Individual assignments. An unusual presentation of the characters in the playbill, which determines the conflict that will develop in the play.
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Download presentationPlays by Ostrovsky
"Ostrovsky playwright" - The work of a novice playwright attracted the attention of the authorities. A. N. Ostrovsky: In 1859, the first two-volume collection of Ostrovsky's works was published. The critic N. A. Dobrolyubov calls the playwright’s works “plays of life.” He wrote letters reluctantly, kept almost no diaries and left no memoirs. Born in 1823, died in 1886.
"Alexander Nikolaevich Ostrovsky" - A magical, fabulous spectacle. Ostrovsky Alexander Nikolaevich. Vasnetsov Viktor Mikhailovich (1848-1926), Russian painter. Suffering. V. G. PEROV "Portrait of A. N. Ostrovsky." 1871. Solomin Nikolai. From significant names and nicknames. Vasnetsov V.M. Snow Maiden. Dictionary. Ostrovsky Alexander Nikolaevich (1823 - 1886) "The Snow Maiden" (1873).
"Ostrovsky's Plays" - "Hangover in someone else's feast." Let's try to show in the form of a diagram the repetition of individual images and plot moves. Dowry hunting. Merchant family. Completed by 10th grade students Antipova Elizaveta and Bayumova Daria. An excerpt from the play "Our people - we will settle!" Lipochka - Elizaveta Antipova. Wednesday Motive - from a "broken heart" Material inequality.
"Biography of Ostrovsky" - Ostrovsky among the members of the Society of Dramatic Writers. Manor "Shchelykovo". A.N. Ostrovsky - the creator of the Russian national theater. Creative history. Everything is here: all colors, all sounds, all words. One of Ostrovsky's types of recreation was carpentry. The grave of A.N. Ostrovsky. Ostrovsky in April 1856 began a journey along the Volga ... (Ostashkov).
"Snow Maiden" - A wedding sentence recorded in the middle of the 19th century in the Vladimir province. Yarilo - the god of the Berendeys - a cruel and stern deity, "a scorching god." It's your business... oven cakes, Bury under the fence, Feed the guys. Rimsky-Korsakov. find out what influence folklore sources had on the playwright. Divorce the son with the daughter-in-law.
"A.N. Ostrovsky plays" - It is here that a monument to the playwright was erected (Sculptor N.A. Andreev) -1929. ". Ostrovsky knew the merchant environment thoroughly. "Columbus of Zamoskvorechye" Born in the family of a deacon in the old Zamoskvorechye. Play conflict. "Plays of Life". "There is not a day in the year that my plays are not shown in 5-6 theaters." Drama of life? My task is to serve the Russian dramatic art.
Total in the topic 22 presentations
Photo: DR
The action of the immersive performance based on Henrik Ibsen's play "Ghosts" will take place on four levels of an old 19th-century mansion in the center of Moscow. Modern immersive performance implies the complete involvement of the viewer - each of them seems to find himself in the world of films by David Lynch and Guillermo del Toro, in which a mystical action full of hints and sensual temptations will unfold at arm's length.
During the show, the audience, wearing masks that preserve their anonymity, will be immersed in a dramatic story of mysterious family relationships, where each of the characters keeps a heavy secret of the past. In each of the 50 rooms, an action will be played out in which two dozen actors skillfully mix the energy of modern theater and incredible choreography, the visual aesthetics of cinema and impressive special effects.
"Returned" was the result of a creative and professional union of directors Victor Karina and Mia Zanetti from the New York theater company Journey Lab and Russian producers Vyacheslav Dusmukhametov and Miguel, director and mentor of the show "DANCES" on TNT.
“An immersive performance of this level will be staged in Russia for the first time. In the work on the creation of the show, not only the dedication and professionalism of the team was extremely important, but also the latest technologies for working with the audience and the experience of my American colleagues, ”says Miguel, producer of the show.
Anton Belyaev, leader of Therr Maitz, is responsible for the musical arrangement of the show, and the show's speakeasy bar will receive a special musical program with the participation of Russian and foreign artists.
"Ghosts" or "Ghosts" is a play by the Norwegian classic Henrik Ibsen, written exactly 135 years ago, in 1881. The plot is often compared by critics to a web of riddles. A certain house is preparing for a big event - at the expense of the widow of the venerable captain Alving, a shelter is to be opened in memory of her husband. On this occasion, relatives and old friends gather, but strange events and ghosts, as if returned from the past, tragically change the fate of all the heroes.
In order to convey the atmosphere of Ibsen's play in our time, a team of artists, decorators and costume designers of the show recreated an interior that absorbed the spirit of the Nordic countries in a historic mansion of the 19th century.
The Moscow premiere immediately aroused great interest not only among the audience, but also among the professional community. "Returned" became the headliners of the program of one of the most prestigious theatrical reviews of the capital - the festival of the New European Theater NET.
“One of the themes of the festival was immersive theater - as a genre rapidly gaining audience, yesterday still seemed marginal exotic. Therefore, the project, which should become a milestone for the development of this genre, has attracted our attention,” says Roman Dolzhansky, art director of the festival.
Address: Dashkov pereulok, 5 (metro Park Kultury)
Ticket price - 5000/30000 rubles
Age limit: 18+
Official website of the project: www.dashkov5.ru
Lesson #1
Subject:Columbus of Zamoskvorechye. A.N Ostrovsky is the discoverer of a new layer of Russian life.
Goals: to acquaint students with the personality and work of the great Russian writer; be able to freely operate knowledge about the author; to introduce the genre of drama in the work of Ostrovsky; develop monologue speech, thinking, memory of students; instill interest in reading fiction; educate an intellectually developed person.
Equipment: writer's portrait, book exhibition, presentation, chronological table.
Methodical methods: lecture with elements of conversation, speeches of the student.
Lesson type: lecture
During the classes
Org. moment.
Lecture material about A.N. Ostrovsky(teacher + students)
Life and work of A. N. Ostrovsky
Alexander Nikolayevich Ostrovsky (1823–1886)- a talented Russian playwright and theatrical figure. During his creative life, he wrote more than 50 plays.
But the reader discovers in him both a sharp satirist, and a writer of everyday life of the merchant class, and a dramatic poet, and a lyricist.
Ostrovsky was born in 1823 and spent his childhood in one of the districts of Moscow - Zamoskvorechye, where merchants and artisans lived.
His father, Nikolai Fedorovich Ostrovsky, had a private legal practice. Mother - Lyubov Ivanovna Savvina, the daughter of a Moscow priest, was distinguished by her beauty and high spiritual qualities.
After the early death of the mother, the stepmother took care of the upbringing and education of the children.
In 1840, Ostrovsky successfully graduated from the prestigious First Moscow Gymnasium with a humanitarian focus and continued his studies at the law faculty of Moscow University.
But the future playwright was interested in art. He attended performances of the Moscow Maly Theatre, read and wrote a lot, and became interested in music. Having cooled down to study, Ostrovsky left the university and decided to take up literature.
Since 1843, at the insistence of his father, Ostrovsky began to work as a clerk in the Moscow Conscientious Court, where criminal and civil cases were considered.
Since 1845, Ostrovsky has been in the service of the Moscow Commercial Court. Work in the courts enriched the life experience of the future playwright, gave knowledge of the language, life and psychology of various segments of the population.
1. Stages of the creative path of A. N. Ostrovsky
1847–1851- the beginning of literary activity, the formation of literary and aesthetic views of Ostrovsky under the influence of articles by Belinsky and Herzen. Writing an essay "Notes of a Zamoskvoretsky resident." The purpose of the essay is to describe the life and types of Zamoskvorechye.
In his autobiographical notes, A. N. Ostrovsky wrote: “The most memorable day of my life for me: February 14, 1847 ... From that day on, I began to consider myself a Russian writer and without doubt or hesitation I believed in this vocation.” It was on this day that Ostrovsky read the first drafts of the comedy "Bankrupt", later called "Own people - let's settle!". The play was completed in 1849. Characteristic merchant types, life, environment were outlined exclusively with the help of the dialogues of the characters. The play was a success. Review by V. F. Odoevsky: “I consider three tragedies in Rus': “Undergrowth”, “Woe from Wit”, “Inspector General”. On "Bankrupt" I put the number four.
1852–1854- Muscovite period in the work of Ostrovsky. This is the time of the playwright's active participation in the Moskvityanin magazine. Creation of the plays “Do not sit in your sleigh”, “Poverty is not a vice”, “Do not live as you want”. The playwright approaches the depiction of the types of Russian merchants differently: he admires the patriarchal relations that have developed in merchant families between the owners and their servants and workers.
1855–1860- the pre-reform period, when Ostrovsky is moving closer to the editors of Sovremennik and publishes his works in the journals Sovremennik and Domestic Notes: “The characters did not agree!”, “Profitable place” and others. The best work of this period is The Thunderstorm (1859), which I. S. Turgenev described as "the most amazing, most magnificent work of the mighty Russian ... talent."
1861–1886- the post-reform period, which lasted until the death of the playwright. Ostrovsky writes satirical plays reflecting the life of post-reform Russia: "Mad Money", "Dowry", "Talents and Admirers", "Guilty Without Guilt", "Forest", "Wolves and Sheep", the fairy tale "Snow Maiden". Representatives of the ruined nobility ("Mad Money") pass before the reader: Cheboksarov, Kuchumov, Telyatev, Glumov ... They are united by the fact that they live on "mad money" that comes to them by chance and, naturally, does not stay long.
Moral decay also affected the elderly landowners Gurmyzhskaya ("Forest") and Murzavetskaya ("Wolves and Sheep"). Gurmyzhskaya is busy, despite her age, with love adventures. Murzavetskaya is not averse to cheating in order to maintain her well-being.
Ostrovsky also writes about the businessmen who replaced the petty tyrants. Knurov and Vozhevatov (“Dowry”), Velikatov (“Talents and Admirers”), Berkutov (“Wolves and Sheep”) are energetic, educated, courageous and dodgy “knights of profit”.
Features of Ostrovsky's style
Speaking surnames;
An unusual presentation of the characters in the poster, defining the conflict that will develop in the play;
The originality of names (often from Russian proverbs and sayings);
Folk moments;
Parallel consideration of compared heroes;
The significance of the first replica of the hero;
"Prepared appearance", the main characters do not appear immediately, others first talk about them;
The peculiarity of the speech characteristics of the characters.
2. A. N. Ostrovsky in 70–80-eyears
Alexander Nikolayevich was not a revolutionary democrat; in his plays he did not directly touch upon political issues. But his path and views were quite contradictory. In the comedy "Own people - let's settle!" he ruthlessly condemned the merchants. In the "Slavophile" plays, he painted memorable figures of merchants, tough-tempered, but conscientious.
A little time passes, the comedy "In a strange feast hangover" appears, in which the word "tyrant" is uttered for the first time in literature. From the pages of subsequent plays, the voice of the playwright sounds in defense of human freedom.
The life of the playwright in his declining years was not happy and secure. Once he wrote to the actor F. Burdin: “I declare to you in confidence that I am completely leaving the theatrical field. The reasons are as follows: I have almost no benefits from the theater, although all the theaters in Russia live on my repertoire! I did not manage to distinguish myself even a little from any interpreter. At least I will gain peace and independence for myself instead of trouble and humiliation.
The hopelessness of the situation forced the playwright to give plays to the theater almost free of charge.
The plight of the Russian theatre, playwrights and actors led Ostrovsky to engage in social activities.
1865 - the initiator of the creation of the "Artistic Circle".
1874 - organizer of the Society of Russian Dramatic Writers and Composers.
1881 - drafter of a note to the government on the creation of the Russian national theater.
1886 - head of the repertoire of Moscow theaters and director of the theater school.
But Ostrovsky's health is undermined. In the spring of 1886, the writer leaves for the village of Shchelykovo, Kostroma province. Ostrovsky died at his desk in Shchelykovo, working on a translation of Shakespeare's play Antony and Cleopatra.
I. A. Goncharov gave a high assessment of Ostrovsky’s dramatic work: “You alone completed the building, at the foundation of which the cornerstones of Fonvizin, Griboedov, Gogol were laid. But after you, we Russians can proudly say: "We have our own Russian national theater." It should rightly be called "Ostrovsky's Theatre".
Lesson summary
A.N. Ostrovsky opened a page unfamiliar to the viewer, bringing a new hero onto the stage - a merchant. Before him, Russian theatrical history consisted of only a few names. The playwright made a huge contribution to the development of the Russian theater. His work, continuing the traditions of Fonvizin, Griboyedov, Pushkin, Gogol, is innovative in the depiction of heroes, in the language of characters and in the socio-moral problems raised.
Homework.
2. Answer the questions: Do the given names and surnames correspond to the heroes, their actions and manners? What role does landscape play in act I?
3. Individual task: prepare a message “The basis of the plot of the play“ Thunderstorm ”(according to the textbook).
Lesson #2
Subject:Drama Storm. The history of creation, the system of images, methods of revealing the characters of the characters. The nature of the conflict. The meaning of the name
Goals: find out what impressions became the source of the creation of the play; working with the text, determine the meaning of the title, the originality of the system of images; answer questions about how the characters of the characters are revealed and what is the peculiarity of the conflict of the play.
Equipment: presentation, table.
Methodical methods:
During the classes.
Org. moment.
The story of the creation of the drama "Thunderstorm"
(Presentation)
1.What is drama.( slide 3)
2. Remarks, replicas. ( slide 4)
3. The plot was based on Ostrovsky's impressions of a literary expedition along the Volga in 1856-1857. The play was begun by Alexander Ostrovsky in July and finished on October 9, 1859. (The manuscript is stored in the Russian State Library). At the request of A.N. Ostrovsky's friends, the censor I. Nordstrem, who favored the playwright, presented The Thunderstorm as a play not socially accusatory, satirical, but love-domestic.
"Thunderstorm" was allowed by the dramatic censorship to be presented in 1859, and printed in January 1860 ( slide 5-6)
5. Three topics attracted special attention of Russian writers in the 50s and 60s: (slide 7)
serfdom;
the emergence of a new force in the arena of public life - the raznochintsy intelligentsia;
position of women in the country.
But among the topics put forward by life, there was another one that required urgent coverage.
tyranny of tyranny, money and old Testament authority in merchant life.
Group work(slide 8)
Group 1. The meaning of the play's title is "Thunderstorm".
- Define the word "thunderstorm"?
What is the significance of the play?
(A thunderstorm for Katerina is God's punishment; Tikhon calls his mother's scolding a thunderstorm; Kuligin sees "grace" in a thunderstorm)
- The compositional role of a thunderstorm?(links the whole play together: in act 1 a thunderstorm is approaching, in act 4 it portends death, it breaks out in the climactic scene of Katerina's confession) .( slide 9-10conflict )
Group 2 The system of characters in the play.
– Let's call the actors "Thunderstorms" (poster reading). What do their names and surnames mean? (slide 11)
- Surnames in Ostrovsky's plays "speak" not only about the character of the hero, but actually give information about him. Ostrovsky's careful attitude to the names of the characters is one of the reasons for their realism. Here, such a rare quality as the reader's intuition is manifested.
Studying the list of characters, it should be noted the distribution of heroes by age (young - old), family ties (Dika and Kabanova are indicated, and most of the other heroes are related to them), education (only Kuligin, a self-taught mechanic and Boris ).
