In 1902, the great Russian writer M. Gorky wrote the play "At the bottom". In it, the author raised a question that remains relevant to this day - this is the question of freedom and the appointment of a person. M. Gorky was well acquainted with the life of the lower strata of society, and the sight of suffering, injustice evoked in him a feeling of acute rejection of reality. All his life he was looking for the image of the ideal Man, the image of the Hero. He tried to find answers to his questions in literature, philosophy, history, in life. Gorky said that he was looking for a hero where there are usually no people. In the play “At the Bottom”, the author showed the way of life and thinking of precisely those people who are already considered lost, useless for society. The author changed the name of the play many times: “The Bottom”, “Without the Sun”, “The Nochlezhka”. All of them are bleak, sad. Although it is impossible in another way: the content of the play requires gloomy colors. In 1901, the writer said of his play: “It will be scary...”
The play is rather ambiguous in its content, but its main meaning cannot be distorted or misunderstood.
According to the literary genre, the play “At the Bottom” is a drama. Drama is characterized by plot and conflict action. In my opinion, two dramatic principles are clearly marked in the work: social and philosophical.
Even its title, “At the Bottom”, speaks of the presence of social conflict in the play. The remark placed at the beginning of the first act creates a dull picture of a rooming house. “A basement that looks like a cave. The ceiling is heavy, stone vaults, sooty, with crumbling plaster ... Everywhere along the walls there are bunk beds.” The picture is not pleasant - dark, dirty, cold. The following are descriptions of the residents of the rooming house, or rather, descriptions of their occupations. What are they doing? Nastya is reading, Bubnov and Kleshch are busy with their work. It seems that they work reluctantly, out of boredom, without enthusiasm. They are all beggars, miserable, miserable creatures living in a dirty hole. There is also another type of people in the play: Kostylev, the owner of the rooming house, his wife Vasilisa. In my opinion, social conflict in the play lies in the fact that the inhabitants of the rooming house feel that they live “at the bottom”, that they are cut off from the world, that they only exist. They all have a cherished goal (for example, the Actor wants to return to the stage), they have their own dream. They seek the strength within themselves to confront this ugly reality. And for Gorky, the very desire for the best, for the Beautiful, is wonderful.
All these people are placed in terrible conditions. They are sick, poorly dressed, often hungry. When they have money, holidays are immediately organized in the rooming house. So they try to drown out the pain in themselves, to forget, not to remember their beggarly position " former people”.
It is interesting how the author describes the activities of his characters at the beginning of the play. Kvashnya continues to argue with Kleshch, the Baron habitually taunts Nastya, Anna groans “every goddamn day…”. Everything goes on, all this has been going on for more than a day. And people gradually stop noticing each other. By the way, the lack of a narrative beginning is hallmark drama. If you listen to the statements of these people, it is striking that all of them practically do not react to the comments of others, they all speak at the same time. They are separated under one roof. The inhabitants of the rooming house, in my opinion, are tired, tired of the reality that surrounds them. It’s not for nothing that Bubnov says: “But the threads are rotten ...”.
Such social conditions in which these people are placed, the essence of man is exposed. Bubnov remarks: “Outside, no matter how you paint yourself, everything will be erased.” The residents of the doss-house become, as the author believes, "unwittingly philosophers." Life makes them think about the universal concepts of conscience, labor, truth.
Two philosophies are most clearly opposed in the play: Luke and Satine. Satin says: “What is right, yes? .. Man - that's the truth! .. Truth is God free man!” For the wanderer Luke, such a “truth” is unacceptable. He believes that a person should hear something from which it will be easier and calmer for him, that for the good of a person it is possible to lie. Interesting points of view and other inhabitants. For example, Kleshch thinks: “... You can’t live ... Here she is true...! Damn her!”
Luka's and Satin's assessments of reality differ sharply. Luke brings a new spirit into the life of the rooming house - the spirit of hope. With his appearance, something comes to life - and people begin to talk more often about their dreams and plans. The actor lights up with the idea of finding a hospital and recovering from alcoholism, Vaska Pepel is going to go to Siberia with Natasha. Luke is always ready to console and give hope. The Stranger believed that one should come to terms with reality and look at what is happening around calmly. Luke preaches the opportunity to “adapt” to life, not to notice its true difficulties and one’s own mistakes: “It’s true that it’s not always a person’s illness ... you can’t always cure the soul with truth ...”
