Characters:
Ataman, formidable, in a red shirt, black undershirt, black hat, with a gun and a saber, with pistols in his belt; undershirt and hat are richly decorated with gold paper
Esaul, dressed almost the same as Ataman; silver paper decorations
robbers, dressed in red shirts, on their heads are fur hats with badges made of multi-colored paper, various weapons are in their belts.
Unknown(aka Bezobrazov), dressed in a soldier's uniform, with a gun in his hands and a dagger in his belt.
rich landowner, elderly, sometimes gray-haired, in shoes, a jacket or dressing gown, a bowler hat on his head, a pipe with a long stem in his hands.
The action takes place on the wide expanse of Mother Volga, on a light boat, the last scene is on the shore, in the house of a rich landowner. No scenery, no backstage, no prompter, or any stage equipment in general is required.
All those participating in the performance enter a predetermined hut with the singing of a song. Most often the following is performed:
Let me, let me, master
Enter the new hill!
Chorus: Oh viburnum, oh raspberry!
Black currant!
Black currant!
Enter the new hill
Walk along the hill
Walk along the hill
Speak the word!
In your house, master,
Is there an extra log?
If an extra log,
Let's cut him out!
At the end of the song, Yesaul steps forward and, turning to the owner, says: “Would you like to see the performance, owner?” The owner usually answers: “You are welcome!”, “Welcome!” or something like that.
All participants in the performance go to the middle of the hut and form a circle, in the middle of which Ataman and Yesaul stand against each other.
Ataman
(He stamps his foot and screams menacingly.)
Esaul (In the same way, he stamps his foot and shouts back.)
Ataman
Come to me quickly
speak to me boldly
Won't come soon
Do not speak boldly -
Esaul
Here I am in front of you
Like a leaf before grass!
What do you order, Ataman?
Ataman
Something boring ... Sing me my favorite song.
Esaul
Listen, Ataman!
Sings a song, the choir picks up.
The beginning of each line sings Esaul.
Oh, you, my mountains, mountains.
Vorobyovskie mountains!
Nothing you, oh yes mountains,
Didn't argue
You only spawned, mountains,
White combustible stone!
Runs from under the stone
A fast river ... etc.
The chieftain, while singing a song, walks back and forth in deep thought with his arms crossed on his chest. At the end of the song, he stops, stomps his feet and screams.
Ataman
Come to me quickly
Talk to me boldly!
Won't come soon
Do not speak boldly -
I order you to roll a hundred
Your Esaul service will be lost for nothing!
Esaul
What do you order, mighty Ataman?
Ataman
Let's go down the mother along the Volga to roam
Go to the ataman cabin,
Look in all directions:
Yesaul takes a cardboard tube and looks around.
Ataman
(screaming.)
Look back, tell me quickly!
Esaul
I look, I look and I see!
Ataman
Tell me what you see
Esaul
I see: a deck on the water!
Ataman
(No matter how I heard.)
What the hell is the voevoda!
Whether there are a hundred or two hundred -
I know them and I'm not afraid
And if I flare up
I'll get even closer to them!
Esaul-well done!
Take my suspicious phone
Go to the ataman cabin,
Look at all four sides
Are there any stumps, roots, small places?
Lest our boat run aground!
Look back, tell me quickly!
Yesaul starts looking around again. At this time, the singing of the song is heard from afar:
Among the dense forests
The robbers are coming...
Ataman
(Angrily stomping and screaming.)
Who is this walking in my reserved forests
And sings songs so loudly?
Take and bring here immediately!
Esaul
(Jumps out of the boat, but now comes back.)
A daring stranger walks in your protected forests
And sings bold songs
But you can't take it:
Threaten to kill with a gun!
Ataman
You are not an esaul, but a woman,
Your guts are weak!
Take as many Cossacks as you want
And bring a daring stranger!
Yesaul takes several people and jumps out of the boat with them.
Yesaul with the robbers return and bring with them the bound Stranger.
Ataman
(Terrible.)
Who are you?
Stranger
Feldwebel Ivan Pyatakov!
Ataman
How dare you walk in my reserved forests
And sing daring songs?
Stranger
I don't know anyone
Wherever I want, I walk there
And I sing daring songs!
Ataman
Tell us, whose tribe are you?
Stranger
I don't know my tribe
And recently I walk freely ...
There were two of us - my brother and me.
Raised, nurtured someone else's family;
Life was not sweet
And envy took us;
Bored bitter fate
I wanted to take a walk at will;
My brother and I took a sharp knife
And set off on a dangerous trade:
Will the moon rise in the sky
We are from the underground - into the dark forest,
We crouch and sit
And we all look at the road:
Whoever walks along the road -
We beat everyone.
We take everything!
And not at midnight deaf
Let's lay down a triple
We drive up to the tavern
We drink and eat everything for free ...
But the good fellows did not walk for long,
We were soon caught
And together with his brother, the blacksmiths forged,
And the guards took to prison,
I lived there, but my brother could not:
He soon fell ill
And didn't recognize me
And he recognized everything for some old man;
My brother soon died, I buried him,
And he killed the sentry
He himself ran into the dense forest,
Under the cover of heaven;
Wandered through the thickets and slums
And I got to you;
If you want, I will serve you
I won't let anyone down!
Ataman
(Turning to Yesaul.)
Write it down! This will be our first warrior.
Esaul
Listen, mighty Ataman!
(Turning to the Stranger.)
What is your name?
Stranger
Write - Bezobrazov!
Ataman again orders Esaul to take a telescope and see if there is any danger.
Esaul
(Declares.)
Ataman
(No matter how I heard.)
What the hell
These are worms in the mountains,
In the water - devils
In the forest - knots,
In the cities - judicial hooks,
They want to catch us
Yes, sit on the prisons,
But I'm not afraid of them
And I'll get closer to them!
Look back
Tell me soon
Otherwise, I will order you to roll a hundred raziki -
Your Esaul service will be lost for nothing!
Esaul
(Looking down the pipe again.)
I look, I look and I see!
Ataman
What do you see?
Esaul
I see a big village on the shore!
Ataman
That would have been so long ago, otherwise our belly has let down for a long time!
(Addressing the rowers.)
Turn on guys!
All robbers
(They pick up the chorus and sing the song cheerfully.)
Turn it up guys
To the steep bank, etc. to the end.
The boat comes to shore. Ataman orders Esaul to find out who lives in this village.
Esaul
(Shouting to the audience.)
Hey, half-honors, who lives in this village?
Someone from the audience answers: "Rich landowner!"
Ataman
(Sends Esaul to the rich landowner to find out.)
Is he happy for us?
Dear guests?
Esaul
(He gets out of the boat and, going up to one of the participants in the performance, asks.)
Is the owner at home? Who lives here?
landowner
Wealthy landowner.
Esaul
We need you!
Are you happy for us
Dear guests!
landowner
Esaul
How glad?
landowner
How the hell!
Esaul
How how? Repeat!
Like dear friends.
Esaul
Well, that's it!
Yesaul comes back and reports everything to Ataman. The ataman orders the robbers to visit the rich landowner. The gang gets up and walks around the hut several times, singing a “roaring” song: “Hey mustache! Here are the mustaches! Ataman mustache! Having finished the song, the gang approaches the rich landowner. The Ataman and the Landowner almost literally repeat the dialogue with Esaul.
Ataman
Is there money?
landowner
Ataman
You're lying, is there?
landowner
I tell you - no!
Ataman
(Turning to the gang, screaming.)
Hey, well done, burn, fell Rich landowner!
There is a scuffle and the show ends.
Lessons 77 - 94
Homework . Read an oral work folk art "Boat".
Lessons 77-78. Drama as a kind of literature
CHARACTERS
Recorded by N.N. Vinogradov
Ataman, formidable, in a red shirt, black undershirt, black hat, with a gun and a saber, with pistols in his belt; the undershirt and hat are richly decorated with gold paper.
E with a l 1, dressed almost the same as the Ataman; silver paper decorations.
