Vampilov's play is the eldest son's main idea. Brief analysis: Vampilov, “Elder son

Composition

“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 Grigorievich 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 “eldest 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, being in a non-standard situation, the characters manifest themselves in different ways. Volodya Busygin loves people, he is conscientious, sympathetic, sympathetic to someone else's misfortune, obviously, that's why he acts decently. The "positiveness" of aspirations makes him strong and noble.

Silva, like Volodya, is also essentially an orphan: with living parents, he was brought up in a boarding school. Apparently, his father's dislike was reflected in his character. Silva told Volodya about how his father “admonished” him: “Hey, he says, you have the last twenty rubles, go to a tavern, get drunk, make a brawl, but such a brawl that I won’t see you for a year or two.” Vampilov did not accidentally make the origins of the fates of the heroes similar. By this, he wanted to emphasize how important a person’s own choice is, independent of circumstances. Unlike orphan Volodya, "orphan" Silva is cheerful, resourceful, but cynical. His true face is revealed when he "exposes" Volodya, declaring that he is not a son or brother, but a recidivist. Nina's fiancé - Mikhail Kudimov - is an impenetrable man. Such people are found in life, but you will not immediately understand them. “Smiling. He still smiles a lot. Good-natured,” says Vampilov about him. In fact, the word that he gave himself for all occasions is dearest of all to him. He is indifferent to people. This character occupies an insignificant place in the play, however, he is a pronounced type of “correct” people who create a suffocating atmosphere around themselves.

Involved in a family intrigue, Natasha Makarskaya is shown as a decent, but unhappy and lonely person. Vampilov deeply reveals in the play the theme of loneliness, which can bring a person to despair. In the image of the neighbor Sarafanovs, a type of a cautious person, an inhabitant, who is afraid of everything (“looks at them with apprehension, suspicion”, “removes silently and timidly”) and does not interfere in anything is deduced. The problematics and the main idea of ​​the play are stated in the very title of the dramatic work. It was no coincidence that the author replaced the original name "Suburb" with "Elder Son". The main thing is not where the events take place, but who participates in them. To be able to think, to understand each other, to support in difficult times, to show mercy - this is the main idea of ​​the play by Alexander Vampilov. Being kindred in spirit is more than being born. The author does not define the genre of the play. Along with the comic, there are many dramatic moments in the play, especially in the subtext of the statements of Sarafanov, Silva, Makarska.

What does the author affirm in man and what does he deny in him? “It seems that the main question that Vampilov constantly asks is: will you, a man, remain a man? Will you be able to overcome all that false and unkind that is prepared for you in many life's trials, where love and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement have become difficult to differ and oppose ... ”(V. Rasputin).

Literature lesson in grade 10 based on the play by A.V. Vampilov "Elder Son"

Subject:

1. Acquaintance with the biography of A.V. Vampilov.

2. Analysis of the play by A.V. Vampilov "Elder Son".

Target:

1. To interest students in the personality of A.V. Vampilov.
2. Encourage students to seriously think about the meaning of life, about the purpose of a person on earth, about responsibility for their deeds and actions.
3. Cultivate the ability to think and empathize.

Decor:

1. Exhibition of books with works by A.V. Vampilov, books about Vampilov.
2. Portrait of A.V. Vampilova, Illustrations for
3. Fragments from the feature film "The Elder Son".
4. Presentation about the life and work of A. Vampilov

Preparatory work:

1. Read the play by A.V. Vampilov "Elder Son".
2. Think over the answers to the questions, confirm with excerpts from the work
3. Questions for the analysis of the play "Elder Son"

1. What is the plot of the play?
2. Who are its main characters? Minor?
3. Who can be classified as off-stage characters?
4. Reveal the meaning of the titles of the play (“Horizon with a Guitar”, “Suburb”, “Elder 1 Son”) Which of them is the most successful?
5. What conflict is the play based on?
6. What can you tell about members of the Sarafanov family?
7. What does their comparison give us to understand the images of Busygin and Silva?
8. How do you feel about Nina Kudimov's fiancé?
9. What is the role of Makarska, the neighbor, in the play?
10. What is the theme and main idea of ​​the play?
11. What genre can we attribute the play to and why?
12. How is the work constructed? What is the author's position?
13. We read the last page and closed the book. What would you say about this play to your friends?

