Lecture 7
Topic 2.2. A.N. Ostrovsky "The Thunderstorm" play.
Questions to study:
1. . Journal controversy. Literary criticism. Aesthetic controversy
2. Information from the biography of A.N. Ostrovsky.
3. Socio-cultural novelty of A.N. Ostrovsky.
4. The history of the creation of the play by A.N. Ostrovsky "Thunderstorm".
5. The originality of the idea, the originality of the main character, the power of the tragic denouement in the fate of the heroes of the drama.
Journal controversy. Literary criticism. Aesthetic controversy
Slavophile criticism. Literary-critical position of the magazine Sovremennik. The 1840s entered Russian history as “the era of the excitement of intellectual interests” (A. I. Herzen), a period of amazing rise in philosophical, social and literary critical thought. The formulation and solution of all socio-political, philosophical, historical and aesthetic issues in this “wonderful decade” (P. V. Annenkov) were determined by the confrontation between the two currents of Russian social thought that formed at the turn of the 1830s and 1840s - Westernism and Slavophilism. At the basis of the disputes between the Westerners and the Slavophiles lay the vital important question about Russia's place in historical process, the connection of its cultural and historical past with the present and future, its possible contribution to world history. The assessment of certain phenomena also depended on the answer to it. literary history and modernity.
Westernizers(V.G. Belinsky, A.I. Herzen, T.N. Granovsky, S.D. Kavelin, V.P. Botkin, V. Annenkov and others) - defended the need historical movement Russia along the European path, brought to the fore the idea of freedom and intrinsic value human personality, emphasized the exhaustion of those principles that formed the basis of ancient Russian life. The public lectures of T.N. Granovsky, articles by Belnisky, which appeared in Otechestvennye Zapiski for 1841 and later received the general title “Russia before Peter the Great”, and K. D. Kavelin’s work “A look at the legal life of Ancient Russia». SLAVOPHILE(A.S. Khomyakov. IV. and P. V. Kireevsky, K.S. and I.S. Aksakov, Yu.F. Samarin, D.A. Valuev and others) - published their articles on the pages of "Moskvityanin", "Moscow Literary and Scientific Collections", "Russian conversation", opposed the transfer of the schemes of European history to the history of Russia.
Justifying the opposition Russia - Europe”, they emphasized that Europe arose as a result of the conquests of some peoples by others, and Russia - by peaceful means; rational Catholicism was established in the West, in Russia - an integral Christian faith; in European life, the individualistic principle prevails, and in Russian - the communal one.
main task that stood before the Russian nation, the Slavophiles saw in building a life on communal and truly Christian principles and thereby embarking on the path to true unity - "cathedralism". Despite bitter disputes among themselves, Westernizers and Slavophiles were allies in the common desire to transform Russian life. Both criticized the Nikolaev regime, demanded the abolition of serfdom, defended freedom of conscience, speech, and the press. The later confession of A. I. Herzen is characteristic: “... we were their opponents, but very strange... They and you had a crush on early years one strong, unaccountable ... feeling of boundless, embracing the whole existence of love for the Russian people, Russian life, for the Russian mindset. And we, like Janus or like a double-headed eagle, looked into different sides while the heart was beating alone.
The rostrum of social and aesthetic disputes in the 1940s, as in the previous decade, remains Russian journalism, which has undergone major changes. In the history of Russian literature, a "journal period" begins. Responding to weight, the most significant phenomena of the mental life of Russia and Europe, absorbing all domestic and translated fiction (“Notes of the Fatherland”, “Sovremennik”, “Moskvityanin”, etc.) “turned into an unusually important factor in the socio-political and cultural movement and became the centers of the country's ideological life. The growing influence of the journals Belinsky and Gsrtsen was approvingly appraised.
According to Herzen, they “distributed in the last twenty-five years a huge amount of knowledge, concepts, ideas. They made it possible for residents of the Omsk or Tobolsk provinces to read novels by Dickens or George Sand. two months after their appearance in London or Paris. The publishers and editors of the journals sought to give an ideological unity to all the materials published here: journalistic, critical, artistic and scientific. Even more important place than before, took in them literary criticism. In the journals of this time, according to the fair remark of N.G. Chernyshevsky, "aesthetic questions were ... for the most part only a battlefield, and the subject of the struggle was the influence on mental life in general." The concept of " literary direction”, which Polevoy actively defended back in the 1830s. WITH new force flared up magazine controversy on various issues, riveting the attention of reading and thinking Russia.
In the 1840s, the types of periodicals became more diverse than before. Along with literary monthlys, the theater magazine Repertoire and Pantheon by F. A. Koni and the weekly illustrated magazine Illustration by N. Kukolnik are published, designed for the general public. The importance of newspapers is growing: in a number of cities the publication of Gubernskie Vedomosti has become established. Entrepreneurial relations are increasingly penetrating the publishing business, the number of professional journalists and writers is increasing. Next to the reader from the nobility, a new democratic reader appears from among the bureaucracy, the merchants and the clergy. The central place in journalism of the 1840s was occupied by the Notes of the Fatherland, which in 1839 passed into the hands of A. A. Kraevsky, who was close to literary circles. In an effort to resist the magazine monologue F. Bulgarin. N. Grech and O. Senkovsky, A.A. Kraevsky attracted talented writers of various kinds to the publication. Among the staff of Otechestvennye Zapiski were writers of the Pushkin circle (P.A. Vyazemsky, V.A. Zhukovsky, V.F. Odoevsky), young writers who started their careers (Lermontov, Turgenev, Dostoevsky, Panaev, etc.). A solid magazine in terms of volume (up to 40 printed sheets) included eight departments: "Modern Sprinkling" of Russia. (Science", "Literature", "Arts", "House economics, agriculture and industry in general", "Criticism", "Modern bibliographic chronicle", "Mix". The direction of the journal was determined by Belinsky, who, after moving to St. department of the magazine, and his friends - Botkin, Katkov, Granovsky, Ketcher, Kudryavtsev. Soon Herzen, Ogarev and Nekrasov, who were close to criticism, began to collaborate in Fatherland Notes. Becoming the organizational center of the Westerners, the Otech. Notes magazine actively advocated the Europeanization of Russian life , introduced readers to the highest achievements of European scientific artistic thought. The best works of Russian literature created in the late 1830s and 1840s frothed in Otechestvennye Zapiski: Lermontov’s poems and separate parts of the Gsroy of Our Time, Koltsov’s “songs” and “thoughts”, the works of Herzen, early works Turgenev, stories and poems by Nekrasov, novels by Dostoevsky and Saltykov-Shchedrin In addition to the above-mentioned writers, D.V. Grigorovich, V.I. .Fet and many others. Transferable fiction was represented by the works of J. Said, Dickens, F. Cooper. Mr Heine. In the late 1840s, Sovremennik took the leading position in Russian journalism. Published after the death of Pushkin by P. A. Pletnev and did not attract long years active reader's attention, this magazine in 1847 passed into the hands of N.A., Nekrasov and I.I. Panaev and acquired, thanks to the participation of Belinsky and Herzen, a radical orientation. In order to oppose advanced Russian journalism in the early 1840s, the ruling circles gave permission for the release of two new publications - the magazines Mayak (ed - Burachok) and Moskvityanin (ed - Pogodin). "Mayak" furiously attacked German philosophy, pursued modern French literature and sought to instill a protective spirit in Russian literature, evaluating it exclusively from the standpoint of religiosity, "patriotism" and "nationality". "Moskvityanin" - slanderous adjustments to advanced journalism and literature, angry invectives against the West mired in debauchery, exhausted from "fractures and destructions" side by side here with a deep assessment of the foundations of European and Russian education in the articles of I. Kireevsky, insightful, albeit one-sided judgments about the work of Gogol in the articles of K. Aksakov, with faith in the peasantry as the guardian and spokesman of the people's beliefs and aspirations in the speeches of A.S. Khomyakov.
