At the bottom is the development of action. Literature lesson on the topic "M. Gorky

Sections: Literature

Lesson Objectives:

• deepen students' ideas about the artistic originality of M. Gorky's prose; to acquaint students with the history of the creation of the play "At the bottom".
• on the basis of direct impressions from reading the play, conduct a comprehensive analysis of the work, considering the problems, plot and compositional features, and the originality of artistic images.
• improve students' skills in analyzing a work of art, developing the ability to highlight the main, essential moments in the development of an action, determine their role in revealing the theme and idea of ​​a work, and draw independent conclusions.
• working on the analysis of the work, to form in students their own attitude to the events and heroes of the play, thereby contributing to the development of an active life position, the ability to defend their own point of view.
• develop the skills of researching a literary text.
• on the example of heroes to bring up the best human qualities: compassion, mercy, humanism.
• cultivate an attentive attitude to the word.

During the classes

I. Org. moment, an explanation of the goals and objectives of the lesson.

Today we continue to study the work of A. Gorky. In the previous lesson, we talked about the life of a writer, considering creativity in general terms. And today our task will be to approach this issue in more detail: we will focus on the study and analysis of A. Gorky's play "At the Bottom".

Before a direct analysis of the work, I would like to remind you that when getting acquainted with works of literature, art, you do not need to make hasty conclusions: it is difficult, incomprehensible .... Remember: in order to understand, you need, according to L. N. Tolstoy, " force your mind to act with all its possible strength.

II. Literary mood, poetic five-minute.

III. Transition to the topic of the lesson.

1. The teacher's story about the history of writing the play "At the bottom".

In 1900, when artists from the Art Theater traveled to the Crimea to show Chekhov his plays The Seagull and Uncle Vanya, they met Gorky. The head of the theater, Nemirovich-Danchenko, told them that the theater had the task of not only "captivating Chekhov with its art, but also infecting Gorky with the desire to write a play."

The following year, Gorky handed over to the Art Theater his play "The Petty Bourgeois". The first performance of the Gorky play by the Art Theater took place on March 26, 1902, in St. Petersburg, where the theater went on a spring tour. For the first time, a new hero appeared on the scene: the revolutionary worker, the machinist Neil, a man conscious of his strength, confident in victory. And although the censorship crossed out all the "dangerous" places from the play, also crossed out Neal's words: "The owner is the one who works!" .

The government feared that the play had turned into a revolutionary demonstration. During the dress rehearsal of the play, the theater was surrounded by police, and disguised policemen were placed in the theater; mounted gendarmes rode around the square in front of the theatre. "One might think that they were preparing not for a dress rehearsal, but for a general battle," Stanislavsky wrote later.

Almost simultaneously with the play "Petty Bourgeois" Gorky worked on the second play, "At the bottom". In this new play, the protest against capitalist society sounded even more sharply and boldly. Gorky showed in her a new, unfamiliar world - the world of tramps, people who have sunk to the very bottom of life.

In August 1902, Gorky gave the play to Nemirovich-Danchenko. Rehearsals began, and Gorky now often had to visit Moscow. The actors and the director worked with enthusiasm, went to the Khitrov market, to the rooming houses where the tramps lived, and Gorky talked a lot about the life of his heroes, helping to better understand their lives and habits.

O. L. Knipper-Chekhova recalled how, at one of the rehearsals, Gorky said: “I read“ At the bottom ”in the rooming house, to the real Baron, to the real Nastya. You see! We cried in the rooming house, shouted:“ We are worse! .. Kissed hugged me..." On December 18, 1902, the premiere of the play took place. Actors, directors, author were endlessly called. The performance turned into a stormy celebration of A. M. Gorky; he went on stage excited, confused - he did not expect such a success. Big, slightly stooped, he frowned and, out of embarrassment, forgot to drop the cigarette he was holding in his teeth, he forgot to bow.

A huge crowd, which did not get to the performance, stood at the theater for a long time. The police urged the audience to disperse, but no one left - they were waiting for Gorky just to look at him.

And the work on the play was difficult and intense. "Without the sun" - "Nochlezhka" - "In the doss house" - "At the bottom" - this is how its name changed. The history of the title to some extent indicates the general contours of the author's work on the play. This process is evidenced by contemporaries. “I was at Gorky’s in Arzamas,” wrote L. Andreev, “and heard his new drama “In the Dormitory House” or “At the Bottom” (he had not yet settled on one or the other title) ... He piled up a mountain of the most severe suffering, threw dozens of diverse faces into a heap - and united everything with a burning desire for truth and justice.

2. Analytical work based on M. Gorky's play "At the Bottom".

a) Conversation on the questions:

The name "At the bottom" gives rise to a sense of perspective, one would like to put ellipsis further. What's going on "at the bottom"? "At the bottom" of what, only life? Maybe souls? (Yes, it is precisely this meaning that acquires paramount importance. "At the Bottom" as a philosophical drama, a reflection on the purpose and capabilities of a person and the essence of human relations with a person. "The Bottom of Life" is a tragic image of the play; the naked truth of everyday realities and the sharp contrast of colors: the antithesis of a rooming house - a cave and behind its walls awakening nature - death and life.)

b) Work on the images and features of the composition of the play.

The composition of the play includes the following parts:

1. The exposition is an introductory part (optional part), which at the initial stage of the analysis of a work of art helps to answer a number of questions: Where?, When?, what's happening?- and gives an initial idea of ​​​​acting heroes.
2. The tie is the event from which the action begins.
3. Action development.
4. The climax is the highest point in the development of the action.
5. Decline in action.
6. The denouement is the event that ends the action.

The composition of the play can be represented in the form of the following graphic scheme:

(Further, during analytical work, the correspondence of one or another episode of the work to the corresponding paragraph of the scheme is determined. As a result of the analysis, a plot-composition scheme is obtained, which clearly helps to present the chain of events that make up the plot of the work and reveal the structural features of the work under study. In the course of the analysis, the ability to give an individual and a generalized description of the characters, knowledge of the composition and plot deepens.)

The play begins with the author's remark. Why do you think it is so wide? - With whom and how do we get acquainted in the exposition? (17 heroes in the play, and we get acquainted with 10 of them in the exposition) - What can you say about the heroes? - What topics are clearly heard in the disputes and reflections of the characters? What are their views on life? - The plot of the play is the appearance of Luke. What events are "tied up" at this moment? What strings of the soul does the wanderer touch with his unexpectedly human-sounding words in the rooming house? - Describe Luka by his remarks.