The teacher and the class make a table (slide 12)
| "masters of life" | "Victims" |
| wild. You are a worm. If I want - I'll have mercy, if I want - I'll crush. Boar. I have long seen that you want the will. This is where the will leads. Curly. Well, that means I'm not afraid of him, but let him be afraid of me. Feklusha. And the merchants are all pious people, adorned with many virtues. | Kuligin. It's better to be patient. Barbara. And I was not a liar, but I learned it ... And in my opinion, do what you want, if only it was sewn and covered. Tikhon. Yes, mother, I don’t want to live by my own will. Where can I live with my will! Boris. Food not of my own free will: my uncle sends it. |
What place does Katerina occupy in this system of images?
Why were Kudryash and Feklusha among the "masters of life"?
How to understand such a definition - "mirror" images?
Group 3. Features of the disclosure of the characters of the heroes.
Speech characteristic (individual speech characterizing the hero):
Katerina is a poetic speech, reminiscent of a spell, lamentation or song, filled with folk elements.
Kuligin is the speech of an educated person with "scientific" words and poetic phrases.
Wild - speech is replete with rude words and curses.
Boar - hypocritical, "pressing" speech.
Feklusha - speech shows that she was in many places.
The role of the first replica, which immediately reveals the character of the hero:
Kuligin. Miracles, truly it must be said: miracles!
Curly. And what?
Wild. Buckwheat you, eh, come to beat the court! Parasite! Get lost!
Boris. Holiday; what to do at home!
Feklush. Blah-alepie, honey, blah-alepie! Beauty is wondrous.
Kabanova. If you want to listen to your mother, then when you get there, do as I ordered you.
Tikhon. But how can I, mother, disobey you!
Barbara. Do not respect you, how!
Katerina. For me, mother, it’s all the same that your own mother, that you, and Tikhon loves you too.
Using the technique of contrast and comparison:
Feklusha's monologue - Kuligin's monologue;
life in the city of Kalinov - the Volga landscape;
Katerina - Barbara;
Tikhon - Boris.
(Slide 14)
Summary of the lesson. The main conflict of the play is revealed in the title, the system of characters, which can be divided into two groups - "masters of life" and "victims", in the peculiar position of Katerina, who is not included in any of these groups, in the speech of the characters corresponding to their position, and even in the technique of contrast, which determines the opposition of the characters.
Homework: Prepare material about the city of Kalinov and its inhabitants. Highlight the words in the text that especially characterize life in the city.
Lesson #3
Subject:The city of Kalinov and its inhabitants. The image of the "cruel morals" of the "dark kingdom". Moral foundations and life of the merchant class.
Goals: characterize the city of Kalinov, find out who its inhabitants are and how people live here; to answer the question: “Is Dobrolyubov right in calling this city a “dark kingdom””?
Equipment: texts, table, presentation.
Methodical methods: conversation, answers to problematic questions, speeches of the student.
During the classes.
Org. moment.
We enter the city of Kalinov from the side of the public garden. Let's stop for a minute, look at the Volga, on the banks of which there is a garden. Beautiful! Eye-catching! So Kuligin also says: “The view is extraordinary! Beauty! The soul rejoices! People probably live here peaceful, calm, measured and kind. Is it so? How is the city of Kalinov shown?
Work with text.
Work on two monologues by Kuligin(act 1, yavl. 3; act 3, yavl. 3).
1. Highlight the words that especially characterize life in the city.
"Cruel morals"; "rudeness and naked poverty"; “Honest labor will never earn more than daily bread”; “trying to enslave the poor”; “to make even more money on free labor”; “I won’t pay a penny”; "trade is undermined out of envy"; “they are at enmity”, etc. - these are the principles of life in the city.
2. Highlight the words that especially vividly characterize life in the family.
“Boulevard was made, not walked”; "the gates are locked and the dogs are let down"; “so that people do not see how they eat their own home, and tyrannize the family”; “tears flow behind these locks, invisible and inaudible”; “behind these locks is the debauchery of the dark and drunkenness,” etc. - these are the principles of life in the family.
If it's so bad in Kalinovo, then why at first - a wonderful view, the Volga, the same beautiful nature in the scene of Katerina and Boris's meeting?
Conclusion. The city of Kalinov is controversial. On the one hand - a wonderful place where the city is located. On the other hand, life in this city is terrible. The beauty is that it does not depend on the owners of the city, they cannot subjugate nature.
Issues for discussion
1. How can one evaluate the monologues of Feklusha (act 1, yavl. 2; act 3, yavl. 1)? How does the city appear in her perception? (Bla-alepie, wondrous beauty, promised land, paradise and silence.)
3. What are the inhabitants living here?
4. From what sources do Kalinovtsy draw knowledge about the world?
5. What are the main features of the wanderer Feklusha?
(They believe the stories of Feklusha, which show her darkness and ignorance: a story about a fiery serpent; about someone with a black face; about a time that is getting shorter - act 3, yavl. 1; about other countries - act 2, yavl. 1 They are afraid of thunderstorms - act 4, scene 4. They believe that Lithuania has fallen from the sky - act 4, scene 1.)
4. How is it different from the inhabitants of the city of Kuligin? (An educated person, a self-taught mechanic - the surname resembles the surname Kulibin. Feels the beauty of nature. Aesthetically stands above other heroes: sings songs, quotes Lomonosov. Advocates for the improvement of the city, tries to persuade Wild to give money for a sundial, for a lightning rod. Tries to influence residents , to enlighten them, explaining the thunderstorm as a natural phenomenon. Thus, Kuligin personifies the best part of the city's inhabitants, but he is lonely in his aspirations, which is why he is considered an eccentric. The eternal motive of grief from the mind.)
6. Who prepares their appearance? (Kudryash introduces Wild, Feklusha - Boar.)
wild
Who is he according to his material and social position?
What is his desire for profit? How does he get money?
What actions and judgments of the Wild indicate his rudeness, ignorance, superstition?
How did Wild behave in a collision with a hussar and after it?
Show how his character is revealed in Diky's speech?
What techniques does Ostrovsky use to create the image of the Wild?
Boar
Who is she according to her social and financial position?
What, in her opinion, should family relationships be based on?
What is her hypocrisy and hypocrisy?
What actions and statements of Kabanikh testify to cruelty and heartlessness?
What is common and what are the differences in the characters of Wild and Boar?
What are the features of Kabanikh's speech?
How do Tikhon, Varvara and Katerina relate to the teachings of the Kabanikh?
Wild and Kabanikha are the "masters" of the "dark kingdom". The main method of revealing their characters is a speech characteristic. You should pay attention to the analysis of their main remarks:
| wild | Boar |
| "scold"; "Like I got off the chain" | "everything under the guise of piety"; “a hypocrite, she clothes the poor, but she completely ate the household”; "scolds"; "sharpen like iron rust" |
| "parasite"; "damn"; "fail you"; "foolish man"; "go away"; "What I’m equal to you or something”; "with a snout and climbs talk"; "robber"; "asp"; "fool" | She herself: “I see that you want the will”; “you will not be afraid, me and even more so”; “Do you want to live by your will”; "fool"; "order your wife"; “must do what the mother says”; "where the will leads" etc. |
| Conclusion. Wild - scold, rude, feels his power over people, tyrant | Conclusion. The boar is a hypocrite, does not tolerate will and disobedience, acts with fear |
| General conclusion. The boar is scarier than the Wild Boar, since her behavior is hypocritical. Wild is a scolder, a tyrant, but all his actions are open. The boar, under the guise of religion and concern for others, suppresses the will. She is most afraid that someone will live in their own way, by their own will. |
|
The results of the actions of these heroes:
The talented Kuligin is considered an eccentric and says: “There is nothing to do, we must submit!”;
The kind, but weak-willed Tikhon drinks and dreams of escaping from the house: “... and with some sort of bondage, you can run away from whatever beautiful wife you want”; he is completely subordinate to his mother;
Varvara adapted to this world and began to deceive: “And I was not a liar before, but I learned when it became necessary”;
Educated Boris is forced to adapt to the tyranny of the Wild in order to receive an inheritance.
So breaks the "dark kingdom" of good people, forcing them to endure and be silent.
Envy, enmity, slander, courts - this is the world of the city of Kalinov, into which A.N. Ostrovsky. And this is not a fabulous city of horrors, but the real world that exists not only in every county town, but also in the merchant Zamoskvorechye, the life and customs of which the writer has studied well. At the request of Boris to portray these customs in literature, Kuligin declares that he is afraid: “They will eat them, they will swallow them alive. I'm like that. sir, you get it for my chatter. The hero wants to find a different, more realistic and effective way out of this situation: he dreams of inventing a perpetuum mobile (“perpetual motion machine” that would provide the bourgeoisie with work).
Most of the time Kalinovtsy sit at home. They made a boulevard in the city, but people don’t walk along it: everyone sits behind the fences, “so that people don’t see how they eat their own home and tyrannize their families.”
Of the newspapers, only Birzhevye Vedomosti is read, and even then not in all houses. Kalinovtsy draw their ideas about life from the stories of praying pilgrims. They are ready to believe that there are lands where all people have dog heads. The wanderer Feklusha is not just a news peddler for them. She is a thinker who supplies spiritual food to merchant houses.
In an effort to catch up more fear on the Kapinovites, Feklusha does not spare his imagination, telling various fables about Moscow and distant countries. On her example, A.N. Ostrovsky exposes the wretched worldview of the representatives of the petty-bourgeois environment.
Lesson summary. The city of Kalinov is a typical Russian city of the second half of the 19th century. Life in the city is a reflection of the situation when the old does not want to give up its positions and seeks to retain power by suppressing the will of others. Money gives the "masters of life" the right to dictate their will to the "victims". In a truthful display of such a life - the position of the author, calling to change it.
Homework. Write out a description of Katerina (external appearance, character, behavior, what she was like in childhood, how she changed in the Kabanovs' house). Determine the main stages in the development of Katerina's internal conflict. Prepare an expressive recitation by heart of Katerina's monologues (action 2 phenomenon 10 and action 5 phenomenon 4).
Lesson number 4.
Subject:Katerina's protest against the "dark kingdom". Moral problems of the play.
Goals: find out why Katerina is able to resist the "dark kingdom"; to trace how her character was formed, what features are the main ones in it, how her conflict with the world of Kabanikha develops; to understand why Katerina stands separately in the system of actors.
Equipment: texts, notebooks, illustrations for the play
Methodical methods: conversation, answers to problematic questions, speeches of the student.
During the classes.
Love is stronger than death, stronger than fear of death...
(I.S. Turgenev)
Org. moment.
Work with text
Questions and tasks for discussion:
1. Why can't we call her either "victim" or "mistress"? ( The answer lies in her character traits.)
2. What traits of her character appear in the very first remarks? ( Directness, inability to be hypocritical and lie. The conflict is outlined right away: Kabanikha does not tolerate self-esteem, disobedience in people, and Katerina does not know how to adapt and submit.)
3. Where did these traits come from in the heroine? Why does the author only talk about Katerina in such detail, talk about her family, childhood? How was Katerina brought up? What atmosphere surrounded her in her childhood and in her husband's family? In childhood? In the Kabanov family?
"Just like a bird in the wild"; “mother did not look for a soul”; "I was not forced to work." Katerina's occupations: she took care of flowers, went to church, listened to wanderers and praying women, embroidered on velvet with gold, walked in the garden “I have withered completely”; “Yes, everything here seems to be from under captivity.”
The atmosphere of the Kabanovs' house is fear. “You will not be afraid, and even more so me. What kind of order will this be in the house?
Features of Katerina: love of freedom (the image of a bird); independence; self-esteem; dreaminess and poetry (a story about visiting a church, about dreams); religiosity; decisiveness (a story about an act with a boat).
Principles of the House of Kabanovs: complete submission; renunciation of one's will; humiliation by reproaches and suspicions; lack of spiritual principles; religious hypocrisy
Conclusion. For Katerina, the main thing is to live according to your soul.
For Kabanikh, the main thing is to subdue, not to let them live in their own way
General conclusion. The relationships of the characters are in a state of sharp contrast and give rise to an irreconcilable conflict.
1. What is Katerina's protest expressed in? Why can we call her love for Boris a protest? ( Love is the desire to live according to the laws of your soul.)
2. What is the complexity of the internal state of the heroine? ( Love for Boris is not only a free choice dictated by the heart, but also a deceit that puts Katerina on a par with Varvara; the rejection of love is submission to the world of the Kabanikh, and the choice of love is both happiness and torment for Katerina. But, having chosen love, she deliberately dooms herself to torment.)
3. How is the heroine's torment, the struggle with herself shown in the scene with the key, the scenes of meeting and parting with Boris? Is this her strength or weakness? Analyze vocabulary, sentence structure, folklore elements, connections with folk song.
Key scene:“What am I saying, that I am deceiving myself? I have to die to see him."
Date scene:“Let everyone know, let everyone see what I'm doing! If I was not afraid of sin for you, will I be afraid of human judgment?
Farewell Scene:"My friend! My joy! Goodbye!"
(All three scenes show the determination of the heroine. She did not betray herself anywhere: she decided on love at the behest of her heart, confessed to treason from an inner sense of freedom (a lie is always lack of freedom), she came to say goodbye to Boris not only because of a feeling of love, but also because of guilt: he suffered from -for her. She threw herself into the Volga at the demand of her free nature.)
4. Why Boris couldn't save Katerina ( He was a “victim” of the “dark kingdom”, lived under the influence of the Wild, and could not disobey him, obeyed him and could not, like Katerina, oppose captivity because of the fear of the “victim”)
5. Prove that Katerina's death is a protest. ( The death of Katerina is a protest, a riot, a call to action, since after her death Varvara ran away from home, Tikhon blamed his mother for the death of his wife, Kuligin reproached him for mercilessness.)
5. Will the city of Kalinov be able to live in the old way? ( The city of Kalinov will not be able to live in the old way after the death of Katerina, because her death awakened the first words of protest among its inhabitants.)
Lesson summary. Katerina is distinguished by inner strength and love of freedom, since in childhood she did not experience pressure from her parents, she grew up according to her nature; therefore, she did not break under the pressure of the "dark kingdom", she was able to defend her self-esteem. Katerina is a strong personality who knew how to love, is ready to sacrifice herself in the name of love, but she is honest, sincere and therefore she is not able to pretend, deceive, i.e. live according to the laws of the "dark kingdom", she chose a way out - suicide, in order to save herself and her soul from remorse and get away from the norms and rules of the city of Kalinov.
Homework. Answer the question "How do family and social conflicts relate in drama"? Prepare a reading on the roles of Katerina's repentance scene (action 4, phenomenon 6).
Lesson #5
Subject:Family and social ny conflict in the drama "Thunderstorm"
Goals: find out the main stages in the development of the external conflict "Thunderstorms", the motivation of the actors of the play participating in the conflict; various stage interpretations of the role of Katerina, compare and contrast them.
Equipment: texts, notebooks
Methodical methods: conversation, answers to problematic questions, speeches of the student.
During the classes.
Org. moment.
Work with text.
What problems does Ostrovsky reveal in his work?
Define the word conflict.
Did Katerina manage to escape from this "dark kingdom"? Was there another way out?