The robbers are dressed in red shirts, on their heads are fur hats with badges made of multi-colored paper, various weapons are in their belts.
Unknown (aka Bezobrazov), dressed in a soldier's uniform, with a gun in his hands and a dagger on his belt.
A wealthy landowner, elderly, sometimes gray-haired, in shoes, a jacket or dressing gown, a bowler hat on his head, in his hands a pipe with a long shank.
The action takes place on the wide expanse of Mother Volga, on a slant 2 boat; the last scene on the shore, in the house of a rich landowner. No scenery 3 , no scenes 4 , no prompter 5 , nor any stage equipment in general is required.
All those participating in the performance enter a predetermined hut with the singing of a song. Most often the following is performed:
Allow me, master.
Enter the new hill!
Example: Oh, viburnum, oh, raspberry!
Black currant. (twice)
Enter the new hill
Walk along the hill (twice)
Speak the word.
In your house, master,
Is there an extra log?
If an extra log,
Let's cut him out!
At the end of the song, E with a u l comes forward, and, turning to the owner, says: “Would you like to see the performance, owner?”
The owner usually answers: "You are welcome!", "Welcome!" or something like that.
All participants in the performance go to the middle of the hut and form a circle, in the middle of which they stand against each other Ataman and Esaul.
S c e n a 1st
A ta man (stomps his foot and screams menacingly). Esaul!
E s a u l (stomps his foot in the same way and shouts in response). Ataman!
A t a m a n. Come to me quickly
Speak to me boldly!
Won't come soon
Do not speak boldly -
I order you to roll a hundred
E a l. Here I am in front of you
Like a leaf before grass!
What do you order, Ataman?
A t a m a n. Something is boring... Sing me my favorite song
E with a l. Listen, Ataman! (Sings a song, the choir picks up. The beginning of each line is sung by Esaul.)
Oh you mountains, my mountains,
Vorobyovskie mountains!
Nothing, you, oh yes, the mountains.
They didn't argue.
You only spawned, mountains,
White-combustible stone.
Runs from under the stone
A fast river ... etc.
Ataman, while singing a song, walks back and forth in deep thought, with his arms crossed on his chest. At the end of the song, he stops, stamps his foot and screams.
A t a m a n. Esaul!
Come to me quickly
Talk to me boldly!
Won't come soon
Do not speak boldly -
I order you to roll a hundred
Your Esaul service will be lost for nothing!
A t a m a n. We'll hang out here. Let's go down the Mother Volga for a walk. Instantly build me a stagnant boat!
E with a l. Ready, Ataman.
Rowers in places
Paddles on the sides!
Everything is in perfect working order.
At this time, all the robbers sit down on the floor, forming an empty space (boat) between them, in which Ataman and Esaul walk about.
A t a m a n (referring to E s a u l u). Well done! Spent soon! (Turning to the rowers.) Pray guys to God! Back off.
The rowers take off their hats and cross themselves; then they begin to sway back and forth, clapping hand in hand (rowing and splashing of oars are depicted).
A t a m a n. Esaul! Sing my favorite song!
E s a u l, together with all the robbers, sings:
Down the mother along the Volga ...
A t a m a n (interrupting the song). Esaul!
Come to me quickly
Talk to me boldly!
Won't come soon
Do not speak boldly -
I order you to roll a hundred
Your Esaul service will be lost for nothing!
E with a l. What do you order, mighty Ataman?
A t a m a n. Pick up the suspicious phone
Go to the Ataman cabin,
Look in all directions:
Are there no stumps, roots, small places?
ESAUL takes a cardboard tube and looks around.
A t a m a n (shouts). Look back, tell me quickly!
E with a l. I look, I look and I see!
A t a m a n. Tell me what you see
E with a l. I see: a deck on the water!
A t a m a n ( as if I didn't hear it).
What the hell is the governor!
Whether there are a hundred or two hundred -
Let's put them all together!
I know them and I'm not afraid
And if I flare up
I'll get even closer to them.
Esaul-well done!
Take my suspicious phone
Go to the ataman cabin,
Look at all four sides
Are there no stumps, roots,
small places,
Lest our boat run aground!
Look back
Tell me quickly!
Esaul starts looking around again. At this time, the singing of the song is heard from afar:
Among the dense forests
The robbers are coming...
A t a m a n (angrily stomping and screaming).
Who is this walking in my reserved forests
And sings songs so loudly?
Take and bring here immediately!
E s a u l (jumps out of the boat, but immediately returns).
A daring stranger walks in your reserved forests
And sings bold songs
And you can't take it
Threaten to kill with a gun!
A t a m a n. You are not Esaul, but a woman,
Your guts are weak!
How many Cossacks you want take.
And bring a daring stranger!
Esaul takes several people and jumps out of the boat with them.
S c e n a 2nd
Esaul with the robbers return and bring with them the bound Stranger.
A t a m a n (terribly). Who are you?
I don't know about me. Feldwebel 6 Ivan Pyatakov!
A t a m a n. How dare you walk in my reserved forests
And sing bold songs.
I don't know about me. I don't know anyone:
Wherever I want, I walk there
And I sing daring songs!
A t a m a n. Tell us, whose tribe are you?
I don't know about me. I don't know my tribe
And I've been walking freely recently.
There were two of us - brother and me,
Nurtured, nurtured someone else's family.
Life was not sweet
And envy took us;
Bored bitter fate
I wanted to take a walk.
My brother and I took a sharp knife
And set off on a dangerous trade:
Will the moon rise in the sky
We are from the underground - into the dark forest,
We crouch and sit
And we look at the road:
Whoever walks the road
Rich Jew
Or a belly-bellied gentleman, -
We beat everyone
We take everything!
And not at midnight deaf
Let's lay down a triple
We drive up to the tavern
We drink and eat everything for nothing ...
But the good fellows did not walk for a long time,
We were soon caught
And together with the brother, the blacksmiths forged,
And the guards took to prison,
I lived there, but my brother could not:
He soon fell ill
And didn't recognize me
And he recognized everything for some old man.
My brother soon died, I buried him,
And he killed the guard.
He himself ran into the dense forest
Under the cover of heaven;
Wandered through the thickets and slums
And got to you.
If you want, I will serve you
I won't let anyone down!
A t a m a n (referring to E s a u l u). Write it down! This will be our first warrior.
E with a l. Listen, mighty Ataman! (Turning to the Unknown.) What is your name?
I don't know about me. Write - Bezobrazov!
Ataman again orders Esaulul to take a telescope and see if there is any danger.
E s a u l (declares). On the sea black 7,
A t a m a n (as if he didn't hear it).
What the hell?
These are worms in the mountains,
In the water - devils
In the forest - knots,
In the cities - referee hooks
They want to catch us
Yes, sit on the prisons.
But I'm not afraid of them
And I'll get closer to them.
Look back
Tell me soon
Otherwise, I’ll order you to roll a hundred raziki -
Your Esaul service will be lost for nothing!
E s a u l (looking again into the pipe). I look, I look and I see!
A t a m a n. What do you see?
E with a l. I see a big village on the shore!
A t a m n. It would have been like this for a long time, otherwise our belly has let down for a long time. (Turning to the rowers.) Turn around guys.
All the robbers in chorus pick up and merrily sing the song:
Turn it up guys
Along the steep bank ... etc. to end.
The boat comes to shore. Ataman orders Esaul to find out who lives in this village.
E s a u l (Screams to audience.) Hey, half-honors, who lives in this village?
Someone from the audience answers: "Rich landowner!"
Ataman (sends Esaulak to God the landowner to find out).
Is he happy for us?
Dear guests?
S c e n a 3rd
E s a u l (gets out of the boat and, going up to one of the participants in the performance, asks). Is the owner at home? Who lives here?
Landowner. Wealthy landowner.
E with a l. We need you!
Are you happy for us.
Dear guests?
Help!
E with a l. How glad?
Pom esch and k. How the hell!
E s a u l (terribly). Ka-ak? Repeat!
E with a l. Well. That's it! […]
Esaul comes back and reports everything to Ataman.