Act II begins with the song "The Sun Rises and Sets", Beranger's verses create a kind of musical background for the events. But is it only? What is the role of the song in act II?

How do characters change as the story progresses? What exits do they see from the current situation? (Nastya sees an "outlet" in reading and embroidery, lives in fairy-tale fantasies about past, true love. "I'm superfluous here," - saying these words, Nastya seems to fence herself off from the inhabitants of the rooming house. Natasha also lives in hopes for the best, and therefore protects Nastya : "It can be seen that a lie is more pleasant than the truth ... I, too ... I invent ... I invent and - I wait ...". The tick thinks to break out: "I'm a working person," he declares. The ashes dream of breaking out: " You have to live better! You have to live like this ... so that I can respect myself ... "He sees support in Natasha:" You understand ... name you ... And you - a young Christmas tree - and you inject, but you will restrain. .." The actor dreams of being cured: "Today I worked, swept the street ... but I didn’t drink vodka!")

In act II the Actor reads the verses:
"Lord! If the truth is holy
The world can't find the way,
Honor to the madman who will inspire
Mankind has a golden dream."

How do you understand these lines?

IV act begins with the fact that the heroes remember Luke. How would you characterize Luke now?

• The place and role of man in life.
• Does a person need the truth?
• Is it possible to change a life?

In the fate of the heroes of the play "At the Bottom" Gorky saw a "material crime" committed by society. Gorky managed to show in the drama new heroes that the stage had not yet seen - he brought tramps to her. Gorky was able to directly and unequivocally point to the "perpetrators of the crime." This is its social and political meaning of the play, the reason why it was called the play - petrel.

IV. Lesson results. Conclusions. Homework.

Man is the truth!

M. Gorky

The multifaceted talent of M. Gorky was clearly manifested in dramaturgy. In the play "At the Bottom" Alexei Maksimovich revealed to readers and viewers a hitherto unknown layer of Russian life: the aspirations, suffering, joys and hopes of the "former people", the inhabitants of the rooming house. The author did this quite severely and truthfully.

The drama "At the Bottom" poses and solves philosophical questions: what is truth? do people need it? Is it possible to find happiness and peace in real life? Thrown out of active life, the inhabitants of the “bottom”, meanwhile, do not refuse to solve complex philosophical questions, life situations that reality puts before them. They try on various situations for themselves, trying to "surface" to the surface. Each of them wants to return to the world of "real people".

Heroes are full of illusions about the temporality of their position. And only Bubnov and Satin understand that there is no way out "from the bottom" - this is the lot of only the strong. Weak people need self-deception. They console themselves with the thought that sooner or later they will become full-fledged members of society. This hope in the shelters is actively supported by Luke, a wanderer who unexpectedly appeared among them. The old man finds the right tone with everyone: he consoles Anna with heavenly happiness after death. Persuades her that in the afterlife she will find peace, which she has not felt until now. Luka persuades Vaska Pepla to leave for Siberia. There is the place for strong and purposeful people. He calms Nastya, believing in her stories about unearthly love. The actor is promised a cure for alcoholism in a special clinic. The most striking thing about all this is that Luke lies unselfishly. He pities people, tries to give them hope as a stimulus to life. But the old man's consolations backfire. Anna dies, the Actor dies, Vaska Pepel ends up in prison. It seems that through the mouth of Satin, the author condemns Luke, refutes the compromising philosophy of the wanderer. “There is a comforting lie, a reconciling lie... Those who are weak in soul... and who live on other people's juices need a lie... it supports some, others hide behind it... And who is his own master... who is independent and does not eat someone else's - why does he need a lie? Lies are the religion of slaves and masters… Truth is the god of a free man!”

But Gorky is not so simple and straightforward; it allows readers and viewers to decide for themselves: are Lucas needed in real life or are they evil? It is also striking that over the years the attitude of society towards this character has changed. If at the time of the creation of the play "At the Bottom" Luka was almost a negative hero, with his boundless pity for people, then over time the attitude towards him changed.

In our cruel time, when a person feels his loneliness and uselessness to others, Luka received a “second life”, he became almost a positive hero. He pities the people living nearby, albeit mechanically, without wasting his spiritual strength on this, but he finds time to listen to the suffering, instills hope in them, and this is already a lot.

The play "At the Bottom" is one of those few works that do not age over time, and each generation discovers in them thoughts that are consonant with their time, views, and life situations. This is the great power of the playwright's talent, his ability to look into the future.

In the play "At the Bottom" one of the peculiar genres of Gorky's dramaturgy crystallized - the genre of a socio-philosophical play.

Most critics of the pre-revolutionary period viewed The Lower Depths as a static play, as a series of sketches of everyday life, scenes not internally connected, as a naturalistic play devoid of action, development, and dramatic conflicts.

In "At the Bottom" Gorky develops, sharpens, and makes especially clear the principle characteristic of Chekhov's dramaturgy...

When ... Gorky wrote: "The play is done like a symphony: there is a main leitmotif and various variations, its changes" (Letter to the LAPP Theater / Literaturnaya Gazeta. 1931. N 53), he could have in mind his own dramatic experience. There are several “themes” in the play, ideological and thematic complexes that “absorb” well-known ideas and moods, character traits of the characters, their aspirations, ideals and actions, their relationships and destinies, their individual collisions. No fate, no conflict can be traced holistically from beginning to end; they are outlined, as it were, by a dotted line, discontinuously, episodically, since they must enter a certain thematic complex, participating in the development of a “theme”, in solving a socio-philosophical problem.<...>

The exposition presents all the main problems that will be solved in the play; all its main themes appear in embryonic form. How to relate to the inhuman life of the destitute, the oppressed? Bear your cross patiently?

Soften the pain of others with compassion? Surrender to comforting illusions? Protest? Looking for an active way out for everyone, say, in work? Various answers to these questions separate and somehow bring together the heroes of the play, who are, as it were, in a state of expectation. The appearance of Luke sets everything in motion. He removes some, supports others, directs them, gives justification for their aspirations. A practical test of various life attitudes begins.