In connection with the growing disagreements among Westerners, a controversy began on a number of problems between Sovremennik and Otechestvennye Zapiski magazine. However, the most fundamental boundary of the confrontation lay in the 40s between Otechestvennye Zapiski and Sovremennik as democratic organs, on the one hand, and I was Moskvityanin, on the other. Critical articles and bibliographic notes of "Notes of the Fatherland" in possessed the unity of aesthetic, historical and ethical principles consideration of works. A large number of review articles in the journal testified to the desire of critics to identify the main trends in historical and literary development. Belinsky, Galakhov, Botkin defended "the poetry of reality, inspired by a living national interest, the" humane subjectivity "of the artist, welcomed the movement of Russian literature along the path of realism. On the pages of the magazine, tendentious criticism began to take shape, criticism “about”, which would take center stage in the journals of the next decade.
In this regard, the recognition of A. D. Galakhov is characteristic: “... we were interested not so much in the content of the essay being analyzed, but in the relation of the content to beliefs dear to us. We used the new work of a writer or scientist as an occasion to talk about what constituted the task of the journal, what gave it color, corresponded to the essence of its program. In general, criticism of the late 1840s and early 1850s, reminiscent of the "calm before the storm", reflects the concentrated expectations of the literary community associated with changes in political life.
2. Information from the biography of A.N. Ostrovsky.
Alexander Nikolayevich Ostrovsky was born on March 31 (April 12), 1823 in Moscow. His father, a graduate of the Moscow Theological Seminary, served in the Moscow City Court. He was in private judicial practice property and commercial matters. Mother from a family of the clergy, the daughter of a sexton and a prosvir, died when the future playwright was eight years old.
Ostrovsky spends his childhood and early youth in Zamoskvorechye - a special corner of Moscow with its well-established merchant-philistine life. It was easier for him to follow Pushkin's advice: "It's not a bad thing for us sometimes to listen to Moscow mallows. They speak surprisingly pure and correct language." Grandmother Natalya Ivanovna lived in the Ostrovsky family and served as a parish maid. Nanny Avdotya Ivanovna Kutuzova was famous as a great master of telling fairy tales. His godfather is a titular councillor, his godmother- Outside counselor. From them and from his father's colleagues who were in the house, the future author of Profitable Place could hear plenty of bureaucratic conversations. And since the father leaves the service and becomes a private attorney for trading firms, merchants have not been transferred to the house.
Alexander was addicted to reading as a child, gets a good home education, knows Greek, Latin, French, German, later - English, Italian, Spanish. When Alexander was thirteen years old, his father married a second time to the daughter of a Russified Swedish baron, who was not too busy raising children from her husband's first marriage. With her arrival, the household way of life noticeably changes, the official life is redrawn in a noble manner, the environment changes, new speeches are heard in the house. By this time, the future playwright had read almost the entire father's library.
Alexander Nikolayevich Ostrovsky was born in the old merchant and bureaucratic district - Zamoskvorechye. In Moscow, on Malaya Ordynka, a two-story house is still preserved, in which on April 12 (March 31), 1823, the future great playwright. Here, in Zamoskvorechye - on Malaya Ordynka, Pyatnitskaya, Zhitnaya streets - he spent his childhood and youth.
The writer's father, Nikolai Fedorovich Ostrovsky, was the son of a priest, but after graduating from the theological academy he chose a secular profession - he became a judicial official. From among the clergy came the mother of the future writer, Lyubov Ivanovna. She died when the boy was 8 years old. After 5 years, my father married a second time, this time to a noblewoman. Successfully advancing in the service, Nikolai Fedorovich received a noble title in 1839, and in 1842 he retired and began to engage in private legal practice. With income from clients - mostly wealthy merchants - he acquired several estates and in 1848, having retired, he moved to the village of Shchelykovo, Kostroma province, and became a landowner.
In 1835, Alexander Nikolayevich entered the 1st Moscow gymnasium, graduating from it in 1840. Even in his gymnasium years, Ostrovsky was attracted by literature and theater. By the will of his father, the young man entered the law faculty of Moscow University, but the Maly Theater, in which the great Russian actors Shchepkin and Mochalov played, attracts him like a magnet. This was not an empty attraction of a rich varmint who sees pleasant entertainment in the theater: for Ostrovsky, the stage became life. These interests forced him to leave the university in the spring of 1843. “From my youth I gave up everything and devoted myself entirely to art,” he later recalled.
His father still hoped that his son would become an official, and appointed him as a scribe to the Moscow conscientious court, which dealt mainly with family property disputes. In 1845, Alexander Nikolaevich transferred to the office of the Moscow Commercial Court as an official on the "verbal table", i.e. accepting oral requests from petitioners.
His father's legal practice, life in Zamoskvorechye and court service, which lasted almost eight years, gave Ostrovsky many plots for his works.
From 1835-1840 - Ostrovsky studies at the First Moscow Gymnasium. In 1840, after graduating from the gymnasium, he was enrolled in the law faculty of Moscow University. At the university, a law student Ostrovsky was lucky enough to listen to lectures by such connoisseurs of history, jurisprudence and literature as T.N. Granovsky, N.I. Krylov, M.P. Pogodin. Here, for the first time, the riches of Russian chronicles are revealed to the future author of "Minin" and "Voevoda", the language appears before him in a historical perspective. But in 1843, Ostrovsky left the university, not wanting to retake the exam. Then he entered the office of the Moscow Constituent Court, later served in the Commercial Court (1845-1851). This experience played a significant role in the work of Ostrovsky.
