The play "Elder Son" was announced by A.V. Vampilov by genre as a comedy. However, only the first picture looks comedic in it, in which two young men who missed the train decide to find a way to spend the night with one of the residents and come to the Sarafanovs' apartment.
Suddenly, things take a serious turn. The head of the family ingenuously recognizes the eldest son in Busygin, since twenty years ago he really had an affair with one woman. Sarafanov's son Vasenka even sees the outward resemblance of the hero to his father. So, Busygin and a friend are included in the range of Sarafanov family problems. It turns out that his wife left the musician a long time ago. And the children, having barely grown up, dream of fluttering out of the nest: daughter Nina gets married and leaves for Sakhalin, and Vasenka, not having time to finish school, says that she is going to the taiga to work on a construction site. One has a happy love, the other has an unhappy one. It's not about that. The main idea is that care for an elderly father, a sensitive and trusting person, does not fit into the plans of grown children. Busygin Sarafanov Sr. recognizes as a son, practically without requiring weighty evidence and documents. He gives him a silver snuffbox - a family heirloom that passed from generation to generation into the hands of his eldest son.
Gradually, the liars get used to their roles as a son and his friend and begin to behave at home: Busygin, already as a brother, interferes in the discussion of Vasenka's personal life, and Silva begins to court Nina.
The reason for the excessive gullibility of the Sarafanov Jr. lies not only in their natural spiritual openness: they are convinced that an adult does not need parents. This idea in the play is voiced by Vasenka, who then nevertheless makes a reservation and, in order not to offend his father, corrects the phrase: "Alien parents."
Seeing the ease with which the children he raised are in a hurry to leave their home, Sarafanov is not very surprised when Busygin and Silva are about to leave in the morning. He continues to believe in the story about the eldest son.
Looking at the situation from the outside, Busygin begins to feel sorry for Sarafanov and tries to persuade Nina not to leave her father. In the conversation, it turns out that the girl's fiancé is a reliable guy who never lies. Busygin becomes interested to look at him. Soon he learns that Sarafanov Sr. has not been working at the Philharmonic for six months, but plays at the dance club for railwaymen. “He is a good musician, but he never knew how to stand up for himself. In addition, he sips, and so, in the fall, there was a reduction in the orchestra ... ”- says Nina. Sparing their father's pride, the children hide from him that they know about the dismissal. It turns out that Sarafanov himself composes music (cantata or oratorio “All people are brothers”), but he does it very slowly (stuck on the first page). However, Busygin treats this with understanding and says that perhaps this is how serious music should be composed. Calling himself the eldest son, Busygin takes on the burden of other people's worries and problems. His friend Silva, who made a mess by presenting Busygin as Sarafanov's son, is only having fun by participating in this whole confusing story.
In the evening, when Nina Kudimov's fiancé comes to the house, Sarafanov raises a toast to his children and utters a wise phrase that reveals his philosophy of life: “...Life is fair and merciful. She makes heroes doubt, and those who did little, and even those who did nothing, but lived with a pure heart, she will always console.
Truth-loving Kudimov finds out that he saw Sarafanov in the funeral band. Nina and Busygin, trying to smooth the situation, claim that he made a fool of himself. He does not let up, continuing to argue. In the end, Sarafanov confesses that he has not played in the theater for a long time. “I didn’t turn out to be a serious musician,” he says sadly. Thus, the play raises an important moral issue. Which is better: the bitter truth or the saving lie?
The author shows Sarafanov in a deep impasse in life: his wife left, his career did not take place, his children also do not need him. The author of the oratorio "All people are brothers" in real life feels like a completely lonely person. “Yes, I brought up cruel egoists. Callous, prudent, ungrateful,” he exclaims, comparing himself to an old sofa that they have long dreamed of throwing away. Sarafanov is already going to go to Chernigov to Busygin's mother. But suddenly the deception is revealed: having quarreled with a friend, Silva betrays him to imaginary relatives. However, the good-natured Sarafanov this time refuses to believe him. “Whatever it is, I consider you my son,” he says to Busygin. Even after learning the truth, Sarafanov invites him to stay in his house. Nina also changes her mind about leaving for Sakhalin, realizing that Busygin, who lied in his soul, is a good, kind person, and Kudimov, who is ready to die for the truth, is cruel and stubborn. At first, Nina even liked his honesty and punctuality, the ability to keep his word. But in reality, these qualities do not justify themselves. Kudimov's straightforwardness becomes not so necessary in life, as it makes the girl's father hard to experience his creative failures, exposes his spiritual wound. The pilot's desire to prove his case turns into an unnecessary problem for no one. After all, the children have long known that Sarafanov does not work at the Philharmonic.
Putting a special meaning into the concept of "brother", A.V. Pi-lov emphasizes to you that people should be more careful with each other, and most importantly, do not try to play with other people's feelings.