Satin has a completely different philosophy. He is ready to expose the vices surrounding reality. In his monologue, Satin says: “Man! It's great! It sounds... proud! Human! You have to respect the person! Don't feel sorry... Don't humiliate him with pity... you have to respect him!" But respect, in my opinion, is necessary for a person who works. And the inhabitants of the rooming house seem to feel that they have no chance to get out of this poverty. Therefore, they are so drawn to the affectionate Luke. The Stranger surprisingly accurately searches for something hidden in the minds of these people and paints these thoughts and hopes into bright, iridescent currents.
Unfortunately, in the conditions in which Satin, Kleshch and other inhabitants of the “bottom” live, such a contrast between illusions and real ty has a sad result. The question awakens in people: how and what to live on? And at that moment, Luka disappears ... He is not ready, and not willing. answer this question.
Comprehension of the truth fascinates the inhabitants of the rooming house. Satin is distinguished by the greatest maturity of judgments. Not forgiving the “lie out of pity”, Satin for the first time rises to the realization of the need to improve the world.
The incompatibility of illusions and reality is very painful for these people. The Actor ends his life, the Tatar refuses to pray to God... The departure from the life of the Actor is the step of a person who has failed to realize the true truth.
In the fourth act, the movement of the drama is determined: life awakens in the sleepy soul of the “dormitory”. People are able to feel, hear each other, empathize.
Most likely, the clash of views between Sateen and Luke cannot be called a conflict. They run in parallel. In my opinion, if we combine the accusatory character of Sateen and pity for the people of Luke, then we would get the same an ideal person capable of reviving life in a rooming house.
But there is no such person - and life in a rooming house remains the same. Former outwardly. Some kind of turning point is happening inside - people are starting to think more about the meaning and purpose of life.
The play "At the bottom" as dramatic work conflicts are inherent, reflecting universal human contradictions: contradictions in views on life, in the way of life.
drama like literary genre depicts a person in acute conflict, but not hopeless situations. The play's conflicts are indeed not hopeless - after all (according to the author's intention), the active principle, the attitude to the world, still wins.
M. Gorky, a writer with an amazing talent, embodied the collision in the play “At the bottom” different views to being and consciousness. Therefore, this play can be called a socio-philosophical drama.
In his works, M. Gorky often revealed not only the everyday life of people, but also the psychological processes taking place in their minds. In the play “At the Bottom”, the writer showed that the neighborhood of people brought to life in poverty with a preacher of patient waiting “ the best person” necessarily leads to a turning point in the minds of people. In the rooming houses, M. Gorky captured the first, timid awakening human soul- the most beautiful thing for a writer.
"At the bottom" of M. Gorky as a social philosophical drama. Gorky's play "At the Bottom" not only has not left the stages of domestic theaters for about a hundred years, but also bypassed major theaters peace. Until today, it excites the minds and hearts of readers and viewers, there are more and more new interpretations
images (especially Luke). All this suggests that M. Gorky managed not only to look at the tramps with a fresh, truthful look - people who have sunk into the very dirt, “to the bottom” of life, crossed out from active life society of "former people", outcasts. But at the same time, the playwright sharply poses and tries to solve serious questions that have worried and will continue to worry every new generation, all thinking humanity: what is a person? what is truth and in what form do people need it? Is there an objective world or “what you believe is what it is”? and, most importantly, what is this world like and can it be changed?
In the play, we come across people who are useless outcasts in society, but it is they who are interested in questions about the place of man in the world around him. The heroes of the play do not resemble each other either in their looks, or thoughts, or life principles nor the way of life itself. The only thing that unites them is that they are superfluous. And at the same time, almost every one of the inhabitants of the rooming house is the bearer of a certain philosophical concept, on which they try to build their lives.
Bubnov believes that the world is vile and dirty, there is no good people, everyone just pretends, paints themselves, but "outside, no matter how you paint yourself, everything will be erased."
Kleshch is embittered at people, cruel to his wife Anna, but believes that hard, exhausting, but honest work can bring him back to “real” life: “I am a working person ... I am ashamed to look at them ... I have been working since childhood … You think I won't break out of here? I’ll get out… I’ll tear off my skin, and I’ll get out.”
Drunk and lost his name, the Actor hopes that his gift will return to him: "... the main thing is talent ... And talent is faith in oneself, in one's strength."
Nastya, a woman who sells her body, dreams of genuine, sublime love, which in real life unattainable.