1. Individual tasks

a) find material related to the biography of Vampilov, read

b) learn the poem by P. Reutsky “Remember me cheerfully”

Teacher:

Alexander Vampilov, cast in bronze, stands in Irkutsk on a low pedestal next to the drama theater. The author of the sculpture, Mikhail Pereyaslavets, did not accidentally place the monument almost on the sidewalk. Every day the Irkutsk people scurry past, and

Vampilov is alive, still young, handsome, as if pouring into this talkative stream. Fate measured out only 35 years for him, and even that was not enough to fully count two days. On Thursday, August 17, 1972, he died on Lake Baikal, not having reached Listvyanka from a dozen meters.

Student: (reading by heart 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.

Teacher:

Close friends, and among them the writers Valentin Rasputin, Vyacheslav Shugaev, affectionately called him Sanya.

From this name, the pseudonym A. Sanin was formed, with which the writer signed his first book, "Coincidence of Circumstances."

Pupil:

He reads the beginning of the story: "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.

Student: (continues the story)

Alexander Valentinovich Vampilov Born in 1937 in the village of Kutulik, Irkutsk Region, into a teacher's family. In his youth, N.V. Gogol and V.G. Belinsky, he liked to play quietly on the guitar the melody of the Yakovlevsky romance to the words of A. Delvig "When I had not yet drunk tears from the cup of being ..."

(Romance sounds)

He loved fishing and hunting.

After leaving school, he studied at the Faculty of History and Philology of Irkutsk University, since 1960 he worked in the editorial office of the regional newspaper "Soviet Youth".

Pupil:

He became interested in dramaturgy, began to write plays.

In 1965, A. Vampilov brought to Moscow, to the Sovremennik Theater, and offered O. N. Efremov the play "Hormons with a Guitar", which was then called "Suburb", and in 1972 - "The Elder Son".

During the life of A.V. Vampilov, only two plays were staged - "Farewell in June" (1966) and "Elder Son" (1968). "Duck Hunt" (1970), "Provincial Jokes" (1970), "Last Summer in Chulimsk" (1972). These plays saw the light and were staged after the death of the playwright.

Student:

“It was cloudy, but dry and quiet, when we carried him in our arms to the theater building, where cars were waiting,” recalled V. Shugaev. “We refused the orchestra, remembering Sasha’s sad grin with which he wrote Sarafanov, the musician from the Elder Son, who plays at the funeral.”

A. V. Vampilov was buried in Irkutsk.

Teacher:

We heard a short story about the life of A. Vampilov. And now…

The teacher announces the topic and purpose of the lesson. Students write in a notebook: Alexander Valentinovich Vampilov (1937-1972).

Remember what is called an epigraph. Notebook entry.

As an epigraph to the words of V.G. Rasputin: "The traditional beginnings of Russian literature are well known, they still remain its continuation: the preaching of kindness, conscientiousness, a heightened sense of truth, truth and hope"

And the young playwright was worried about the problems of morality.

What is morality?

Morality - the rules that determine human behavior; spiritual and spiritual qualities necessary for a person in society, as well as the implementation of these rules, human behavior.

A moral person is a deeply conscientious person.

What is conscience?

Conscience is the ability to distinguish between good and evil, to give a moral assessment of one's actions.

Conscience condemns a person if he acts immorally, contrary to the requirements of conscience.

Teacher:

And now we will talk with you on the issues that were proposed in advance.

(Each student has cards with questions for analyzing the play “Elder Son”)

Word work.

During the conversation, the students remember what the plot is? moralizing? suburb? collisions?

The plot is the content of a literary work, the events depicted in it.

Moral teaching - teaching, suggestion of moral rules.

Suburb - a village directly adjacent to the city, but not included in its line.

Collision. A clash of some opposing forces, interests, aspirations.