The happy ending of the play reconciles its central characters. It is symbolic that both the main deceiver and adventurer Silva, and the truth-loving to the marrow of his bones Kudimov leave Sarafanov's house. This suggests that such extremes are not needed in life. A.V. Vampilov shows that a lie is still sooner or later replaced by the truth, but sometimes it is necessary to give a person the opportunity to realize this himself, and not bring him to clean water.
However, this problem has another side. Feeding yourself with false illusions, a person always complicates his life. Afraid to be frank with the children, Sarafanov almost lost his spiritual connection with them. Nina, wanting to quickly arrange her life, almost left for Sakhalin with a man she does not love. Vasenka spent so much energy trying to win over Natasha, not wanting to listen to his sister's sound reasoning that Makarskaya was not a match for him.
Many consider Sarafanov Sr. blessed, but his endless faith in people makes them think and take care of him, becomes a powerful unifying force that helps him keep his children. Not without reason, during the development of the plot, Nina emphasizes that she is her father's daughter. And Vasenka has the same "fine mental organization" as his father.
As at the beginning of the play, Busygin in the finale is again late for the last train. But the day spent in the Sarafanovs' house teaches the hero a good moral lesson. However, getting involved in the struggle for the fate of Sarafanov Sr., Busygin receives an award. He finds the family he dreamed of. In a short time, until recently, completely strangers to him, people become close and dear. He breaks with the empty and worthless Silva, who is no longer interested in him, and finds new true friends.
“A chance, a trifle, a combination of circumstances sometimes become the most dramatic moments in a person’s life,” Vampilov developed this idea in his plays. A. Vampilov was deeply concerned about the problems of morality. His works are based on real life material. The awakening of conscience, the education of a sense of justice, kindness and mercy - these are the main motives of his plays. The plot of the play "Elder Son" is simple. Two young men - a student at the medical institute Volodya Busygin and a trade agent nicknamed Silva (Semyon Sevastyanov) - were brought together by chance at a dance. After seeing home two girls living on the outskirts of the city, they are late for the last train and they have to look for a lodging for the night. The young men call the Sarafanovs' apartment. The resourceful Silva comes up with the idea to come up with a story that Busygin is the eldest son of Andrei Grigoryevich Sarafanov, that he was allegedly born to a woman with whom fate accidentally brought Sarafanov at the end of the war. In order to somehow pass the night, Busygin does not refute this fiction.
Sarafanov’s life didn’t work out: his wife left, things didn’t work out at work - he had to leave the position of an actor-musician and work part-time in an orchestra playing at a funeral. Not all is well with children either. Sarafanov's son, tenth grader Vasenka, is in love with his neighbor Natasha Makarskaya, who is ten years older than him and treats him like a child. Daughter Nina is going to marry a military pilot, whom she does not love, but considers a worthy couple, and wants to go with him to Sakhalin.
Andrei Grigorievich is lonely, and therefore becomes attached to the "eldest son." And the one who grew up without a father, in an orphanage, is also drawn to the kind, glorious, but unhappy Sarafanov, besides, he liked Nina. The play has a happy ending. Volodya honestly admits that he is not the son of Sarafanov. Nina does not marry the unloved. Vasenka manages to persuade him not to run away from home. The "elder son" becomes a frequent guest of this family.
The name of the play "Elder Son" is the most successful, since its main character - Volodya Busygin - fully justified the role he took on. He helped Nina and Vasenka understand how much their father means to them, having raised both of them without a mother who left the family. The gentle character of the head of the Sarafanov family is manifested in everything. He takes everything to heart: he is ashamed of his position in front of the children, hides that he left the theater, recognizes the “eldest son”, tries to calm Vasenka, to understand Nina. You can’t call him a loser, since at the very peak of his mental crisis, Sarafanov survived, while others broke down. Unlike the neighbor who refused Busygin and Silva an overnight stay, he would have warmed up the guys, even if they had not invented this story with the “elder son”. But most importantly, Sarafanov cherishes his children and loves them. Children are callous towards their father. Vasenka is so carried away by his first love that he does not notice anyone except Makarska. But his feeling is selfish, because it is no coincidence that, having become jealous of Natasha for Silva, he sets a fire and does not repent for what he has done. There is little truly lyrical character in this young man's character. Nina is a smart, beautiful girl and, at the same time, practical and prudent. These qualities are manifested, for example, in the choice of a groom. However, these qualities were predominant in her until she fell in love. Love completely changes her life position. Busygin and Silva, having met by chance during a dance, behave corny, courting the first girls they meet, and in this they are similar to each other. But, finding themselves in a non-standard situation, the heroes showed
Municipal educational institution
Shushkodom secondary school named after Arkhipov I.S.
Buisky municipal district of the Kostroma region
Literature lesson in grade 11
Topic: "Problems of morality
in the play by A. Vampilov "The Elder Son".
Teacher:
Selezneva Natalia Nikolaevna
with.Shushkodom
Topic: "Problems of morality in Vampilov's play "The Elder Son".