6. Dramaturgical conflict of the play "At the Bottom"

Most critics considered "At the Bottom" as a static play, as a series of sketches of everyday life, internally unrelated scenes, as a naturalistic play, devoid of action, the development of dramatic conflicts. In fact, in the play "At the Bottom" there is a deep inner dynamics, development ... The linkage of replicas, actions, scenes of the play is determined not by everyday or plot motivations, but by the deployment of socio-philosophical problems, the movement of topics, their struggle. That subtext, that undercurrent, which V. Nemirovich-Danchenko and K. Stanislavsky discovered in Chekhov's plays, acquires decisive significance in Gorky's "At the Bottom". “Gorky portrays the consciousness of the people of the “bottom”. The plot unfolds not so much in external action as in the dialogues of the characters. It is the conversations of the overnight stays that determine the development of the dramatic conflict.

It's amazing: the more the bed-seekers want to hide the real state of affairs from themselves, the more they take pleasure in convicting others of lies. They take particular pleasure in torturing their comrades in misfortune, trying to take away from them the last thing they have - an illusion

What do we see? It turns out there is no single truth. And there are at least two truths - the truth of the "bottom" and the truth of the best in man. What truth wins in Gorky's play? At first glance - the truth of the "bottom". There is no way out of this “dead end of life” for any of the overnight stays. None of the characters in the play gets better - only worse. Anna dies, Kleshch finally “falls” and gives up hope of escaping from the rooming house, Tatar loses his arm, which means he also becomes unemployed, Natasha dies morally, and maybe physically, Vaska Pepel goes to prison, even the bailiff Medvedev becomes one of the roomers . The nochlezhka accepts everyone and does not let anyone out, except for one person - the wanderer Luka, who entertained the unfortunate tales and disappeared. The culmination of general disappointment is the death of the Actor, whom it was Luka who inspired in vain hope for recovery and a normal life.

“The comforters of this series are the most intelligent, knowledgeable and eloquent. That is why they are the most harmful. Luka should be just such a comforter in the play "The Lower Depths," but apparently I failed to make him so. “At the Bottom” is an outdated play and, perhaps, even harmful in our days” (Gorky, 1930s).

7. Images of Satin, Baron, Bubnov in the play "At the bottom"

Gorky's play "At the Bottom" was written in 1902 for the troupe of the Moscow Public Art Theater. Gorky for a long time could not find the exact title of the play. Initially, it was called Nochlezhka, then Without the Sun, and finally, At the Bottom. The name itself has a lot of meaning. People who have fallen to the bottom will never rise to the light, to a new life. The theme of the humiliated and offended is not new in Russian literature. Let us recall the heroes of Dostoevsky, who also "have nowhere else to go." Many similar features can be found in the heroes of Dostoevsky and Gorky: this is the same world of drunkards, thieves, prostitutes and pimps. Only he is shown even more terribly and realistically by Gorky. In Gorky's play, the audience saw for the first time the unfamiliar world of the outcasts. Such a harsh, merciless truth about the life of the social lower classes, about their hopeless fate, the world dramaturgy has not yet known. Under the vaults of the Kostylevo rooming house there were people of the most diverse character and social status. Each of them has its own individual features. Here is the worker Kleshch, who dreams of honest work, and Ash, longing for the right life, and the Actor, all absorbed in memories of his former glory, and Nastya, passionately yearning for great, true love. All of them deserve a better fate. The more tragic their situation now. The people who live in this cave-like basement are tragic victims of an ugly and cruel order in which a person ceases to be a person and is doomed to drag out a miserable existence. Gorky does not give a detailed account of the biographies of the heroes of the play, but even the few features that he reproduces perfectly reveal the author's intention. In a few words, the tragedy of Anna's life fate is drawn. “I don’t remember when I was full,” she says. “She was shaking over every piece of bread ... I was trembling all my life ... I was tormented ... as if I couldn’t eat another one ... All my life I went in rags ... my whole unhappy life ...” Here is the truth! No shelter, no shelter! You need to breathe ... That's the truth! The inhabitants of the “bottom” are thrown out of life due to the conditions prevailing in society. Man is left to himself. If he stumbles, gets out of the rut, he is threatened with the “bottom”, inevitable moral, and often physical death. Anna dies, the Actor commits suicide, and the rest are exhausted, disfigured by life to the last degree. And even here, in this terrible world of outcasts, the wolf laws of the “bottom” continue to operate. The figure of the owner of the rooming house Kostylev, one of the "masters of life", who is ready even to squeeze the last penny out of his unfortunate and disadvantaged guests, is disgusting. Just as disgusting is his wife Vasilisa with her immorality. The terrible fate of the inhabitants of the rooming house becomes especially obvious if we compare it with what a person is called to. Under the dark and gloomy vaults of the doss house, among the pitiful and crippled, unfortunate and homeless vagrants, the words about man, his vocation, his strength and his beauty sound like a solemn hymn: “Man is the truth! Everything is in a person, everything is for a person! Only man exists, everything else is the work of his hands and his brain! Human! It's great! It sounds proud!” Proud words about what a person should be and what a person can be, even more sharply set off the picture of the real situation of a person that the writer paints. And this contrast takes on a special meaning... Sateen's fiery monologue about a man sounds somewhat unnatural in an atmosphere of impenetrable darkness, especially after Luka left, the Actor hanged himself, and Vaska Pepel was imprisoned. The writer himself felt this and explained this by the fact that the play should have a reasoner (expressor of the author's thoughts), but the characters portrayed by Gorky can hardly be called spokesmen for anyone's ideas in general. Therefore, Gorky puts his thoughts into the mouth of Satin, the most freedom-loving and fair character.

The author began to write the play in Nizhny Novgorod, where, according to the observation of Gorky's contemporary, Rozov, there was the best and most convenient place for all the rabble of people to gather ... (I always believed that Gorky took the prototypes of the heroes in Nizhny Novgorod, because he lived in this city and knew all his the future of heroes personally). This explains the realism of the characters, their complete resemblance to the originals.

Alexei Maksimovich Gorky explores the soul and characters of tramps from different positions, in different life situations, trying to understand who they are, what brought such different people to the bottom of life. The author is trying to prove that overnight stays are ordinary people, they dream of happiness, they know how to love, compassion, and most importantly, they think.

By genre, the play At the Bottom can be classified as philosophical, because from the lips of the characters we hear interesting conclusions, sometimes entire social theories. For example, the Baron consoles himself with the fact that there is nothing to expect... I do not expect anything! Everything already ... was! It's over! .. Or Bubnov So I drank and I'm glad!

But the true talent for philosophizing is manifested in Satin, a former telegraph employee. He talks about good and evil, about conscience, about the destiny of man. Sometimes we feel that he is the mouthpiece of the author, there is no one else in the play who can say it so smoothly and smartly. His phrase Man it sounds proud! became winged.