During the conversation, the students noted: (1-3 questions)

The plot of the play is simple. Two young men - a student at the medical institute Volodya Busygin and a trade agent nicknamed Silva (Semyon Sevostyanova) - were brought together by chance at a dance. They escort home two girls living on the outskirts of the city and are late for the last train. I had to look for accommodation. The young men call the Sarafanovs' apartment. Here, the resourceful Silva came up with the idea to call Busygin the eldest son of Andrei Grigoryevich, allegedly born to a woman with whom fate accidentally brought the hero at the end of the war. Busygin does not reject this fiction. The entire Sarafanov family takes him for a son and older brother.

The fate of the head of the Sarafanov family did not work out: his wife left, things did not go well at work - he had to leave the position of an actor-musician and earn extra money in an orchestra playing at a funeral. Not all is well with children either. Sarafanov's son Vasenka, a tenth grader, 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.

Andrey Grigorievich is lonely and therefore becomes attached to the "eldest son." And the one who grew up in an orphanage is also drawn to the kind, glorious, but unhappy Sarafanov, besides, he also likes Nina. The end of the play is Prosperous. 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 “eldest son” becomes a frequent guest of this family

4). According to the students, 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.

5-6) The gentle nature of the head of the Sarafanov family is felt. 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.

The students conclude that he cannot be called a loser, since at the very peak of his mental crisis, Sarafanov survived when others broke down. Sarafanov values ​​his children.

Comparing the elder Sarafanov with Nina and Vasenka, the children noticed that the children were 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. After all, it is not by chance that in the finale, having become jealous of Natasha for Silva, he sets a fire, not tormented by his conscience for what he has done. There is little truly masculine in the character of this young man - the students come to this conclusion.

In Nina, a smart, beautiful girl, the guys noted practicality, prudence, which manifested itself, for example, in choosing a groom. But these qualities were the main thing in her until she fell in love.

7) Busygin and Silva. Caught in special circumstances manifest themselves in different ways. Volodya Busygin loves people. He is conscientious, responsive to someone else's misfortune, obviously, that's why he acts decently. Silva, like Volodya, is also essentially an orphan: he was brought up by his living parents in a boarding school. Apparently, his father's dislike was reflected in his character. Vampilov did not accidentally make the origins of the fates of the heroes similar. With this, he wanted to emphasize how important a person’s own choice is, independent of circumstances. Unlike the orphan Volodya, the “orphan” Silva is cheerful, resourceful, but cynical. His true face is revealed when he "exposes" Volodya, declaring that he is not a son or brother, but a recidivist.

8) The students noted the "impenetrable soul" of Mikhail Kudimov, Nina's fiancé. There are such people in life, but you will not immediately understand them. He is indifferent to people. This character occupies an insignificant place in the play, however, he is a clearly pronounced type of “right people”, who create an atmosphere around them that suffocates all living things in a person.

9) The author deepens the theme of loneliness in the play, which can bring a person to the brink of despair. (Natasha Makarskaya). In the image of a neighbor, according to the guys, a type of a cautious person, an inhabitant who is afraid of everything, is bred.

10) The problematic and the main idea of ​​the play is to be able to listen, understand each other, support in a difficult moment of life, show mercy. Being kindred in spirit is more than being born.

11) The students noticed that the author does not define the genre of the play. Attributing it to a comedy, many noticed that along with the comic ones, there are many dramatic moments in the play, especially in the subtext of the characters' statements (Sarafanov, Silva, Makarskaya).

How does the author feel about his main characters? What affirms in man, and what denies in him?

Teacher: Summing up the discussion of the play, I turned to the statement of V.G. Rasputin about the dramatic work of Vampilov: “It seems that the main question that Vampilov constantly asks is: will you, a man, remain a man? Will you be able to overcome all that deceitful and unkind that is prepared for you in many life's trials, where it is difficult to distinguish and opposites - love and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement ... "

Bibliography:

Vampilov A.V. Dramatic heritage. Plays. Editions and versions of different years. Scenes and monologues. - Irkutsk, 2002.

Vampilov A.V. Duck hunting. Plays. - Irkutsk, 1987.