In The Thunderstorm, Ostrovsky, operating with a small number of characters, managed to reveal several problems at once. Firstly, it is, of course, a social conflict, a clash of "fathers" and "children", their points of view (and if we resort to generalization, then two historical eras). Kabanova and Dikoy belong to the older generation, actively expressing their opinion, and Katerina, Tikhon, Varvara, Kudryash and Boris belong to the younger one. Kabanova is sure that order in the house, control over everything that happens in it, is the key to a good life. The correct life, according to her concepts, is to follow the house-building orders and unquestioningly obey the elder (in this case, she, because she does not see another suitable candidate). Seeing that not all of her demands are met, she is afraid for the future, both her own and her children, because her world is collapsing, and what should come to replace it seems chaos to her. She is trying with all her might to keep the old order, tk. simply cannot live otherwise; therefore, the figure of Kabanova acquires a tragic connotation. In Wild, on the contrary, there is no hint of tragedy. He is sure that he is right and that everyone around him depends only on him, therefore he allows himself unthinkable vile acts, which is typical tyranny.
The younger generation sees things a little differently. All of them, with the exception of Boris, who for some unknown reason endures his uncle's self-will, to one degree or another protest against the oppression by their elders. Curly scolds Wild, thus not letting himself be offended. Varvara secretly goes for walks at night from her mother, and then runs away with Kudryash altogether. Boris, as already mentioned, endures the bullying of Dikoy and thereby shows some kind of inability to live independently. So is Tikhon. His absolute dependence on his mother is due to the fact that he grew up in an environment where someone necessarily commands, and someone obeys.
The most difficult and tragic fate of all is Katerina's protest. Not realizing clearly what she needs, she knows one thing: you can’t live like that. Of course, she is part of the patriarchal Kalinov and lives according to his laws, but at some point it all becomes unbearable for her. The “dark kingdom” cracks, and through it, from its very depths, a “bright ray” breaks through. Katerina’s obscure desire to escape from this musty world somewhere (she is a maximalist, like Kabanova, only one option is possible for her: either all or nothing) led her into the river, but by doing so she resolved the conflict with her own destiny in her favor: instead of the fate of existence prepared for her within four walls, eternally trampled on by her mother-in-law and her husband, she chose freedom, even at the cost of her life.
For quite a long time, it was believed that Ostrovsky took the plot of The Thunderstorm from the life of the Kostroma merchants, that it was based on the Klykov case, which was sensational in Kostroma at the end of the summer of 1859. Until the beginning of the 20th century, Kostroma residents proudly pointed to the place of Katerina's suicide - a gazebo at the end of a small boulevard, which in those years literally hung over the Volga. They also showed the house where she lived - next to the Church of the Assumption. And when the "Thunderstorm" was for the first time on the stage of the Kostroma Theater, the artists made up "under the Klykovs."
Kostroma local historians then thoroughly examined the Klykovo case in the archive and, with documents in their hands, came to the conclusion that it was this story that Ostrovsky used in his work on Thunderstorm. The coincidences were almost literal. A.P. Klykova was extradited at the age of sixteen to a gloomy and unsociable merchant family, consisting of old parents, a son and an unmarried daughter. The mistress of the house, severe and obstinate, depersonalized her husband and children with her despotism. She forced her young daughter-in-law to do any menial work, refused her requests to see her relatives. At the time of the drama, Klykova was 19 years old. In the past, she was brought up in love and the soul of a doting grandmother in her, she was cheerful, cheerful, lively. Now she was unkind and a stranger in the family. Her young husband, Klykov, a carefree and apathetic man, could not protect his wife from the harassment of his mother-in-law and treated her indifferently. The Klykovs had no children. And then another man stood in the way of the young woman, Maryin, who works in the post office. Began suspicions, scenes of jealousy. It ended with the fact that on November 10, 1859, the body of A.P. Klykova was found in the Volga. A long legal process began, which received wide publicity even outside the Kostroma province, and none of the Kostroma residents doubted that Ostrovsky had used the materials of this case in Groz.
Many decades passed before the researchers of Ostrovsky’s work established for sure that The Thunderstorm was written before the Kostroma merchant Klykova rushed into the Volga.
Conclusion: such cases happened among the merchants, so the patriarchal foundations of society did not allow them to live freely, independently, but subjugated, enslaved. A woman could not love the one she wants, they married not for love, and she had to come to terms with her fate. Katerina Kabanova did not reconcile herself, as did A.P. Klykova.
test work based on the work of Ostrovsky. "Storm".
| 1 OPTION 1) Ostrovsky's name a) Nikolai Alekseevich b) Alexey Nikolaevich c) Alexander Nikolaevich d) Nikolai Alexandrovich 2) Ostrovsky was nicknamed a) Columbus Zamoskvorechye b) "a man without a spleen" c) "comrade Konstantin" 3) Ostrovsky studied a) at the Tsarskoye Selo Lyceum b) in the Nizhyn gymnasium c) at Moscow University d) at Simbirsk University 4) The work "Thunderstorm" a) comedy b) tragedy c) drama d) novel 5) Which work does not belong to Ostrovsky's pen: a) "Snegurochka" b) "Wolves and sheep" 6) The drama "Thunderstorm" was first published in a) 1852 b) 1859 c) 1860 d) 1861 7) What invention did the self-taught mechanic Kuligin want to introduce into the life of his city? a) telegraph b) printing press c) lightning rod d) microscope 8) Determine the climax of the drama "Thunderstorm" a) farewell to Tikhon and Katerina before his trip b) the scene with the key c) Katerina's meeting with Boris at the gate d) repentance of Katerina before the inhabitants of the city
a) realism b) romanticism c) classicism d) sentimentalism 10) The action of the drama "Thunderstorm" takes place a) in Moscow b) in Nizhny Novgorod c) in Kalinov d) in St. Petersburg 11) Determine the main conflict of the drama "Thunderstorm" a) the love story of Katerina and Boris b) clash of tyrants and their victims c) the love story of Tikhon and Katerina d) a description of the friendly relations between Kabanikhi and Dikiy 12) Which of the heroes of the drama "Thunderstorm" "envy" the deceased Katerina, considering his own life the forthcoming torment? a) Boris b) Kuligin c) Barbara d) Tikhon 13) Which of the heroes of the play is characterized by the author as "a young man, decently educated"? a) Kuligin b) Tikhon c) Boris d) Kudryash 14) What type of literary heroes did Kabanikha belong to? a) "extra person" b) hero-reasoner c) little man d) "tyrant" 15) Who can "pacify" the Wild One? He has such an establishment. With us, no one even dare to utter a word about salaries, they will scold what the world is worth. “You,” he says, “why do you know what I have in mind? Somehow you can know my soul? Or maybe I will come to such an arrangement that you will have five thousand ladies.” So you talk to him! Only he had never in his entire life come to such and such an arrangement. a) Wild b) Boris c) Curly d) Tikhon 17) Whose words:« Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and bare poverty. And we, sir, will never get out of this bark». a) Curly b) Kuligin c) Boris Grigorievich d) Wild | OPTION 2 1) Years of life of A. Ostrovsky: a) 1823 - 1886 b) 1809 - 1852 c) 1812 - 1891 d) 1799 - 1837 2) Ostrovsky studied a) at the Tsarskoye Selo Lyceum b) in the Nizhyn gymnasium c) at Moscow University d) at Simbirsk University 3) Ostrovsky was nicknamed a) Columbus Zamoskvorechye b) "a man without a spleen" c) "comrade Konstantin" d) "a ray of light in a dark kingdom" 4) The drama "Thunderstorm" was first published in a) 1852 b) 1859 c) 1860 d) 1861 5) Which work does not belong to Ostrovsky: a) "Snow Maiden" b) "Poverty is not a vice" c) "Oblomov" d) "Our people - we will settle" 6) The work "Thunderstorm" a) comedy b) tragedy c) drama d) story 7) What estate did Kabanikha belong to? a) merchants b) tradesmen c) nobles d) commoners 8) Who arranged the meeting between Katerina and Boris? a) Curly b) Kuligin c) Barbara d) Glasha 9) To which literary direction should the drama "Thunderstorm" be attributed? a) realism b) sentimentalism c) classicism d) romanticism 10) What was the name of Katerina's lover a) Kuligin b) Tikhon c) Boris d) Kudryash 11) In which city does the play take place? a) in Nizhny Novgorod b) in Torzhok c) in Moscow d) in Kalinov 12) Who owns the phrase: “Do whatever you want, if only it was sewn and covered”? a) Curly b) Katerina c) Varvara d) Kabanikha 13) What did the self-taught mechanic Kuligin invent? a) telegraph b) perpetuum mobile c) sundial d) lightning rod 14) What phrase ends the drama "Thunderstorm"? a) Mom, you ruined her, you, you, you ... b) Do with it what you want! Her body is here, take it; and the soul is now not yours: it is now before the judge, who is more merciful than you! c) Thank you, good people, for your service! d) Good for you, Katya! And why did I stay in the world and suffer! 15) What type of literary characters did Dikoy belong to? a) "an extra person" b) "tyrant" c) "little man" d) hero-lover 16) Who owns the words: “Here is your Katerina. Her body is here, take it; and the soul is not yours now; she is now before a judge who is more merciful than you!”? a) Tikhon b) Boris c) Wild d) Curly |
Summary of the lesson.
Homework. Think about the questions "What is the symbolism of the title of the drama "Thunderstorm"?"; "Why did Ostrovsky call the play a drama and not a tragedy"? Get acquainted with the statements about Katerina critics (Dobrolyubov "Ray of Light in the Dark Kingdom", Pisarev "Motives of Russian Drama"); decide which critic's point of view is closer to you;
a) continue the quote (required):
| Dobrolyubov | Pisarev |
| The character of Katerina is ... | Dobrolyubov assumed the identity of Katerina... |
| Decisive, solid Russian ... | Not a single bright phenomenon ... |
| This is character par excellence... | What a harsh virtue... |
| Katherine does everything... | Dobrolyubov found ... the attractive sides of Katerina, ... |
| In Katerina we see a protest ... | Education and life could not give ... |
| Such a liberation is bitter; but what do you do when... | Katerina cuts the protracted knots ... |
| We are happy to see deliverance... | Who does not know how to do anything to alleviate their own and others' suffering... |
b) write down other statements you like that characterize Katerina (required)
c) determine your attitude to these theses, pick up an argument (mandatory).
Lesson #6
Subject:The controversy of critics around the drama "Thunderstorm".
Goals: to acquaint students with the content of critical articles by N.A. Dobrolyubova and D.I. Pisarev, to consolidate knowledge on working with a critical article (plan, abstract); teach to compare the views of critics, their assessment of the image of Katerina; reasoned answers to questions of a problematic nature.
Equipment: texts, notebooks
Methodical methods: conversation, answers to problematic questions, speeches of the student.
During the classes.
Org. moment.
Group work:
The disputes around The Thunderstorm are determined, firstly, by the nature of the genre, since a work intended for the stage involves various interpretations, secondly, by the originality of the content, since there is a social and moral conflict in the play, and thirdly, by the active development of critical thought during this period.
Stage 1
On the left and right sides of the board are already well-known quotes:
Pisarev: “Katerina's whole life consists of internal contradictions, she every minute rushes from one extreme to another; she repents today of what she did yesterday; at every step she confuses her own life and the lives of other people; finally, having confused everything, she cuts the tightened knots with the most stupid means, suicide.
Dobrolyubov: “The end of the play seems gratifying to us; in it is given a terrible challenge to tyrannical power.
Who cares about the first opinion? Who is second? Who at this stage can not accept any point of view? (method "Thermometer")
"Dobrolyubovtsy" and "Pisarevtsy" take places opposite each other. Each group chooses a leader. His task is to coordinate the work of the group so that each participant has the opportunity to speak. "Undecided" sit between these groups and receive 2 signal cards: an exclamation mark and a question mark. They listen carefully to the statements of the speakers and, if they find the speech convincing, they raise a card with an exclamation mark. If a question arises, misunderstanding, they raise a card with a question mark and after the speech ask a question or ask to clarify the statement. Cards with a question mark are also distributed to opposing groups. The exclamation mark cards for these groups seemed redundant. they had the opportunity to express their agreement or disagreement with the words: “I agree with the previous speaker….”
Stage 2
Filling the table with continuations of quotes (multimedia projector)
| Dobrolyubov | Pisarev |
| Katerina's character is a step forward ... in all our literature | Dobrolyubov took the personality of Katerina for a bright phenomenon |
| Resolute, integral Russian character | Not a single bright phenomenon can arise in the "dark kingdom" ... |
| This character is predominantly creative, loving, ideal | What is this harsh virtue that gives up at the first opportunity? What kind of suicide caused by such petty annoyances? |
| Katerina does everything according to the inclination of nature | Dobrolyubov found ... the attractive sides of Katerina, put them together, made up an ideal image, as a result he saw a ray of light in a dark kingdom |
| In Katerina we see a protest against Kaban's notions of morality, a protest carried through to the end... | Upbringing and life could not give Katerina either a strong character or a developed mind ... |
| Such a liberation is bitter; But what to do when there is no other way out. That is the strength of her character. | Katerina cuts the lingering knots by the most stupid means - suicide. |
| We are glad to see Katerina's deliverance. | He who does not know how to do anything to alleviate his own and other people's suffering cannot be called a bright phenomenon. |
| Katerina ....-a ray of light in the "dark kingdom" | Katerina…attractive illusion |
Stage 3
Students are invited to speak on any of the statements on the principle of AGREE-DISgree with the critic, but before the start of the speeches, the groups are given 2-3 minutes to coordinate their actions: who wants to speak on what issue.
Thus, the discussion begins with commenting on other people's statements and proceeds to the formulation and argumentation of one's own opinion.
Stage 4
After everyone has spoken, both groups are asked the following question: “What is the reason for such a different assessment of the same image?”
To answer this question, it is proposed to listen to experts (one tells about the personality and views of Dobrolyubov, the time of writing the article, the other about the personality and views of Pisarev and the change in the political situation over the years separating 2 articles).
Conclusion: that the perception of a literary image is influenced by such factors as the time of writing articles, the political convictions of the author of the article.
1. Dobrolyubov's views on the play:
"Ostrovsky has a deep understanding of Russian life."
"He captured such common aspirations and needs that permeate the entire Russian society."
Arbitrariness, on the one hand, and a lack of awareness of the rights of one's personality, on the other, are the foundations on which all the disgrace of mutual relations rests.
“Besides them, without asking them, another life has grown, with other beginnings, and although it is far away, it is not yet clearly visible, but it already gives itself a presentiment and sends bad visions to the dark arbitrariness of tyrants.”
"Katerina's character ... constitutes a step forward in all our literature."
"The strong Russian character in Groz amazes us with its opposition to all self-imposed principles."
“The resolute, integral Russian character, acting among the Dikikhs and Kabanovs, is in Ostrovsky in the female type ... the strongest protest is the one that rises ... from the chest of the weakest and most patient.”
“It’s sad, bitter, such a liberation ... That’s the strength of her character, that’s why“ Thunderstorm ”makes a refreshing impression on us.”
“This end seems to us gratifying ... it is a terrible challenge to self-foolish power.”
2. Pisarev's views are a polemic with Dobrolyubov.
"Nature" of Dobrolyubov and "personality" of Pisarev.