The second university is the Maly Theatre. Having become addicted to the stage back in his gymnasium years, Ostrovsky became a regular in the oldest Russian theater.
1847 - in the "Moscow City List" Ostrovsky publishes the first draft of the future comedy "Our People - Let's Settle" under the title "Insolvent Debtor", then the comedy "Picture of Family Happiness" (later " family picture") and an essay in prose "Notes of a Zamoskvoretsky resident".
"The most memorable day for me in my life, Ostrovsky recalled, is February 14, 1847 ... From that day on, I began to consider myself a Russian writer and already believed in my vocation without doubt or hesitation." Ostrovsky was recognized by the comedy "My People - let's settle" (original title - "Bankrut", completed at the end of 1849). Even before publication, it became popular (in the reading of the author and P.M. Sadovsky), evoked favorable responses from N.V. Gogol, I.A. Goncharov, T.H. Granovsky and others.
"He started unusually ..." - testifies I.S. Turgenev. His very first big play, "Own People - Let's Settle" made a huge impression. She was called the Russian "Tartuffe", the "Brigadier" of the 19th century, the merchant's "Woe from Wit", compared with the "Inspector"; Yesterday, the still unknown name of Ostrovsky was put next to the names of the greatest comedians - Moliere, Fonvizin, Griboyedov, Gogol.
After the comedy "Our People - Let's Settle" Ostrovsky releases one, and sometimes two or three plays every year, thus writing 47 plays of various genres - from tragedy to dramatic episodes. In addition, there are also plays written jointly with other playwrights - S.A. Gedeonov, N.Ya. Solovyov, P.M. Nevezhin, as well as over 20 translated plays (C. Goldoni, N. Macchiavelli, M. Cervantes, Terence, etc.). In 1859, Ostrovsky translated "Getsira" by the ancient Roman playwright Terentius, in which the theme of the daughter-in-law and mother-in-law is important (compare with the play "Thunderstorm").
Possessing an outstanding social temperament, Ostrovsky fought all his life actively for the creation of a realistic theater of a new type, for a truly artistic national repertoire, for a new ethics of the actor. In 1865 he created the Moscow artistic circle, founded and headed the society of Russian dramatic writers (1870), wrote numerous "Notes", "Projects", "Considerations" to various departments, proposing to take urgent measures to stop the decline theatrical art. Creativity Ostrovsky had a decisive influence on the development of Russian drama and Russian theater. How the playwright and director Ostrovsky contributed to the formation new school realistic play, the promotion of a galaxy of actors (especially in the Moscow Maly Theater: the Sadovsky family, S.V. Vasiliev, L.P. Kositskaya, later - G.N. Fedotova, M.N. Yermolova, etc.).
The theatrical biography of Ostrovsky did not coincide at all with his literary biography. The audience got acquainted with his plays in a completely different order in which they were written and printed. Only six years after Ostrovsky began to publish, on January 14, 1853, the curtain went up at the first performance of the comedy Don't Get in Your Sleigh at the Maly Theater. The play shown to the audience first was Ostrovsky's sixth completed play.
At the same time, the playwright entered into a civil marriage with the girl Agafya Ivanovna Ivanova (who had four children from him), which led to a break in relations with his father. According to eyewitnesses, she was a kind, warm-hearted woman, to whom Ostrovsky owed much of his knowledge of Moscow life.
In 1869, after the death of Agafya Ivanovna from tuberculosis, Ostrovsky entered into new marriage with Maly Theater actress Maria Vasilyeva. From his second marriage, the writer had five children.
Corresponding Member of the Imperial St. Petersburg Academy of Sciences (1863)
Literary views Ostrovsky were formed under the influence of the aesthetics of V.G. Belinsky. For Ostrovsky, as well as for other writers who began in the 40s, the artist is a kind of researcher-physiologist who subjects various parts of the social organism to a special study, opening up to his contemporaries as yet unexplored areas of life. IN open area these tendencies found expression in the genre of the so-called "physiological essay", widespread in the literature of the 1940s and 1950s. Ostrovsky was one of the most staunch exponents of this trend. Many of his early writings written in the manner of a "physiological essay" (sketches of Zamoskvoretsky life; dramatic sketches and "pictures": "Family Picture", "Morning young man"," Unexpected case "; later, in 1857, -" We did not agree on the characters").
In a more complex refraction, the features of this style were also reflected in most of Ostrovsky's other works: he studied the life of his era, observing it as if under a microscope, like an attentive researcher-experimenter. This is clearly shown by the diaries of his trips around Russia, and especially the materials of a many-month trip (1865) along the upper Volga with the aim of a comprehensive survey of the region.
Ostrovsky's published report on this trip and draft notes represent a kind of encyclopedia of information on the economy, population composition, customs, and mores of this region. At the same time, Ostrovsky does not cease to be an artist - after this trip, the Volga landscape as a poetic leitmotif is included in many of his plays, starting with "Thunderstorm" and ending with "Dowry" and "Voevoda (Dream on the Volga)". In addition, an idea arises for a cycle of plays called "Nights on the Volga" (partially realized).
Guilty Without Guilt is the last of Ostrovsky's masterpieces. In August 1883, just at the time of work on this play, the playwright wrote to his brother: good stories, but ... they are inconvenient, you need to choose something smaller. I'm already living my life; when will I be able to speak? And go to the grave without doing everything that I could do?
At the end of his life, Ostrovsky finally reached material wealth(he received a lifetime pension of 3 thousand rubles), and also in 1884 he took the position of head of the repertoire of Moscow theaters (the playwright dreamed of serving the theater all his life). But his health was undermined, his strength was exhausted.
Ostrovsky not only taught, he studied. Numerous experiences of Ostrovsky in the field of translation of ancient, English, Spanish, Italian and French dramatic literature not only testified to his excellent acquaintance with dramatic literature of all times and peoples, but also rightly considered by the researchers of his work as a kind of school of dramatic skill, which Ostrovsky went through all his life (he began in 1850 with the translation of Shakespeare's comedy "The Taming of the Shrew").
Death caught him translating Shakespeare's tragedy "Antony and Cleopatra") on June 2 (14), 1886 in the Shchelykovo estate, Kostroma region, from a hereditary disease - angina pectoris. He went down to the grave without doing all that he could do, but he did exceedingly much.
After the death of the writer, the Moscow Duma set up a reading room named after A.N. Ostrovsky. On May 27, 1929, in Moscow, on Theater Square in front of the building of the Maly Theater, where his plays were staged, a monument to Ostrovsky was unveiled (sculptor N.A. Andreev, architect I.P. Mashkov).