Alexander Vampilov in memoirs and photographs. - Irkutsk, 1999.

A play by A.V. Vampilov "Elder Son". Materials for the lesson of extracurricular reading.//Russian language and literature, No. 3, 1991.-p.62

Alexander Alekhin, 1 - screenplay.

Analysis of a literary work.

A play by A.V. Vampilov "Elder Son".

In my opinion, for a more accurate understanding of the play "The Elder Son", it must be considered in the context of Vampilov's personal biography. After all, the problem of “paternity” or rather “fatherlessness” posed in the play is directly related to the author. A.V. Vampilov himself grew up without a father (he was arrested, and then he was shot), and therefore the relationship between the “son” and the “father” presented in the play was very important for the author himself and so precisely, piercingly shown to him. And for the same reason, we can say that Busygin is a projection of personal feelings and experiences, which are very important for Vampilov. And for the same reason, the main character in the "accidental" father finds a dear, close person.

But let's start in order. First of all, we must understand what is the genre of this play. The author himself defines it as a comedy. And most of the first act fits this genre. Before us, a lot of ridiculous situations are unfolding, built on a classic inconsistency, backed up by funny remarks from the characters. Either the unlucky heroes miss the train, or they begin to ask everyone in a row to spend the night in the middle of the night. You can even say that Silva takes over the comedy component throughout the play. After all, it is precisely “thanks to” him that the main, outset event occurs, namely, the introduction of Busygin by the eldest son. Also comedic, even eccentric, is the scene of the “hide and seek” of the heroes from Sarafanov, and the way Busygin eavesdrops on his conversation with Vasenka in the kitchen.

However, in the middle of the first act, after the acquaintance of Busygin and Sarafanov, the genre of the play gradually begins to transform from comedy to drama. When the hero realizes that Sarafonov is an unfortunate person who really needs a dear, close person. Here the whole drama of this little man is revealed to us. He is afraid that the children will leave him, that he will be left alone. All hope is now on Busygin, on the "eldest son." He grabs onto it like a lifeline. And Busygin, in turn, is ashamed of his deceit, and he himself finds in this man a kindred person, a father whom he did not have. Busygin's remark is very accurate and poignant when he tries to escape and says to Silva: "God forbid to deceive someone who believes your every word". Here, of course, there is little left of the comedy. A family drama is unfolding in front of us, although it is still not devoid of comedic moments in places.

The dramatic component of the play reaches its greatest intensity in the scenes when Nina's fiance, Kudimov, comes to the house, and then everyone leaves, except for Busygin. Here we see in full force all the despair of Sarafanov, his fear of loneliness.

Sarafanov: I'm superfluous here. I! I am an old sofa that she has long dreamed of taking out ... Here they are, my children, I just praised them - and on you, please ... Get for your tender feelings!.

And then everyone comes back and stays with their father. The play ends, as they would say today with a “happy ending”, which is typical just for comedy, that is, the play begins and ends like a comedy, but just inside, in the main part, a real drama unfolds. Therefore, it is still possible to define the genre of this play as a tragicomedy. And in this approach to the genre, one can say that Vampilov is close to Chekhov, whose plays also often begin as comedies (and were also defined as comedies by the author himself), and then turn into tragedy.

Now let's trace the line of development of the main character, Busygin. Already at the beginning of the play, we learn that he grew up without a father, which, of course, will be of paramount importance in the further development of the action. Nevertheless, the main character appears to us at the beginning as a kind of blockhead, he walks with girls, drinks with strangers (after all, it turns out that he met Silva on the same evening). In a word, an ordinary impudent young man.

But after he meets Sarafanov, Busygin opens up to us from a completely different side. He shows attention, participation to the unfortunate father of the family. At some point, he no longer simply portrays the eldest son, but becomes the most real son of Sarafanov. He finds in this man the father he didn't have.

On the other hand, and this also speaks of his noble character, he is constantly, more and more, ashamed of his deceit, therefore he constantly strives to quickly disappear from this house. However, something always stops him. This “something” is precisely the feeling of closeness, kinship that Busygin feels for Sarafanov.