Goals and objectives of the lesson:
to show the significance of Vampilov's dramaturgy for Russian literature;
understand the artistic features and ideological originality of the play "The Elder Son";
improve students' ability to analyze a dramatic work,
to reveal the problem: “will the living soul overcome the routine of life”,
develop children's creativity, cognitive and search and research activity, analytical thinking.
Methodological techniques: analytical conversation, viewing and analysis of fragments of the feature film "Elder Son".
Lesson type : lesson-assimilation of new knowledge through the solution of educational problems, combined
Lesson form: lesson with application technologies of educational dialogue, project method with multimedia support
Lesson equipment: video film “Elder Son”, presentation for the lesson (based on the play “Elder Son”; student presentations about the life and work of the playwright; text of the play “Elder Son”
Information: before the lesson, students receive the necessary material, it is heterogeneous, it should be studied, systematized.
Tasks for students:
Prepare a message with a presentation on the biography of the playwright.
Prepare a report on the features of Vampilov's dramaturgy.
To explore the ideological concept of the play "The Elder Son", the grouping of characters. Draw up the compositional structure of the play.
During the classes.
I Write an epigraph. Motivation and goal setting (preparing students for the perception of the material, focusing on the predicted result).
teacher's word: It is difficult to imagine Vampilov as a seventy-year-old. He entered literature young and remained young in it. Life was cut short at the very take-off, in its prime.
(A student reads a poem by P. Reutsky “Remember me cheerfully”).
Remember me cheerfully
In a word, the way I was.
What are you, willow, hanging branches,
Or did I not like it?
I don't want to be sad.
I'll go under the wind geek.
Only songs full of sadness
I value all others.
I walked the earth in joy.
I loved her like a god
And no one to me in this smallness
Couldn't refuse...
All mine will stay with me
Both with me and on earth.
Someone's heart hurts
In my home village.
Will there be springs, will there be winters,
Sing my song.
Only me, my loved ones,
I won't sleep with you anymore.
What are you, willow, hanging branches,
Or did I not like it?
Remember me cheerfully -
In a word, the way I was.
2. The first group of students introduces the biography of the playwright.
Student's report about A.V. Vampilov (accompanied by a presentation)
A. Vampilov entered literature young and remained young in it. “I laugh at old age because I will never be old,” Vampilov wrote in his notebook. And so it happened: Vampilov died a few days before his 35th birthday. On August 17, 1972, at Baikal, the boat at full speed ran into a log and began to sink. The water, cooled down to five degrees by a recent storm, a heavy jacket ... He almost swam ... But his heart could not stand it a few meters from the shore ...
Alexander Valentinovich Vampilov was born in 1937 in the village of Kutulik, Irkutsk Region, into a family of teachers. By the will of circumstances, he was forced to grow up without a father. Valentin Nikitich was arrested on a false denunciation and shot in 1938. On the eve of the birth of his son, he wrote to his wife Anastasia Prokopievna: “Probably there will be a robber - a son, and I’m afraid that he won’t become a writer, because I see writers in a dream.”
The prophetic father's dream came true, the future writer, playwright was born, who brought to the stage "an amazing, all-powerful sense of truth."
Anastasia Prokopyevna has four children in her arms, the eldest of whom was seven years old.
From her, from her mother, a man of amazing kindness and purity, Sanya, as his relatives called him, adopted his best qualities. To this woman, who experienced so much, V. Rasputin dedicated the story "French Lessons", published on the anniversary of the death of a friend.
In youth Vampilov read the works of N.V. Gogol and V. Belinsky, everyone remembers that Alexander sang beautifully, only among his close friends, at a good moment. He loved old romances, songs to poems by S. Yesenin and N. Rubtsov, with whom he became friends later, while studying at a literary institute. Fishing and hunting are also among his interests.
With great difficulty, the plays of the young author made their way to the audience, brought him wide fame. But during his lifetime, Vampilov never saw any of his plays on the capital's stage.
Vampilov writes mainly about the intelligentsia and draws attention to its problems. Has the intelligentsia retained its lofty destiny? Does it follow cultural traditions? What are its goals and ideals in the modern world? Does she still suffer from “eternal” questions? What is freedom for her?
On August 17, 1972, two days before his 35th birthday, Vampilov and his friends went on vacation to Lake Baikal.
When the life of Alexander Vampilov tragically ended, an unfinished work lay on his desk - the vaudeville "Incomparable Tips" ...
In 1987, the name of Alexander Vampilov was given to the Irkutsk Theater for Young Spectators. There is a memorial plaque on the theater building.
The people of Irkutsk are rightfully proud of their talented countryman. There is a theater in the city that bears his name, a monument to Alexander Vampilov stands on the central square of Irkutsk, evenings dedicated to the memory of the playwright are held in the halls of the oldest museum in Siberia.