Evaluation of Katerina as a heroine who has not yet become a developed personality.
The spontaneity and inconsistency of the image acting under the influence of feelings.
Evaluation of suicide as an unexpected action.
3. App's views. Grigoriev.
Nationality is the main thing in the work of Ostrovsky.
It is the nationality that determines the originality of Katerina's character.
Summary of the lesson.
Group introspection:
Was it interesting to work on your topics?
What succeeded?
What difficulties did you experience?
What did you learn new?
What verbal communication skills have you acquired?
What else could be worked on?
What disagreements and conflicts arose? How were they decided?
Did everyone have a chance to take part in the discussion? If not, have you tried to involve them in the discussion?
Homework. Prepare for an essay-reasoning on the drama “Thunderstorm” (remember the features of the construction of the text-reasoning) “What thoughts and feelings does the drama “Thunderstorm” awaken in me?
Lesson #7
Subject:R.r. Composition - reasoning on the drama of A. N. Ostrovsky "Thunderstorm".
Lesson Objectives: the formation of the ability to work on an essay based on the read text of the artistic style.
Lesson objectives:
repeat the main features of the artistic style; improve the skills of text analysis of artistic style;
develop speech hearing, mental activity, creative abilities of students;
develop a sense of camaraderie.
Lesson type: combined with the use of ICT.
Type of lesson: study lesson.
Form: collective work.
During the classes
I. Organizing time. Greetings.
II. Activity motivation.
The topic of today's lesson is relevant for each of us. At the final exam in Russian, you have to write an essay based on the text you read. Each of you must remember: knowledge is power. This is exactly what is necessary for the successful passing of the exam in the Russian language in the form of the Unified State Examination. We acquire knowledge everywhere, and the lessons of the Russian language, including today's lesson, are called upon to serve this.
III. Activation of knowledge and goal setting.
The purpose of the lesson is already indicated in the topic - to prepare for writing an essay - reasoning on the text read. You recently wrote an essay based on a journalistic style text. Almost everyone was convinced that this is a rather difficult task, and it is not in vain that it is given at the Unified State Examination as an assignment of part C - an assignment of an increased level of complexity. We have to work hard, because the essay must meet all modern requirements.
Today in the lesson we will use the material presented in the presentation.
IV. Student activities in the classroom.
1) Repetition of previously studied material.
The order of work on the essay on the text read.
What is called a problem? ( A problem is a complex issue that needs to be solved, researched).
- What does it mean to comment on the problem posed by the author in the text?
- What else should be required in an essay? ( author's position, own position)
- The final stage of the work is also important.
Subject- this is the subject of speech, this is what is said in the text;
problem- a question requiring research; problematic issue should be significant for society.
idea- this is the main idea of the text, what the author of the text wanted to teach us.
V. Planning.
Commenting on the reported problem based on the text .
Argumentation of one's own point of view (1 argument is required! Literary, the second argument can be taken from any source)
Introduction. Thesis. Formulation of the problem posed by the author of the text.
Main part. Proof.
Conclusion. Conclusion. Students should pay attention to the completeness of the essay-reasoning. To do this, when writing a conclusion, it is necessary to refer to the beginning of the text and say about the relevance of the problem under study.
After such work, we offer students a few clichés:
What's happened…? Here is one of the main problems explored by the author of the text….
Speaking about this topic, the writer talks about ...
(Students have difficulty commenting on the problem: there should not be a retelling of the text, reasoning on all problems, a story about the actions of the characters. What can you advise in this case? You can derive a kind of formula: take one key sentence from the text, plus 5-6 of your own sentences by issue)
Recall the work (name of the work and its author)
In addition, I would like to draw attention to ... (Argument 2)
Thus, we can conclude that ... (back to the introduction)
VI. Summary of work.
VII. Homework. Write an essay-reasoning on the drama "Thunderstorm": "What thoughts and feelings awakens in me the drama" Thunderstorm?
Lesson № 8
Subject:Drama by A. N. Ostrovsky "Dowry".
Goals: acquaintance of students with the historical situation, with the social life of the 70s of the nineteenth century, which influenced and created the basis for writing a new play, with new types of characters, to show what significance this play had for the author himself.
During the classes
I. Opening speech of the teacher.
With the rapid and rapid development of capitalist relations, in the 70s. great changes are taking place in the merchant world. It becomes more and more complicated and breaks ties with the old folk morality, with the Domostroy traditions. Merchants from small merchants become millionaires, international connections are established, and they receive a European education. The patriarchal simplicity of morals is a thing of the past. Folk song is replaced by romance. 70s The nineteenth century is an atmosphere of money hype, a wolf struggle for a place under the sun, this is a time of selfishness and cynicism. (F.M. Dostoevsky “Teenager”, “Crime and Punishment”, etc.).
The world of patriarchal merchants, with whom Ostrovsky says goodbye, is replaced in his later work by the realm of predatory, tenacious and smart businessmen. The appeal to new social phenomena leads to great changes in the artistic essence of Ostrovsky's later dramas. Especially clearly this evolution of the writer's dramatic talent is palpable in his drama "Dowry".
According to the author's note on the draft of The Dowry, the drama was conceived on November 4, 1874. The original plot of the play was different. In the diary of I.A. Shlyapkin, there is a record of the story of M.I. Pisarev, who conveyed the following outline of the idea from the words of the playwright: “On the Volga, an old woman with three daughters. Two rollicking - and horses to rule, and to hunt. Their mother loves them very much, they have a dowry. The youngest is quiet, thoughtful, dowryless. Two people are in love. One villager, stay-at-home; have fun, so have fun, everything works out for him. Reads "Apostle", goes hunting. Another picked up the tops, but empty. Lives in St. Petersburg, in the summer in the countryside, phrase-monger. A girl fell in love with him, drama”
Among the old-timers of the city of Kineshma, the legend was steadfastly held that the plot of the “Dowry” was inspired by Ostrovsky's criminal case, which was heard in the Kineshma court. The murder by a husband out of jealousy of his young wife was notable for the fact that behind the scenes of this tragic and scandalous incident was the Volga "millionaire" Ivan Aleksandrovich Konovalov. This possible prototype of Knurov, outwardly very representative and respectable businessman of the new century, secretly kept a whole harem. However, one can only guess to what extent this whole story influenced the formation of Ostrovsky's plan.
The playwright had obviously been busy with work on The Bride since September 1875, but she entered the decisive stage in September-October 1876. “All my attention and all my strength,” Ostrovsky wrote from Shchelykovo, “is focused on the next big play, which was conceived more than a year ago and on which I was constantly working. I am thinking of finishing it this year and will try to finish it in the most thorough way, because it will fortieth my original work.
The play was completed on October 17, 1878. Ostrovsky wrote: “I have already read my play in Moscow five times, among the listeners there were people who were hostile to me, and everyone unanimously recognized The Dowry as the best of all my works.” The hopes associated with this play, the consciousness of the significance of their plan, were reflected in the inscription on the draft autograph: "OPUS 40" and in a line from a letter to the head of the repertoire of the imperial theaters Fedorov S.P., sent to St. Petersburg simultaneously with the manuscript: “This play begins new variety my works."
The premiere at the Moscow Maly Theater took place on November 10, 1878. The first critical responses were associated with theatrical performances that preceded the publication of the play, and they were unfavorable for the author: stories of a stupid, seduced girl? The one who waited for a new word, new types from the venerable playwright was cruelly mistaken...”. A new era in the stage history of "Dowry" began after the death of Ostrovsky, when on September 17, 1896, V. Komissarzhevskaya played the role of Larisa on the stage of the Alexandrinsky Theater. The same V. Komissarzhevskaya plays the role of Nina Zarechnaya in "The Seagull" by A.P. Chekhov.
II. Conversations with students onquestionm:
1. When and where does the action take place in "Dowry"?
2. Compare the life of the city of Kalinov ("Thunderstorm") and the city of Bryakhimov ("Dowry"). What has changed in the life of the Volga cities in two decades and what has remained unchanged?
3. "Significant persons" of the city of Bryakhimov. What is their position in life?
The events in the drama "Dowry" unfold on the picturesque banks of the beautiful Volga, in the provincial town of Bryakhimov. The silence of the province is broken by the horns of steamboats, the rumble of carts on the cobblestone pavement. Lives in Bryakhimov "now a clean audience." Merchants are not at all like Wild and Boar.
These are quite educated and cultured entrepreneurs who read European newspapers, attend industrial exhibitions abroad, communicate with their peers.
But behind the external gloss and education of the new masters of life, heartlessness, cynicism and prudence are hidden. Relationships between people are entirely beginning to define checkbooks and tight wallets.
4. What moral and psychological problems are raised in the drama? What is the main conflict?
Play conflict- the collision of the trusting and honest girl Larisa Ogudalova with the world of cold businessmen, with the world in which everything is bought and sold. The drama is based on a social theme: Larisa is a dowry, and this determines her tragic fate.
Thus, the main drama idea consists in the fact that in a society where predatory businessmen like the millionaire Knurov triumph, honest and decent people cannot live, “prove themselves”; their dignity is trampled, their pride is wounded. “To be a self-conscious person and not be able to manifest it - such is the tragic situation in which a person found himself deprived of material security” (L. Tropkina)
A. N. Ostrovsky makes his heroine a woman - "the only living soul" in the world of "predatory, tenacious and smart businessmen."
Larisa Ogudalova sharply differs from those around him with his rich spiritual world, the ability to truly love and feel beauty. She is talented, loves music and singing.
Four heroes - men (Knurov, Paratov, Vozhevatov, Karandyshev) - claim the attention and society of Larisa Dmitrievna Ogudalova. She is talked about and admired, but Human they don't see it. For Brakhimov's rich, it is entertainment, a convenient opportunity to amuse vanity, to satisfy their curiosity. “They don’t look at you like a woman, like a person… They look at you like a thing,” throws insulting (but true) words to Larisa Karandyshev. Larisa: “Thing! .. Yes, a thing ... They are right, I am a thing, not a person!” These are the words of a tortured woman, but they are also a desperate protest against a deceitful and cynical society.
(The name Larisa in Greek means - gull. Women named Larisa are beautiful and smart, in the spotlight.)
III. Homework. Prepare quotation material about the merchants Knurov, Paratov, Vozhevatov and the petty official Karandyshev.
Lesson № 9
Subject:Life and customs of the Russian province in the drama "Dowry"
Goals: show the life and customs of the Russian provinces of the 70s, reveal the life position of the "masters of life"; help students understand, see, discern the tragedy of the “little man” Karandyshev, draw analogies with other heroes of Russian literature who replenished the army of “little people”.
During the classes
Introduction by the teacher.
The drama is based on a social theme: Larisa is poor, she is a dowry, and this determines her tragic fate. She lives in a world where everything is bought and sold, including girlish honor, love and beauty. Larisa is a romantic nature. As the action develops in the drama, the discrepancy between the romantic ideas of Larisa and the prosaic world of people surrounding her and worshiping her grows. These people are complex and contradictory in their own way. Let's try to figure out what they are, using specific examples.
The surnames in this play very accurately and figuratively reflect the main quality of this or that character, which is the basis of the surname. ( Analyzing the images of the characters, incidentally touching on the anthroponymy of the play, the students should come to the conclusion that most of the names, patronymics and all the surnames in the "Dowry" carry a significant semantic load). For four decades of tireless creative activity (1846 - 1886), A.N. Ostrovsky used a wide variety of means to name the heroes of his works. Ostrovsky was a connoisseur of the wealth of the Russian language, he knew the folk dialects perfectly.
(The playwright worked painstakingly on compiling a dictionary of the Russian language. The dictionary was not completed, but “Materials for a Dictionary” was included in the XIII volume of the collected works of A.N. Ostrovsky. The fact that the naming of heroes is carried out in accordance with the main qualities of their character, appearance , manners of behavior, will help students to penetrate deeper into the essence of the image of the character, to comprehensively consider it and carefully understand the sometimes unpredictable behavior of the hero, which is often so aptly reflected in his last name, first name, patronymic).
Notebook entry: The surnames in this play very accurately and figuratively reflect the main quality of this or that character, which is the basis of the surname. Most of the names, patronymics and all the surnames in the "Dowry" carry a significant semantic load.
Conversation on Ostrovsky's drama.
Moky Parmenych Knurov
Mokiy - from Greek. derisive, mocker
Parmenych - from Greek. Parmenius- firmly standing
Knurov- from knur- boar, wild boar, boar (V.I. Dal)
Answer: A big businessman, "an elderly man with a huge fortune."
Question: How is he interacting with other characters? What habits and character traits of Knurov are revealed in the course of the play? What is the attitude of the heroes of the play to Knurov?
Answer: In dealing with people, Knurov is strictly selective, keeps his distance, does not waste words in vain. “Who should he talk to? There are two or three people in the city, he talks to them, but no one else; Well, he is silent... And he travels to Moscow, St. Petersburg, and even abroad to talk, where it is more spacious for him.” The environment is clearly aware of the power of Knurov's influence. Vozhevatov bows “respectfully” when meeting with him. Ogudalova greets Knurov with special respect, excited by the honor given to her house: “On what to write down such happiness? .. I am so glad, I was at a loss right ... I don’t know where to put you”; “we deliver your visit for special happiness; nothing compares to it.” If Vozhevatov is his own person for Knurov and he “gives a hand” to him at a meeting, then Knurov behaves with others in a completely different way. As noted in the remark: “Knurov, silently and without getting up, gives Ogudalova a hand, nods slightly to Karandyshev and plunges into reading the newspaper,” with which he defiantly fences himself off from unwanted interlocutors. Reluctantly bound by the promise to be at the dinner with Larisa's fiancé, Knurov rejoiced at the arrival of Paratov, who belonged to the people of his circle: “I am very glad, after all, there will be someone to say at least a word at dinner.”
Question. Find in the text the key phrase that Knurov utters and which is a characteristic of his inner world, the leitmotif of the image.
Answer. Knurov is always, first of all, a businessman. He appreciates money, a profitable business (“It’s good for him, Vasily Danilych, who has a lot of money”). Keeping in mind his condition, for which, according to his concepts, you can buy everything (up to the love of a beautiful woman), Knurov confidently declares: “For me, the impossible is not enough.”
Question. How does Knurov feel about Larisa Ogudalova? How does he assess what happens to Larisa in the future?
Answer. Knurov highly appreciates the beauty of Larisa Ogudalova, which could greatly decorate his life, bring a pleasant variety to it (for a lot of money, of course). “And it would be nice to take a ride to an exhibition with such a young lady in Paris.” Vozhevatov's story about the Ogudalov family, about Larisa's love for Paratov, who had deceived her, about the desperate situation of a beautiful homeless woman who decided to marry Karandyshev, strengthened Knurov in his desire to buy Larisa's favor. He calls her an “expensive diamond”, while Knurov has prepared for himself the role of a jeweler artist who will be able to process this diamond and turn it into a priceless jewelry that has become his property.
Question. How does Knurov carry out his intention?