But Satin justifies his position with these arguments. He is a kind of ideologist of the bottom, justifying its existence. Satin preaches contempt for moral values ​​And where are they honor, conscience On your feet, instead of boots you can’t put on either honor or conscience ... The audience is amazed by the gambler and cheater who talks about the truth, about justice, the imperfection of the world, in which he himself is an outcast.

But all these philosophical searches of the hero are just a verbal duel with his antipode in terms of worldview, with Luke. The sober, sometimes cruel realism of Sateen collides with the soft and accommodating speeches of the wanderer. Luke fills the rooming houses with dreams, calls them to patience. In this regard, he is a truly Russian person, ready for compassion and humility. This type is deeply loved by Gorky himself. Luke does not receive any benefit from what gives people hope, there is no self-interest in this. This is the need of his soul. The researcher of Maxim Gorky's work, I. Novich, spoke about Luke this way ... he consoles not from love for this life and belief that it is good, but from capitulation to evil, reconciliation with it. For example, Luke assures Anna that a woman must endure her husband's beatings. Be patient some more! All, dear, endure.

Having suddenly appeared, just as suddenly, Luka disappears, revealing his possibilities in every inhabitant of the rooming house. The heroes thought about life, injustice, their hopeless fate.

Only Bubnov and Satin reconciled themselves to their position as overnight stays. Bubnov differs from Sateen in that he considers a person to be a worthless creature, and therefore worthy of a dirty life. People all live ... like chips floating in a river ... building a house ... chips away ...

Gorky shows that in an embittered and cruel world, only people who stand firmly on their feet, who are aware of their position, and who do not disdain anything, can survive. The defenseless rooming houses Baron, who lives in the past, Nastya, who replaces life with fantasies, perish in this world. Anna dies, the Actor lays hands on himself. He suddenly realizes the unfulfillment of his dream, the unreality of its implementation. Vaska Pepel, dreaming of a bright life, goes to prison.

Luka, regardless of his will, becomes the culprit in the death of these not at all bad people; the inhabitants of the rooming house do not need promises, but. specific actions that Luke is not capable of. He disappears, rather flees, thus proving the inconsistency of his theory, the victory of reason over the dream. Taco, sinners disappear from the face of the righteous!

But Satin, like Luke, is no less responsible for the death of the Actor. After all, breaking the dream of a hospital for alcoholics, Satin tears the last threads of hope of the Actor, connecting him with life.

Gorky wants to show that, relying only on his own strength, a person can get out of the bottom. A person can do anything ... if only he wants to. But there are no such strong characters striving for freedom in the play.

In the work we see the tragedy of individuals, their physical and spiritual death. At the bottom, people lose their human dignity along with their surnames and given names. Many rooming houses have nicknames Krivoy Zob, Tatar, Actor.

How does Gorky the humanist approach the main problem of the work? Does he really recognize the insignificance of a person, the baseness of his interests? No, the author believes in people not only strong, but also honest, hardworking, diligent. Such a person in the play is the locksmith Kleshch. He is the only inhabitant of the bottom who has a real chance of rebirth. Proud of his work rank, Kleshch despises the rest of the roomers. But gradually, under the influence of Sateen's speeches about the worthlessness of labor, he loses self-confidence, lowering his hands before fate. In this case, it was no longer the crafty Luke, but Satin the tempter who suppressed hope in a person. It turns out that, having different views on life positions, Satin and Luka are equally pushing people to death.

Creating realistic characters, Gorky emphasizes everyday details, acting as a brilliant artist. A gloomy, rude and primitive existence fills the play with something ominous, oppressive, reinforcing the sense of unreality of what is happening. The noss house, located below ground level, devoid of sunlight, somehow reminds the viewer of a hell in which people die.

Horror is caused by the scene when the dying Anna is talking to Luka. This last conversation of hers is, as it were, a confession. But the conversation is interrupted by the screams of drunken gamblers, a gloomy prison song. It becomes strange to realize the frailty of human life, neglect it, because even at the hour of death, Anna is not given peace.

The author's remarks help us to more fully imagine the heroes of the play. Brief and clear, they contain a description of the characters, help us to reveal some aspects of their characters. In addition, a new, hidden meaning is guessed in the prison song introduced into the canvas of the narrative. The lines I want to be free, yes, eh! .. I can’t break the chain ... they show that the bottom tenaciously holds its inhabitants, and the shelters cannot escape from its embrace, no matter how hard they try.

The play is over, but Gorky does not give an unambiguous answer to the main questions: what is the truth of life and what should a person strive for, leaving it to us to decide. Satin's final phrase Eh... spoiled the song... the fool is ambiguous and makes you think. Who is the fool? The Hanged Actor or the Baron who brought the news about it? Time passes, people change, but, unfortunately, the theme of the bottom remains relevant today. Due to economic and political upheavals, more and more people are leaving the bottom of life. Every day their ranks are replenished. Don't think they are losers. No, many smart, decent, honest people go to the bottom. They strive to quickly leave this kingdom of darkness, to act in order to live a full life again. But poverty dictates its conditions to them. And gradually a person loses all his best moral qualities, preferring to surrender to chance.

Gorky, with the play At the Bottom, wanted to prove that the essence of life is only in struggle. When a person loses hope, stops dreaming, he loses faith in the future.

Plan

Master class theme A.M. Gorky. The play "At the bottom". Problems and composition.

Class-11 B

Full name of the master class leader s- Petrenko Larisa Yurievna

Target- to reveal the essence of the philosophical conflict in the play.

Tasks:- consolidate knowledge about the composition of a work of art;

Continue the formation of the desire for adequate personal-evaluative judgments;

Formation of communicative and culturological competencies of students on the basis of analysis and artistic and figurative comprehension of M. Gorky's play "At the Bottom";

To cultivate compassion and humanity, the desire to understand and love a person, the desire for self-education.

Expected results:

successful artistic and figurative comprehension and personal assessment of the problems and content of M. Gorky's play "At the Bottom";

correct analysis of the composition of the play;

Subject: A.M. Gorky "At the bottom". Problematics and composition of the play.

Target: disclosure of the essence of the philosophical conflict in the play.

Tasks:

• consolidate knowledge about the composition of a work of art;
• to continue the formation of the desire for adequate personal-evaluative judgments;
• formation of communicative and culturological competencies of students on the basis of analysis and artistic and imaginative comprehension of M. Gorky's play "At the Bottom";
• to cultivate compassion and humanity, the desire to understand and love a person, the desire for self-education.