“I think that after the death of the Vologda poet Nikolai Rubtsov, literary Russia had no more irreparable and absurd loss than the death of Alexander Vampilov. Both of them were young, talented, possessed an amazing gift to feel, understand and be able to express the most subtle and therefore unknown to many movements and desires of the human soul, ”V. Rasputin wrote with bitterness and pain.
No sooner had the ground on Vampilov's grave cooled than his posthumous fame began to gain momentum. His books began to be published (only one was published during his lifetime), theaters staged his plays (the Elder Son alone was shown in 44 theaters in the country at once), directors began filming films based on his works at studios.
3. The second group of students talks about the dramaturgy of Vampilov (presentation).
The significance of Vampilov's appearance was emphasized by V. Rasputin, who had been friends with him since his student days: “Together with Vampilov, sincerity and kindness came to the theater - old feelings, like bread, and, like bread, necessary for our existence and for art. It cannot be said that they did not exist before him - they were, of course, but obviously not in that persuasiveness and closeness to the viewer ... It seems that the main question that Vampilov constantly asks is: will you remain a man, a man? Will you be able to overcome all the false, unkind things that have been prepared for you in many life trials, where even opposites have become difficult to distinguish - love and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement. These questions are answered by the play "Elder Son".
In the cinema and theater of the 70s, stories about returning and finding a home, loved ones, choosing between blood and spiritual relatives turned out to be popular. There was a craving for simple human joys, for love stories, for plots of gaining happiness and losing it. In the orbit of this kind of dramatic predilections fell "Oldest son"
II Analytical conversation. (Accompanied by presentation).
Teacher: As an epigraph to today's lesson, I will offer two quotes by A. Vampilov: “Everything decent is rash, everything thought out is meanness ...”, “A chance, a trifle, a combination of circumstances sometimes become the most dramatic in a person’s life ...”
Remember what set of circumstances brought the protagonist and his companion to the Sarafanov family's house? What is the plot of this play?
Student:(sample answer)
XOn a cold spring evening, Busygin and Silva, who had just met in a cafe, escort their friends home, hoping to continue their relationship. However, at the very house, the girls give them a turn from the gate, and the young people, realizing that they were late for the train, are looking for an overnight stay. But no one opens up to them. Fear".
By chance, they see Sarafanov leaving the house, hear his name and decide to take advantage of this: go to his apartment, introducing themselves as acquaintances, and at least warm up. However, in a conversation with Vasenka, Sarafanov's son, Silva unexpectedly reports that Busygin is his brother and Sarafanov's son.
The returned Sarafanov takes this story at face value: in 1945 he had an affair with a girl from Chernigov, and now he wants to believe that Volodya is really his son.
In the morning, friends try to escape from the hospitable home, but Busygin feels like a deceiver: "God forbid deceiving someone who believes your every word." And when Sarafanov hands him a family heirloom - a silver snuffbox, which was always passed on to his eldest son - he decides to stay.
Teacher: The author built the plot in such a way that he never let anyone doubt the vitality of what was happening. At first glance, the plot is simple, but it has a deep moral meaning. This is what we have to figure out. What do you think is the key line of the play?
Student: In my opinion, these are the words of Busygin:
“People have thick skin and it’s not easy to pierce it. It is necessary to lie properly, only then will they believe and sympathize with you. They need to be scared or moved to pity.”
Teacher: Let's meet the characters. In the course of our research, it will be necessary to answer the question: “Why did the Sarafanov family so easily believe in their family ties with Busygin?
What can you tell about the members of this family?
Student: Andrei Grigoryevich Sarafanov is the head of the family. He is a musician, but he was fired from the orchestra. He plays at funerals and dances, but hides it from the kids. The children know everything, but they pretend not to know that their father does not work in the orchestra. Sarafanov writes a musical composition entitled "All people are brothers." This is not just a declaration for him, but a principle of life.
Teacher: Can you call him a loser?
Student (sample answers): I think that can be called a failure. Sarafanov’s life didn’t work out: his wife left, things didn’t work out at work - he had to leave the position of an actor-musician and earn extra money in an orchestra playing at a funeral.
The children are also not well. Vasenka's son is in love with his neighbor Natasha Makarskaya, who is ten years older than him and treats him like a child. Daughter Nina is going to marry a military pilot, whom she does not love, but considers a worthy couple, and wants to go with him to Sakhalin.
Another possible answer: Sarafanov, even if he does not have fame, cannot finish a piece of music, he has great life experience: he defended the Fatherland, gave people joy and consolation with his performance of music. They are driven by nobility and purity of thoughts. He brought up children alone, he is a very kind and open person. Therefore, he cannot be called a failure.
Teacher: Why did Andrei Grigorievich believe, recognized Volodya Busygin as the eldest son?
Student: Andrey Grigorievich is lonely and therefore becomes attached to the "eldest son."
Teacher: What do you like about Nina? What are you judging her for? How and why does Nina change at the end of the play?
Nina is purposeful, she took care of the hostess of the house.