Answer. To carry out his intention, Knurov immediately goes to work. During a visit to the Ogudalovs, without any emotions or words, he hints to Kharita Ignatievna that he is ready to become the patron of her daughter (“I will not regret anything for Larisa Dmitrievna”). And then, in accordance with his own ideas, he coolly explains: “Perhaps you think that such proposals are not disinterested?.. Find people who will promise you tens of thousands for free, and then scold me.” Knurov puts his patronage in concrete forms: he promises Ogudalova to take on all the expenses for Larisa’s wedding dress (“It will be a shame to see if she is dressed somehow. So you order all this in the best store, but don’t count and don’t spend a penny! send it to me, I will pay”), gives money to Ogudalova for a gift.
Question. How does Knurov assess what is happening between Larisa and Paratov on the ship?
Suggested answer. Everything that happened to Larisa in the future, Knurov perceives as events favorable to his plans. He understood what the trip across the Volga meant for Larisa, who had run away from her fiancé, realized that she again believed the words of Paratov, who treated her extremely cruelly. “It seems the drama is starting,” Knurov anticipates. Now that Larisa has compromised herself in such a way, having committed such an act reprehensible in the eyes of society, and Paratov refuses her, Knurov acts decisively, having accurately calculated the situation. “It seems to me that she is now in such a position that it is not only permissible for us close people, but we are even obliged to take part in her fate,” he says to Vozhevatov. The quick-witted interlocutor clarifies, exposing the meaning of these words: “So you want to say that now there is an opportunity to take her with you to Paris?”
Obstacles of a moral nature have already been eliminated by the situation in which Larisa found herself offended and having lost all hope of happiness, but Vozhevatov remained a rival. As a businessman with a businessman, Knurov is talking to him: “Everything is bothering me, and I am you. Maybe you are not afraid of competition? I am not very afraid either; but still awkward, restless; much better when the field is clear.” And business people play Larisa, like a thing, in a toss. The winning Knurov sternly warns Vozhevatov: "You are a merchant, you must understand what the word means."
Teacher's word. Here everything that was planned at the very beginning, in the second manifestation of the first act, was closed, logically completed. Read this phenomenon again, think about its meaning. This is a skillful dramaturgic miniature, this is a sketch, a diagram of the performance that was then played out before the eyes of the audience. And the director of this performance was Mokiy Parmenych Knurov. The strongholds of the proposed scenario were Knurov's remarks, which the students themselves must indicate in the text:
“However, her position is unenviable”;
“And it would be nice to go to an exhibition with such a young lady in Paris”;
“Pity poor Larisa Dmitrievna, pity...”;
“Can't you see that this woman is made for luxury. An expensive diamond requires an expensive setting.”
Vozhevatov notes: “And a good jeweler...”.
Larisa's fate is sealed. Knurov - this idol of the modern world - set a goal, and for him, we remember, nothing is impossible.
Such is life, such is the cruel reality. And her horrors become even more terrible because they touched a poetically sublime person, capable of deeply loving and even idealizing everyone around.
Question. What kind of happiness does Knurov want to offer Larisa?
Answer. Knurov really wants to make Larisa happy in the sense in which he himself understands happiness. When the girl realized how low and inhumanly Paratov acted with her, Knurov makes her an offer to go with him to Paris, to become his kept woman for “full security for life”. “Don’t be afraid of shame, there won’t be any condemnation... I can offer you such a huge amount of content that the most evil critics of someone else’s morality will have to shut up and open their mouths in surprise,” he reassures, an experienced person who knows well how they can defend in such a situation. money situations. Perhaps Knurov is not disingenuous when he says: “I would not have thought for a single minute to offer you a hand, but I am married.” If Larisa accepts his offer, he is ready to become her “most devoted servant”, “the most accurate executor of her desires and even whims, no matter how strange and expensive they may be.” But, in fact, Knurov offers Larisa the path of debauchery, from which Karandyshev's shot saved her.
Another "idol" of modern society, but still young
Vasily Danilych Vozhevatov
Let us turn to anthroponymy, which helps us to see the essence of the hero's character.
The dictionary of V.I. Dahl gives us the following concepts:
chewy- vozhevatenky, one who knows how to get along with people, courteous, polite, friendly, entertaining interlocutor.
Questions. What is Vozhevatov like in dealing with people? Compare it with Knurov. What is the difference between them? What is his life credo?
Answers.“A very young man, one of the representatives of a rich trading company, a European in costume,” a rather nimble and successful person in business. For a small amount, very profitable, Vozhevatov bought a steamer from Paratov. “By the way, we have a lot of cargo at the bottom,” he told Knurov. In the near future he intends to go to Paris for an exhibition. And in Bryakhimov, he has fun talking with Larisa Ogudalova and drinking champagne in the morning under the guise of tea.
Vozhevatov has a cheerful disposition, ease of communication. Comparing him with Knurov, the servant Ivan speaks with approval of Vozhevatov: “Here is also a rich man, but he is talkative.” More experienced and versed in people, Gavrilo remarks: “Vasily Danilych is still young; engages in cowardice; he still understands himself a little, but in summer he will enter, the same idol will be. Vozhevatov likes to joke, laugh, not to take seriously what has nothing to do with his affairs. Harita Ignatievna Ogudalova remarks: “But he is a jester, you can’t tell from him whether he is on purpose or really.” By his position, he belongs to the highest circle of Brakhimov society, and acquaintance with him is valued. Vozhevatov's confident negligence arouses envy in Karandyshev, who, in order to hide his true feelings, speaks of Vozhevatov: "An empty stupid boy", "That merchant Vozhevatov." Vozhevatov himself said quite definitely about himself: “Although I am young, I won’t go too far, I won’t pass on too much.”
Questions. What is Vozhevatov's relationship with the Ogudalov family, with Larisa? The behavior of Vozhevatov before he and Knurov drew lots, and after.
Answers. He has known Larisa since childhood, he is privy to all the events in the Ogudalovs' house. From him, various circumstances and stories associated with this family become known. But the tone of Vozhevatov's stories attracts attention. Laughing, he told Knurov about how hard Larisa was going through the separation from Paratov, how then a cashier appeared at the Ogudalovs, who was arrested in their house. If at the same time Knurov expresses sympathy, (“However, her position is unenviable”), then Vozhevatov ridicules everything that happens, like a chain of ridiculous and funny cases (“Yes, even funny”). And about the life of Larisa, about her situation, he narrates with humor, not missing the opportunity to present Harita Ignatievna in a comic light (“She must not be Russian ... She’s very agile”), all Larisa’s suitors, and about herself, about her future with Karandyshev, says: “But I think that she will leave him soon. Now she is still like a dead woman, but she will recover and take a closer look at her husband, what he is ... ”.
Soberly and in a businesslike manner, Vozhevatov assesses Larisa's position, dispassionately calculating that she has nothing to hope for. “Now there are not enough suitors: how many dowries, so many suitors, there are no extra ones, - there are not enough dowry girls ... Well, you need to think about getting married.” Communication with Larisa is entertainment for him against the backdrop of a rather monotonous Brakhimov life, a pleasure for which money can and should be paid. “And being in their house is a great pleasure,” he admits to Knurov.
Relations with the Ogudalovs do not oblige to anything, “I will slowly pour an extra glass of champagne from my mother, I will learn a song, I drive novels that girls are not allowed to read ... Why do I care about her morality: I am not her guardian.”
Apparently, Vozhevatov is not alien to the idea of going to Paris with Larisa. But for the time being, he carefully hides this from Knurov and quickly laughed off his suspicion: “Where am I! I'm simple for such things." Over Karandyshev, he, like others, ironically, is not averse to mocking him, for which he develops a plan for a walk, into which he initiates Paratov. “Tonight we will compose a walk across the Volga. There are gypsies on one boat, on the other we will arrive, sit down on a rug, cook zhzhzhenki.
The homeless actor Robinson also came in handy here, fulfilling the whims of the amused gentlemen, helping to get Karandyshev drunk. Without thinking in the least about the consequences, Vozhevatov includes the presence of Larisa in the plan of the entertainment event, already knowing about the “millionth” bride of Paratov. He is not tormented by moral doubts, and is not touched by the tragedy of Larisa playing out before his eyes.
“What to do something! We are not to blame, our business is a party, ”he says to Knurov.
Question. How does Vozhevatov assess the situation in which Larisa finds herself after a trip across the Volga with Paratov?
Answer The situation in which Larisa finds herself, Vozhevatov calls “an opportunity”, as if it were a profitable trade deal. He no longer laughs it off, does not recall the patriarchal upbringing, but decisively declares to Knurov: “I will not take a compensation, Moky Parmenych,” and offers to cast lots. Having lost, Vozhevatov was not upset: “I am not at a loss; less expenses." But Vozhevatov considers it a matter of honor to assure Knurov: “I myself know what a merchant's word is. After all, I am dealing with you, and not with Robinson. When by chance it turns out that a beautiful woman cannot belong to him, he becomes completely indifferent to Larisa, for her he does not have a word of sympathy. He, a childhood friend (“almost a relative”), is not touched by either the girl’s tears or her request to pity her, cry with her, give her advice. “I can’t, I can’t do anything,” says Vozhevatov, referring to the “shackles”, to the “honest merchant’s word”, which frees him from a sense of responsibility and compassion.
Notebook entry.“Vasily Danilych is still young; engages in cowardice; he still understands himself a little, but in summer he will enter, the same idol will be.
Teacher's word.
And the last, most interesting, multi-line image - Sergei Sergeyevich Paratov.
Remarque: "a brilliant gentleman, from the shipowners."
Let's turn to anthroponymy.
Sergey- high, highly respected.
Paratov- 1) Some believe that the surname is formed from a distorted French word parade, motivating this by the fact that Paratov likes to show off, “splurge”.
2) But rather, the playwright formed this surname from the dialect word flogged, which means "brisk, strong, hefty." An additional argument in favor of this point of view can be considered the fact that Ostrovsky quite rarely formed the names of the characters from distorted foreign words.
3) barat - exchange of goods for goods, baratery - deception on trade accounts.
Paratov - a man of a broad soul, giving himself up to sincere hobbies, ready to put at stake not only someone else's, but also his own life.
Question. What is Paratov's position in life?
Answer.“I, Mokiy Parmenych, have nothing cherished, I will find a profit, so I will sell everything, anything.” From the conversation between Knurov and Vozhevatov, it turns out that Paratov is failing in the practical, business sphere, is currently in need of money and therefore is selling the Lastochka steamer. “He doesn’t find any benefits,” concludes Vozhevatov, and Knurov adds: “Where is he! This is not a master’s business ... He’s motivated.”
Question. When does the play mention Paratov's name again?
Answer. Paratov's name is mentioned again when it comes to Larisa Ogudalova, a dowry from a "decent" family, where Paratov had quite definite views. He ensured that Larisa fell in love with him passionately, and he himself “repulsed the suitors, and the trace caught a cold, disappeared, no one knows where,” Vozhevatov said.
Teacher's explanation. The playwright sees only the pose in the “poshness”, the external brilliance of such characters, there is no true emotional life in them, no clarity of feelings. The mask has become second nature to them. At the same time, Paratov easily combines the ability to overspend, and a simple unsightly calculation. The ability to theatricalize, to make any act spectacular, even frank baseness to present as something unusually noble (a conversation with Harita Ignatievna about marriage). For Paratov, at the moment, it is only important to look as spectacular as possible, to keep the mask. Behind a spectacular pose, he has nothing. He is a mirage, a phantom created by Larisa's imagination. Larisa sees in him the “ideal of a man”, before which all other men (and especially Karandyshev) pale. She admires the ostentatious courage of Paratov, his spectacular postures and actions. She enthusiastically tells Karandyshev how Paratov, without turning pale and without flinching, shot from a considerable distance at the coin that Larisa held in her hand, thereby risking the health and even the life of the girl. “There is no heart, that’s why he was so bold,” sums up Karandyshev, who strongly disliked Paratov. The girl in love sees in this act almost heroism.
His appearance brings disorder into an already more or less established life, sharply upsets the fragile balance in Larisa's soul between the desire to come to terms with her fate and the longing for a bright and beautiful life. For him and because of him, all the events in the play take place.
Everywhere Paratov appears with style, with every step and gesture attracts attention (he famously drove along the Volga on the “Swallow”, under the thunder of guns he comes ashore, as he drives up to Larisa’s house - “four pacers in a row and gypsies on goats”, etc. .d.).
Question. Is Paratov sincere in expressing his feelings?
Answer. Not devoid of charm, he constantly plays a role depending on the situation and environment. Now this is a reckless merchant, now a secular lion, an irresistible conqueror of women's hearts, a tempter and a fatal lover, now a prudent egoist, now a broad nature, a cheerful reveler. Life for him is an endless game, sometimes associated with a certain amount of risk. And he himself is a screenwriter, director, and main performer.
Question. What is the relationship between Paratov and Larisa?
Answer. Saying goodbye to bachelor life (he is in a difficult financial situation and he has a rich bride - “very rich, I take gold mines as a dowry”), Paratov is going to “spend the last days as much fun as possible”. His mood improved significantly when he learned about the upcoming marriage of Larisa. This news completely frees him from any pangs of conscience and completely unties his hands. From his monologue, some of the circumstances of his relationship to Larisa are clarified. A year ago, he became interested in a girl, he even had serious intentions towards her, which now, a year later, he regards as unforgivable stupidity. “After all, I was about to marry Larisa - if only I could make people laugh! Yes, I would play a fool, ”he shares with Knurov and Vozhevatov. In the scene of the meeting with Larisa, Paratov puts on the mask of a disappointed in women and an offended man. On a gullible girl, he acts with eloquence. Larisa is confused by reproaches, which she did not expect at all. She is put in a position where she needs to justify herself, to prove her innocence. Paratov hears from her a declaration of love and triumphs again. Now you can confess. The apology of the winner looks like a generous forgiveness, which Larisa does not notice, stunned by the arrival of Paratov and the nature of the meeting with him. Without ceasing to play for a minute, Paratov more and more subordinates Larisa to himself: “I can give you up, I have to according to the circumstances; but it would be hard to give in to your love.”
Conclusion:(in notebooks). His speech and behavior are characterized by a kind of theatricality, the ability to take, depending on the interlocutor and the situation, exactly the tone that will present him in the most advantageous light: with Knurov, Vozhevatov and Larisa's mother, he speaks cynically, directly reporting his intentions to profitably sell himself; with Karandyshev, in the presence of Larisa, he takes on a defiant tone, demonstrating superiority over his rival, etc.
Question. How does Paratov quickly find a common language when communicating with different people?
Answer. Pretty easy, Paratov finds a common language with people, while quite deftly playing with words. Just in case, he has sayings, proverbs, quotes. He flaunts the fact that he "did with barge haulers", from whom he learned the spoken language. In a polemic with Karandyshev, Paratov calls himself a barge hauler: “I am a shipowner and I will stand up for them; I myself am the same hauler.” However, he was not used to meeting resistance in people. It is no coincidence that Ogudalova anxiously warns Karandyshev: “Be careful with him, otherwise you won’t be happy with life.”
Question. How is Paratov's selfishness expressed?