A.N. Ostrovsky is listed in Russian book records "Divo" as "the most prolific playwright" (1993).
Ostrovsky's work can be divided into three periods: 1st - (1847-1860), 2nd - (1850-1875), 3rd - (1875-1886).
FIRST PERIOD (1847-1860)
It includes plays that reflect the life of pre-reform Russia. At the beginning of this period, Ostrovsky actively collaborated as an editor and as a critic with the Moskvityanin magazine, publishing his plays in it. Starting as a successor to Gogol's accusatory tradition ("Our people - let's settle", "Poor Bride", "We didn't get along"), then, partly under the influence of the main ideologist of the Moskvityanin magazine A.A. Grigoriev, Ostrovsky's plays begin to sound motifs of the idealization of Russian patriarchy, the customs of antiquity ("Do not get into your sleigh" (1852), "Poverty is not a vice" (1853), "Do not live as you want" (1854). These moods muffle Ostrovsky's critical pathos.
Since 1856, Ostrovsky, a permanent contributor to the Sovremennik magazine, has been close to the leaders of democratic Russian journalism. During the years of public upsurge before the peasant reform of 1861, the social criticism in his work, the drama of conflicts becomes sharper ("In someone else's feast hangover" (1855), " Plum"(1856)," Thunderstorm ", (1859).
SECOND PERIOD (1860-1875)
It includes plays that reflect the life of Russia after the reform. Ostrovsky continues to write everyday comedies and dramas (" hard days", 1863, "Jokers", 1864, "Abyss", 1865), still highly talented, but rather reinforcing already found motives than mastering new ones. At this time, Ostrovsky also turns to the problems of national history, To patriotic theme. Based on the study of a wide range of sources, he creates a cycle of historical plays: "Kozma Zakharyich Minin - Sukhoruk" (1861; 2nd edition 1866), "Voevoda" (1864; 2nd edition 1885), "Dmitry the Pretender and Vasily Shuisky" (1866), "Tushino" (1866). In addition, a cycle of satirical comedies is being created ("There is Enough Simplicity for Every Wise Man" (1868), "A Warm Heart" (1868), "Mad Money" (1869), "Forest" (1870), "Wolves and Sheep "(1875). Standing apart among the plays of the second period is dramatic poem in verse "The Snow Maiden" (1873) - " spring fairy tale", by definition of the author, created on the basis of folk tales, beliefs, customs.
THIRD PERIOD (1875 - 1886)
Almost all of Ostrovsky's dramatic works of the 70s and early 80s. published in the journal "Domestic Notes". During this period, Ostrovsky created significant socio-psychological dramas and comedies about tragic destinies richly gifted, sensitive women in a world of cynicism and self-interest ("Dowry", 1878, " Last victim", 1878, "Talents and Admirers", 1882, etc.). Here the writer also develops new forms of stage expression, in some respects anticipating the plays of A.P. Chekhov: preserving character traits In his dramaturgy, Ostrovsky seeks to embody the "internal struggle" in "intelligent, subtle comedy" (see "AN Ostrovsky in the memoirs of his contemporaries", 1966, p. 294).
The playwright remained in the history of Russian literature not just as the "Columbus of Zamoskvorechye", as literary criticism called him, but the creator of the Russian democratic theater, who applied the achievements of Russian theater to theatrical practice. psychological prose 19th century. Ostrovsky is a rare example of stage longevity, his plays do not leave the stage - this is a sign of a truly folk writer.
Ostrovsky's dramaturgy contained the whole of Russia - its way of life, its customs, its history, its fairy tales, its poetry. It is even difficult for us to imagine how much poorer our idea of Russia, of the Russian man, of Russian nature, and even of ourselves would be if the world of Ostrovsky's creations did not exist for us.
Not with cold curiosity, but with pity and anger, we look at the life embodied in Ostrovsky's plays. Sympathy for the disadvantaged and indignation against the "dark kingdom" - these are the feelings that the playwright experienced and which he invariably arouses in us. But especially close to us is the hope and faith that have always lived in this wonderful artist. And we know - this hope is in us, this is faith in us.
3. Socio-cultural novelty of A.N. Ostrovsky Creativity Ostrovsky was new to Russian drama. His works are characterized by the complexity and complexity of conflicts, his element is a socio-psychological drama, a comedy of manners. His style features are speaking surnames, specific author's remarks, peculiar titles of plays, among which proverbs are often used, comedies on folklore motifs. The conflict of Ostrovsky's plays is mainly based on the incompatibility of the hero with the environment. His dramas can be called psychological, they contain not only an external conflict, but also an internal drama of a moral principle.
Everything in the plays historically accurately recreates the life of society, from which the playwright takes his plots. New hero Ostrovsky's drama - a simple man - determines the originality of the content, and Ostrovsky creates a "folk drama". He accomplished a huge task - did " little man» tragic hero. Ostrovsky saw his duty as a dramatic writer in making the analysis of what was happening the main content of the drama. “A dramatic writer ... does not compose what was - it gives life, history, legend; his main task is to show on the basis of what psychological data some event took place and why it was so and not otherwise ”- this, according to the author, is the essence of the drama. Ostrovsky treated dramaturgy as mass art educating people, defined the purpose of the theater as a "school of public morals". His very first performances shocked with their truthfulness and simplicity, honest heroes with a "hot heart". The playwright created, "combining the high with the comic", he created forty-eight works and invented more than five hundred heroes.
Ostrovsky's plays are realistic. IN merchant environment, which he observed day after day and believed that it combined the past and present of society, Ostrovsky reveals those social conflicts that reflect the life of Russia. And if in "The Snow Maiden" he recreates the patriarchal world, through which one can only guess contemporary issues, then his "Thunderstorm" is an open protest of the individual, a person's desire for happiness and independence. This was perceived by playwrights as an affirmation of the creative principle of love of freedom, which could become the basis new drama. Ostrovsky never used the definition of "tragedy", designating his plays as "comedies" and "dramas", sometimes providing explanations in the spirit of "pictures of Moscow life", "scenes from village life", "scenes from backwater life", pointing out that that we are talking about the life of a whole social environment. Dobrolyubov said that Ostrovsky created a new type of dramatic action: without didactics, the author analyzed the historical origins contemporary phenomena in society.
The historical approach to family and social relations is the pathos of Ostrovsky's work. Among his heroes are people different ages divided into two camps - young and old. For example, as Yu. M. Lotman writes, in The Thunderstorm Kabanikha is the “keeper of antiquity”, and Katerina “carries creativity development”, which is why she wants to fly like a bird.