She is going to marry an unloved person, insensitive towards Vasenka and her father. The meeting with Busygin changes her. She refuses marriage, stays with her family
Teacher: How can Vasenka's actions be explained? How does the author's affectionate appeal to him help to understand the character of the hero? Has Vasenka changed at the end of the play?
Student: (examples): Vasenka behaves like a child, his actions are impulsive. To some extent, he is selfish ... Vasenka plays the role of a lover, misunderstood.
Teacher: What can be said about the attitude towards each other in the Sarafanov family?
Student:(sample answer) It can be said about the father that he is soft, kind, a little eccentric, on whom the burden of material worries falls. They are given in Vasenka's remarks. Immediately we learn that in this family no one understands each other, they do not worry about souls.
"Vasenka ( Nina). Leave me alone. ( breaks out.) What do you want? What are you missing? Rely on your dad, he will arrange everything.
S a r a f a n o v. Vasenka!
V a s e n k a. Why did you go to her to Makarska. – E.S.) at night? Who asked you?
V a s e n k a. …Crazy! It was better when you didn't care about me!"
From the point of view of spiritual kinship, the closest people, connected by blood ties, are far from each other, embittered, each busy with himself. Sarafanov wants to help his son, but he does it clumsily, ridiculously. Nina constantly picks up Vasenka, insults his feelings for Makarska. Constant scandals, misunderstanding of each other.
"S a r a f a n o v ( ran around the room). ... Send father to hell. You will not stand on ceremony with me!
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
S a r a f a n o v ( appearing). ... I am an old sofa that she has been dreaming of taking out for a long time ... Here they are, my children, I just praised them - and on you, please ... Get for your tender feelings! ( Nina appears, stops at the door.) Yes, I brought up cruel egoists. Callous, prudent, ungrateful.
Teacher: So, scandals, a showdown, apparently, the hidden pain of Sarafanov the father. Nina is nineteen years old, Vasenka is still a schoolboy, and the atmosphere in the family is oppressive, hysterical, unbearably joyless. The desire of Vasenka and Nina Sarafanov to leave, or rather, to run away from home, the desire to break free is understandable. The eternal theme of fathers and children!
“N and n a. …Don't you know that I'm leaving?
V a s e n k a. I'm leaving too.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
N i n a ( crouching). Listen, Vaska... You're a bastard, and no one else. I would take you and kill you.
V a s e n k a. I don't touch you, and you don't touch me.
N i n a. You don't care about me, okay. But you have to think about your father.
V a s e n k a. You don't think about him, why should I think about him?
N i n a. My God! ( rises.) If you only knew how tired I am of you!”
Teacher: Spiritual catastrophe, the theme of the internal disintegration of the family, despite the fact that outwardly the family seems to be normal - one of the modern dangers, according to Alexander Vampilov.
Teacher: Describe Busygin and Silva.
Student: (approximate answer) The heroes are young, energetic, they are characteristic of the time both in terms of social status and social role (student, dude), kind and conscientious Busygin, frivolous Silva.
Both of them are deprived of the warmth of their native hearth, parental home. Silva's house is a family circle, where there is no hint of affection for relatives to each other. Silva has a father - and he does not. This is the shelter where the son is not only allowed, but almost ordered: do not return. That's a father's love.
“S and l in a. Eh! I'd rather be at home. Warm, at least, and fun too. My dad is a big joker... He says I'm tired of your ugliness. At work, he says, I feel these awkwardness because of you. On, he says, you have the last twenty rubles, go to a tavern, get drunk, arrange a brawl, but such a brawl that I won’t see you for a year or two ... "
Therefore, such lightness in cruelty, such a crippled spirit in Silva, probably originates in the house where his own father asks his son not to return. Silva is easy, because his “philosophy” is as follows: “... the best thing is this: not to think about anything and not go crazy. So it's calmer. To my mind". “Soulful meanness”, plus cowardice in the face of the truth, plus envy of the warmth that is born before our eyes (moreover, between strangers) makes him act ruthlessly. It is absurd, pathetic revenge, trying to destroy, denigrate the good that he witnessed. He disappears from the comedy as a scoundrel, because he does not trust anyone, does not love and does not understand anyone.
Busygin - fatherlessness. He doesn’t know at all what a son, a father, a father’s love for his son, a house, a brother, etc. is. Therefore, his desire to become a son, a brother, even if for a while, is understandable.
Teacher: There are no portrait characteristics of the characters in the dramaturgical work. We learn about them from replicas, actions, attitudes towards other characters in the play. .
- Kudimov, in your opinion, is a positive or negative character?
Student: (sample answer) Too reasonable, "correct". It cannot be said that he is good or that he is bad.
Teacher: It can be said about him that he is an indifferent, understanding nothing, self-satisfied intellectual. Such people are fatally dangerous, because everything passes by the heart, by the soul. A. Vampilov felt that the emptiness of the soul, covered with "impeccable honesty", was becoming a daily danger. He saw Kudimov and his bifurcation in life in order to show how impudent, indifference, which has become a principle, a moral norm, is insolent.