Equipment: interactive whiteboard, multimedia projector, computer.

During the classes:

1. 1. Introductory speech of the teacher.

In the prison twilight of Kostylev's rooming house, wretched personalities drag out a miserable existence - the inhabitants of the "bottom", the social pit, where society shamelessly pushes waste human material. The author leads us to an understanding of the state of mind of the heroes who find themselves in the basement and introduces us to the painful search for the meaning of life.

Students:

Here is the "bottom" - a model of society, the family - its emblem Vasilisa, religion - the lamp of her husband and a means for filling it, here is the government-summer resident Medvedev in relations with the townsfolk. And the result is the fate of a person in society.

Teacher:

“Rereading Gorky’s play, I became convinced that he least of all meant to tease the soul of his reader with a real depiction of poverty, fall and anguish.”

How do you understand the meaning of these words?

(No single plot, no main character, no single conflict)

To move on to text analysis, I want to ask you guys. Do you know what each hero of the play did before the rooming house?

Working with the interactive whiteboard ( Application, task number 1)

Teacher:

Let's guys, during today's lesson, we will try to reveal the essence of the philosophical conflict in the play, its problems and consider the composition of the work.

1. Analysis of the play.

1). Conversation.

Children's findings:

tie- conversation between Vasilisa and Ashes.

climax- The murder of Kostylev.

denouement- Ash's arrest

2. How do you understand this definition of the genre of Gorky's play?

How do you understand the meaning of the term "social-philosophical"?

Complete the table, indicating the social and philosophical features of the genre of this play.

What leitmotif would be singled out as the main one in Gorky's play?

(Dispute about man, about mercy, compassion)

“The main question I wanted to ask is: which is better: truth or compassion? What is more needed? Is it necessary to bring compassion to the point of using lies, like Luke? M. Gorky

Teacher:

As you can see, the composition is getting more complicated: a second plot appears. Luke as a rod.

1. What part would be defined as exposure? Why?

(1d: before the appearance of Luke: the tragic disunity of the heroes, clash, misfortune, there must be a way out.)

2.What line does Luka first appear with? Comment on it.

(Pacification, openness to people, love)

How is this position supported by Luke's other remarks?

3. Why does action 1 end with a dialogue between Anna and Luke? What is the point of this dialogue?

a) The reasons for such compassion, attention to the person (Anna's suffering is compassion).

b) The bow moves to the center.

2). Group work.

2 days - development of action.

The impact of Luke on the overnight stays.

Prove it. That Luke brings peace to the souls and destinies of heroes.

1 group (Luka - Actor)

2 group (Luka-Anna)

3rd group (Luka-Pepel)

Group Conclusions.

Which of Luke's remarks from e. 2 reveals the essence of his philosophy?

"What you believe is what you are..."

“You need to love the living, ... the living ...”

“Everyone, dear, endures ... everyone endures life in his own way”

"To caress a person is never harmful"

Which replica will be the key?

How do Beranger's poems echo this philosophy of Luke?(translated by V.S. Kurochkin) Read aloud by the teacher.

Lord! If the truth is holy

The world can't find the way,

Honor to the madman who will inspire

Mankind has a golden dream!

Student responses

3. Define the term "climax".

In the form of a detailed answer, tell about the climax of 3d. and write the conclusions in a notebook.

1. Ideological (parable about the righteous land)

"truth" - maybe, butt for you, you can't always cure your soul with the truth "

1. An eventful emergency situation when people need effective help.

4d. - denouement: the fate of the heroes deprived of the support of Luke. The result is the opposite of what he wanted to achieve.

a) Vaska Pepel - a story about the golden country of Siberia.

He will go to Siberia as a convict.

b) The tragic fate of the Actor.

C) The inviolability of the rooming house: a new rooming house appears, a song.

Prove that the foreshadowing of the downfall of Luke's truth was Anna's death.

(Luke tries to convince Anna that death is rest, salvation, but awakens in her a thirst for life)

What is Luke's truth?

4. Case method

Pre-prepared homework materials include aphorisms reflecting the truth of Luke - case 1 (Appendix 1) (commented by a group of students).

Teacher:

What did Luka understand in his long, difficult life? class question)

Teacher:

What truths about man does Luke's truth oppose?

Students consider the life positions of the characters and comment on them.

Case 2"The Truth of Sateen" (Appendix 2)

Question to the group:

Are there traits of Satan in the character of Satin?

What did Satan understand? (questions to the class)

Case 3"Pravda Bubnov" (Appendix 3)

Question to the group:

Man is a thing, according to Bubnov. What gives Bubnov grounds for such a conclusion?

Case 4"The Truth of the Tick" (Appendix 4)

Question to the group:

And what is she - really Klesch?

5. Individual tasks

Strong learners prepared questions for the class.

(Slides with questions)

First student: “I listen to Mr. Sateen and say to myself: yes, all this really sounds great. The idea of ​​one person, containing all in himself, a man-god (isn't it a fetish?) is very beautiful. But why. tell me, now from these very waves of fumes, from the cages of torn breasts, a wild guarded song will fly and soar somewhere higher, into superhuman expanse? Oh. Look, won’t it be frightening for a person, and, most importantly, won’t it be immeasurably boring for him to realize that he is everything, and that everything is for him and only for him? (slide 1) I. Annensky

How do you understand the meaning of Annensky's words?

Second student: “In the director's copy of the play “At the Bottom”, Stanislavsky made the following remarks about Luka’s behavior: “... he glances slyly, smiling slyly, it is clear that he is lying”, “slipped”. What idea of ​​Luke was reflected in them? (slide 2)

Third student: “In the 2nd day, Luke says: “A man can do anything ... if only he wants to.” Compare with the words of Sateen: "There is only man, everything else is the work of his hands and his brain." How do you explain the coincidence? (slide 3)

Fourth student:“In the finale, neither Satin nor Luka have the right to claim the role of the winner in the play - the discussion. Both leading characters are defeated in the face of life." (slide 4) N.K. Gay

Why?

Teacher.

Why is everything so tragic in the finale?

Outcome of the conversation

In conclusion of the lesson, guys, I would like to say that while we live in an imperfect world. In it, a person, unfortunately, is able to lose faith, and then human life loses its meaning. This is the worst crime, a crime against human nature.

“... Ehe - heh ... gentlemen people! And what will happen to you?” - we should probably think about these words.