In parallel, Busygin's relationship with his "sister" Nina is developing. Busygin involuntarily falls in love with a girl. Yes, and so does she. But the absurdity of his position (which then turns into almost tragic complexity), of course, does not allow him to confess his love in any way. And in connection with this love line, the question is interesting, but because of whom does Busygin actually stay in this house all the time, because of the “father” or because of the “sister”? After all, the answer to this question will illuminate Busygin from completely different angles. If because of the "father", then this, one might say, is a pure, spiritual interest, but if because of the "sister", then Busygin automatically becomes self-serving and not a very good person. However, Vampilov's play is charming because, in fact, it is very vital and humane, and in life there are no unambiguous answers. So it would be correct to say that they both hold him.

Also, the love line has a special, important function in the play. Firstly, it supports the comedic component of the play, and secondly, it does not allow the hero to turn into a very kind of noble, in everything correct character of the socialist realist type. Thanks to this, Busygin becomes, as it were, more humane, more down to earth. After all, after all, he takes advantage of the fact that he is Nina's "big brother" for some time.

In the end, Busygin finds all that is most valuable - love in the person of Nina, and a close, dear person, father (this time without quotes) in the person of Sarafanov. Imbued with a sincere feeling for this family, he, one might say, returns all its members to his home, to his father, and becomes a member himself.

But, of course, no one can say better about the hero than the author himself. Therefore, it would be appropriate to quote A.V. Vampilov about Busygin's actions.

From a letter from A.V. Vampilov to playwright Alexei Simukov:

“... At the very beginning ... (when it seems to him that Sarafanov went to commit adultery) he (Busygin) does not even think about meeting him, he avoids this meeting, and when he meets, he does not deceive Sarafanov just like that, out of evil hooliganism, but rather , acts like a moralist in some way. Why shouldn't this (father) suffer a little for that one (Busygin's father)? Firstly, having deceived Sarafanov, he is always burdened by this deception, and not only because he is Nina, but also before Sarafanov he has downright remorse. Subsequently, when the position of the imaginary son is replaced by the position of the beloved brother - the central situation of the play, Busygin's deception turns against him, he acquires a new meaning and, in my opinion, looks completely harmless.

This search and “finding” of native people is the main message of the play. A.V. Vampilov, probably, himself was looking for this throughout his, unfortunately, short life, and expressed in this play his most sincere, important feelings and thoughts, raised timeless questions and problems. Therefore, such works will always touch people.

Always like this: tragedy with elements of comedy and comedy with elements of tragedy. The creator of "Duck Hunt" did not do anything special, he just tried to reproduce life in his works as it is. In it, there is not only black and white, the existence of a person is filled with halftones. Our task is to tell about this in the article, in which the analysis will be carried out. Vampilov, "Elder Son" - in the focus of attention.

It should immediately be noted that a brief retelling (it will contain some analytical observations) of Vampilov's masterpiece is also necessary. We are starting on it.

Failed party for four

It all starts with the fact that two young guys (Vladimir Busygin and Semyon Sevostyanov) in their 20s saw off the girls and expected a pleasant evening, but the girls turned out to be “not like that”, which they told the boyfriends about. Of course, the guys argued a little for the sake of appearance, but there is nothing to be done, on the side of the girls is always the key word in a romantic matter. They remained on the outskirts of the city, without shelter, and it was cold outside, the last train left.

There are two zones in this area: the private sector (there are village-type houses) and directly opposite is a small stone house (three floors high) with an arch.

Friends decide to split up: one goes to look out for an overnight stay in a stone shelter, and the other cultivates the private sector. Busygin knocks at the house of 25-year-old local court worker Natalya Makarskaya. Some time ago, she quarreled with 10-grader Vasenka, who, apparently, has long and hopelessly been in love with her. She thought it was the young man again, but no. Makarskaya and Busygin argue for some time, but, of course, the young man does not get an overnight stay with the girl.

Sevostyanov Semyon (Silva) is refused by a resident of the house opposite. Young people find themselves where they were - on the street.