There are no ideal, positive heroes, as well as negative ones. It's all about the fact that someone is bad and someone is good. It turns out that every person has something to repent of. Therefore, Sarafanov believes that Busygin is his son - after all, he once left his beloved woman.
Teacher: How does Busygin turn from an impostor son into a native person for the Sarafanovs? What is the meaning of this transformation?
Student:(sample answer) Through a joke-deception, the simplicity and complexity of the truth is revealed. A cruel joke parodies the idea of universal brotherhood. Sarafanov composes the oratorio "All people are brothers." Busygin argues at the beginning of the play that “people have thick skin, and it is not so easy to break through it. It is necessary to lie, as it should, only then will they believe and sympathize. They need to be scared and pitiful." Everyone lies, but this is just the rule of the game. And when the "honest" Kudimov reveals the deceit and insists on his own, this "truth" turns out to be useless, even cruel.
The same thing happens to Silva when he "opens his eyes" to Sarafanov, confessing to deceit. Sarafanov does not want such truth and also expels Silva from the house. It is paradoxical not that Sarafanov believed Busygin's invention, but that Busygin behaved in accordance with his invention. Busygin is called a son and behaves like a son in the future. From this moment on, not only the course of intrigue turns, but the artistic structure of the play also changes, it ceases to be a story with lies, it becomes a story with transformations.
Teacher: What could happen to the Sarafanov family if Busygin did not appear on time?
Student:(sample answer) It would happen that the family could collapse. And Busygin became, as it were, that unifying, fastening spiritual force, with which a whole range of family and home problems is associated.
Teacher: It turns out how important spiritual strength is in the family - this is the continuity of faith. Spiritual ties between people turn out to be higher than blood, family ties - this is the conclusion that follows in the course of self-development of the idea of "brotherhood". - Why was the concept of "eldest son" necessary for the author? It's like some weighty force bringing harmony to an unhappy house, tying broken threads together.
How did Nina react to the fact that Busygin admitted that he was not her brother?
Student:(sample answer) Nina under no circumstances wants to give up her faith. Busygin tells her that he is not joking, he is telling the truth, but she does not believe him.
Teacher: This is exactly what the author sought: when there is faith in a person, any, even, at first glance, completely implausible, they don’t want to lose it, let it go. This heart center, if caught on fire, cannot go out. Nina hardly believed in her “brother”, but, believing, she came to life and does not want to part with her inner, warming and bright.
The end of the play. Images from the feature film "The Elder Son".
Teacher: What happened to our heroes?
Student: (sample answer) At the end of the play, Sarafanov, Busygin, Nina, Vasenka seem to have become one. They are all together, side by side. Makarska aside. In Busygin, the need to be needed by someone, to be loved, to be a member of the family is manifested. That's why he's around. He admits: “Frankly, I myself no longer believe that I am not your son.”
Teacher: What did the author want to remind us of?
Student:(sample answer) He seemed to make me remember about conscience, about human family relationships. According to the author, a strong spiritual foundation, high moral guidelines are inherited from the father, which should help people live.
Teacher: How does Busygin turn from an impostor son into a native person for Sarafanov? What is the meaning of this transformation?
Student: It is not important that Busygin deceived the old man Sarafanov, calling himself his son. The important thing is that he loved him like a father and became close to him like a son.
Teacher: After reading the play, many catch themselves turning into the eldest son of Sarafanov in order to help this kind man who has preserved his bright soul until old age in our complex and confusing life. What do you think is the main idea of the play?
Student: The spiritual kinship of people turns out to be more reliable and stronger than formal family ties. Busygin unexpectedly discovers in himself the ability to compassion, love, forgiveness: "God forbid to deceive someone who believes your every word." Thus, from a private, everyday history, the play rises to universal humanistic problems.
Teacher: What is the paradox of the play?
Student: The paradox is that people become relatives, begin to feel responsible for each other only by a lucky chance.
“A chance, a trifle, a combination of circumstances sometimes become the most dramatic moments in a person’s life”
Teacher: Vampilov used several names for his work: “Peace in the Sarafanov House”, “Suburb”, “Hormons with a Guitar”, “The Sarafanov Family”,
"Oldest Son"
Why is "Elder Son" the most appropriate title for the play?
Student: The name of the play "The Elder Son" is the most successful, since its main character - Volodya Busygin - fully justified the role of the "Elder Son". He helped Nina and Vasenka understand how much their father means to them, having raised both children without a mother who left the family. Volodya Busygin loves people, he is a conscientious, sympathetic person who sympathizes with someone else's misfortune, which is obviously why he acts decently. The "positiveness" of aspirations makes him strong and noble.
III Summary of the lesson. The well-known beginning of "Anna Karenina": "All happy families are alike, each unhappy in its own way."