1. Summing up the lesson.
2. Homework: write an essay based on A.M. Gorky’s play “At the Bottom” (topics No. 4, 5,6 of V. Chalmaev’s textbook, Russian literature of the 20th century)

Application

Case 1 "Luke's Truth »( his portrait)

“We are all strangers on earth…”

"... It's not the word that's the point, but why the word is spoken? - that's the point!"

"What you believe is what you are"

“I want to understand things - human ... but I look at you - I don’t understand”

“Prison will not teach good, and Siberia will not teach ... but a person will teach ... yes! A person can teach good very simply!”

“You must love the living ... the living”

“There are people, and there are other people…”

“I say, there is a land that is inconvenient for sowing ... and there is a fertile land ... whatever you sow on it will give birth” (these are “humans” in Luke’s assessment)

"That's right: a man should respect himself."

Students:

And Luke's story about the righteous land is a story about a person's faith in the best, for the sake of which it is worth living.

On this faith in the future, a person, the whole life of a civilized society, rests.

The cruel, murderous, bare truth of the indestructible oppression of inhuman circumstances is opposed by a stubborn, bright faith in man, in the saving power of pity, compassion, kindness. And this faith is not a lie, but the truth of Luke.

Case 2 "Satin's Truth" ( his portrait)

"The best - and the person too"

“And the more he is able to absorb this best into himself and live for it, the more he is a man”

"We must respect the person"

“Man is free, he is true; He is a human god! All in man, all for man! Only man exists, everything else is the work of his hands and his brain.

“It’s good…to feel human!2

" What does it mean? Man is god! (abstract, declaration, arrogance)

Respect not only because in it: "... you, me, they, the old man, Napoleon, Mohammed ... in one, but because (All is in one), One is in many and many: part of the people, the people ..."

Student:

Hymn of Satin - faith in Man (Man-god)

Satin strives for philosophizing - and nothing more.

Case 3 "The Truth of Bubnov"

“... It turns out - no matter how you paint yourself outside, everything will be erased ... everything will be erased, yes!”

“What is conscience? I'm not rich..."

“And who is drunk and smart - two lands in him ...”

“And the threads are rotten!”

“There are no masters here ... everything faded, one naked man remained ...”

“Such a life that as soon as you get up in the morning, so much for howling”

"Human Foolishness" (about Alyoshka)

“And how will you live? (Vasilisa)

“How much atrocity is in her, in this woman ...”

“Everyone wants order, but there is a lack of reason”

"... and all the people on earth are superfluous"

“I want to be free ... eh!

I can't break the chain" (from the song)

“And one is not poor, if she is smart ...”

"... courage is at the place when you go to the forest for mushrooms ... but here it is useless"

“What kind of truth do you need, Vaska? And for what? Do you know the truth about yourself ... and everyone knows it ... "

"All people live ... like chips floating down the river ... building a house ... and the chips away ..."

“Everything is like this: they will be born, live, die, and I will die ... and you ... Why be sorry?”

"People love to lie..."

“And here I am ... I can’t lie! For what? In my opinion - bring down the whole truth as it is! Why be ashamed?

Case 4 "True Tick" (portrait)

“They get money easily… They don’t work…”

" These? What kind of people are they? Dud, golden company ... people! I'm a working man... I'm ashamed to look at them... I've been working since I was little... Do you think I won't get out of here? I’ll get out ... I’ll tear off the skin, and I’ll get out ... ”

“I lived here for six months ... but it’s still like six years”

"They live without honor, without conscience"

“What is the truth? Where is the truth? Here's the truth! (Ranging the rags on himself with his hands) There is no work ... there is no strength! Here is the truth. Shelters ... there is no shelter! You need to breathe ... here it is. Is it true! Devil! On ... what is it to me - really? Let me breathe... let me breathe! What am I to blame for?.. Why should I - the truth? To live - the devil - you can’t live ... here it is - the truth!

"He ... was compassionate ... you have ... no pity"

"... one must live - according to the law ... according to the gospel ..."

Task number 1

a) an official in the Treasury Chamber Luke

b) watchman at the dacha Baron

c) telegrapher Kleshch

d) locksmith Satin

e) Furrier Actor

f) artist Bubnov

Maxim Gorky (Alexey Maksimovich Peshkov)

(1868 - 1936)

The play "At the Bottom" (1902)

History of creation

• The idea of ​​the play dates back to the early 1900s. In mid-October 1902, Maxim Gorky informed K.P. Pyatnitsky that he conceived a "cycle of dramas" of four plays, each of which will be dedicated to depicting a certain layer of Russian society. About the last of them, the letter says: “One more: tramps. Tartar, Jew, actor, hostess of a lodging house, thieves, detective, prostitutes. It will be scary."
• Gorky began writing the play "At the Bottom" at the end of 1901. On June 15, 1902, the play was finished. The name changed in the process (“Without a face”, “Nochlezhka”, “Dno”, “At the bottom of life”).
• The premiere took place on December 31, 1902 at the Moscow Art Theatre. K.S.Stanislavsky was not only a stage director (together with Nemirovich-Danchenko), but also played the role of Satin. He recalled: “The performance was a tremendous success. Directors, all artists and ... Gorky himself were called endlessly.
• The staging of the play on the stage of Russian theaters met with great obstacles from censorship. Until 1905, "At the Bottom" was allowed to play only with large denominations and each time with the consent of local authorities.
• The play was first published as a separate book in Munich (under the title "At the bottom of life") at the end of 1902. In Russia - in the publishing house of the "Knowledge" partnership in St. Petersburg at the end of January 1903. The demand for the book was unusually great: the entire circulation of the first St. Petersburg edition of 40,000 copies sold out within two weeks; by the end of 1903, more than 75,000 copies had been sold - no other literary work had enjoyed such success before.

Plot and composition

exposition

Description of the situation of Kostylev's rooming house and the "former people" living in it.

Nochlezhka is “a basement that looks like a cave. The ceiling is heavy, stone vaults, sooty, with crumbling plaster.

The room is, as it were, divided into cells in which people huddle, tools are also located here.

The inhabitants of the rooming house are representatives of the social bottom, who have fallen due to circumstances.