The dispute between antiquity and newness, according to the literary critic, is important side dramatic conflict in Ostrovsky's plays. Traditional forms of everyday life are regarded as eternally renewing, and only in this the playwright sees their viability... The old enters the new, into modern life, in which it can play the role of either a “fettering” element, oppressing its development, or stabilizing, ensuring the strength of the emerging novelty, depending on the content of the old that preserves folk life". The author always sympathizes with young heroes, poeticizes their desire for freedom, selflessness. The title of the article by A. N. Dobrolyubov “A ray of light in dark kingdom” fully reflects the role of these heroes in society. They are psychologically similar to each other, the author often uses already developed characters. The theme of the position of a woman in the world of calculation is also repeated in "The Poor Bride", "Hot Heart", "Dowry".
Later, the satirical element intensified in the dramas. Ostrovsky refers to Gogol's principle of "pure comedy", bringing to the fore the characteristics of the social environment. The character of his comedies is a renegade and a hypocrite. Ostrovsky also turns to historical and heroic themes, tracing the formation social phenomena, growth from "little man" to citizen. Undoubtedly, Ostrovsky's plays will always have modern sound. Theaters constantly turn to his work, so it stands outside the time frame.
Lecture 11. A.N. Ostrovsky. Life and creative path. Socio-cultural novelty of A.N. Ostrovsky.
Alexander Nikolayevich Ostrovsky (1823–1886) is a talented Russian playwright and theatrical figure. For my creative life he wrote over 50 plays.
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.
In 1831, when Ostrovsky was not yet nine years old, his mother died, after her early death the stepmother took care of the upbringing and education of children.
In September 1835, Nikolai Fedorovich submitted a petition to the Moscow Provincial Gymnasium to accept his eldest son there. Ostrovsky studied at the gymnasium with moderate success, he did not shine with special abilities.
Ostrovsky successfully worked with music teachers, learned to read notes, knew how to pick up a melody on the piano and write it down. His passion is Pushkin, Griboyedov, Gogol.
In 1840, Ostrovsky successfully graduated from the prestigious First Moscow Gymnasium with a humanitarian focus and continued his studies at law faculty 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.
1847–1851 - Start literary activity, the formation of literary and aesthetic views 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. Ostrovsky begins to try his hand at dramaturgy. At the same time, 2 plays "A Petition" and "Insolvent Debtor" are being started.
On January 9, 1847, Scenes from the comedy The Insolvent Debtor were successfully published in the Moscow City List.
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». 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.
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, Ostrovsky's unmarried wife, she lived modestly and with dignity side by side with the great playwright for eighteen years.
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. Best Artwork of this period - "Thunderstorm" (1859).
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".
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.
The life of the playwright in his declining years was not happy and secure.
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 - compiler of a note to the government on the creation of a Russian national theater.
1886 - head of the repertoire of Moscow theaters and director 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.
"A. N. Ostrovsky is the creator of the Russian national theater. Ostrovsky's place in Russian literature.
What is Russian dramaturgy before Ostrovsky?
In the 40s. nineteenth century pompous melodramas flourished on the stage (a dramatic work in which implausible horrors are combined with exaggerated sensitivity, and the heroes are either villains or examples of virtue), empty vaudevilles (a one-act comic play of light content, accompanied by songs and dances). In 1849, the young playwright A. N. Ostrovsky wrote the play “We'll Settle Our Own People!”. N. A. Dobrolyubov, recognizing Ostrovsky’s extraordinary talent, wrote: “Ostrovsky has a deep understanding of Russian life and a great ability to depict sharply and vividly its most essential aspects.” Ostrovsky's plays, the critic wrote, "these are not comedies of intrigue and not comedies of characters in fact, but something new, to which we would give the name "plays of life."
The behavior of the characters in Ostrovsky's plays is determined by their social and family status, each has its own individual traits which are manifested in the way he perceives his social and Family status how it works in given typical circumstances. The individuality and typicality of Ostrovsky's heroes is revealed not only in their behavior, but also in speech. The playwright with extraordinary skill characterizes people through dialogue.
Ostrovsky is a wonderful master of composition dramatic work. In the first act of the exposition, the drama acquaints the viewer with previous events and the existing relationship between actors. After the presentation of the exposition, the action develops at an ever-increasing pace and comes to a natural denouement. At the same time, the playwright makes his hero come into contact with different people, and each such meeting makes this denouement more and more inevitable.
To enhance the stage performance of plays, Ostrovsky skillfully uses contrast techniques, combines dramatic and comic moments. The choice of location is also an important factor. Ostrovsky often takes the action from the premises to the street, introduces a random passerby, a crowd of townspeople. The socially acute and psychological drama of Ostrovsky was a great achievement in the history of the theater.
L. N. Tolstoy called Ostrovsky "a public writer." Indeed, the work of the playwright is close wide circles people. In his works, Ostrovsky depicted all layers of Russian society, gave realistic picture Russian life of the 40-80s of the XIX century, and in historical plays he showed the distant past of our Motherland. Along with dramaturgy, Ostrovsky devoted a lot of time and effort to social activities. He was the founder of the "Artistic Circle", the "Society of Russian Dramatic Writers", constantly helped young playwrights, directed the production of his plays at the Maly Theater, and was engaged in the education of artists. They wrote big number articles, letters, projects and proposals concerning the repertoire of the Russian stage and the revision of laws and regulations on the theater.
He struggled with the influx of vulgar, unprincipled plays and contributed to the formation of the Russian dramatic art. Ostrovsky dreamed all his life of founding a Russian folk theater. Ostrovsky was especially careful about the Maly Theater. “The Moscow stage,” he wrote, “should be a hotbed, national school art for Russian artists and for the Russian public. Neither before nor after Ostrovsky, not a single playwright in Russia established such close contacts with the theater.
Maly Theatre, founded in 1824 special theater. It is customary to call it "the second Moscow university". One could often hear: “There are two universities in Moscow on Mokhovaya (MSU) and on Teatralnaya”. “We studied at the university, and were brought up at the Maly Theater.”
A. N. Ostrovsky could say the same about himself. From his gymnasium years, he became a regular at the Maly Theater. He wrote about himself: “I have known the Moscow troupe since 1840...” Another fact is also of great importance: the Maly Theater was the first to turn to the dramaturgy of a banned author (in 1853, the comedy “Don’t Get into Your Sleigh” was staged, which was with great success).
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 himself conducted rehearsals with the actors, brought up in them a new performing culture. “The school of natural and expressive acting on the stage, for which the Moscow troupe became famous and for which Martynov was a representative in St. Petersburg, was formed simultaneously with the appearance of my first comedies and not without my participation.”