So what should hold a family together so that it is happy? Love, faith, spirituality. Simple, familiar words, on which peace and tranquility in every family depends.
IV Homework.
Write an essay "For me, Vampilov is ..."
V . Reflection.
At the end of the lesson, each participant continues the phrase:
“Today at the lesson I realized that…”
It is impossible for a person to live by calculation, cynicism, hatred.
It is necessary to strive for spiritual rapprochement, openness of love for each of the people, the ability, forgetting personal interest, to take care of another, a stranger.
The students and the teacher take turns reading the poem:
More than blood relationship
And no words are needed
Who understands our hearts.
When just a glance is enough
And everything is clear from a half-word.
And loud phrases are not needed at all,
Soul warmth is the basis of all feelings.
Souls to others disposition,
It gives birth to a strong friendship in us.
Souls mutual attraction,
Having given us love, it burns with fire.
Soul close to us - comrade-in-arms,
He will always understand us.
Will be able to cheer on a holiday,
And calm in difficult times.
More than blood relationship
In life, we have closeness of souls.
And they will become whole: one - two,
When she gives birth to love.
Goals:
1) to acquaint students with the life and work of the playwright;
2) understand the moral issues of the play;
3) draw up a plan for the characteristics of the main characters.
Equipment: portrait of A. Vampilov, feature film “Elder Son”.
Methodical methods: partial lecture, student report, watching film episodes, their analysis, analytical characterization of the characters (conversation method).
During the classes
I. Setting goals and objectives of the lesson.
II. Introduction by the teacher.
Alexander Vampilov is a man whose life is short but bright. Playwright who played a significant role in modern theater.
III. Student's message about the life path of A. Vampilov.
IV. The word of the teacher about the work of A. Vampilov.
The main passion of A. Vampilov was theater, and in literature - dramaturgy. He died at the age of 35, having never seen a single of his plays on the capital's stage, during his lifetime he published only a small collection of stories. Valentin Rasputin, who had been friends with him since his student years, said: “In poetry, Nikolai Rubtsov, in prose Vasily Shukshin, in dramaturgy Alexander Vampilov ... - it seems that Russian literature almost simultaneously lost its soul and hope with these names ... ".
The dramaturgy of Alexander Vampilov is divided into 2 stages.
The conflict is twofold:
1) the youth of the fathers on the one hand;
2) the wisdom of the fathers on the other hand.
Humor serves the task: the resurrection of a person, behind a frivolous look at things, a deep form of cognition of reality is revealed.
Heroes are able to draw conclusions based on inner spiritual values, so the author easily and naturally leads the heroes to proper actions that meet the highest human interests.
The second stage: the new hero, resisting the author, opposes his own ideal situation, the real one, in which there is no place for disinterested love for one's neighbor, goodness for the sake of goodness. Consequently, the position of the author is an honest artist, therefore the main mood of the work is sadness, which permeates all the plays of stage II.
V. Viewing fragments of the feature film “The Elder Son” and an analytical description of the heroes of the play.
Interview with students:
This comedy is light and sad; What are the distinctive features of the genre of the play "Elder Son"?
What is the peculiarity of the character system of the play? (This is a dramatic work, a conflict between two groups of heroes: normal and abnormal *).
* Vampilov A.V. House with windows in the field - Irkutsk: East Siberian book publishing house, 1981 - 690 p., p.130.
Which characters in the play can you classify as normal and abnormal? Support your answer with lines from the text.
Analytical conversation about each hero.
Sarafanov.
What age group does this character belong to, why?
How does it relate to children? (Viewing a fragment, confirming what he saw with lines from the text).
How does he accept the news of the existence of the eldest son?
Who is this young man?
How does he feel about his lie that he is the son?
Why can't he be indifferent to the Sarafanov family? (Busygin took on the problem of someone else's family and, from the point of view of morality, helps to revive the family)
What is similar and what is the difference with Silva? (View individual episodes of the film). (These heroes have the same fate, but the spiritual world is different).
Nina and Vasya
How do these characters of the play relate to their father, why?
How do they accept “big brother”?
Kudimov, Makarskaya, Silva.
What can be said about these people?
What unites them?
What happens in the end to these people? Have they changed?
Understanding the topic, idea, conflict.
The first name "Suburb" indicates the place where the action takes place. Why did the author change the title? (It is very important to understand what is going on in the play.)
What problems are being solved? (Problems of trust, mutual understanding, kindness, responsibility).
What is the duality of the play?
How is the question of truth addressed in the play? Compare with the question of truth in M. Gorky's play "At the Bottom". Why do the heroes of the play “Elder Son” lie? Is there any justification for this lie? Is the truth always necessary?
What is the theme, idea of the work?
Why do you think the play is called that?
The ending of the play is optimistic. Do you think this could happen in real life?
How do you think the fate of the characters will develop in the future?