Here is the former telegraph operator Satin, the alcoholic Actor, the thief Vaska Pepel, the locksmith Kleshch and his sick wife Anna, the prostitute Nastya, the card maker Bubnov, the drunken aristocrat Baron, the shoemaker Alyoshka, the hookers Tatarin and Krivoy Zob. Kvashnya, a dumpling vendor, and policeman Medvedev, Vasilisa's uncle, visit the house. They are connected by a complex relationship, scandals often occur. Vasilisa, Kostylev's wife, loves Vaska and persuades him to kill her husband in order to become the sole mistress. Vaska is in love with Natalya, Vasilisa's sister, whom she beats out of jealousy.

tie

In the midst of a scandal, the wanderer Luka, a cheerful and kind old man, appears in the rooming house. Luka loves people, tries to console everyone, give hope. He predicts an afterlife for Anna, tells the Actor about a free hospital for alcoholics, advises Vaska and Natasha to move to Siberia. He is like a doctor who sees that the disease is incurable and wants to at least get rid of the suffering.

Development of action

Awareness of the horror of their situation by the shelters, the emergence of hope under the influence of Luke's "good" speeches that life will become better.

climax

An increase in the tension of the action, culminating in the murder of the old man Kostylev and the beating of Natasha.

denouement

The collapse of the hopes of the heroes: Anna dies, the Actor commits suicide, Pepel is arrested.

Topics and issues

Social

The truth about the life of the social lower classes was shown with such ruthlessness, which the world dramaturgy did not know. The inhabitants of the “bottom” are thrown out of life through the fault of society. The tragedy of the fate of "former people" is shown.

Anna: “I don’t remember when I was full ... I was shaking over every piece of bread ... I was trembling all my life ... I was tormented ... as if I couldn’t eat more than another ... All my life I went in rags ... all my unhappy life ... "

WITH lumberjack Klesch: “There is no work ... there is no strength ... That's the truth! No shelter, no shelter! You need to breathe ... That's the truth!

In the images of the "masters of life", the owner of the rooming house Kostylev and his wife Vasilisa, the author emphasizes their immorality.

philosophical

The play raises the problems of disunity of people, the problems of "bitter" truth and "elevating" lies, the purpose of man and the meaning of life.

The play has a polyphonic character - many voices sound in it. The philosophical core of the play is formed by the clash of two philosophical "truths": Luke and Sateen.

"At the Bottom" is a socio-philosophical drama.

Main characters

Luke

• Wanderer of sixty years "with a stick in his hand, with a knapsack over his shoulders, a bowler hat and a teapot at his belt."
• Luka's past is unknown, apparently, he has problems with the authorities: when the police appear, he disappears. Luke teaches, jokes, consoles. His speech is always benevolent and tends to be aphoristic: he speaks in proverbs.
• Luke's aphorisms express his philosophy of life:

- “I respect crooks too, in my opinion, not a single flea is bad: everyone is black, everyone jumps ...”

- “And all the people! No matter how you pretend, no matter how you wobble, but you were born a man, you will die a man ... "

- “To love - you need to be alive ... alive ...”

- “It is necessary, girl, to be kind to someone ... you need to feel sorry for people! Christ took pity on everyone and ordered us so ... I’ll tell you - to feel sorry for a person in time ... it happens well!

- “Prison will not teach good, and Siberia will not teach ... but a person will teach ... yes! A person can teach good things ... very simply!

“What you believe is what you are…”

Heroes about Luke

Nastya: “He was a good old man! .. And you ... are not people ... you are rust!”, “He saw everything ... understood everything ...”

Satin: “And in general ... for many it was ... like a crumb for the toothless ...”, “The old man is not a charlatan! What is truth? Man is the truth! He understood that... you don't! You are stupid as bricks... I understand the old man... yes! He lied ... but - this is out of pity for you, damn you! “He is a smart girl! .. He ... acted on me like acid on an old and dirty coin ...”

Baron: “Like a patch for tears…”; "The old man is a charlatan..."

Mite: "He ... was compassionate ... You have ... no pity"; “He ... didn’t like the truth, the old man ... He rebelled very much against the truth ... that’s how it should be! True - what's the truth? And without it - there is nothing to breathe ... "

Tatar: “The old man was good ... he had a law to his soul! Whoever has the law of the soul is good! Who lost the law - disappeared! .. "

Luke awakened in the inhabitants of the rooming house all the good that they had in their souls. But at the most intense moment, he disappears. People who believed him, having lost support, plunge into despair. The actor hanged himself after the old man left.

satin

• The name of the hero - Konstantin - becomes known only in the third act of the play. Satin once worked as a telegraph operator, was educated, well-read, but now he is a cheater and an alcoholic. Despite this, words flicker in his speech, the meaning of which he once knew (organon, sicambre, macrobiotics, Gibraltar, transcendental); he quotes Pushkin, uses metaphorical expressions. From the life story of Satin, it is known that he served time in prison: “killed a scoundrel in temper and irritation ... Because of his own sister ...”
• Satin no longer believes in anything, he considers himself dead:

“Actor (poking his head out of the stove). One day you will be completely killed ... to death ...

Satin. And you are an idiot.

Actor. Why?

Satin. Because you can't kill twice. (First act)

"Satin (shouts). Dead people don't hear! The dead don't feel... Shout... roar... the dead don't hear!.." (Second act)

• Satin is not alien to compassion, he is treated with sympathy:

Mite: "you know how not to offend ..."

Baron: "You speak ... like a decent person"; "You can talk calmly."

Satin is trying to stop the beating of Natasha, he is ready to become a witness in favor of Pepel in the case of the murder of Kostylev.

• It is in Satin's monologues that the author's position is expressed:

“A person can believe and not believe ... this is his business! Man is free... he pays for everything himself: for faith, for disbelief, for love, for intelligence - man pays for everything himself, and therefore he is free!... Everything is in a person, everything is for a person!... Man - century! It's great! It sounds…proud! Human! You have to respect the person! Do not pity ... do not humiliate him with pity ... you must respect!

Conflict

Two "truths" in the play

The purpose of the lesson: to show Gorky's innovation; identify the elements of genre and conflict in a play.

Methodical techniques: lecture, analytical conversation.

Lesson equipment: a portrait and photographs of A.M. Gorky of different years, illustrations “At the Bottom”.

Download:

Preview:

During the classes.

1. Conversation on the content of the play "At the bottom".

Some of Nietzsche's philosophical and aesthetic works were reflected in Gorky's early romantic works. The central image of the early Gorky is a proud and strong personality, embodying the idea of ​​freedom. Therefore, Danko, who sacrifices himself for the sake of people, is on a par with the drunkard and thief Chelkash, who does not perform any feats for the sake of anyone. “Strength is virtue,” Nietzsche argued, and for Gorky, the beauty of a person lies in strength and even aimless feat: a strong person has the right to be “on the other side of good and evil”, to be outside ethical principles, like Chelkash, but a feat, from this point vision, is resistance to the general flow of life.