Ataman tells the robbers to go to visit the rich landowner. The gang gets up and walks around the hut several times, singing a "roaring" song: "Hey, mustache! Here are the mustaches! Ataman mustache!
Having finished the song, the gang approaches the rich landowner.
Ataman and landowner repeat almost literally the dialogue with
e s a u l o m.
A t a m a n. Is there money?
L o m e s h i k. No!
A t a m a n. You're lying, there is!
Pomeshch and k. I tell you - no!
A t a m a n. (turning to the gang, shouting). Hey, well done, burn, fell Rich landowner!
U. At home, you got acquainted with the work of oral folk art, which is called "Boat". And you, of course, have already noticed that this work is somehow special: it begins with a list actors, then we are talking about the scenery, then comes "Scene 1st". In the scenes, the characters talk and sing different songs, mostly about the life of robbers. You have to find out the features of this work. Where should you start?
D. First you need to find out what kind of work it is. This is a play. Written for stage performance. We have already read the plays of Maeterlinck and Marshak.
U. The plays are meant to be staged on the theatrical stage. But this play is special. It is not intended for the theatre. It, judging by the beginning of the text, was played by the peasants in some kind of hut. Let's try to understand the features of this folklore genre. What determines the structure of each genre?
D. genre task.
U. And what is the level of the leader that meets the task of the genre in such works as a fairy tale, story, song?
D. Picture of life.
U. Where is it better to start: with the task of the genre or with the picture of life?
D. It is easier to first understand the picture of life, and then think about what problem the author solves by choosing just such a picture of life.
U. Well, let's start with a picture of life. What is she?
D. The robbers are sailing on a boat and talking, then they meet an unknown person, they rob the landowner.
U. The heroes of the "Boat" talk, perform some actions. What is this all for? What task is "hidden" here? Is this task similar to the task of the genres you already know? (You can invite the children to look at the diagrams.)
D. General task epic genres - to tell about the events and the manifestation of the inner world of the characters in them in the assessment of the narrator. And here the characters perform some actions by which we learn about what kind of characters they have. There is their speech, from which we learn what they think, feel. Heroes are tested in clashes, in conflict. Just no narrator. It should not be in the play, because the play is not told, but shown.
U. So, this play cannot be attributed to the epic genres.
What can you say about spiritual qualities characters in the play? How does the author-people evaluate them?
D. The heroes of the play are robbers. They rob the rich landowner. And the people do not feel sorry for the landowner at all: “Hey, well done, burn, the Rich Landowner has fallen!”
U. Do you like robbers?
U. Didn't you find it funny when you read this play?
D. Robbers are funny - they say funny: " suspicious a tube". It's funny when Ataman pretends that he didn't understand Esaul. Or he's actually deaf, and that's funny too.
U. Often in this play it is funny that the characters pronounce "wrong" words like "suspicious pipe" and other words called "colloquial". After all, the people said plain language, did not know the literary language in which educated people wrote and spoke.
And I would like to emphasize one more thing: the word "Jew" in those days was not abusive, offensive. It meant the same as the word "Jew".
Outcome of the discussion.
The robbers in this play are not scary and even funny. Relationships with them are complex. Ataman and Yesaul cause laughter, and the Stranger, who talks about his life, sympathizes. Ridiculous and rich landowner, who at first declares that he is glad uninvited guests"like hell." And then, frightened, he says - "as dear guests." He does not want to give away his wealth, which is dearer to him than life, and provokes the wrath of the robbers. The show ends with a dump. Which is also funny. On the other hand, the free life of robbers is attractive to the creators of this drama.
In general, folk works often depict " noble"Thieves who stand up for the poor, rob the rich and distribute their wealth to the poor, that is, according to the people, they act justly.
Noble robbers in folklore also became real leaders of popular riots - Stepan Razin, Emelyan Pugachev.
But there are other works of folk art in which cruel murderous robbers are bred. Such robbers rob and kill everyone in a row, and their people condemned.
A. Pushkin "Brothers-robbers".
But were the real robbers really noble? To answer this question, let us turn to the unfinished poem Alexander Sergeevich Pushkin "The Robber Brothers".
Listen to the beginning of this poem (reads an excerpt from the poem - see task No. 12 in the literature notebook).
Not a flock of ravens flew
On piles of smoldering bones
Beyond the Volga, at night, around the lights
The remote gang was going.
What a mix of clothes and faces
Tribes, dialects, states!.
From huts, from cells, from dungeons
They flocked 8 for constrictions 9!
Here the goal is the same for all hearts -
They live without power, without law.
Between them is seen and the fugitive
From the banks of the warlike Don,
And in black curls a Jew,
And the wild sons of the steppes,
Kalmyk, ugly Bashkir,
And a red-haired Finn, and with idle laziness
Everywhere wandering gypsies!
Danger, blood, debauchery, deception -
The essence of the bonds of a terrible family;
The one with a stone soul
Passed all degrees of villainy;
Who cuts with a cold hand
A widow with a poor orphan,
To whom the moaning of children is funny,
Who does not forgive, does not spare,
Who delights in killing?
Like a young man of love, a date.
Everything is quiet, now the moon
Its pale light directs them,
And a glass of foamy wine
From hands to others passes.
Stretched out on damp ground,
Others fall asleep lightly, -
And ominous dreams fly
Over their criminal head.
To others the stories are cut
Gloomy night is an idle hour;
Alien's new story,
And all around him listens:
“There were two of us: my brother and me.
We grew up together; our youth
Raised by an alien family:
We, children, life was not a joy;
We already knew the needs of the voice,
They endured bitter contempt,
And early worried us
Cruel envy torment.
Didn't stay with the orphans
No poor hut, no field;
We lived in grief, among worries,
We are tired of this share,
And agreed among themselves
We have a lot to test a different one:
We took as comrades
Damascus knife and dark night;
Forgotten shyness and sadness
And the conscience was driven away ... "
U. Does the alien monologue remind you of anything?
D. Very similar to the monologue of the Stranger.
U. Right. And this happens because Pushkin's poem is connected with a folk robber song about two robber brothers. AND " Boat", And poem Pushkin based on the same story. Folklore researchers believe that an excerpt from Pushkin's poem is included in the folk play in a modified form. Indeed, in the text of the folk play there is no explanation why the sick brother mistook the Stranger for "some old man." Who is this old man? And in Pushkin's poem, the stranger talks about the old man and explains why his brother remembered him:
Then again flared up in it
Boring conscience torment:
Ghosts crowded before him,
Threatening with a finger from afar.
Most often the image of an old man,
long slaughtered by us,
It came to his mind;
Sick, closing his eyes with his hands,
He prayed for the old man like this:
"Brother! Have pity on his tears!
Do not cut it for old age ...
His decrepit cry is terrible to me ...
Let him go - he is not dangerous;
There is no warm blood in it ...
Do not laugh, brother, over gray hair,
Do not torment him ... maybe with pleas
He will soften God's wrath for us! .. "
And now open in notebooks on literature task number 12. First, write yourself: which text do you like best and why.
Children in writing answer the question of the task, and then compare their answers orally.
U. Do the Stranger in the folk play and the stranger in Pushkin's poem evaluate their actions equally?
D. In the folk play, the Stranger says nothing about conscience. So his conscience does not bother him. But the hero of Pushkin says that they "driven the conscience away."
U. How does the narrator in Pushkin's poem evaluate the robbers? Let's find in the text words-evaluations and underline them.
Children under the guidance of the teacher complete the task.
Outcome of the discussion. Pushkin has a completely different assessment of the robbers. Yes, Pushkin feels sorry for the brothers when they were little orphans, he sympathizes with their grief, but, unlike the creators of The Boat, he does not sympathize with robbery, as a result of which people die. Pushkin is bitter, for him a robber is, first of all, a villain who is waiting for "God's wrath."
IN folk work everything is different: there the robbers are cheerful, free people, although they are funny in some of their manifestations. For no reason, they attack the Rich Landowner, who did them nothing wrong. And the scene of their collision is also presented not scary, but funny.