This recognition of the playwright explains why exactly here, at the entrance to the Maly Theater, a monument to A. N. Ostrovsky was erected (sculptor N. A. Andreev, 1929). A. N. Ostrovsky is depicted sitting in an armchair, in a spacious dressing gown with squirrel fur, familiar from the portrait of Perov. In hand Notebook, 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. Many actors with their authentic creative birth owe to A. N. Ostrovsky. This is Alexander Evstafievich Martynov (1816-1860), one of the best comic actors; Olga Osipovna Sadovskaya (1846-1919) a graduate of the Artistic Circle, a student of Ostrovsky, one of the best actresses of the Maly Theater; Lyubov Pavlovna Kositskaya (1827-1868) and others.
IN Last year During the life of Ostrovsky, under public pressure, his merits were officially recognized: he was appointed head of the repertoire of Moscow theaters and head of the theater school. But he did not have time to take up this work: on June 14 (2), 1886, the playwright died.
And today Ostrovsky's plays occupy a significant place in the repertoire of our theaters. Creativity Ostrovsky received worldwide recognition.
A.N. OSTROVSKY
(1823 – 1886)
Stages of the creative path
The early period, which is characterized by the influence of " natural school»
1847 -1851
focus on moral issues, the social aspects of life are analyzed through the prism moral problems; family and domestic conflicts prevail; tense intrigue is combined with the unhurried development of events.
"Family Picture"
"Notes of a Zamoskvoretsky resident"
"Own people - let's count!" and etc.
The period of enthusiasm for the ideas of Slavophilism (collaboration with the Moskvityanin magazine)
1852-1854
The idea of the national identity of the Russian people dominates, patriarchal family seems to be a model of an ideal social structure, where relations between people should be based on the recognition of the authority of elders, their worldly experience, on popular ideas about morality: a person should not oppose himself to the general.
The plays are predominantly moral and domestic.
“Do not sit in your sleigh”, “Do not live as you want”, “Poverty is not a vice”, etc.
The pre-reform period, characterized by rapprochement with the revolutionary democrats
1855- 1860
The expansion of the coverage of the life of society, depicts not only the merchants, but also representatives of the bureaucracy, etc. Ostrovsky's ideas about the world order are changing, he no longer believes in a patriarchal utopia. The rise of psychology.
“Profitable place”, “Pupil”, “Hangover in someone else's feast”, “Thunderstorm”, etc.
Late period of creativity, post-reform period
1861-1886
Development and expansion of trends of the previous period. During this period, social comedies from the life of the merchants, a cycle of plays “from the life of the outback”, a cycle of historical plays are created, there is an appeal to folklore tradition. The main merit is the development of the provisions of the psychological drama, the desire for the utmost concentration of action in plays.
“Enough simplicity for every sage”, “Mad money”, “Dowry”, “Snow Maiden”, “Forest”, “Wolves about sheep”, etc.
Alexander Nikolayevich Ostrovsky (1823-1886)
founder of the national theater
traditional theater
Ostrovsky Theater
the theater did not have a permanent troupe of professional actors;
the performance focused on one leading actor;
there was no directing, there was no close interaction between the author and the director;
the performance was not aimed at a democratic audience (at the people)
defends the principles of the author's theater;
organized on the model of the theaters of W. Shakespeare, J.-B. Moliere, I.-V. Goethe;
introduces a permanent composition of the troupe;
focused on the performance as a whole and the equality of all roles;
Ostrovsky becomes both an author and a stage director;
the playwright writes works with the expectation of their real stage production;
brings the merchant class to the stage;
targeting different segments of society. The spectator from the people learns to understand life, the sophisticated spectator receives "a whole perspective of thoughts that you cannot get rid of";
Ostrovsky makes the theater truly popular, creates a typical Russian repertoire for it
A. A. Grigoriev: “The theater, as a serious and popular matter, began with us also recently, it really began with Ostrovsky”
I. A. Goncharov: “We have our own Russian, national theater. It, in fairness, should be called: "The Ostrovsky Theater" "
1. The place of Ostrovsky's creativity in Russian dramaturgy.
2. "People's drama" in the Ostrovsky theater.
3. New heroes.
He opened the world to a man of a new formation: an Old Believer merchant and a capitalist merchant, a merchant in an Armenian coat and a merchant in a “troika”, traveling abroad and doing his own business. Ostrovsky opened wide the door to the world, hitherto locked behind high fences from strange prying eyes.
V. G. Marantsman
Dramaturgy is a genre that involves the active interaction of the writer and reader in considering the social issues raised by the author. A. N. Ostrovsky believed that dramaturgy has a strong impact on society, the text is part of the performance, but the play does not live without staging. Hundreds and thousands will view it, and much less will read it. Nationality - main feature dramaturgy of the 1860s: heroes from the people, a description of the life of the lower strata of the population, the search for a positive folk character. Drama has always had the ability to respond to hot topics. Creativity Ostrovsky was at the center of the dramaturgy of this time, Yu. M. Lotman calls his plays the pinnacle of Russian drama. I. A. Goncharov called Ostrovsky the creator of “, the “Russian national theater”, and N. A. Dobrolyubov called his dramas “plays of life”, since in his plays private life The people are forming a picture modern society. In the first big comedy, Let's Settle Our Own People (1850), social contradictions are shown through intra-family conflicts. It was with this play that Ostrovsky's theater began, it was in it that new principles first appeared. stage action, the behavior of the actor, theatrical entertainment.
Creativity Ostrovsky was new to Russian drama. His works are characterized by the complexity and complexity of conflicts, his element is a socio-psychological drama, a comedy of manners. The features of his style are speaking surnames, specific author's remarks, peculiar titles of plays, among which proverbs are often used, comedies based on folklore motives. The conflict of Ostrovsky's plays is mainly based on the incompatibility of the hero with the environment. His dramas can be called psychological, they contain not only an external conflict, but also an internal drama of a moral principle.
Everything in the plays historically accurately recreates the life of society, from which the playwright takes his plots. The new hero of Ostrovsky's dramas - a simple man - determines the originality of the content, and Ostrovsky creates a "folk drama". He accomplished a huge task - he made the "little man" a tragic hero. Ostrovsky saw his duty as a dramatic writer in making the analysis of what was happening the main content of the drama. “A dramatic writer ... does not compose what was - it gives life, history, legend; his main task is to show on the basis of what psychological data some event took place and why it was so and not otherwise” - this, according to the author, is the essence of the drama. Ostrovsky treated dramaturgy as a mass art that educates people, and defined the purpose of the theater as a "school of social morals." His very first performances shocked with their truthfulness and simplicity, honest heroes with a "hot heart". The playwright created, "combining the high with the comic", he created forty-eight works and invented more than five hundred heroes.