In 1902, Gorky created the drama "At the Bottom".

How is the scene depicted?

The place of action is described in the author's remarks. In the first act, it is a cave-like basement, heavy, stone vaults, sooty, with crumbling plaster. It is important that the writer gives instructions on how the scene is illuminated: “from the viewer and from top to bottom”, the light reaches the bed-lodges from the basement window, as if looking for people among the basement inhabitants. Thin partitions fence off Ash's room. "Everywhere along the walls - bunks." Except for Kvashnya, Baron and Nastya, who live in the kitchen, no one has their own corner. Everything is for show in front of each other, a secluded place only on the stove and behind the cotton canopy that separates the bed of the dying Anna from the others (this way she is already, as it were, separated from life). There is dirt everywhere: a dirty cotton canopy, an unpainted and dirty table, benches, a stool, tattered cardboard, pieces of oilcloth, rags.

The third act takes place in early spring in the evening on a wasteland, "littered with various rubbish and overgrown with weeds in the yard." Let's pay attention to the color of this place: the dark wall of the "barn or stable", the "gray wall of the rooming house covered with the remains of plaster", the red wall of the brick firewall that covers the sky, the reddish light of the setting sun, black elderberry branches without buds.

Significant changes take place in the setting of the fourth act: the partitions of Ash's former room are broken, and the Tick's anvil has disappeared. The action takes place at night, and the light from the outside world no longer breaks into the basement - the stage is lit by a lamp standing in the middle of the table. However, the last act of the drama takes place in a wasteland - the Actor strangled himself there.

What kind of people are the inhabitants of the rooming house?

People who have sunk to the bottom of life end up in a rooming house. This is the last refuge for tramps, outcasts, "former people." Here are all the social strata of society: the ruined nobleman Baron, the owner of the bunkhouse Kostylev, the policeman Medvedev, the locksmith Kleshch, the card maker Bubnov, the merchant Kvashnya, the card sharper Satin, the prostitute Nastya, the thief Pepel. Everyone is equalized by the position of the dregs of society. Very young people live here (the shoemaker Alyoshka is 20 years old) and still not old people (the oldest, Bubnov, is 45 years old). However, their lives are almost over. Dying Anna appears to us as an old woman, and she is 30 years old.

Many shelters do not have names, only nicknames remain, expressively describing their carriers. The appearance of the dumplings merchant Kvashnya, the character of the Mite, the ambition of the Baron are clear. The actor once bore the sonorous surname Sverchkov-Zadunaisky, and now even the memories are almost gone - "I forgot everything."

What is the subject matter of the play? What is the drama's conflict?

Reference: A sharp conflict situation, playing out in front of the audience, is the most important feature of drama as a kind of literature.

The subject of the image in the drama is the consciousness of people thrown out as a result of deep social processes to the bottom of life. Social conflict has several levels in the play. The social poles are clearly marked: on the one side, the owner of the bunkhouse, Kostylev, and the policeman Medvedev, who supports his power, on the other, the bunkhouses, which are essentially powerless. Thus, the conflict between the authorities and the disenfranchised people is obvious. This conflict hardly develops, because the Kostylevs and Medvedev are not so far from the inhabitants of the rooming house.

Each of the overnight stays experienced their own social conflict in the past, as a result of which they found themselves in a humiliating position.

What brought its inhabitants to the rooming house - Satin, Baron, Klesch, Bubnov, Actor, Nastya, Pepel? What is the backstory of these characters?

Satine hit rock bottom after serving time in prison for murder; The baron went bankrupt; Tick ​​lost his job; Bubnov left the house "out of harm's way" so as not to kill his wife and her lover, although he himself admits that he is lazy, and even a drunkard; The actor was drunk; Ash's fate was predetermined already at his birth: "I - from childhood - a thief ... everyone always told me: thief Vaska, thieves son Vaska!". The Baron tells in more detail about the stages of his fall (4 act). Each stage of the life of the 33rd Baron seems to be marked by a certain costume. These dressings symbolize a gradual decline in social status, and there is nothing behind these dressings, life passed like a dream.

What is the peculiarity of the social conflict of each inhabitant of the rooming house?

How is the social conflict related to the dramatic one?

These social conflicts are taken out of the scene, relegated to the past, they do not become the basis of the dramatic conflict.

What kind of conflicts, besides the social one, are highlighted in the play?

There is a traditional love conflict in the play. It is caused by relationships

Vaska Pepla, Vasilisa, wife of the owner of the hostel, Kostyleva and Natasha, Vasilisa's sister. The exposition of this conflict is the conversation of the roomers, from which it is clear that Kostylev is looking for his wife Vasilisa in the rooming house, who is cheating on him with Ash. The plot of this conflict is the appearance of Natasha in the rooming house, for the sake of which Pepel leaves Vasilisa. As the love conflict develops, it becomes clear that the relationship with Natasha revives Ash, he wants to leave with her and start a new life. The culmination of the conflict is taken offstage: at the end of the third act, we learn from the words of Kvashnya that “they boiled the girl’s legs with boiling water” - Vasilisa knocked over the samovar and scalded Natasha’s legs. The murder of Kostylev by Ash turns out to be the tragic outcome of a love conflict. Natasha ceases to believe Ash: “They are at the same time! Damn you! You both…"

What is the nature of love conflict?

Love conflict becomes a facet of social conflict. He shows that inhuman conditions cripple a person, and even love does not save a person, but leads to tragedy: to death, injury, murder, hard labor. As a result, Vasilisa alone achieves all her goals: she takes revenge on her former lover Pepl and her sister, rival Natasha, gets rid of her unloved and disgusted husband and becomes the sole owner of the rooming house. There is nothing human left in Vasilisa, and this shows the enormity of the social conditions that have disfigured both the inhabitants of the rooming house and its owners. The shelters do not directly participate in this conflict, they are only bystanders.

1. Teacher's word.

The conflict in which all the characters are involved is of a different kind. Gorky depicts the consciousness of the people of the bottom. The plot unfolds not so much in external action - in everyday life, but in the dialogues of the characters. It is the conversations of the roommates that determine the development of the dramatic conflict. The action is transferred to the non-event series. This is typical for the genre of philosophical drama.

Outcome. The genre of the play can be defined as a socio-philosophical drama.

D.Z.

Identify the role of Luke in the play. Write out his statements about people, about life, about truth, about faith.