U. Let's return to our task. You have to understand the features of this play as a type of folk art. Think about whether there are similarities between The Boat and any particular type of fairy tale?
D. Eat. It looks like a household fairy tale. The task of a household fairy tale is to ridicule the evil features of a person, to express admiration for his intelligence and resourcefulness. The picture of life is everyday, there are heroes - ordinary people, they perform such actions in which their spiritual qualities are tested.
U. What is the leading emotional tone in a household fairy tale?
D. (vying with each other). Smile. Laugh at people's bad traits. Joyful surprise ingenuity.
U. Is there anything funny in Pushkin's poem about robbers?
D. No. It's all very sad, seriously. And even scary.
U. And in the "Boat" - is everything funny, or is there sadness here?
D. It's a pity for the Stranger - in childhood, he and his brother had a "bitter fate." It's sad when the Stranger says that his brother died.
U. Plays are funny - they are comedies. There are sad, mournful - these are tragedies. There are laughter and tears in plays; such plays are called dramas"(from the Greek. "action"). So, you have found similar features of the play! Boat "with household fairy tale. Is there a difference? If so, what is it primarily expressed in?
D. (vying with each other). There is no narrator. "Boat" does not affect. Her actors play. This is a play.
U. And at the beginning of the lesson, you correctly noted that there is a similarity folk play "Boat" with original plays Maurice Maeterlinck "The Blue Bird" And Samuil Marshak« Twelve months". But before talking about the similarities between folk plays and author's plays, remember what features of author's plays you "discovered" for yourself last year.
Note. For further "memories", the teacher should reread the relevant lessons in the previous manual. It is desirable to restore in the memory of children the texts of the plays of Maeterlinck and Marshak.
As a result of the discussion children "discover" the concept of " drama as a kind of literature. In the course of the lesson, the teacher is on the blackboard, and the children in their notebooks fill out the “Drama” column in diagram No. 14. (After the lesson, the table is entered in the class book.)
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TYPES OF LITERATURE |
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Lyrics |
epic |
Drama |
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Task |
Express internal events and their manifestations in the external world |
Tell about external events and the manifestation of the inner world of heroes in them in the assessment of R |
Show external events and the manifestation of the inner world of heroes in them |
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Peculiarities |
Development of thought-feeling LG (lyrical plot) |
The development of the action: the conflict (clash) in which the characters participate, and its resolution (epic plot) |
Development of the action: the conflict in which the characters participate and its resolution (dramatic plot) |
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Main genres |
Small works various subjects(usually in verse form) |
Story, fairy tale, epic, fable, …………
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Play …………
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Conclusion.
The task of the drama is to show on the theatrical stage the actions of the characters, their behavior in conflict, revealing their inner qualities. The characters in front of the audience perform some actions, talk to each other. This is how the heroes of the play are "tested". The plays do not have a narrator.
The main feature of the play is that it is intended not to be read, but to be staged. A lot of people are working on the production: the director, the set designer and costume designer, the musical designer of the performance, lighting and, of course, the actors who play the roles of the characters. And the characters are called "actors". And they are called so because operate: moving around the stage, talking. And everything that the actors should not say, but all the directors of the performance should know, the author writes down for them in a special font - in remarks(from the French "author's explanation", "author's instructions"). Before the start of the play, a list of actors (heroes) is reported, then he writes about what scenery should be on the stage, and everything that the actor needs to do is written along the text of the play, usually in brackets.
U. Today you got your first impressions of the drama as kind literature. In the future, you will have to deepen these concepts, get acquainted with dramatic genres, and learn how to apply them in your reading practice.
Please note that the term "drama" refers to both a kind of literature and one of its genres. The third meaning in which this word is used in ordinary speech is “a difficult event, an experience that causes moral suffering.
Now we can talk about similarity author's plays and folk plays. What are the similarities between these works?
D. They are composed for staging, for the performance of performers. They, of course, have a similar task - to show the inner qualities of the characters through their actions and statements, to express author's assessment what is happening.
U. Is there a difference in what the author expects from directors? Well, for example, compare how the scene is described by Marshak and how it is described in "The Boat"?
D. Marshak is counting on a real theater, with scenery and lighting. And in a folk play, the action takes place in a hut, there is no scenery, I even “make” a boat out of robbers.
U. Yes. This is a folk play folk drama. Are you ready to complete the scheme of building "folk drama" as a genre?
D. ...
U. Usually, before drawing conclusions about the structure of a genre, do we analyze one work or several? Why?
D. Some. It is impossible to judge a genre by one text, because a genre is a common feature various works of this kind.
U. True, the scheme includes the most common features of many works. And it was all the more easy for you because with the works of all previous genres (with different fairy tales and with fables) you were familiar in advance. Here are just the drawling songs you didn’t know well, but they are small in volume, and you could quickly get acquainted with several of them. And “folk dramas” are big texts. In addition, there are generally few of them (it was not the most common genre of folk art). How can we be with the scheme?
D. ...
U. In order not to make a mistake (suddenly some features, most likely, not the main ones, but still come across in other dramas or, conversely, they will not be in other dramas), let's make the scheme more specific, not to folk drama in general, but to a certain folk drama "Boat".
The teacher is on the blackboard, and the children are in their notebooks begin recording scheme No. 12 (the final form of the scheme, see below).
The task of the play- to cause laughter of the audience in relation to the characters, to arouse sympathy for some of them. Leading levelpicture of life- the actions of the characters, their speech. Heroes are ordinary people. Actions and conversations that reveal inner world heroes.
U. Which next level should you reveal?
D. Building a picture of life.
U. What determines the construction of a picture of life in epic works similar in task to folk drama?
D. Plot.
U. Yes, the development of action, the development of the conflict in which the characters participate. What moments did you highlight in the plot of fairy tales?
D. Preaction, initiation of action, climax of action, denouement and aftereffect.
U. Is all this in the drama "Boat"?
The teacher, under the "dictation" of the children, draws a diagram of the plot on the board (options are possible).
Suggestion: "Sing my favorite song."
Z1 - "Build me a boat."
B1 - rowers sit on the floor.
R1 - "Back off!"
Z2 - "Who is this ... walking ... bring here immediately!"
B2 - "How dare you...?" - "Wherever I want, I walk there ..."
R2 - “Write it down! This will be our first warrior."
Z3 - "Is he glad to us, dear guests?"
B3 - "Do you have money?" - "No".
R3 - "Burn, fall of the Rich Landowner!"
U. Just like epic texts, drama has a plot. How do you find out about the plot in a drama?
D. Actors act and speak.
U. And from their actions, from their words, we learn about the events. Where, for example, do you learn about the Unknown?
D. A song is heard behind the stage, and then Ataman orders to find the one who sings.
U. And how do you know how this meeting ended?
D. From the words of Ataman: "This will be our first warrior."
U. This means that we learn about the development of actions, about the actions, characters of the heroes when see the actions of actors playing the roles of heroes, and hear their conversation is a dialogue. But in this conversation - heroes dialogue- Bursts a long story of the Unknown about his fate. Is this statement the same as all the others, or does it have some peculiarities?
D. ...
Outcome of the discussion. This is a special statement - it seems to be independent of other replicas. Such a statement introduces the viewer to circumstances that have not been staged: how else could we learn about the hero's past?
U. There are also special statements in the text of this drama. For example:
E s.a at l. I see: a deck on the water!
A t a m a n ( as if not hearing).
What the hell is the governor!
Whether there are a hundred or two hundred -
Let's put them all together!
I know them and I'm not afraid
And if I flare up
I'll get even closer to them.
E with a l. On the sea black.
A t a m a n (as if he didn't hear it).
What the hell?
It's worms in the mountains
In the water - devils
In the forest - knots,
In the cities - referee hooks
They want to catch us
Yes, sit on the prisons.
But I'm not afraid of them
And I'll get closer to them.
At. You have already said that it turns out very funny when Ataman answers out of place, “as if he didn’t hear it.” Is this for laughs? Or is there another purpose? Are these words necessary for the development of action? Is the ataman really “getting close” to the governor, to the “judicial hooks”?