Satin, a cheater-philosopher, has an opinion opposite to the principles of Klesch: “Work? For what? To be full?” It seems meaningless to him to spin in a wheel all his life: food is work. Satin owns the final monologue in the play, elevating a person: “Man is free ... he pays for everything himself: for faith, for unbelief, for love, for the mind ... Man is the truth!”
The inhabitants of the rooming house, brought together in a cramped room, are indifferent to each other at the beginning of the play, they hear only themselves, even if they are all talking together. But major changes in internal state heroes begin with the appearance of Luke, an old wanderer who managed to wake up this sleepy kingdom, console and encourage many, inspire or support hope, but at the same time, who was the cause of many tragedies. The main desire of Luke: "I want to understand human affairs." And he, indeed, very soon understands all the inhabitants of the rooming house. On the one hand, endlessly believing in a person, Luka believes that it is very difficult to change life, therefore it is easier to change yourself, to adapt. But the principle “what you believe is what you are” makes a person put up with poverty, ignorance, injustice, and not fight for a better life.
The questions raised by M. Gorky in the play “At the Bottom” are timeless, they arise in people of different eras, ages, and religions. That is why the play arouses great interest among our contemporaries, helping them to understand themselves and the problems of their time.
Everything is in man, everything is for man!
Only man exists
everything else is his work
and his brain!
M. Gorky. At the bottom
Gorky's play "At the Bottom" not only has not left the stages of domestic theaters for about a hundred years, but also bypassed the largest theaters in the world. Until today, it excites the minds and hearts of readers and viewers, there are more and more interpretations of images (especially Luke). All this suggests that M. Gorky managed not only to look with a fresh, truthful look at the tramps - people who have sunk into the very mud, “to the bottom” of life, deleted from the active life of the society of “former people”, outcasts. But at the same time, the playwright sharply poses and tries to solve serious questions that have worried and will worry every new generation, all thinking humanity: what is a person? what is truth and in what form do people need it? Is there an objective world or “What you believe is what it is”? and, most importantly, what is this world like and can it be changed?
In the play, we come across people who are useless outcasts in society, but it is they who are interested in questions about the place of man in the world around him. The heroes of the play are not similar to each other neither in their views, nor in their thoughts, nor in their life principles, nor in the very way of life. The only thing they have in common is that they are superfluous. And at the same time, almost every one of the inhabitants of the rooming house is the bearer of a certain philosophical concept, on which they try to build their lives.
Bubnov believes that the world is vile and dirty, there are no kind people here, everyone just pretends to paint themselves, but "outside, no matter how you paint yourself, everything will be erased."
Kleshch is embittered at people, cruel to his wife Anna, but believes that hard, exhausting, but honest work can bring him back to the “real” life: “I am a working person ... I am ashamed to look at them .. I've been working since I was little... Do you think I won't break out of here? I’ll get out... I’ll tear off my skin, and I’ll get out. ”
Drunk and lost his name, the Actor hopes that his gift will return to him: "... the main thing is talent ... And talent is faith in oneself, in one's strength."
Nastya, a woman who sells her body, dreams of genuine, sublime love, which is unattainable in real life.
Satin, a cheater-philosopher, has an opinion that is opposite to the principles of Klesch: “Work? For what? To be full?" It seems meaningless to him to spin in a wheel all his life: food is work. Satin owns the final monologue in the play, elevating the man: “Man is free ... he pays for everything himself: for faith, for unbelief, for love, for the mind ... Man is the truth!” material from the site
The inhabitants of the rooming house, brought together in a cramped room, are indifferent to each other at the beginning of the play, they hear only themselves, even if they are all talking together. But serious changes in the internal state of the heroes begin with the appearance of Luke, an old wanderer who managed to wake up this sleepy kingdom, console and encourage many, all-pour or support hope, but at the same time, he was the cause of many tragedies. The main desire of Luke: "I want to understand human affairs." And he, indeed, very soon understands all the inhabitants of the rooming house. On the one hand, endlessly believing in a person, Luka believes that it is very difficult to change life, therefore it is easier to change yourself, to adapt. But the principle “what you believe in is what it is” makes a person come to terms with poverty, ignorance, injustice, and not fight for a better life.
The questions raised by M. Gorky in the play "At the Bottom" are timeless, they arise in people of different eras, ages, and religions. That is why the play arouses great interest among our contemporaries, helping them to understand themselves and the problems of their time.