And suddenly they watch how an elderly man - Andrey Grigorievich Sarafanov - a clarinetist who serves in the orchestra, according to the official version, but actually plays at funerals and dances, knocks on Natasha's door and asks to give him a few minutes. Young people think that this is a date, and decide to break into Sarafanov's apartment under any pretext, they do not want to freeze on the street.

Our task is to analyze: Vampilov (“The Elder Son”, his play) is his object, therefore it should be noted that the characters Busygin and Silva at first seem to be completely superficial, frivolous people, but in the process of plot development one of them changes before the reader’s eyes: it acquires depth of character and even some attractiveness. Who, we will find out later.

Keeping in mind the goal, it must also be said that Busygin is fatherless and a medical student, his mother lives in Chelyabinsk with his older brother. What Silva does is completely irrelevant in the context of our plan.

An unexpected addition to the family

Young people are not mistaken: indeed, the door to the Sarafanovs' apartment remains open, and Vasenka, upset by the recent love failure, is going to run away from home, as it turns out a little later, his goal is the taiga. Sarafanov's daughter (Nina) will leave for Sakhalin not today or tomorrow, one of these days she will marry a pilot. In other words, discord reigns at home, and its inhabitants are not up to guests, even if they are expected, or not, so the aliens chose the moment well. We will also need this for our analysis. Vampilov ("Elder Son") wrote his play filigree, all the characters perform their parts flawlessly and realistically.

Busygin pretends to know Vasenka's father and says the following phrase: "All of us, people, are brothers." Silva begins to spin this idea and brings it to the point that Vladimir is Vasenka's unexpectedly found half-brother. The young man is in shock, Busygin is also slightly stunned by the agility of his comrade, well, what to do, I don’t want to spend the night on the street. They play this performance in front of the Sarafanovs. As the analysis shows, Vampilov ("Elder Son") began the play with a prank. His drama is based on a joke, and the whole play seems to be something like a comedy, but this is only at first glance.

Vasya is looking for something to drink. Young people, including a 10th grader, use. Then Sarafanov appears, and the unlucky mourners hide in the kitchen. Vasya tells his father the whole story of his eldest son. The old man begins to recall aloud the details of the meeting with Vladimir's possible mother and involuntarily gives the swindlers all the necessary information, and they eagerly catch every word: the name of the woman, the city (Chernigov), the desired age of the eldest son, if he were.

Then Vladimir appears, answers all his father's questions correctly. The house is overwhelmed by general jubilation, and the booze continues, but now Sarafanov Sr. has joined her.

Nina comes out to the noise and demands an explanation. At first, the girl does not trust her older brother, then she also gains confidence in him.

Busygin begins to believe in his own game. character spawn point

Contact is instantly established between Busygin and the elderly man, and the father opens his whole soul to the prodigal son. They talked all night. From nighttime communication, Vladimir learns the details of the life of the Sarafanovs, for example, that Nina will soon marry a pilot, as well as the mental anguish of his father himself. How hard it was for the family. Impressed by the night conversation, after his father had gone to bed, Vladimir wakes up Semyon and begs him to leave quickly, but Andrei Grigorievich finds them at the door. He asks his eldest son to accept a family heirloom - a silver snuffbox. And then a spiritual upheaval happens to Vladimir. Either he felt very sorry for the old man, or himself, because he did not know his father. Busygin imagined that he was indebted to all these people. He believed that he was related to them. This is a very important point in the study, and the analysis of Vampilov's play "The Elder Son" moves on.

Love as a unifying force

When the holiday was noisy, it was necessary to clear the table and generally put the kitchen in order. Two volunteered to do this - Busygin and Nina. During the joint work, which, as you know, unites, love took out its own and pierced the heart of each of the young people. Further narration only follows from such a landmark event. An analysis of Vampilov's play "The Elder Son" brings us to this conclusion.

By the end of cleaning Busygin, for example, allows himself very caustic and caustic remarks about Nina's husband at five minutes. She not only rejects them, but also does not resist her brother's poison too much. This suggests that the "relatives" are already on friendly terms with each other, and only strong mutual sympathy can be responsible for the rapid development of trusting relationships in a short time.