D. No, it is not selected. Action because of these words does not develop.
U. Then why?
D. …
Outcome of the discussion. Ataman here expresses some of his thoughts. The creator of the drama, as it were, gives the Ataman the opportunity to reveal his inner world to the viewer, to show his attitude to life through a statement that is not directly related to the development of the action. Such statements, which do not depend on the interlocutor's remark, reveal mental life hero, his character, and are called monologue(from the Greek "one" and "word", "speech"), in contrast to dialogue- a conversation between two people. You came across this kind of monologue in a fable:
- undress me, undress me,
Lay me, cover me
turn me over
And there, go, I'll fall asleep myself.
Next, the teacher leads the children to write in the diagram: Building a picture of life- preaction, plot, peak, denouement, dialogue, monologue, remarks, songs.
Then, with the help of a teacher, the children identify the features of the remaining levels of the form, noting a special non-literary level - the acting ( write down "discoveries" in scheme No. 12).
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FOLK DRAMA "BOAT" |
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The task of the play. To cause laughter of the audience in relation to the characters, to evoke sympathy for some of them. |
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Leading level Picture of life. The actions of the characters, their speech. Actions and conversations of heroes performed by "actors". HEROES are ordinary people. ACTIONS AND TALKS revealing the inner world of the characters. |
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Construction of QOL. Preaction, tie, peak, denouement. Dialogue, monologue, remarks, songs. |
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Offer. Replicas. |
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Word. vernacular. |
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Sound drawing. Enhances the expressiveness of QOL. |
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Rhythmic pattern. The rhythm of the verse prevails. |
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Rhyme. End and inner. |
Acting
(After the lesson, transfer the diagram to the class book.)
U. Now that you have remembered what you knew about author's plays, learned something about folk drama and even got the first ideas about drama as kind literature, one can raise the question of how a play is created. How did, for example, Marshak act? And how did the author who created the play "The Boat" act?
D. Marshak took an already existing fairy tale and made a play out of it. And about the "Boat" we have already said that a folk robber song about two robber brothers was known. And Pushkin wrote his poem on the plot of this song. And in the folk drama, a monologue of an alien from Pushkin's poem is used.
U. Exist two ways creating plays. Can be "translated" into a play epic work. So Marshak shifted fairy tale - epic genre- into a play, and the result was a "dramatic fairy tale." And you can come up with a play immediately as a play. And these are different works of art. Here we always say: "Author, author." But depending on what the author composes, he is called differently. What is the name of the author who writes poetry?
D. Poet.
D. Storyteller.
D. Playwright.
U. Yes, playwright creates the play himself. And what is the name of the work of the author, who takes the finished epic work and creates a play based on it?
What does a dramatist need to do in order to “translate” an epic work into a dramatic one? Compare the tasks of the epic and drama (diagram No. 14). What is the similarity? What is the difference?
Children express their opinions.
Homework
.
Read the articles "Drama" and "Staging" in the textbook. Make a dramatization of the fairy tale "The Golden Sickle" - the first "wave" of the plot: Z1 - the request of the fox, B1 - the fox does not give the sickle, P1 - the hare is crying. You can work together and then play prepared dramatizations.
Lesson 79
Collective creative work
U. At home, you should have tried to translate a part of the fairy tale "The Golden Sickle" for staging on stage. What is this type of work called?
Natasha. Staged.
Dima. Yes, sure. I thought up an introduction about a hare.
U. So, who's ready to try first?
Three come out: Artem , Rafik , Dima .
Artem. Mother rye goes to the ear (this is for the artist). And in brackets: "The Fox and the Hare came to the market." The third is the seller.
Artem: Sell the sickle.
R a f i k. With you 10 sous.
Dima. Sell.
Artem. Then in brackets: "The hare pressed a lot."
U. Such a remark in brackets can be given in the text of the play, but how can this be shown on stage?
Children do gestures as if they are reaping.
Dima. The fox approached the hare: "Let the sickle work for a day."
ARTEM: Please. (Pause.) Give me back my sickle.
Dima. Get out of here, wicked one.
U. Let's evaluate the work. What worked and what didn't work in the staging?
Pavlik. It is necessary not to say "in brackets", but to show. It's not for reading.
U. Yes. And the actors had to tell. And they pressed a lot or a little - it's not visible. What is the fox like?
D. Cunning.
U. Immediately cunning or not immediately?
Misha. Here she is a simpleton - she bought herself a bast sickle.
U. Why was she stupid?
Mitya. There is no money ... And I hoped.
U. You are already thinking about it. Was it in the text of the fairy tale?
Lena. She is smart but stupid.
U. And the fox must be greedy. Have you seen it? Bast sickle is cheaper. Did she ask the price of the sickle?
D. No.
U. And more about the price. In a Russian fairy tale, can there be "su"?
Nastya. No, we had money.
U. Or polushki, but certainly not “su”.
Misha. And if she is greedy, then she would buy a lot: everything for herself and herself.
U. But for this you need to spend a lot of money. You, Misha, invent your own fox, and you only have to stage it. You need to portray such a fox as it is in a fairy tale. And in the fairy tale it says "stored." Is it necessary to go to the market for this?
D. (vying with each other). Maybe she already had a sickle. She did it herself. Money was a pity. Too lazy to go. It's hot, far away.
U. Let's go back to the beginning of the tale: “It was in the summer - from spring to autumn. Mother rye began to rush to the ear, to pour at the right time. This is our authors "translated" into the scenery. And “it’s time to reap”, can this be “translated” into a decoration?
D. (in order). Words must be done. A hare can run and say: "It's time to reap." Add heroes, villagers.
U. Needed here extra heroes? Won't such a "translation" spoil the tale?
Olya. The hare went to the market, and the Fox fumbled around the house. The hare says to the Fox: "It's time to reap."
U. Is that what he's going to say? Or is it better in some other way?
Dima."Fox, little fox, it's time to reap"
U. Already better, we must not forget about the language of the fairy tale. And how does Lisa respond?
Seryozha."Fox, Fox, it's time to sharpen the sickles." Lisa: "Let's do it again."
Misha. A hare passes by: "I'm going to buy a sickle and I can buy you."
U. Okay, but will the hare address the Fox in this way? How does he feel about her?
The area of dramatic folk art of the Slavs is extensive.
Russian folk drama and folk theatrical art in general are the most interesting and significant phenomenon of national culture. Dramatic games and performances at the beginning of the 20th century were an integral part of the festive folk life, whether it was village gatherings, religious schools, soldiers' and factory barracks, or fair booths. Collectors of our days have found peculiar theatrical "centers" in the Yaroslavl and Gorky regions, Russian villages of Tataria, on Vyatka and Kama, in Siberia and the Urals
Folk drama is a natural product of the folklore tradition. It compressed the creative experience accumulated by dozens of generations of the widest sections of the people. In later times, this experience was enriched by borrowings from professional and popular literature and democratic theater.
Folk actors for the most part were not professionals, they were a special kind of amateurs, connoisseurs of the folk tradition, which was inherited from father to son, from grandfather to grandson, from generation to generation of rural youth of pre-conscription age. A peasant would come from the service or from the trades and bring to his native village his favorite play, learned by heart or written off in a notebook. Let him be in it at first just an extra - a warrior or a robber, but he knew everything by heart. And now a group of young people is gathering and in secluded place adopts the "trick", teaches the role. And at Christmas time - "premier".
At urban, and later rural fairs, carousels and booths were arranged, on the stage of which performances were played on fairy-tale and national historical themes, which gradually replaced the early translated plays. Haven't left for decades mass scene performances dating back to the dramaturgy of the early 19th century - "Ermak, the Conqueror of Siberia" by P. A. Plavilshchikov, "Natalia, the Boyar's Daughter" by S. N. Glinka, "Dmitry Donskoy" by A. A. Ozerov, "The Big Woman" by A. A. Shakhovsky, later - plays about Stepan Razin by S. Lyubitsky and A. Navrotsky.