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In 1902, the great Russian writer M. Gorky wrote the play "At the bottom". In it, the author raised a question that remains relevant to this day - this is the question of freedom and the appointment of a person. M. Gorky was well acquainted with the life of the lower strata of society, and the sight of suffering, injustice evoked in him a feeling of acute rejection of reality. All his life he was looking for the image of the ideal Man, the image of the Hero. He tried to find answers to his questions in literature, philosophy, history, in life. Gorky said that he was looking for a hero where there are usually no people. In the play “At the Bottom”, the author showed the way of life and thinking of precisely those people who are already considered lost, useless for society. The author changed the name of the play many times: “The Bottom”, “Without the Sun”, “The Nochlezhka”. All of them are bleak, sad. Although it is impossible in another way: the content of the play requires gloomy colors. In 1901, the writer said of his play: “It will be scary...”
The play is rather ambiguous in its content, but its main meaning cannot be distorted or misunderstood.
According to the literary genre, the play “At the Bottom” is a drama. Drama is characterized by plot and conflict action. In my opinion, two dramatic principles are clearly marked in the work: social and philosophical.
Even its title, “At the Bottom”, speaks of the presence of social conflict in the play. The remark placed at the beginning of the first act creates a dull picture of a rooming house. “A basement that looks like a cave. The ceiling is heavy, stone arches, sooty, with crumbling plaster ... Everywhere along the walls there are bunk beds. The picture is not pleasant - dark, dirty, cold. The following are descriptions of the residents of the rooming house, or rather, descriptions of their occupations. What are they doing? Nastya is reading, Bubnov and Kleshch are busy with their work. It seems that they work reluctantly, out of boredom, without enthusiasm. They are all beggars, miserable, miserable creatures living in a dirty hole. There is also another type of people in the play: Kostylev, the owner of the rooming house, his wife Vasilisa. In my opinion, the social conflict in the play lies in the fact that the inhabitants of the rooming house feel that they live “at the bottom”, that they are cut off from the world, that they only exist. They all have a cherished goal (for example, the Actor wants to return to the stage), they have their own dream. They seek the strength within themselves to confront this ugly reality. And for Gorky, the very desire for the best, for the Beautiful, is wonderful.
All these people are placed in terrible conditions. They are sick, poorly dressed, often hungry. When they have money, holidays are immediately organized in the rooming house. So they try to drown out the pain in themselves, to forget, not to remember their beggarly position of “former people”.
It is interesting how the author describes the activities of his characters at the beginning of the play. Kvashnya continues to argue with Kleshch, the Baron habitually taunts Nastya, Anna groans “every goddamn day…”. Everything goes on, all this has been going on for more than a day. And people gradually stop noticing each other. By the way, the absence of a narrative beginning is a hallmark of the drama. If you listen to the statements of these people, it is striking that all of them practically do not react to the comments of others, they all speak at the same time. They are separated under one roof. The inhabitants of the rooming house, in my opinion, are tired, tired of the reality that surrounds them. It’s not for nothing that Bubnov says: “But the threads are rotten ...”.
In such social conditions in which these people are placed, the essence of a person is exposed. Bubnov remarks: “Outside, no matter how you paint yourself, everything will be erased.” The residents of the doss-house become, as the author believes, "unwittingly philosophers." Life makes them think about the universal concepts of conscience, labor, truth.
Two philosophies are most clearly opposed in the play: Luke and Satine. Satin says: “What is right, yes?.. A man is the truth!.. Truth is the god of a free man!” For the wanderer Luke, such a “truth” is unacceptable. He believes that a person should hear something from which it will be easier and calmer for him, that for the good of a person it is possible to lie. Interesting points of view and other inhabitants. For example, Kleshch thinks: “... You can’t live ... Here it is, the truth! .. Damn it!”
Luka's and Satin's assessments of reality differ sharply. Luke brings a new spirit into the life of the rooming house - the spirit of hope. With his appearance, something comes to life - and people begin to talk more often about their dreams and plans. The actor lights up with the idea of finding a hospital and recovering from alcoholism, Vaska Pepel is going to go to Siberia with Natasha. Luke is always ready to console and give hope. The Stranger believed that one should come to terms with reality and look at what is happening around calmly. Luke preaches the opportunity to “adapt” to life, not to notice its true difficulties and one’s own mistakes: “It’s true that it’s not always a person’s illness ... you can’t always cure the soul with truth ...”