Answer. Flirting with Larisa, Paratov does not value her at all. He wants to humiliate the fiancé in her eyes, cruelly teach Karandyshev a lesson for the fact that he “bumps up” in front of him, “like a man, he also decided to cock.” “I have a rule: do not forgive anyone, otherwise they will forget the fear, they will begin to be forgotten,” these are not empty sounds, but one of the qualities of Paratov. He entered into an argument with Karandyshev in order to once again emphasize in the presence of the Ogudalovs how insignificant, low, ridiculous Larisa's groom is in comparison with him, with a brilliant gentleman. No brotherhood can stop Paratov in his scenario of humiliating and insulting the official Karandyshev, who dared to consider himself equal to him. Larisa is persuaded to go on a picnic. This turned out to be possible because Paratov hid from Larisa the fact that he was engaged. With all his speeches and actions, he advertises his “feeling”, inspires her that he loves her. The word, which for Larisa has a direct meaning, for Paratov is a fleeting means necessary to achieve his goals. “Sergei Sergeyevich does not think about anything” (Vozhevatov); “And it must be that the promises were definite and serious” (Knurov). Knurov accurately noted: “But no matter how you dare, you won’t exchange the millionth bride for Larisa.” "Still would! What a calculation!” agrees Vozhevatov.
In the final scenes, Paratov's tone changes noticeably. As soon as everyone went ashore, he moves away from Larisa with words, tells her not about love, but only thanks for the trip - “for the happiness that you brought us”. Sensitive Larisa immediately realized that these were just “phrases”. From a direct answer to the question: “Just tell me: am I your wife or not?” - Paratov leaves and invites Larisa to go home. Other words and phrases are used - about “food”, “for conversations”, about a groom who “will be glad - a radekhonek”. Finally, he is forced to confess: “Do you admit that a person, bound hand and foot with inextricable chains, can get so carried away that he forgets everything in the world ..., forgets his chains too? common sense...I'm engaged."
This news Paratov deliberately presents at the end of the walk. "I saw you, and nothing else existed for me." In the words of Paratov there is both truth and a terrible lie.
Question. Paratov, talking with Robinson, tells him about his life principle. What is this principle?
Answer. A few minutes earlier, Paratov gives Robinson practical advice, which is his life principle: “Apply to the circumstances ... The time of enlightened patrons, the time of patrons has passed, now the triumph of the bourgeoisie ... in the full sense the golden age is coming.” In one row, he lined up the ship "Swallow" (it can then be sold), the actor Robinson (he came in handy for fun), Larisa. In one row there is something that can be used, enjoyed, amused, and then exchanged for more valuable and profitable.
Conclusion,(in notebook): Paratov loves only himself and his well-being, not paying attention to how he simultaneously, imperceptibly for himself, cripples the fate of people.
Paratov has accepted the rules of the game, based on sober calculation and boundless selfishness, and does not intend to lose under any circumstances, because. Paratov's own benefits and pleasures are dearest of all.
Julius Kapitonovich Karandyshev - Kapiton - from Latin. capitos- head, Karandyshev - from the word pencil- short, short, a man with unfounded claims.
In Karandyshev there are features that are already familiar to readers from the works of Pushkin, Gogol, Dostoevsky - he replenished the gallery of characters, behind which the literary characteristic “little man ". Karandyshev is poor. He is on one of the lower rungs of the social ladder. Among such masters of life as Paratov, Vozhevatov, like the powerful Knurov, who tells Larisa that “impossible is not enough” for him, Karandyshev is constantly subjected to humiliation, ridicule and insults, which he cannot answer. For Vozhevatov and Paratov, he is the object of malicious ridicule. However, like other characters, Karandyshev is not an unambiguous, not one-line figure.
It cannot be said that he is entirely a victim of that world in which Larisa suffocates and dies. Karandyshev is a part of this world, he is generated by it, he accepts the rules and prejudices established in it. His character is shaped by the atmosphere of post-reform Russian life, which was clearly defined by the 1970s. This is an atmosphere of money hype, a wolf struggle for a place under the sun, this is a time of selfishness and cynicism. Karandyshev was shaped by this time, this atmosphere. That's where he got a hypertrophied feeling of envy, painful pride, exorbitant ambitions.
Marrying Larisa, whom he loves in his own way, is, after all, for him, first of all, an opportunity to assert himself, to pay off those who looked at him with contempt, from top to bottom, to enjoy his superiority. Karandyshev does not hide his triumph: “Larisa Dmitrievna, for three years I suffered humiliation, for three years I endured ridicule right in the face from your friends; and I, in turn, should laugh at them.” Having become Larisa's fiancé, Karandyshev believes that he has received the right to manage her life, to dictate rules of behavior to her: “You need to quit your old habits,” he says to Larisa, “you can’t tolerate what you still had.” “I see that I am a doll for you,” this is Larisa telling her mother and Karandyshev, “play and quit.” And Karandyshev, having become the owner of this very beautiful “doll”, grows strongly in his own eyes. Out of vanity, he starts a sumptuous dinner, trying to outdo Paratov, who, in his words, “throws dust in the eyes”, he wants to amaze everyone on a grand scale, also throw dust in the eyes. He cannot understand Larisa Karandyshev, he is too busy with himself.
However, Ostrovsky shows that Karandyshev, having experienced a moral shock, is able to see clearly, to realize what he really is, to face the tragic truth. Karandyshev's monologue after Larisa's departure is, finally, "the hero's word about himself." Here Karandyshev speaks not only about himself, but about the inhumanity of the surrounding world. His words sound like a protest against depersonalization, humiliation of a person. They are preparing the final episode of the play, in which Karandyshev tells Larisa extremely important words about the alienation of man in a world where everything is for sale: they look at you like a thing.”
Having begun to see clearly, Karandyshev already has a different attitude towards Larisa, he tells her the words that she was waiting for and which she could not hear from anyone: “I am ready for any sacrifice, ready to endure any humiliation for you ... Tell me, what can I earn your love? These words were said late, her heart was broken, her fate was broken. And Karandyshev's shot for her is getting rid of an ugly, hateful life. And she says words to Karandyshev that she would never have said before: “My dear, what a good deed you have done for me! ..”
Karandyshev's insane act is an expression of true love, the love from which they shoot, because of which they kill. Larisa was looking for such love, and after an explanation with Paratov, who had betrayed her, she stopped believing that such love exists, that it is possible: “... I was looking for love and did not find it ... - she sums up a terrible result for herself, - .. .she is not in the world ... there is nothing to look for.
Dostoevsky believed that his task as an artist was “to find a person in a person”. Ostrovsky, creating the image of Karandyshev, followed this principle, trying to find a person in a person. Ostrovsky wrote “Dowry” in such a way that the viewer considers not Karandyshev, but Paratov and those who are at the same time with him, to be the real culprits in the death of Larisa. The last words of Larisa after the fatal shot: “It's me myself ... No one is to blame, no one ... It's me myself ...”, - most of all refer to Karandyshev, she wants to remove the blame from him.
Ostrovsky's "little man" becomes just a man.
Lesson summary:
In the world , where everything is bought and sold, there is no place for pity. The motif of sympathy and indifference, pity and heartlessness runs through the entire play. Thanks to the leitmotifs, the “undercurrent”, which became an important feature of Chekhov’s dramatic system ( it complements the teacher), in "Dowry" Larisa's drama acquires a deep general meaning. This is not just a story of a deceived girl, but a tragic collision of a pure bright person with a world dominated by inhumanity.
Notebook entry: In the world , where everything is bought and sold, there is no place for pity. The motif of sympathy and indifference, pity and heartlessness runs through the entire play. This is not just a story of a deceived girl, but a tragic collision of a pure bright person with a world dominated by inhumanity.
Homework. Prepare quotes about Larisa's family, about her mother, life.
Lesson № 10
Subject:The tragic fate of Larisa Ogudalova in the world of "chistogan".
Goals: they are supposed to help students understand how a beautiful poetic nature perishes in this cruel world of “chistogan”.
During the classes
Org. moment.
Teacher's word. Text work.
Anthroponymy.
Harita Ignatievna Ogudalova
Harita - amiable, lovely (Greek).
The gypsies from the choir were called Charites, and every gypsy was usually called Ignat in Moscow ... Larisa's mother from the gypsies ... ”.
Ogudalova - from ogudat - “to seduce, deceive, inflate, trick ... “(V.I. Dal).
Larisa Dmitrievna Ogudalova
Larisa the Seagull (Greek).
meaningful name. Dreamy and artistic, she does not notice the vulgar sides in people, sees them through the eyes of the heroine of the Russian romance and acts in accordance with it. Larisa's poetic nature flies on the wings of music: she sings beautifully. She plays the piano, the guitar sounds in her hands.
Larisa Ogudalova- this is not a simple-minded girl from a bourgeois environment, like other heroines of Ostrovsky's plays ("Late Love" - Lyudmila, "Labor Bread" - Natasha). She embodies the traditions of noble education, and in her character there is a sharp contradiction between the desire for external brilliance, for the ostentatious nobility of life and the deeper, inner properties of her nature - seriousness, truthfulness, a thirst for genuine and sincere relationships. Such a contradiction was then a phenomenon encountered in the life of the best representatives of the privileged strata of society. But the Ogudalov family has become impoverished and occupies an ambiguous position in the provincial “society”. Under these conditions, the contradiction in Larisa's character inevitably leads her to a dramatic conflict.
All this puts an outstanding girl in an extremely difficult position. Around Larisa there is a motley and dubious crowd of admirers and contenders for her hand, among which there are many “all sorts of rabble”. Life in her house is like a “bazaar” or a “gypsy camp”. Larisa must not only endure the falsity surrounding her, cunning, hypocrisy, but also take part in them.
If the inconsistency of Larisa's life was only external, she could find a way out of this situation. Larisa could meet and fall in love with a sincere person and leave the “gypsy camp” with him. But this inconsistency lies at the heart of the girl's character. Larisa herself is sincerely drawn to the brilliance and nobility of life, any manifestation of rusticity and unpretentiousness is insulting to her. This is manifested in her relationship with Paratov.
Larisa loves Paratov as a person who embodies and is able to give her a different life. She was, as it were, “poisoned” by Paratov, with him in her mind once and for all the idea of a completely different, poetic and light world entered, which certainly exists, but is inaccessible to her, although she is intended, according to everyone around her, for him. For Larisa, this is a fantasy world, much more poetic than it really is, the traces of this world in her own life are her favorite poems, romances, dreams, which make her image attractive. When she is about to marry Karandyshev, she feels humiliated, unfairly sentenced to the life that a petty official can give her. Moreover, she cannot see his personal humiliation, his failures in trying to catch up with Paratov, for her the difference between them becomes more and more obvious: “Who are you equaling! Is such blindness possible!” She constantly inspires him that she does not love him, that he is infinitely lower than Paratov, for whom she will go according to his first desire: “Of course, if Sergey Sergeyevich appeared and was free, then one look from him would be enough ...”
In her soul there is a struggle between the desire to come to terms with the inevitable fate of the wife of a poor official and longing for a bright and beautiful life. The feeling of humiliation by her lot and the craving for a different life prompt Larisa to try to decide her own fate. It seems that the path to the romantic world lies through the same romantic, reckless and spectacular act. But this act is reckless, leads to death, because it is committed in pursuit of a ghost that personifies Paratov, for that world that exists only in poetry and romances. Just like Karandyshev, she makes a choice in favor of illusion, not reality. For Ostrovsky, this attempt at once, in one reckless act, to receive love and happiness looks like a refusal, an escape from one's own destiny.
A trip to a men's picnic opens Larisa's eyes to her true position - a prize that men dispute with each other. "I am a thing, not a person." Dying, she thanks her killer - Karandyshev for giving her the opportunity to leave the world, in which the high ideal is trampled on and where she feels like an object of sale: “ I was looking for love and didn't find it. They looked at me and look at me as if they were fun. No one ever tried to look into my soul, I did not see sympathy from anyone, I did not hear a warm, heartfelt word. It's not my fault, I was looking for love and didn't find it. She is not in the world ... there is nothing to look for”.
A trip across the Volga is a catastrophe of a lifetime for Larisa. Now she has no dowry, no maiden honor. Now it remains for her to either sell her beauty, or, like Katerina (“Thunderstorm”), die by throwing herself off the Volga cliff. Larisa tries to do this, but she does not have the moral strength to overcome her natural fear of suffering and death. Her monologue at the railing of the embankment shows the difference between her character and that of Katerina.
Katerina, even in a difficult marriage, has not lost her romantic aspirations, which, while nourishing her vague dreams of freedom, at the same time conclude a naive conviction in the immortality of the soul. For her, death is not the destruction of the personality, but the liberation from an unbearable existence. Larissa doesn't. Her character reflects not the end of the era of family authorities, but the beginning of the era of the naked power of the purest. She has kind and sincere feelings, but no strong moral principles, no determination. She is weak, full of hesitation and therefore easily tempted.
In her speech and behavior, the style of a cruel romance is used, which at the same time has a peculiar poetry and borders on vulgarity, falsehood, “beauty”: quotes from Lermontov and Baratynsky are combined with statements like: “Sergei Sergeyich ... this is the ideal of a man”, “You are my Lord". This reflects the property of the very ideal that attracts Larisa, it is poetic in its own way and at the same time empty and false. In her gestures and remarks, a touch of melodrama is combined with genuine penetration and depth of the experienced feeling: “For unfortunate people there is a lot of space in God's world: here is a garden, here is the Volga”.
Before her death, Larisa discovers her true moral qualities. She dies to the “loud gypsy choir”, dies, reconciled to her bitter fate, complaining about no one, blaming no one. But objectively, this death is a heavy accusation to the whole order of things in which a young, pure, gifted woman has become a toy of frivolous passions and an object of unscrupulous trade.
Lesson summary:
Larisa Dmitrievna in the last monologue says: « Never, nobodyhe didn’t try to look into my soul, I didn’t see sympathy from anyone, I didn’t hear a warm, heartfelt word. But it's so cold to live. It’s not my fault, I was looking for love and didn’t find it ... it doesn’t exist in the world ... there’s nothing to look for.
Death for the heroine is more desirable. She accepts Karandyshev's shot with joy. (" My dear, what a blessing you have done for me!”)
Drama testing.
Homework. Prepare a message about the life and work of I.A. Goncharova. Read the novel "Oblomov"
Pavlovich Irina Iosifovna
teacher of Russian language and literature
Polytechnic College
Astana
Kazakhstan
Summary of the lesson on the discipline: "Russian literature" for students of the 1st year of the college
Subject: A.N. Ostrovsky. Life and art. Theater in the writer's life. Drama Storm.
Goals:
- to introduce students to the life and work of A.N. Ostrovsky, the history of the creation of the drama "Thunderstorm"; show the originality and innovation of the playwright, expressed in the reflection of the problems of the era; to deepen knowledge about drama as one of the genres of literature, to determine the structural features of a dramatic work.
- to develop the ability to analyze what has been heard; develop figurative and analytical thinking, oral speech, creative imagination; continue to develop skills in working with sources, additional literature;
- to cultivate a culture of perception of a dramatic work; develop an aesthetic taste.
Type of lesson: a lesson in the assimilation of new knowledge using the technology of developing critical thinking.
During the classes
I. Organizational stage.
1.1. Greeting, mark absent.
1.2. Message topics, goals and objectives of the lesson.
- Today at the lesson we will get acquainted with the life and work of the Russian playwright Alexander Nikolayevich Ostrovsky and the history of the creation of the drama "Thunderstorm".
II.Preparation for the assimilation of new educational material. Call phase.
2.1.Working with a dictionary (individual task)
- Since the word “drama” will often be heard in the lesson, I will ask, using Ozhegov’s explanatory dictionary, a large Soviet encyclopedic dictionary, to find the meaning of this word, name the structural features of a dramatic work and make a cluster.