Ostrovsky's plays are realistic. In the merchant environment, which he observed day after day and believed that the past and present of society were united in it, Ostrovsky reveals those social conflicts that reflect the life of Russia. And if in "The Snow Maiden" he recreates the patriarchal world, through which modern problems are only guessed, then his "Thunderstorm" is an open protest of the individual, a person's desire for happiness and independence. This was perceived by playwrights as an affirmation of the creative principle of love of freedom, which could become the basis of a new drama. Ostrovsky never used the definition of "tragedy", designating his plays as "comedies" and "dramas", sometimes providing explanations in the spirit of "pictures of Moscow life", "scenes from village life", "scenes from backwater life", pointing out that that we are talking about the life of a whole social environment. Dobrolyubov said that Ostrovsky created a new type of dramatic action: without didactics, the author analyzed the historical origins of modern phenomena in society.
The historical approach to family and social relations is the pathos of Ostrovsky's work. Among his heroes are people of different ages, divided into two camps - young and old. For example, as Yu. M. Lotman writes, in The Thunderstorm Kabanikha is the “keeper of antiquity”, and Katerina “carries the creative principle of development”, which is why she wants to fly like a bird.
The dispute between the old and the new, according to the scholar of literature, is an important part of the dramatic conflict in Ostrovsky's plays. Traditional forms of everyday life are regarded as eternally renewing, and only in this the playwright sees their viability... The old enters the new, into modern life, in which it can play the role of either a “fettering” element, oppressing its development, or stabilizing, ensuring the strength of the emerging novelty, depending on the content of the old that preserves the people's life. The author always sympathizes with young heroes, poeticizes their desire for freedom, selflessness. The title of the article by A. N. Dobrolyubov “A ray of light in a dark kingdom” fully reflects the role of these heroes in society. They are psychologically similar to each other, the author often uses already developed characters. The theme of the position of a woman in the world of calculation is also repeated in "The Poor Bride", "Hot Heart", "Dowry".
Later, the satirical element intensified in the dramas. Ostrovsky refers to Gogol's principle of "pure comedy", bringing to the fore the characteristics of the social environment. The character of his comedies is a renegade and a hypocrite. Ostrovsky also turns to the historical-heroic theme, tracing the formation of social phenomena, growth from a “little man” to a citizen.
Undoubtedly, Ostrovsky's plays will always have a modern sound. Theaters constantly turn to his work, so it stands outside the time frame.
1. The place of Ostrovsky's creativity in Russian dramaturgy.
2. "People's drama" in the Ostrovsky theater.
3. New heroes.
He opened the world to a man of a new formation: an Old Believer merchant and a capitalist merchant, a merchant in an Armenian coat and a merchant in a “troika”, traveling abroad and doing his own business. Ostrovsky opened wide the door to the world, hitherto locked behind high fences from strange prying eyes.
V. G. Marantsman
Dramaturgy is a genre that involves the active interaction of the writer and reader in considering the social issues raised by the author. A. N. Ostrovsky believed that dramaturgy has a strong impact on society, the text is part of the performance, but the play does not live without staging. Hundreds and thousands will view it, and much less will read it. Nationality is the main feature of the drama of the 1860s: heroes from the people, a description of the life of the lower strata of the population, the search for a positive national character. Drama has always had the ability to respond to topical issues. Creativity Ostrovsky was at the center of the dramaturgy of this time, Yu. M. Lotman calls his plays the pinnacle of Russian drama. I. A. Goncharov called Ostrovsky the creator of the “Russian national theater”, and N. A. Dobrolyubov called his dramas “plays of life”, since in his plays the private life of the people is formed into a picture of modern society. In the first big comedy "Our People - Let's Settle" (1850), it is through intra-family conflicts that public contradictions are shown. It was with this play that Ostrovsky's theater began, it was in it that new principles of stage action, the behavior of an actor, and theatrical entertainment first appeared.
Creativity Ostrovsky was new to Russian drama. His works are characterized by the complexity and complexity of conflicts, his element is a socio-psychological drama, a comedy of manners. The features of his style are speaking surnames, specific author's remarks, peculiar titles of plays, among which proverbs are often used, comedies based on folklore motives. The conflict of Ostrovsky's plays is mainly based on the incompatibility of the hero with the environment. His dramas can be called psychological, they contain not only an external conflict, but also an internal drama of a moral principle.
Everything in the plays historically accurately recreates the life of society, from which the playwright takes his plots. The new hero of Ostrovsky's dramas - a simple man - determines the originality of the content, and Ostrovsky creates a "folk drama". He accomplished a huge task - he made the "little man" a tragic hero. Ostrovsky saw his duty as a dramatic writer in making the analysis of what was happening the main content of the drama. “A dramatic writer ... does not compose what was - it gives life, history, legend; his main task is to show on the basis of what psychological data some event took place and why it was so and not otherwise” - this, according to the author, is the essence of the drama. Ostrovsky treated dramaturgy as a mass art that educates people, and defined the purpose of the theater as a "school of social morals." His very first performances shocked with their truthfulness and simplicity, honest heroes with a "hot heart". The playwright created, "combining the high with the comic", he created forty-eight works and invented more than five hundred heroes.
Ostrovsky's plays are realistic. In the merchant environment, which he observed day after day and believed that the past and present of society were united in it, Ostrovsky reveals those social conflicts that reflect the life of Russia. And if in "The Snow Maiden" he recreates the patriarchal world, through which modern problems are only guessed, then his "Thunderstorm" is an open protest of the individual, a person's desire for happiness and independence. This was perceived by playwrights as an affirmation of the creative principle of love of freedom, which could become the basis of a new drama. Ostrovsky never used the definition of "tragedy", designating his plays as "comedies" and "dramas", sometimes providing explanations in the spirit of "pictures of Moscow life", "scenes from village life", "scenes from backwater life", pointing out that that we are talking about the life of a whole social environment. Dobrolyubov said that Ostrovsky created a new type of dramatic action: without didactics, the author analyzed the historical origins of modern phenomena in society.
The historical approach to family and social relations is the pathos of Ostrovsky's work. Among his heroes are people of different ages, divided into two camps - young and old. For example, as Yu. M. Lotman writes, in The Thunderstorm Kabanikha is the “keeper of antiquity”, and Katerina “carries the creative principle of development”, which is why she wants to fly like a bird.