First of all, the timing of folk performances was traditional. Everywhere they arranged for Christmas and carnival. These two short theatrical "seasons" contained a very rich program. Ancient ritual activities late XIX- at the beginning of the 20th century, already perceived as entertainment and, moreover, mischief, were committed by mummers.
to the holidays and Shrovetide games mummers adjoin small satirical plays "Barin", "Imaginary master", "Mavrukh", "Pakhomushka". They became a "bridge" from small dramatic forms to large ones. The popularity of the comic dialogues of the master and the headman, the master and the servant was so great that they were invariably included in many dramas.
A special role is played in the folk drama by the songs performed by the heroes at critical moments for them or by the choir - a commentator on ongoing events. Songs at the beginning and end of the performance were obligatory. The song repertoire of folk dramas consists mainly of author's songs of the 18th-19th centuries popular in all sectors of society. These are the soldiers' songs "The White Russian Tsar Went", "Malbrook went on a campaign", "Praise, praise to you, hero", and the romances "I walked in the meadows in the evening", "I'm leaving for the desert", "What is clouded, the dawn is clear " and many others.
Drama Heroes
Freedom-loving ataman, robber, brave warrior, disobedient royal son Adolf.
The "robber" drama is especially loved by the people for the atmosphere of romantic liberty, in which it was possible to exist outside the social hierarchy of society, take revenge on offenders, and restore justice. However, the drama did not bypass the gloomy collisions: the constant sense of danger, the restlessness of the robbers, their "outcaste" were fraught with cruelty.
The most popular of the "robber" dramas are "Tsar Maximilian" and "The Boat".
"King Maximilian":
The basis of the play is the conflict between the king and his son Adolf, who has abandoned the pagan gods and believes in Jesus Christ. The king orders his son to be imprisoned, then shackled, starved. Adolf remains adamant, and his father orders his execution. The executioner also kills himself ("I cut him and I destroy myself"). In parallel, another line develops: a gigantic knight threatens the king, demands an "opponent", the king summons Anika the warrior, who defeats the knight. At the end of the play, Death appears, she does not give the king a reprieve and hits him on the neck with a scythe. The struggle for faith was interpreted as steadfastness in convictions, the ability to resist a tyrant.
"Boat":
At the heart of the "Boat" is the story of the voyage of robbers, led by the ataman, along the Volga River, their subsequent molestation to the "farm" or an attack on the landowner's estate. In the future, the plot developed: a scene appeared in a robber camp, a scene of the arrival of a stranger who was accepted into a gang, a scene of a girl being captured by robbers, her refusal to marry the ataman, etc. In the characterization of the ataman of the robbers, the hero of the drama "The Boat", the folklore legendary features of invulnerability - "I blow off small bullets with my spirit (i.e., with my breath").
A distinctive feature of folk drama is the output monologues of its characters. They were often repeated and easily remembered by listeners. The hero had to tell who he was, where he came from, why he came, what he was going to (can) do. The performances were performed without a stage, curtain, backstage, props and props - indispensable components of a professional theater. The action unfolded in the hut, among the people; actors not participating in the scene stood in a semicircle, as needed coming forward and introducing themselves to the public. There were no breaks in the performance. The conventionality of time and space is the brightest feature of folk theatrical action. It required the active co-creation of the audience, who had to imagine, guided by the words of the characters, the place of events.
04. folk drama. listed above dramatic elements: ritual agricultural and family peasant actions, dance games, types of buffoon creativity, church service, school spiritual theater with its interludes, nativity scenes, folk tales, a farce, and the Petrushka theater - all this together provided the necessary dramatic material for the creation of the Russian D. n. in the proper sense. The repertoire of Russian D. n. small: just a few plays in terms of plot. But one must take into account the improvised character of D.N., which leads to a large number of variations of the same play. The most famous Russian D. n., "Tsar Maximilian", is registered in more than two hundred versions, often significantly diverging from each other.
Origin "Tsar Maximilian" has not yet been elucidated. Some researchers, eg. V. V. Kallash, suggested that this play is a dramatic reworking of the life of the martyr Nikita, the son of the persecutor of Christians Maximilian, who subjected Nikita to torment for confession Christian faith. Others (P. O. Morozov and Academician A. I. Sobolevsky), based on foreign names in the play (Maximilian, Adolf, Brambeul or Brambeus, Venus, Mars), suggest that this D. n. goes back to some school drama first half of XVIII c., in turn based on some translated story late XVII, early 18th century. But from these possible prototypes, the story and the school drama, "The Comedy about Tsar Maximilian and his son Adolf" should have retained, in any case, only very little - there may only be scenes where the pagan king demands from the Christian son to worship the "idol gods ". The rest of the content is saturated with scenes apparently borrowed from some interludes (one has already been established - “About Anika the Warrior and His Struggle with Death”), episodes from the nativity scene, Petrushka, and also from others. folk plays related to "Tsar Maximilian": "Boats", "Barin", etc. Moreover, the text of "Tsar Maximilian" is full of excerpts from folk songs and romances, as well as distorted quotations, folk 559 alterations of poems by Pushkin, Lermontov and other poets. As you can see, the improvisational principle is used quite extensively in the play. In its original form, early XVIII century, the play “Tsar Maximilian” could be perceived with political sharpness: in it (such are the assumptions of Shcheglov, Vinogradov, etc.), contemporaries could see a satire on the attitude of Peter the Great, who married a Lutheran and fought against many church traditions, to Tsarevich Alexei (based on the play Tsar Maximilian marries the "idol goddess").
The second most widespread folk Russian drama has different names: "Boat", "Boat", "Gang of robbers", "Ataman", one of the complicated options - "Mashenka". According to its basic scheme, this play is very close to the traditional beginning of several robber songs, often timed to coincide with the name of Stepan Razin: a boat is described floating down the river (Volga, Kama) with robbers sitting in it and an ataman standing in the middle of the boat. The content of the play is as follows: the ataman asks the captain what he can see in the distance. IN different options the drama is complicated by introductory episodes, for example. borrowings from the third folk play "The Imaginary Master", or "The Naked Master". The last play is based on a popular folk anecdote about the master and the headman, who informs the landowner that everything is fine with him, “only ... mother died, the house burned down, the cattle died,” etc. The play “Barin” is a parody a sketch of a master's court and the master's purchase of a horse, bull and people. Apparently the play originated among the landowners. In the play “The Horse”, or “The Rider and the Horseman”, though in a very confused form of dialogue between the rider (originally - the master) and the horseman, the relationship to the landowners and various bosses is also parodic. The play "Mavrukh", presenting the folk adaptation of the song "Malbrook is going on a campaign", contains a satire on the church funeral of the deceased and on the life of the clergy. Recorded in 1926 in Zaonezhie by a scientific expedition State Institute In the history of arts, the play Pakhomushka, for all its outward rudeness, is very interesting as a parody of traditional peasant wedding ceremonies and church wedding cm. book "Peasant Art of the North", ed. State. inst. art history, L., 1927).