Satin has a completely different philosophy. He is ready to denounce the vices of the surrounding reality. In his monologue, Satin says: “Man! It's great! It sounds… proud! Human! You have to respect the person! Don’t feel sorry… Don’t humiliate him with pity… you have to respect him!” But respect, in my opinion, is necessary for a person who works. And the inhabitants of the rooming house seem to feel that they have no chance to get out of this poverty. Therefore, they are so drawn to the affectionate Luke. The Stranger surprisingly accurately seeks out something hidden in the minds of these people and paints these thoughts and hopes into bright, iridescent currents.
Unfortunately, in the conditions in which Satin, Kleshch and other inhabitants of the “bottom” live, such a contrast between illusions and real ty has a sad result. The question awakens in people: how and what to live on? And at that moment, Luka disappears ... He is not ready, and not willing. answer this question.
Comprehension of the truth fascinates the inhabitants of the rooming house. Satin is distinguished by the greatest maturity of judgments. Not forgiving the “lie out of pity”, Satin for the first time rises to the realization of the need to improve the world.
The incompatibility of illusions and reality is very painful for these people. The Actor ends his life, the Tatar refuses to pray to God... The departure of the Actor's life is the step of a person who has failed to realize the true truth.
In the fourth act, the movement of the drama is determined: life awakens in the sleepy soul of the “dormitory”. People are able to feel, hear each other, empathize.
Most likely, the clash of views between Sateen and Luke cannot be called a conflict. They run in parallel. In my opinion, if we combine the accusatory character of Sateen and pity for the people of Luke, then we would get the very ideal Person who could revive life in a rooming house.
But there is no such person - and life in a rooming house remains the same. Former outwardly. Some kind of turning point is happening inside - people are starting to think more about the meaning and purpose of life.
The play “At the Bottom” as a dramatic work is characterized by conflicts that reflect universal contradictions: contradictions in views on life, in lifestyle.
Drama as a literary genre depicts a person in acutely conflicting, but not hopeless situations. The play's conflicts are indeed not hopeless - after all (according to the author's intention), the active principle, the attitude to the world, still wins.
M. Gorky, a writer of amazing talent, in the play "At the Bottom" embodied the clash of different views on being and consciousness. Therefore, this play can be called a socio-philosophical drama.
In his works, M. Gorky often revealed not only the everyday life of people, but also the psychological processes taking place in their minds. In the play “At the Bottom”, the writer showed that the neighborhood of people brought to life in poverty with a preacher patiently waiting for a “better person” necessarily leads to a turning point in people's minds. In the rooming houses, M. Gorky captured the first, timid awakening of the human soul - the most beautiful thing for a writer.
TOPICS OF PRACTICAL CLASSES
ACTIVITY #1
ACTIVITY #2
Historical novel A.N. Tolstoy "Peter the Great".
The concept of personality and assessment of the activities of Peter I in the novel
- The reasons for the appeal of A. N. Tolstoy to the era and personality of Peter I. The concept of the personality of Peter I in the story "Peter's Day".
- The problem of "personality and epoch" in the novel. The idea of the historical necessity of the reforms of Peter I. The image of Peter, his evolution.
- Image features historical era in the novel. Friends of Peter I and opponents of his reforms (Lefort, Menshikov, Brovkin, Buynosov, etc.). Women's images in the novel.
- Techniques for creating characters in the novel. The language and style of the novel.
- Varlamov A. Alexei Tolstoy. - M., 2006.
- Petelin V.I. Life of Alexei Tolstoy: Red Count. - M., 2002.
- Polyak L.M. Alexei Tolstoy is an artist. Prose. - M., 1964.
- Kryukova A.M. A.N. Tolstoy and Russian literature. Creative individuality V literary process. - M., 1990.
ACTIVITY #3
E. Zamyatina's novel "We" as a novel is a dystopia
- Reasons for E. Zamyatin's appeal to the new genre. The genesis and main features of the novel are dystopias. Russian and European literature.
- Characteristics of the United State in the novel. Criticism of the American-European civilization and any form of totalitarianism is the main intention of the author. The fate of art United State.
- The conflict of the individual and the state in the novel "We". Tragedy D-503, its causes. Image 1-330.
- Features of expressionism in the novel.
1. Zamyatin E. We. Tomorrow. I'm afraid. About literature, revolution, entropy and other things - M., 1988.
2. Zverev A. When it strikes last hour nature... // Questions of Literature. 1989. No. 1.
3. Mikhailov O. Grandmaster of Literature // Evgeny Zamyatin. Favorites. - M., 1989.
4. Sukhikh Igor. About the city of the sun, heretics, entropy and the last revolution // Zvezda. 1999. No. 2.
5. Shaitanov I. Master. // Questions of Literature. 1988. No. 12.
6. Kostyleva I.A. Traditions and innovation in the work of E. Zamyatin (synthesis of realism and expressionism) // creative heritage E. Zamyatina: a view from today. Tambov, 1994.