2.2. Forecasting from a photograph: Before you is a portrait of Alexander Nikolayevich Ostrovsky, painted with the brush of the artist Perov. Peer at him and make an assumption about this person by his appearance, make a psychological portrait of the writer. How do you imagine A. N. Ostrovsky?
“He had a typical Moscow look - he immediately felt like a big man. A wide forehead, intelligent eyes, friendliness were the main features of this appearance, ”recalled the artist A. Ya. Golovin.
“There seems to be not a drop of sublime, romantic in his appearance: Ostrovsky sits calmly in a home fur coat with squirrel fur, captured with the exact brush of the artist, and only his eyes are blue, smart and sharp, by no means edifying, but probing, insatiable, trusting, not allowing to lie, only these childish eyes are his witnesses of the hot inner life taking place in him. (V.Ya. Lakshin).
2.3. Reception "Do you believe?": Answer the questions proposed now in the affirmative or in the negative, commenting on your opinion.
- Do you believe that A.N. Ostrovsky could afford to walk in a Russian costume: in trousers, in a loose shirt and long boots? (Yes)
- Do you believe that A.N. Ostrovsky, being a schoolboy, sewed his own pants? (A.P. Chekhov)
- Do you believe that, being in the third year of the university, Alexander Nikolayevich leaves the university of his own free will? (Yes)
- Do you believe that the first play was under arrest for 10 years? (Yes)
- Do you believe that Ostrovsky received from Emperor Alexander III the right to an annual pension? (Yes)
- Do you believe that A.N. Ostrovsky wrote the play "Thunderstorm" based on real events? (Yes)
- Do you believe that the playwright lived in constant fear of being left without new plays by the season, that is, without bread, with a huge family? (Yes)
- By the end of the lesson, you will know whether your assumptions were confirmed or not.
III. Assimilation of new knowledge. Implementation phase. Vocabulary work.
- Let's listen to information about the meaning of the word "drama" and the structural features of a dramatic work. (the student reads the meaning of the word, demonstrates the cluster)
Drama (from the Greek agate action) is one of the main genres of literature, intended to be performed on stage.
The purpose of a dramatic work is to reflect life in the actions (actions and experiences) of people.
Structural features of drama:
- a literary work written in the form of a conversation between characters;
- relationships between people, conflicts arising between them
are revealed through the actions of the characters, through their way of thinking;
- consists of monologues and dialogues;
- the author's speech is replaced by remarks;
- is divided into acts (actions) and phenomena (pictures);
- focused on spectacular expressiveness.
Dramatic works (plays) include tragedies, dramas, comedies, melodramas, tragicomedies and vaudevilles. (A short comic play, usually with singing)
Word of the teacher: Almost 50 plays were written by Ostrovsky during his long literary life, among which were dramas, comedies, tragedies. 46 of them were staged during the life of the playwright. They have taken a firm place in the repertoire of many theaters.
A group of our students conducted a study on the topic “The origins of A.N. Ostrovsky. Let's give them the floor.
3.3. Messages of students (project work)
1) "Columbus of Zamoskvorechye", (video)
- “There is not a day in the year that my play is not performed in 5-6 theaters,” wrote A. N. Ostrovsky in 1871. This phrase, said by Alexander Nikolaevich, is also relevant for our time, on the stages of various theaters in different cities, Ostrovsky's plays appear in the repertoires, interest in them is inexhaustible.
2). Childhood and youth (slide presentation)
- A.N. Ostrovsky was born on April 12 (March 31), 1823 in Moscow in the family of an official. His paternal grandfather was a priest, his maternal grandfather was a sexton.
In 1831, when Ostrovsky was not yet nine years old, his mother, Lyubov Ivanovna, died. “... The motley, colorful, wild, bizarre, strange and sweet Zamoskvorechie fed Ostrovsky, nourished his soul with first impressions, remained in the artist’s memory for life ...”
Father, Nikolai Fedorovich Ostrovsky, a man of sharp mind, educated (he graduated from the Theological Academy), hardworking, quickly advanced in his career and successfully engaged in private practice: he was a lawyer, handled the affairs of merchants. This gave him the opportunity to build his own house in Monetchiki (Zamoskvorechye) and invite home and visiting teachers for his children. In the second half of the 1940s, he acquired four small estates. In one of them (Shchelykovo, Kostroma province) at the end of the 40s, he settled for permanent residence.
My father, who wrote poetry in his youth, followed the latest in literature, subscribed to all the leading journals. He had a solid library, which was used by Alexander Nikolaevich. All the Ostrovskys deeply respected the book. The high school student Ostrovsky gained access to his father's bookcases and became an enthusiastic and selfless reader. His hobbies are Pushkin, Griboyedov, Gogol.
After several years of homework with teachers, in 1835, Alexander Nikolaevich entered the third grade of the first Moscow gymnasium. Having completed the gymnasium in 1840 and received a certificate with honors, he, at the insistence of his father, submits in the same year a petition for admission to the law faculty of Moscow University.
3). University years.
The first year of the university, Ostrovsky studied diligently and even with enthusiasm, but by the end of the second year he began to skip lectures; did not appear for the spring session of 1842. Not noticing the student Ostrovsky's signs of zeal, the faculty left him to re-listen to the course.
Almost all the money that fell from his father, Ostrovsky now spent on theater tickets. Without leaving the theater until the last clap, warmly welcoming the artists bowing to the challenges, Ostrovsky thought: this is where real life is, this is where the home is, and the pulpit, and everything, everything that he needs.
In the second year, highly specialized subjects began, such as Roman law, which were not interesting to Ostrovsky. And he began to neglect his studies. During the transition to the third year, Ostrovsky received from Professor N.I. Krylov, however, like many other students, one. Not striving for a legal career, Alexander Nikolaevich used a negative score as an excuse to leave the university. Subsequently, he recalled: "From my youth I gave up everything and devoted myself entirely to art."
The father, not agreeing with the intentions of his son, appointed him in the same year as an official of the Conscientious, and in 1845 - of the Commercial Court.
4). Years of service in court.
The future playwright had to work where parents filed suits against children, and children against parents. The court tried to resolve these disputes "in good faith". Soon (again, not without the participation of his father), Ostrovsky was transferred to a more modern and respectable institution, the Moscow Commercial Court.
The service did not fascinate Alexander Nikolaevich, but it gave him rich material for creativity. He himself admitted: “If I hadn’t been in such a mess, perhaps I wouldn’t have written“ Profitable Place ”.
That autumn, when Ostrovsky entered the court of conscience, he completed the first story that has come down to us: "The legend of how the quarter warden started dancing, or from the great to the ridiculous, there is only one step." Under the story, the young author put the date for the first time: December 15, 1843. Ostrovsky always marked on his manuscripts the day the work was completed...
5). The beginning of the literary path. First works.
The sketch of the twenty-year-old Ostrovsky betrayed the undoubted talent of the author. He begins to try himself in dramaturgy.
On January 9, 1847, Scenes from the comedy The Insolvent Debtor were successfully published in the Moscow City List.
February 14, 1847 Ostrovsky called the most memorable day in his life. In the morning he put a note on the manuscript of "Pictures of Family Happiness" about the end of the dramatic first-born, and in the evening he read the play to friends. A flurry of congratulations and praise fell upon him from friends. 1847-1848 and half of 1849 Ostrovsky worked on the play "Bankrupt". Later, the play received a different name - "Let's get our people together." On March 16, 1850, the Muscovitian magazine with the comedy Let's Settle Our Own People was published. The magazine book was torn from his hands. Young Ostrovsky quickly became a Moscow sensation.
The result of the censorship misadventures of The Bankrupt turned out to be bleak: the comedy was banned for the stage, and it was not recommended to mention the play in the press. Ostrovsky took his disgrace hard. But artists, writers not only did not turn away from him, but warmly expressed their sympathy to him.
The beginning of Ostrovsky's literary destiny was closely connected with the Moskovityanin magazine. But for a person who decided to make a living with a pen, the Muscovitian magazine was the most unsuitable place in the world. The "infernal stinginess" of the publisher was a byword in the Moscow literary circle.
At the end of 1847, he met a woman who lived next door.
Agafya Ivanovna was a year or two older than Ostrovsky, but he could not decide to marry her - this would mean completely quarreling with his father and remaining in the blackest need. But Agafya Ivanovna did not demand anything from him. She patiently waited for him, loved, warmed him, and the further, the more difficult it was for him to part with her.
So, the unmarried wife of Ostrovsky lived modestly and with dignity side by side with the great playwright Agafya Ivanovna for eighteen years ...
6) Service to the theater
In the early 1850s, the repertoire of Russian theaters was poor. Posters lured the public to Russian versions of French vaudeville. The theater needed a playwright... The playwright needed a theater. And Ostrovsky's plays continued their bizarre whirling around bureaucratic circles and with the inscription "Forbidden" settled in a secret archive.
The author undertakes to write a play, small in volume, light, scenic, which will pass the censorship without complications. Work begins on the play "Do not get into your sleigh."
On January 14, 1853, the premiere took place. The next day, all of Moscow was talking about the play.
1853 opened the way for Ostrovsky to the stage. The playwright was followed by a group of young actors who were fascinated by his plays.
In August 1853, The Poor Bride was played at the Maly Theater.
Ostrovsky's name took root in the repertoire.
In 1860, the play "Let's Settle Our People" was allowed to be presented. This play, banned a decade ago, passed with triumph. Then, one after another, the plays “The Pupil” and “Profitable Place” were allowed to be performed.
It seemed that Ostrovsky's position in literature had acquired solid stability. In 1863 he was elected a corresponding member of the Academy of Sciences. The foreign press began to write about him,
In 1868 he made his debut in the Nekrasov magazine with the play Enough Simplicity for Every Wise Man; then every year, one after another, the plays “Hot Heart”, “Mad Money”, “Forest”, “There was no penny, but suddenly altyn”, etc. are printed. The success of the plays restored Ostrovsky's strength.
The father did not like the eldest son's passion for theater and literature. But even more of his displeasure was caused by the fact that Alexander Nikolayevich, having fallen in love with a simple girl from a bourgeois environment, brought her into his house as his wife. An angry father deprived his son of any material assistance. Neither service nor literary studies provided the playwright with sufficient funds. This burden of material insecurity accompanied him throughout his life. The plays were free, the author was not paid a penny for them!
Until the end of his life, the playwright was in need. The family grew every year, but the funds were not enough. Labor undermined the health of the playwright.
7). Last years of life.
On August 25, 1879, Alexander Nikolaevich wrote: “For 30 years I have been working for the Russian stage, I have written more than 40 original plays, for a long time not a single day in the year passes so that my plays are not shown at several theaters in Russia, only I delivered to the imperial theaters fees more than 2 million, and yet I'm not secure enough to allow myself to rest for two months a year. All I do is either work for the theatre, or think about plots ahead, in constant fear of being left without new plays by the season, i.e. without bread, with a huge family.”
In 1867, the first wife of the playwright, Agafya Ivanovna, died, and in 1869 he married Maria Vasilievna Vasilyeva, an artist of the Moscow Maly Theater. The playwright had 4 sons and 2 daughters. Being a tender father, an excellent family man, he strove to give all his children the best upbringing and education.
In the last year of Ostrovsky's life, under pressure from the public, his merits were officially recognized: he was appointed head of the repertoire of Moscow theaters and head of the theater school. The time has come that he could only dream of, but in the very first days of his service, he felt with horror that the task he had taken on was no longer within his power, he did not have time to take up this work: June 14 (2), 1886 playwright died.
A.N. Ostrovsky is the creator of the Russian national theater.
A.N. Ostrovsky opened a page unfamiliar to the viewer, bringing a new hero onto the stage - a merchant. His work, continuing the traditions of Fonvizin, Griboyedov, Gogol, is innovative in the depiction of heroes, in the language of characters and in the socio-moral problems raised. Alexander Nikolaevich's plays depict ordinary situations with ordinary people, whose dramas go into everyday life and human psychology.
Features of Ostrovsky's style.
Speaking surnames;
An unusual presentation of the characters in the poster, defining the conflict that will develop in the play;
Specific author's remarks;
The originality of names (often from Russian proverbs and sayings);
Folk moments;
The significance of the first replica of the hero;
"Prepared appearance", the main characters do not appear immediately, others first talk about them;
The name "Ostrovsky's House" was assigned to the Maly Theater. He came here every day. The author always read his new plays to the artists himself, thereby setting the right tone for the performers. Ostrovsky was the stage director of his plays; he distributed the roles, he conducted rehearsals with the actors.
It is here, at the entrance to the Maly Theater, that the monument to A.N. Ostrovsky. A.N. Ostrovsky is depicted sitting in an armchair, in a spacious dressing gown with squirrel fur, familiar from the portrait of Perov. In the hands of a notebook, a pencil. The seal of deep concentration lies on the entire appearance of the playwright. Immersed in deep thought, every evening he meets spectators who come to the Ostrovsky House.
And today, Ostrovsky's plays occupy a significant place in the repertoire of theaters. Creativity Ostrovsky received worldwide recognition.
3.4. Primary check of students' understanding of new material. Reception "Thin and thick questions."
- Where and in what family was A. Ostrovsky born?
Where did you go after graduating from high school?
-What did the service in court give?
- What were the names of Ostrovsky's first comedy? (“Insolvent debtor” - “Bankrupt” - “Own people - let's settle.”)
- Which theater calls itself "Ostrovsky's House"? (Moscow Maly Theater)
- How many plays did he give to the theatre?
- What problems does the playwright pose in his plays?
- Why was Ostrovsky nicknamed “Columbus of Zamoskvorechye”? (Living in the merchant district of old Moscow, in Zamoskvorechye, Ostrovsky for the first time in Russian literature “discovered” the “Zamoskvoretsky residents”, for which he was nicknamed “Columbus of Zamoskvorechye”.)
- Why do modern theaters constantly turn to the playwright's plays?
- Name the genres of dramatic works.
What is the purpose of a dramatic work? (to reflect life in the actions (actions and experiences) of people.
3.5. Historical basis and creative history of "Thunderstorm". (video clip).
The chairman of the Geographical Society, Grand Duke Konstantin Nikolayevich, decided to organize an expedition with the participation of writers; the purpose of the expedition is to study and describe the folk crafts associated with the sea, lakes or rivers, the methods of local shipbuilding and navigation, the situation of domestic fisheries and the very state of the waterways of Russia, to study and describe the life of the inhabitants of Russia involved in navigation, about which to write essays for the issued Ministry of "Marine collection".
Ostrovsky got the Upper Volga from its source to Nizhny Novgorod. And he got down to business with passion. Ostrovsky recorded his impressions of the expedition in his diary.
IV. Summary of the lesson. Reflection phase. Compilation of syncwine.
- And now I propose to summarize what we talked about today and make a syncwine with the words Ostrovsky and Thunderstorm. (work in groups, presentation of syncwines).
Bibliography
Lobanov M. Ostrovsky. M., 1979 (ZhZL series).
Ostrovsky A. Complete Works.
Literature lesson in grade 9.
A. N. Ostrovsky. The play "Poverty is not a vice."
Lesson Objectives:
To identify the features of Ostrovsky's dramaturgy on the example of the analysis of the conflict in the comedy "Poverty is not a vice".