VI. Teacher's word.
The spiritual kinship of people turns out to be more reliable and stronger than formal relations. Behind the external bravado and cynicism of young people, an ability for love, forgiveness, and compassion, unexpected for them, is revealed. Thus, from private everyday history, the play rises to universal humanistic problems. And the paradox is that people become relatives, they begin to feel responsible for each other only by a lucky chance. The moral essence of the eldest son is shown - everything is on his shoulders: hope, the future of the family, and Busygin - the eldest son, is worthy of honor, the moral basis of the "father", therefore, he revived the family.
VII. Homework.
Write a description of your favorite character.
Write a review of the film "Elder Son", comparing it with the play by A. Vampilov.
- Do you think the situation depicted in the play is plausible? Motivate your opinion.
- Why did Sarafanov believe Busygin that he really was his eldest son?
- Why does Sarafanov refuse to believe Busygin's revelations and his own confession?
- How would you characterize Sarafanov's relationship with Nina and Vasenka?
- What attracts Busygin to Sarafanov and his family? Why is he constantly postponing his departure and actually taking on the role of eldest son and brother?
- Compare the relationship of Busygin and Sarafanov's own children to their father. What do you find in common and different in the feelings of the characters? What are the reasons?
- What role do you think Silva plays in the play, who invented the story with the “elder son”? Why do you think he wears such a nickname?
- What moral issues are raised by the playwright in this play?
From a practical point of view, the situation is unlikely. And even the similarity of circumstances can be explained by the conventions of a dramatic work.
The romantically minded, exceptionally gullible hero, who, moreover, needs contact with children and cannot find it, hopefully believed in the version put forward that Busygin was his eldest son. He believed because at the moment he needed him, his help, in order to somehow positively influence the situation in the family, he needed an older brother for his children, more experienced and reasonable than they are. It is impossible not to take into account that Busygin, already at the first meeting, made a good impression on Sarafanov.
Sarafanov managed in a short time to fall in love with Volodya, to feel his filial attitude towards himself. And therefore, his first reaction to exposure is to drive away the whistleblower himself. “You are a real Sarafanov! My son! And a beloved son, too! - this is the key remark of the hero in this scene. Finally, realizing that it was a hoax, Sarafanov declares that he will still consider Busygin his son. As a romantic dreamer, he seeks to create a new reality for him from this situation: "You are all my children, because I love you."
Sarafanov raised Nina and Vasenka after his wife left him. Children do not take seriously his dreams and creative impulses, sometimes they make fun of him. However, they love their father in their own way and cherish his “secret”. They never tell him, although the whole city knows it, that he has not worked at the Philharmonic for half a year, that he moved to the cinema, then to the railway club, plays in funeral processions. The fact that the father has been composing either a cantata or an oratorio called “All people are brothers” for more than one year is not subject to discussion in the family, hopelessly stuck on the first page.
Sarafanov is worried about the children, especially for the youngest, Vasenka, who has unrequited love for Makarskaya, a woman much older than him and not reciprocated. Vasya wants to leave, to run away from himself. And this worries Sarafanov very much, and he acutely feels the need for his eldest son to help Vasenka.
The anecdotally begun venture turns into a serious life lesson for Busygin, an acquaintance with a completely different, sublimely poetic view of this “crazy”, unsettled world, life, where illusion can be more attractive than truth, where there is openness, reckless gullibility. Communication with Sarafanov, on the one hand, frightens Volodya, he realizes that together with Silva he is committing a moral crime (“this daddy is a holy man”; “God forbid deceiving someone who believes your every word ”), and on the other hand, he is fascinated by his sincerity, the hope that the “eldest son” will help solve family problems. And getting out of this game is very difficult. M. I. Gromova, a well-known theater critic, rightly points out that Vampilov “managed, within the framework of everyday comedy, to create passions for the spiritual closeness of people, for kindness and mutual understanding.”
Busygin was able to look not from the inside, but from the outside at the family problems of the Sarafanovs. His view and attitude towards his father is deeper than the usual view of children who live and communicate with him constantly. He appreciates more deeply the subtle, poetic world of the hero, albeit in many ways a failure in life, understood his vulnerability better than others. material from the site
Silva is the nickname of an operetta origin. He is a cynic, not used to sparing people's feelings and understanding them. For him, momentary pleasures are more important. He invents this story only in order to comfortably settle down for the night, knowing about the suffering of Vasenka, enters into a love affair with Makarska, ready to leave in time to avoid danger. He is the opposite of Busygin and Sarafanov, he is the embodiment of lack of spirituality. His role in the play is a background role, in contrast to which the heroes' craving for sincerity and warmth of relationships is especially vivid.
They have already been mentioned in the answers to previous questions. This is primarily a problem of man and human dignity, the spiritual value of family ties, which must be learned to protect. Family affinity arises not only by formal kinship (the wife of Sarafanov left), but also by virtue of the spiritual attractiveness of people. So it happened with the relationship between Sarafanov and Bu-sygin.
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