ACTIVITY #4
ACTIVITY #5
ACTIVITY #6
ACTIVITY #7
The story of A. Platonov "Pit".
ACTIVITY #8
« Quiet Don» M. Sholokhov as an epic novel.
ACTIVITY #9
ACTIVITY #10
ACTIVITY #11
"Summer of the Lord" by I. Shmelev
ACTIVITY #12
Art world V. Nabokov. The novel "Defense of Luzhin"
Lesson #13
« Small prose» A. Solzhenitsyn. "One day of Ivan Denisovich" and " Matrenin yard". Subject tragic fate man in the 20th century.
- Description of camp life in the story "One Day in the Life of Ivan Denisovich". Portraits of prisoners.
- Image of Ivan Denisovich Shukhov. autobiographical traits. Inner world hero, his moral and philosophical principles. Traditions L.N. Tolstoy in the depiction of the character of the Russian peasant. Ivan Denisovich and Platon Karataev. The problem of real and imaginary freedom.
- The image of the narrator in the work "Matryona Dvor" and the theme of returning to a free life. Personality traits.
- The image of the Russian village in the story.
- The character and fate of Matrena Vasilievna. Heroine portrait. Her relationship to the world. National and individual in the image. The meaning of the final
1. Niva Zh. Solzhenitsyn. - M., 1991.
2. Saraskina L. I. Alexander Solzhenitsyn. - M.: Young Guard, 2009.
3. Sarnov B. The phenomenon of Solzhenitsyn. - M.: Eksmo, 2012.
4. Chalmaev V. Alexander Solzhenitsyn. Life and art. - M., 1994.
5. Vinokur T. Happy New Year, sixty-second (on the style of "One Day in the Life of Ivan Denisovich") // Questions of Literature. 1991. Nos. 11-12.
ACTIVITY #14
ACTIVITY #15
TOPICS OF PRACTICAL CLASSES
- M. Gorky's play "At the Bottom" as a socio-philosophical drama.
- Historical novel by A.N. Tolstoy "Peter the Great". The concept of personality and assessment of the activities of Peter I in the novel.
- E. Zamyatin's novel "We" as a novel is a dystopia.
- creative evolution S. Yesenin.
- Poetic innovation of V. Mayakovsky.
- Poetry of B. Pasternak. A wealth of ideas and images.
- The story of A. Platonov "Pit". The search for the meaning of common and separate existence
- "Quiet Flows the Don" by M. Sholokhov as an epic novel. The fate of the people and the fate of man in the revolutionary era.
- M. Bulgakov's novel "The Master and Margarita" in the context of the world fiction.
- Subject " little man» in the work of M. Zoshchenko ( humorous stories and "Sentimental Tales")
- "Summer of the Lord" by I. Shmelev and the theme of loss and return Orthodox Russia
- Artistic world of V. Nabokov. The novel "Luzhin's Defense" and the problem of the gift in the writer's work.
- "Small prose" by A. Solzhenitsyn. "One Day in the Life of Ivan Denisovich" and "Matrenin Dvor". The theme of the tragic fate of man in the 20th century.
- The skill of V. Shukshin - a short story writer. "The history of the soul" of the Russian peasant as the main theme of the writer's work.
- Philosophical prose of V. Rasputin. The dramatic fate of Russia in the artist's work ("Live and Remember", "Farewell to Matyora")
ACTIVITY #1
M. Gorky's play "At the Bottom" as a socio-philosophical drama
1. Time and history of the creation of the play. "At the Bottom" as a socio-philosophical drama. Bottom theme. Images of overnight stays, their "truth".
2. The dispute about the person in the play. The theme of truth and lies. The complexity of the image of Luke. Modern interpretation of this image.
3. The image of Sateen, his philosophy. Is he the antagonist of Luka?
1. Basinsky P. Gorky. - M., 2005.
2. Bialik B.A. Gorky is a playwright. - M., 1977.
3. Gachev D. The logic of things and man. The debate about truth and lies in M. Gorky's play "At the Bottom". - M., 1992.
4. Spiridonova L.M. M. Gorky: dialogue with history. - M., 1994.
5. Khodasevich V. Gorky // October. 1989. No. 12.