Tasks:
To develop in schoolchildren the ability to think logically: find the main thing, compare, generalize, draw conclusions;
Develop the ability to discuss a given topic;
Develop monologue speech;
To bring up the correct attitude to the moral values of the Russian mentality;
To cultivate interest and respect for Russian literature.
Introductory speech of the teacher. Today we have to get acquainted with the playwright Alexander Nikolayevich Ostrovsky and his play, written in the early period of his work, "Poverty is not a vice." Write in your notebook the topic of the lesson: “A. N. Ostrovsky. "Poverty is not a vice". In high school, you will study his famous play The Thunderstorm. But now this name is new for us, so a few words about the playwright himself.
(Sk. 2) Ostrovsky Alexander Nikolayevich was born in 1823 in Moscow: in Zamoskvorechye, in an old merchant and bureaucratic district. The father of the future playwright, an educated and skilled court official, and then a well-known lawyer in Moscow commercial circles; rising through the ranks, he received the rights of a hereditary nobleman, became a landowner; it is clear that he wanted to let his son go on the legal side as well.(Sk. 3 ) Alexander Ostrovsky received a good education at home - from childhood he was addicted to literature, spoke German and French, knew Latin well, and willingly studied music. He graduated with honors from the gymnasium and in 1840 without an exam was admitted to the law faculty of Moscow University. But Ostrovsky did not like the career of a lawyer, he was irresistibly attracted to art. He tried not to miss a single performance: he read a lot and argued about literature, passionately fell in love with music. At the same time he tried to write poems and stories.
(Sk. 4) Having cooled off to study at the university, Ostrovsky left the teaching. For several years, at the insistence of his father, he served as a minor official in court. Here the future playwright had seen enough of human comedies and tragedies. Finally disillusioned with judicial activities, Ostrovsky dreams of becoming a writer. In 1867, together with his brother, he bought the Shchelykovo estate from his stepmother, in which the great Russian playwright lived from spring to late autumn for many years and wrote his wonderful plays: The Snow Maiden, The Dowry, Guilty Without Guilt, etc.
P. Unfortunately, there are few dramatic works in the school curriculum, and after all, each playwright is unique, each has his own style of writing, his own merits, but, nevertheless, only A. N. Ostrovsky is called in the world of art and literature "the father of the Russian theater."
In this regard, the question arises ... Which one? (How did he deserve this title? What are the features of his work?) This is what we have to find out today.
Let's skip 2-3 lines after the specified topic of the lesson, add:
Features of the dramaturgy of A. N. Ostrovsky (during the lesson we will mark and write down, be careful).
What did Ostrovsky write about in his works?
Presentation by a prepared student.
Wealthy, but only yesterday living in the old fashioned way and the new demands that modern life imperiously imposes on them, where power and money rule the world - this is the basis of young Ostrovsky's comedic conflicts, and even those where the funny is intertwined with the sad: after all, the whims of those in power do not only amusing, but also dangerous for the poor: the dependent and the oppressed. (Sl. 5 ) His all-Russian fame began with a comedy - “Own people - let's settle!” (or "Bankrupt" in 1849), published in the magazine "Moskvityanin", whose young employees gravitated towards Slavophilism, preaching the ideas of national identity, preserved among the peasantry and the patriarchal merchant class. The play was a huge success. However, its production was banned at the direction of Tsar Nicholas 1 himself. The censorship ban lasted eleven years. (Sl.6 student reads). (Sl. 7) Already in the comedy "Own people - let's settle!" the main features of Ostrovsky's dramaturgy appeared:the ability to show important all-Russian problems through family conflict, to create bright and recognizable characters. Juicy, lively folk speech sounds in his plays. Ostrovsky wanted to show positive heroes, capable of resisting the immorality and cruelty of modern relations. It is precisely such sympathetic characters that appear in the comedy Don’t Sit on Your Sleigh (1853) (the first of Ostrovsky’s plays that went on stage) and Poverty is not a vice (1954). (The original title is God Opposes the Proud) . In subsequent periods of Ostrovsky's work, more than 50 original plays appeared, which made up a whole folk theater, where the history of all the classes of Russia passed before the reader.
In addition to writing, A. N. Ostrovsky was successfully engaged in social activities. He organized the Moscow Artistic Circle, the Society of Russian Dramatic Writers and Composers. But his main merit is the creation of a huge dramatic repertoire for the Russian theater. (Sl. 8)
Peculiarities :
Showing important all-Russian problems through family and everyday conflict;
Bright, recognizable characters;
Analysis of the play's conflict.
(Sk. 9) Today we begin our acquaintance with Ostrovsky's comedy "Poverty is not a vice."
Name. So, Poverty is not a vice.
How do you understand this saying?
What genre does this expression belong to?
In addition to this title, among Ostrovsky's plays there are also such: Our people - let's settle!, Every wise man is quite simple, Don't sit in your own sleigh, Hangover in someone else's feast, An old friend is better than two new ones, Your dogs squabble - don't pester someone else's, Not everything is Shrovetide for the cat, There was no penny, but suddenly Altyn, Guilty without guilt.
From fifty drama productions. About a dozen plays are called proverbs. You won't find anything like this in any other writer.
Peculiarity :
The peculiarity of names.
Working with slide 9
Reading the slide text.
You have read the play. You know that any dramatic work is built on conflict.
Conflict- this is a confrontation, a collision, on which the development of the plot in a work of art is built.
Anya, remind me what is the basis of conflicts in the plays of the young Ostrovsky.
Find antonyms in this sentence. (patriarchal (old) life - innovations).
In what, in your opinion, Ostrovsky sees the ideals of folk morality? (the strength of family foundations, children's trust in their parents, the inviolability of the customs that reign in this merchant family, the integrity and clarity of the worldview).
What is the opposite of this world? (innovations, modern, so-called "civilization").
Writing in a notebook (missing lines):
Comedy Conflict: The patriarchal world of popular morality opposes the modern world of power and money.
So, we have identified the problem of the all-Russian, which is shown through family and everyday conflict. Who is involved in it?
(Dc 10 ). Poster . Reading the names and surnames of the characters.
How do you explain the fact that the author gave the name Lyubim to one of the Tortsov brothers, and Gordey to the other? What qualities of people are suggested by names and surnames - African Korshunov (predator), Love, Guslin, Razlyulyaev, Mitya?
(Gordey is a proud, rich merchant,
We love - loved by everyone, a good person, but a loser,
Guslin - a simple, cheerful guy (from the word "gusli" - an old folk instrument),
Razlyulyaev - a simple, cheerful guy (from the outdated word "spread out" - fun),
Mitya -. dedicated to the Greek goddess of the earth and fertility Demeter)
P. - Already in the poster, O. secretly commented on his heroes. How?
W. - gave them speaking names and surnames.
Peculiarity :
Speaking names.
Once again I draw your attention to author's representation of the characters in the poster.
Which name does not fit into the general series of names? Why? What is the purpose of O. thus indicating the status of the characters? Why, among familiar names, the name Gordey does not evoke positive associations?
Peculiarity:
Between which characters is the main conflict brewing? Why?
(The merchant Gordey Karpych Tortsov is fascinated by the manufacturer Korshunov, wants to live in fashion, in a new way, and is even ready to give his only daughter for an old man)
But what about the mother? (Near-minded, weak-willed, indecisive, she cannot resist her husband)
What is the role of Lyubim in this family conflict? (Exposes Korshunov - a predator, upsets the wedding of Lyubov and Korshunov, stands up for Lyubov and Mitya, helps his brother to see clearly.)
With what words of Lyubim Tortsov does the conflict begin?
We love Karpych (takes). We need a dime. It's all silver, I don't need silver. You give me another seven, that will be in real time. (Mitya gives it.) That's enough. You are a good soul, Mitya! (Lies down.) Brother does not know how to appreciate you. Well, I'll do something with him. For fools, wealth is evil! Give a smart man money, he will do the job. I walked around Moscow, I saw everything, everything ... Great science has happened! And don’t give money to a fool, otherwise he will break down ... fu, fu, fu, trr! ... like a brother, but like me, a beast ... (Half-sleepy voice.) Mitya, I’ll come to spend the night with you.
Mitya. Come. Now the office is empty… holidays…
We love Karpych (asleep). And I'll do something funny with my brother.(Falls off.)
(Sl. eleven - read as a summary of the answer to the question)
5. Brief overview of actions.
Exercise: Distribute by actions: exposition, tie; action development, climax; denouement.
( Sl. 12 ) 1 action. The first act is a voluminous, bright, spectacular plot of the entire upcoming action. This is the initial moment in the development of events, prepared by the exposition. Here the reader gets the first idea about the characters depicted, about the conflict between them.
In the first act, Lyubim Tortsov’s words about his brother, important for the development of the action, are heard: “He, the fool, needs science”, “Well, yes, I’ll do a thing with him. For fools, wealth is evil!”, “And I’ll do a funny thing with my brother.” The conflict is planned. In a secret letter addressed to Mitya, a love affair is also indicated: “I love you too. Lyubov Tortsova.
P. - How do we get to know the main characters: Gordey Karpych and Lyubim Karpych?
W. - We hear about them from other characters.
About Proud from Egorushka: swears, gets angry at Lyubim Karpych,
from Pelageya: he drinks with Afrikan, as if he had been replaced. (d. 1, yavl. 3)
About Lyubim from Yegorushka: he made everyone laugh at dinner, Gordey kicked him out, Lyubim quarreled in revenge: he stood with the beggars at the cathedral.
Peculiarity:
P. - From which remarks do our heroes come into action directly?
U. - Lyubim's first remark (he saw Lyubov Gordeevna and Mitya alone in the room), covering his face with his hands: “Stop! What kind of person? What kind? For what business? Take doubt! I am niece! What, scared? Get up, don't be afraid! I am not a prover, but I put everything in a box ... ”(d.1, yavl. 11)
The first remark of Gordey (d.1, yavl. 7) enters the room where the youth is having fun: “What are you singing about! They bawl, just like a man! (Mitya) And you are there too! It seems that you do not live in such a house, not with men. What a half-beer! So that I don’t have this ahead!
P. - What can you say about the characters from their first line? (L. - jokes, jokes, "not a prover"; G. - rude, humiliating, "manly" - a curse word).
Peculiarity:
Significance of the hero's first line
( Sl.13 ) Second action . The action is rapidly developing, involving new characters, all of whom play their part in the course of the drama and the development of the conflict. The atmosphere of a common young love, a holiday and a cheerful mess with songs and music, fortune-telling, mummers, performances with a bear and a goat is destroyed with the appearance of Gordey Karpych and Korshunov. The possibility of happiness for young heroes becomes illusory. "The son-in-law African Savich" is sure that he has no reason to worry, he orders the girls a "wedding" song. Lyubov Gordeevna is in alarm, her friends surround the excited girl.
P. - What holiday are we talking about? Christmas time. What holiday? By what signs can you guess that these are Christmas time?
- Why does Ostrovsky correlate the time of the play with the time of the celebration of Christmas time?
U. – Observance of folk-religious traditions. The main meaning of St. period, according to popular ideas, was the revival of order in the world and in the life of every person as a particle of this world. (Traditions of oral folk art - folklore)
Peculiarity :
folk moments.
( Sl. 14 ) Third act . The conflict of the drama, the clash of characters is coming to an end. Despite the fact that the denouement logically follows from the development of the action, it still has an unexpected character: it is really an emphasized happy ending, because the development of the action was dramatic. The “thing” that Lyubim came up with helps the young couple out. This “thing” saves Gordey from the ruin that threatened him if he became related to Korshunov, who was dishonest in money matters. Thus, the denouement is directly related to the development of the action in the second act, it is the final moment in the development of conflict and intrigue. Lyubim Tortsov intervenes in the natural course of events, prevents the triumph of evil. He puts a protest against the powerful of this world in a catchy form: "It is good for him to live in the world, who has no shame in his eyes."
Another proverb!
It is aptly said that Ostrovsky's theater is a speech theater. He has a beautiful, poetically rich language in his plays. In fact, in Ostrovsky, one who is a poet at heart speaks poetically. In Ostrovsky, each character speaks his own language. The speech of the characters is the most important means of their characterization. Let's prove it.
Reading passages. (Pelageya, Love)
Proud Karpych. No, you say this: is everything all right with me? In another place at the table, a fine fellow in a coat or a girl waits, and I have a waiter in cotton gloves. This waiter, he is a scientist, from Moscow, he knows all the rules: where to sit down, what to do. What about others! They will gather in one room, sit in a circle, peasant songs will sing. It, of course, is also fun, but I think it is low, there is no tone. Yes, and they drink something, due to their ignorance! The liqueurs are there, the cherries are different ... but they don’t even understand that there is champagne for it! Oh, if I lived in Moscow, or in St. Petersburg, I would, it seems, imitate every fashion.
Explain the speech features of those characters whose monologues we read.
(Gordey is illiterate, he believes that education is useless, the main thing is to live in fashion.
We love: an element of undoubted intelligence is inherent in his speech; his speech is not patriarchal, not folklore, but belongs to modern Ostrovsky urban culture; one of all the characters, he uses some fragments of foreign phrases quite correctly and appropriately).
Peculiarity :
P. - If I asked you to identify the similarities and differences between certain heroes of the play, whom would you compare, compare? Why?
(Mitya - Korshunov. Similarity: intention to marry Lyubov Gordeevna; difference: Mitya's honesty is Korshunov's actions on the sly;
Love Tortsov - Gordey Tortsov. Similarity: brothers, in the end, Gordey begins to see clearly, it turns out he is not a stranger to the truth. Difference: G. is a petty tyrant, external gloss is important to him, and not the human soul; L., who in his youth also succumbed to the supposedly obligatory maintenance of status and squandered all his fortune, realized that the main thing in life is not money, because you can remain a good person even without money;
We love Tortsov - Korshunov. Similarity: former associates. Difference: honesty of the first and dishonor of the second.)
Peculiarity :
6. This comparison will be yours. homework, and also it is necessary to answer the question: why is Lyubim Tortsov - Ostrovsky's favorite hero?
7 . let's sum up lesson summary.
(Dec. 15 ) - We list the features of the dramaturgy of Alexander Nikolayevich Ostrovsky:
Showing important all-Russian problems through family and everyday conflict
Bright, recognizable characters;
The peculiarity of names.
Speaking names.
An unusual presentation of the characters in the playbill, which determines the conflict that will develop in the play.
The "prepared appearance" of the main characters, they are first talked about by others.
Significance of the hero's first line.
folk moments.
The peculiarity of the speech characteristics of the characters.
Parallel consideration of compared heroes.
If time permits, we can discuss the words of A. I. Goncharov: “You alone completed the building, at the base of which you laid the cornerstones Fonvizin, Griboyedov, Gogol. But only after you, we, Russians, can proudly say: “We have our own, Russian, national theater. It should rightly be called "Ostrovsky's theatre".
MBOU "Kalininskaya OOSh"
OPEN LESSON ON LITERATURE
IN 9 CLASS
PECULIARITIES OF DRAMATURGY OF A. N. OSTROVSKY.
PIECE "POVERTY IS NOT A VICE".
Teacher of Russian language and literature
Kadyaeva Irina Alekseevna