From the side of his composition and style, D. n. can be characterized by the following features: the construction of each play is determined by a very pale outlined plot core (this core is even clearer than others in Tsar Maximilian, where at least the intrigue of the struggle between father and son is given). In "The Boat", or "Boat", the predetermined requirements of the plot are limited only to the motif of the trip of the robbers in the boat. 560 and meetings along the way with the captain, with old people, etc. In "Barin" only the motive of the comic purchase by the master of various objects and people is given. In "Horse" the plot is a meeting of a horseman with a rider. In "The Imaginary Master" - the meeting of the master with the headman, the latter's comic report on the state of the estate. Consequently, the dramatic interest of the plays is caused not by the complex development and internal interweaving of the action, but either by the rapid change of scenes strung one on top of the other (in Tsar Maximilian), or simply by comic dialogue (in The Master and The Imaginary Master). The comedy of the dialogue is based on a few, very simple tricks. One of the favorite tricks is the so-called. oxymorons built on a combination in one or several phrases of concepts or images that contradict each other, which can create a comic impression of absurdity: “I skillfully fly: I draw blood from the dead with a sword, the healthy are brought to me, the weak are taken away from me” (“Tsar Maximilian ”) or: “All of us, good fellows, soaked, so that it did not leave a single thread wet, but all dry ”(“ Boat ”). "Imaginary gentleman" is almost entirely built on oxymorons. It is also often found even more external reception comedy - metathesis, i.e., changing words in places in one or several phrases, as a result of which - "the lady shakes", "the horse dies", etc. ("Imaginary master"). The reception of the game by homonyms (that is, words that sound the same, but different in meaning) and synonyms (similar in meaning, but different in form) is also widespread. Often the game of homonyms is enhanced and facilitated by the motive of the deafness of one of the characters. At the last appointment, eg. the whole scene with two old grave-diggers in Tsar Maximilian is based entirely: “Vaska, the old man, go to the king. - To which mower? “Yes, not to the mower, but to the king,” etc. The method of implementing metaphors is also used (understanding them in the literal sense): “Is this a colonel? - Raise it higher. “Isn’t it the one that walks on the roof?” ("Tsar Maximilian"). These uncomplicated devices of comedy contrast extremely with the pompous and ornate speech of a number of characters, and the grotesque impression received in this case is not always recognized as such by the participants and spectators of the D.N. In the speeches of Tsar Maximilian, there are echoes of church and official-clerical speech. As for the direction of satire in Russian D. n., then its arrows Ch. arr. are directed, as in general in Russian folklore, to two social groups: to the landlords and the clergy (cf. "Barin", "Imaginary master", "Boat", where the landowners are affected, and "Mavruh", where the priests are brought out). In some versions of "Tsar Maximilian" and other plays, officers are episodically affected and relatively rarely merchants, which, again, corresponds to specific gravity 561 these characters in the general satirical folklore - in fairy tales and songs. Observations of ethnographers (Onchukov, Vinogradov, and many others), as well as an analysis of the content and style of D. n. forced to assume that these plays, which arose, perhaps, originally among schoolchildren, were most widely used among soldiers and part of the peasantry, who broke away from the village thanks to seasonal work, especially since the conditions of barracks or artel life, involving accumulation in one place a large number familyless people, naturally contributed to the creation of peculiar theater groups. The plays learned in the city or at the factory were carried around the villages, usually included in the number of Christmas pastimes, involuntarily absorbing the dramatic elements of traditional ritual folklore.
In conclusion, it is impossible not to note the already quite numerous experiments in transferring the forms of D. n. (in particular "Tsar Maximilian") on the school stage ( cm. e.g. book by M. A. Rybnikova "Tsar Maximilian"). IN recent decades, especially during the years of the revolution, many traditional forms of D. n. replaced by new spectacles: club and other public theater scenes and Ch. arr. cinema, which, with technical improvements, eclipsed the puppet theater, the farce, and the raek. However, in still very many areas, for some social strata, the traditional forms of D. n. could be used for propaganda and political-educational purposes. But relatively few practical attempts have been made in this direction (compare, for example, the persistent work of the Moscow "puppeteers" Efimovs). The fundamental possibility of the Soviet puppet theater, to the best of our knowledge, is not disputed.
04. Russian folklore (folk) dramaturgy. Russian folklore dramaturgy is characterized by a stable storyline, a kind of scenario, which was supplemented by new episodes. These inserts reflected contemporary events, often changing common sense script. IN in a certain sense Russian folklore drama resembles a palimpsest ( ancient manuscript, according to the cleared text of which a new one was written), in it for more than modern meanings there are whole layers of early events. This is clearly seen in the most famous Russian folk dramas - Boat and Tsar Maximilian. The history of their existence can be traced back no earlier than the 18th century. However, archaic, pratheatrical, ritual roots are clearly visible in the construction of the Boat: the abundance of song material clearly demonstrates the choric beginning of this plot. Even more interesting is the interpretation of the plot of Tsar Maximilian. There is an opinion that the plot of this drama (the conflict between the despot-tsar and his son) initially reflected the relationship between Peter I and Tsarevich Alexei, and was later supplemented by the storyline of the Volga robbers and tyrannical motives. However, the plot is based on earlier events related to the Christianization of Rus' - in the most common lists of the drama, the conflict between Tsar Maximilian and Tsarevich Adolf arises due to issues of faith. This allows us to assume that Russian folk dramaturgy is older than it is commonly believed, and has been in existence since pagan times.
The most common plots of the folklore drama theater, known in many lists, are the Boat, Tsar Maximilian and the Imaginary Master, while the last of them was played out not only as a separate scene, but also included integral part in the so-called. "great folk dramas".
Boat combines a cycle of plays on "robber" themes. This group includes not only the plots of the Boat, but also other dramas: Gang of Robbers, Boat, Black Raven. In different versions, there are different ratios of folklore and literary elements (from the dramatization of the song “Down the mother along the Volga” to the popular robbery stories, for example, The Black Hump, or The Bloody Star, Ataman Fra Diavolo, etc.). Naturally, we are talking about late (beginning from the 18th century) versions of the Boat, in which the campaigns of Stepan Razin and Yermak were reflected. In the center of any variant of the cycle is the image of the national leader, a stern and courageous chieftain. Many motifs of the Boat were later used in the dramaturgy of A. Pushkin, A. Ostrovsky, A. K. Tolstoy. There was also a reverse process: excerpts and quotes from popular literary works, especially known from popular prints, were included in folklore drama and stuck in it. The rebellious pathos of the Boat led to the repeated ban on its shows.
Tsar Maximilian also existed in many variants, in some of them religious conflict Maximilian and Adolf was replaced by a social one. This option was formed under the influence of the Boat: here Adolf goes to the Volga and becomes the ataman of the robbers. In one version, the conflict between the king and his son takes place on family grounds - because of Adolf's refusal to marry the bride chosen by his father. In this version, the accents are shifted to the farcical, farcical nature of the plot.
"Boat". The play "The Boat" was very popular among the peasantry, among the soldiers, and among the factory people. This was due to the fact that it touched upon important for the broad masses of the people. questions. Her most common name is "The Boat". But it is also called differently: “Boat”, “Ataman”, “Robbers”, “Gang”, “Gang of Robbers”, “Ermak”, “Stenka Razin”.
The plot of the play is simple. A gang of robbers, led by an ataman and a captain, sails along: the Volga. Yesaul looks around the area through a telescope and reports to the ataman what he sees. When
a large village comes across on the shore, the robbers land and attack the landowner's estate. One version of the play ends with the exclamation: “Hey, well done! burn down the rich landowner!” . In some versions, the motif of the love of the ataman for the daughter of the landowner or for the Persian is introduced. But at the same time, the complex basis - the threat - of robbers to the authorities and landlords - ... remains. This suggests that the ideological essence of the play is the expression of the protest of the people against the oppressive nori.k.o.i. and connect it with peasant uprisings(V. Yu. Krupyanskaya), ^ to others - to consider that it arose earlier in connection with the Razin uprising: Stepan Razin often acts as the main character in it!] But / the first information about the play comes from 1814-1815. It is characteristic that a number of Russian writers noted in their memoirs the performance of "Boat".
A. E. Izmailov mentions the staging of the play by students of the theological academy around 1814-1819; A. S. Griboyedov saw her performance by young guys in the vicinity of St. Petersburg in 1818, I. A. Goncharov in the 20s watched how the “Boat” was played by the servants of his grandmother, and the ataman / was called Stenka Razin.
The play is Noahit anti-serfdom character. It has a gang of robbers, a captain, and sometimes a robber Kalikatura. [e, in the center is the image of a noble robber chieftain, who sometimes has no name, in other cases he is called Yermak or Stepan Razin. According to the meaning of the play, the figure of Razin is more suitable for its plot. It is difficult to decide what the chieftain was in the original text. There is an opinion that it is composed as a play about Razin.