The dispute between the old and the new, according to the scholar of literature, is an important part of the dramatic conflict in Ostrovsky's plays. Traditional forms of everyday life are regarded as eternally renewing, and only in this the playwright sees their viability... The old enters the new, into modern life, in which it can play the role of either a “fettering” element, oppressing its development, or stabilizing, ensuring the strength of the emerging novelty, depending on the content of the old that preserves the people's life. The author always sympathizes with young heroes, poeticizes their desire for freedom, selflessness. The title of the article by A. N. Dobrolyubov “A ray of light in a dark kingdom” fully reflects the role of these heroes in society. They are psychologically similar to each other, the author often uses already developed characters. The theme of the position of a woman in the world of calculation is also repeated in "The Poor Bride", "Hot Heart", "Dowry".
Later, the satirical element intensified in the dramas. Ostrovsky refers to Gogol's principle of "pure comedy", bringing to the fore the characteristics of the social environment. The character of his comedies is a renegade and a hypocrite. Ostrovsky also turns to the historical-heroic theme, tracing the formation of social phenomena, growth from a “little man” to a citizen.
Undoubtedly, Ostrovsky's plays will always have a modern sound. Theaters constantly turn to his work, so it stands outside the time frame.
Literature lesson by Lyapina N.V.
Topic: “Information from the biography of A.N. Ostrovsky. Socio-cultural
the novelty of the dramaturgy of A.N. Ostrovsky. Drama Storm. image of Katherine.
Didactic goal: to create conditions for understanding and understanding the block
new educational information.
Type of lesson: lesson of studying and consolidating new educational material.
Lesson form: lecture with elements of conversation.
Content Goals:
a) educational: to contribute to the formation of knowledge about A. N. Ostrov-
skom - a person and a playwright;
b) developing: continue learning the ability to take notes
biography of the writer, to promote the formation of the ability to write down
lecture;
c) educational: to promote awareness of the importance of A.N. Ostrovsky
for the Russian theater, the formation of a value attitude to dramaturgy
and theater arts.
Methods: reproductive, partially - search.
Forms of organization cognitive activity students: frontal,
individual, group.
Equipment: laptop, projector, whiteboard.
During the classes.
- Org. moment. (greeting, attitude to work).
- Examination homework. (written response to a question,
poem - reading by heart).
3.New material.
Write down the date and topic of the lesson. The years of the life of the writer (1823 - 1886)
Lesson Objectives:
Get acquainted with the life and work of the Russian playwright A.N. Ostrovsky;
Write a summary of the writer's biography;
Learn to record lectures.
Let's write an epigraph and lesson plan.
Father of Russian drama.
L.N. Tolstoy.
Plan.
1.Portrait of the writer. A.N. Ostrovsky is the creator of the Russian theater repertoire. (Kartseva, Bubenkova).
2.Childhood and youth writer. (Chvikalova)
3. Training and service. (Podlovchenko).
4. The main stages of the creative path of the writer.
5. Drama "Thunderstorm". (1859).
In the course of the lesson, make a summary of the writer's biography; main dates, events, works.
Question to point 1 of the plan. What was the name of the artist who painted the portrait of Ostrovsky? (Perov Vasily Grigorievich).
I.A. Goncharov wrote: “You alone completed the building, at the base of which you laid cornerstones Fonvizin, Griboyedov, Gogol. But only after you, we, Russians, can proudly say: "We have our own, Russian national theater."
Conclusion: created the Russian repertoire, wrote in all dramatic genres.
Question to point 2 of the plan. Which educational institution and how did Ostrovsky graduated? (1st Moscow gymnasium with a humanitarian bias with honors). What department of Moscow University did Ostrovsky study at? (legal department). What gave Ostrovsky service in the Conscientious and Commercial courts?
Conclusion: Ostrovsky's plays are “plays of life.” They depict the contemporary life of the people to the playwright.
4 point of the plan. The main stages of the creative path of the writer.
1 period-early. 1847-1951 He is looking for his own creative way, writes in the spirit of a natural school. "Bankrupt".
2nd period "Moskvityansky".
3rd period. Pre-reform. 1856-1860s Friendship with the editors of Sovremennik, revolutionary democratic sentiments. Plays "Profitable place", "Thunderstorm".
4th period. Post-reform. 1861-1866. Most of the works were written in different genres: comedies, historical plays, satirical comedies, psychological dramas. "Forest", "Dowry".
Conclusion: “He opened to the world a man of a new formation: an Old Believer merchant and a capitalist merchant, a merchant in an Armenian coat and a merchant in a “troika” ... Ostrovsky opened wide the door to the world hitherto locked behind high fences from prying eyes.” (V. Maratsman.) The result of the work is 48 plays, 29 of them are dedicated to Moscow. 46 plays were staged during the life of the playwright. “There is not a day in the year that my play is not shown in 5-6 theaters,” Ostrovsky wrote in 1871.
5 point of the plan. Textbook pp. 45-47. Work in groups. Group 1: the history of the creation of the drama "Thunderstorm". Group 2: the meaning of the title of the drama. Group 3: the system of actors.
Group 1: the premiere took place after the "literary expedition" along the Upper Volga. The fictional city of Kalinov. Materials on the case of the Klykov family.
Group 2: 1) a thunderstorm in nature (action 4) - a physical phenomenon, outwardly, independent of the heroes. 2) a thunderstorm in Katerina's soul - pangs of conscience from betrayal of her husband and to a sense of sin before people. 3) a thunderstorm in society - the awakening in the world of the lack of freedom of free feelings.
Group 3: Features of Ostrovsky's style - speaking surnames, specific author's remarks, originality of names (often proverbs), folklore moments.
... There was no such work as a drama in our literature. She undoubtedly occupies and, probably, will for a long time occupy the first place in high classical beauties. (I.A. Goncharov).
A quiz on the work of A.N. Ostrovsky. (Gorbov).
1. Remember the name of Ostrovsky's 1st play? (Picture of family happiness).
2. What journals did Ostrovsky publish in? (“Moskvityanin”, Sovremennik”, “Notes of the Fatherland”.)
3. What was the original title of the play “Our people, let's settle”? (Bankrupt).
4. For staging which play, Ostrovsky was forced to resign from public service, accused of political unreliability and given under the covert supervision of the police? (For the play "Bankrupt").
5. What theater calls itself the “Ostrovsky House”? (Moscow Maly Theatre.)
6. What was the name of A.N. Ostrovsky's contemporaries during his lifetime? (Knight of the theater).
7. Name the plays of A.N. Ostrovsky with proverb titles? (“Poverty is not a vice”, “Each sage is quite simple”, “There was not a penny suddenly altyn”, “Don’t get into your sleigh”, “Don’t live as you want”.
Homework: report “The life and work of A.N. Ostrovsky. A written answer to the question: "Why did Katerina die."
Summing up the lesson. (Reflection). - What did we learn at the lesson today, what did we get to know? Lesson grades.
