not on the stage, but in the souls of the characters. Chekhov's "New Drama", like everything brilliant, showed a number of followers, for example, M. Gorky ("At the Bottom") |
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Maxim Gorky Social-philosophical drama "At the Bottom" |
"At the Bottom" is the pinnacle of Gorky's drama and one of the most powerful dramatic works of our century, and by the standards of that time, the most advanced. Gorky's dramatic skill is distinguished by great originality. The author's attention is focused on showing social types and phenomena, and the very image of reality is characterized by deep generalization. The play has several ideological and thematic plans, which are more or less connected with the main idea. Important feature drama Gorky's absence in it central hero and the division of characters into positive and negative. The author pays the main attention to the self-awareness of the characters, revealing their social and philosophical views. If in his early works the writer did not touch on the causes that gave rise to this phenomenon, then in the play “At the Bottom” a severe sentence was sounded social order who was responsible for the suffering of the people. With all its content, the play called for the struggle for the revolutionary transformation of reality. Associated with this is a high skill speech characteristics in dramaturgy of Gorky. It is significant that in play "At the Bottom" the writer completely abandoned the "tramp" jargon. But how beautifully the speech of the characters in the play conveys the diversity of their characters, moods, feelings and thoughts! Bitter does not often use the form of an extended monologue. Dialogue prevails in his plays, a remark, sometimes said by chance, but always saturated to the limit. inner meaning. In their speech characteristics Bitter strove to ensure that the personality was characterized comprehensively: I from the point of view of the class, and from the point of view of individual characteristics. He sought to ensure that every replica, every word of the hero with maximum expressiveness revealed his character. |
Continues the tradition of Chekhov |
Legacy of Aeschylus 90 dramatic works(tragedies and dramas ..., few and small By size. Question No. 8. Aeschylus. ... great ideological questions, in the light of which the Attic playwrights 5th century ... just a "sophist", typical representative of the second...
Questions for the exam in Russian literature Gorky's realistic stories
Questions for the examPersonnel. “ By suit it was typical tramp, By face ... clearly manifested itself in dramaturgy. In the play "On ... urgent questions modernity, By significance... works. Here is the breakdown noble estate("Shy Silence", "Wall") and dramatic ...
The literature program for grade 8 is compiled on the basis of the Federal component of the state standard for basic general education, an exemplary program for basic general education in literature and programs
ProgramShakespeare. Information about life playwright. « Romeo and Juliet... MMP Distressed questions By text. Job By skills formation ... MMP Conversation, problematic questions Analysis dramatic works, the transformation of Khlestakov into ... the finale of the play. Typicality character images...