Stepan Razin is the main character of the play, even if the chieftain does not bear his name. In the details of the outline of the ataman, the features of Razin are visible. The most important thing is that it is the image of Razin that most fully expresses the main ideological meaning plays: social discontent of the masses, their protest^
The sources of Lodka are complex. These are songs about robbers, including Razin, and lubok pictures, and lubok novels about robbers, and literary songs. This affected complex composition plays: it contains monologues # and dialogues, the conversation of the ataman with the captain and with the “gang” (when it comes to admitting a newcomer to its members), folk songs(“Down the mother along the Volga”) and literary songs (A. F. Veltman’s song “What is clouded, clear dawn” and F. B. Miller’s song “The Burial of a Robber” with the words: “Among the dense forests, the silent ones go ...” ), quotes from literary works, for example, from the poem by A. S. Pushkin and “The Robber Brothers”. The main plot is connected with the song "Down the j mother along the Volga". The performers usually remembered only the main plot outline, acted and spoke in the order of improvisation, using familiar material.
The boat survived complex history: it included new songs, interludes, such as the scene with the undertaker and the scene with the doctor, but the main plot was preserved. Some scenes were permanent, some were replaced. The play also changed: robbery scenes, then love scenes came to the fore; the plot was sometimes weakened by the introduction a large number songs.
The "robber" drama "The Boat", especially in the form in which it existed in the 19th-20th centuries, by all indications should be attributed to romantic works. We would add to this that she became more stable in her motives during the period of Russian romanticism, when she absorbed materials from the works of romantic writers. But in its very essence, it is romantic: the robbery plot, the Volga expanse, the ataman's love for the captive, the rebellious nature of the song's plot - everything speaks precisely of its romantic coloring.
V. N. Vsevolodsky-Gerngross highly appreciates the "Boat". He writes: "The boat" is a unique phenomenon not only in Russian, but, apparently, in world folklore. It is original in content, in artistic techniques, in composition, in its true nationality, clearly reflects the era and environment in which it was created and lived, full of a rebellious spirit, prowess, courage.
"Tsar Maximilian". The drama "Tsar Maximilian", as researchers suggest, was composed at the end of the 18th century. This is justified by a number of circumstances: the allusions contained in it to the political events of that time, its performance by sailors and soldiers around 1818, the introduction of poems by writers of the 18th century into the play. and features of the language. The play probably developed in a soldier's environment: military characters (warriors and a marshal-walker) are displayed in it, the military order is reflected, military phraseology is used in the speech of the characters:
Adolf. Hello guys!
All. We wish you good health!
There are also military, including marching, songs. Finally, several texts of the play were recorded from former soldiers. Its earliest performance was in a military environment (1818); performance among soldiers was observed by Ya. P. Polonsky and I. S. Aksakov in 1855.
The sources of the play were various kinds of literary works: the lives of saints - martyrs for the faith, school dramas XVII-XVIII centuries, where there are images of kings - persecutors of Christians, interludes of the XVIII century, in which the doctor, undertaker, tailor act, comic characters included in some versions of the play "Tsar Maximilian". The most probable and main source of this play is the drama "The Glorious Crown to the Martyr Dmitry", written in 1704 by the students of Dmitry Rostov on his name day (indicated by P. N. Berkov). It contains many coincidences with "Tsar Maximilian": the name of the king, the persecution of Christians, their imprisonment, execution, punishment of the king. In all this, they saw the conflict between Peter I and his son Alexei. But V. N. Vsevolodsky-Gerngross believes that chivalric novels should be considered the main literary source. The name of the capital city Anton, knightly duels, court furnishings and ceremonial come from the story about Bova the King.
The play "Tsar Maximilian" has come a long and difficult way of design. Its structure is distinguished by a large introduction to the text of heterogeneous literary works, most often songs and poems, for example, excerpts from G. R. Derzhavin's ode "To the capture of Warsaw", songs of the poetess late XVIII V. M. V. Zubova “I am leaving for the desert”, “Songs of the prisoner” (“I can’t hear the noise of the city”) F.N. Glinka; using "Hussar" by A. S. Pushkin and "Separation" ("Hussar, leaning on a saber") by K. N. Batyushkov. These were not random or mechanical inserts. They served to characterize the characters, create a certain emotional tone and evaluate the behavior of the characters. Poems and songs were altered, expounded in a different language, verse and rhythms were rebuilt. The composition and role of the works introduced into folk plays were considered in detail by V. E. Gusev.
"Tsar Maximilian" was often contaminated with the plays "Herod" and "The Boat". The first of them strengthened the motives of the struggle for the right faith and the struggle against despotism, the second - the motives of the social struggle (Adolf's departure as a robber). The structure of the play became more complicated, and at the same time the tragic line was weakened and comic episodes developed. But the main plot scheme and characteristics of the characters were preserved. With all this, the play remained a peculiar and striking work. V. N. Vsevolodsky-Gerngross says about it: "... This is an original original Russian play, composed for specific Russian political events, only using the scheme of the drama about Herod."
The action of the play "Tsar Maximilian" in its most complete version develops quite consistently.
As is typical for folk plays, first a person appears, in this case a runner, and addresses the audience:
Hello Senators,
I did not come here to you,
And sent from the royal office.
Get everything out of this place
And here the royal throne will be established.
Goodbye gentlemen
Now the king himself will be here. (leaves)
The emerging tsar also addresses the public and announces that he is not the Russian emperor and not the French king (“I am your formidable Tsar Maximilian”), that he will judge his recalcitrant son Adolf. Then the king orders the pages to bring him, and orders the runner to bring "all the decencies and royal accessories." The courtiers carry the regalia in which he puts on. Bring in Adolf. The king demands from his son that he bow to the "idol gods", but Adolf rejects this:
I am your idol gods I put under my feet.
Three times there is an explanation of the king with his son, as a result, Adolf is shackled and taken to prison. The “giant knight” appears to the king and demands the release of Adolf. This is the Roman ambassador. The king refuses to do so, and the knight leaves with threats. The king orders to call on the "ancient and brave warrior Anika" and orders him to protect the city from the "ignoramus" who wants to burn the capital, kill the knights, and take the king into captivity. Once again, the king calls his son and asks if he has changed his mind, but Adolf does not recognize the "idol gods." King in anger
Oh, you rebellious fiend,
You inflamed my heart with anger
I won't spare you anymore.
And now I will order an evil death to betray.
The king sends a marshal to fetch the executioner, the knight Brambeus. The executioner at first refuses to execute the order to execute Adolf, but the king insists, and the executioner cuts off Adolf's head, but then he pierces his own chest and falls dead. The scene with the undertaker follows. The king praises Anika the warrior 267 for defeating the gigantic knight. But at this time, Death appears. The king asks the soldiers to protect him from her, but they scatter in fear. He asks Death to give him three years of life, but she refuses; asks for three months, but is again refused; asks for three days, but she does not give even three hours and cuts him down with a scythe. From this scene it is clear that the plot of the play about Anika the Warrior and Death is adapted to the plot of the play Tsar Maximilian.
The introduction of the play "Anika the Warrior and Death" into the play "Tsar Maximilian" helps to understand the ideological meaning of the latter: it consists in the punishment of evil, the punishment of the cruel tyrant Tsar Maximilian. It is difficult to determine what political situation the play is directed against, perhaps it alludes to the relationship between Peter I and his son Alexei. IN different time viewers have different associations. There were many reasons, including in connection with the events of the late 18th century. With the development of the revolutionary liberation struggle, the play served as an expression of the revolutionary moods of the masses. That's why she was so popular. The clear political meaning of the play could be strengthened in connection with new socio-historical situations.
The contamination of "King Maximilian" with the play "Herod" emphasized the struggle for the throne. But the meaning of "Tsar Maximilian" is wider.
He is not only in denunciation of tyranny and despotism, but also in the exaltation of Adolf's bold protest, the correctness of which becomes especially obvious: Brambeus, who killed Adolf by order of the king, cannot bear this injustice and ends up committing suicide. And the fact that Death destroys not Anika, as it would have been according to the traditional course of the plot, but the king, speaks of the inevitability of the death of despotism.