Spontaneously emerging love between Vladimir and Nina builds the whole further plot and is the force that unites the Sarafanov family again into a single whole.

The discrepancy in different spheres of Busygin and Sevostyanov

Thus, mindful of the newly born love, the reader understands that Vladimir is now not illusory, but really becomes his own in the Sarafanov family. An unexpected guest becomes the nail that does not allow relatives to lose ties with each other, he connects them, becomes the center. Silva, on the contrary, turns out to be more and more alien to Busygin and the house where they were accidentally brought, so Semyon tries to extract at least something from the current situation and tries to have an affair with Natasha Makarska. A wonderful play was written by Vampilov - "The Elder Son" (analysis and summary continue).

Appearance of the groom

On the day of cleaning the kitchen, a significant event should take place: Nina plans to introduce her father to her fiancé, a flight school cadet Mikhail Kudimov.

Between morning and evening, a whole chain of events takes place, which is worth mentioning at least briefly: Makarskaya changes her attitude towards Vasenka from anger to mercy and invites him to the cinema. He rushes off to buy tickets, unaware that Silva is already weaving her web of seduction. In it, he expects to catch Natasha. She readily, of course, yields to a lover of women, because Semyon is more suitable for her age. Silva and Natasha are due to meet at exactly 22:00. At the same time, an inspired boy takes tickets to a movie show. Natasha refuses to go with him and reveals the secret that Andrei Grigorievich came to her at night to woo Vasyatka.

A fiery young man in despair, he again runs to collect a backpack in order to leave the house away into the arms of the taiga. Somehow, the characters in the utmost nervous tension are waiting for the evening and the arrival of the groom.

The representation of the parties somehow immediately goes at random. The newly-made older brother and Silva make fun of the cadet, he is not offended, because he "loves funny guys." Kudimov himself is always afraid of being late for the military hostel, and in general, the bride is a burden to him.

Here comes the father of the family. Having met Sarafanov, the groom begins to suffer from the fact that he cannot remember where he saw the face of the future father-in-law. The elderly man, in turn, says that he is an artist, therefore, probably, the pilot saw his face either in the philharmonic society or in the theater, but he brushes aside all this. And suddenly, like a bolt from the blue, the cadet says: “I remembered, I saw you at the funeral!” Sarafanov is forced to admit that yes, indeed, he has not been working in the orchestra for 6 months.

After revealing the secret, which was no longer a secret to anyone, since the children had known for a long time, another scandal broke out: Vasya leaves the house with screams and groans, determined to get to the taiga. The groom also, having seen enough, hurries back to the military hostel before it closes. Silva goes to the cinema. The father of the family has a tantrum: he also wants to go somewhere. Busygin and Nina calm him down, the musician gives in. All this is very important, as it is directly related to the climax. Masterfully everything was done by Vampilov. “Elder Son” (we provide an analysis of the work) continues.

Catharsis

Vladimir then confesses to Nina that he is not her brother and, even worse, he loves her. At the moment, probably, according to the author's intention, a catharsis should occur with the reader, but this is not quite the denouement. In addition, Vasyatka runs into the apartment and admits that he set fire to Makarska's apartment just at the time when she was there with Silva. The latter's trousers fell into disrepair due to the hooligan antics of the young man. To complete the picture, the unfortunate father came out of his room with a suitcase, ready to go to Chernigov to Vladimir's mother.

Fed up with the performance on a wave of disappointment from ruined clothes, Semyon pawns Busygin and says that Vladimir is the same son to Sarafanov as he is his niece, and leaves.

Sarafanov does not want to believe and claims the opposite. Moreover, he even offers Volodya to move from the student hostel to them. In the intricacies of all these events, Busygin discovers that he was again late for the train. Everyone laughs. Everyone is happy. Thus ends the play written by Alexander Vampilov. The Elder Son (analysis also shows this) is an extremely difficult and ambiguous work to evaluate. It remains for us to draw some conclusions.

A family in a rut

Now that we know the whole story, we can reflect on who the “eldest son” was in this whole story.

It is obvious that the family was falling apart: the father lost his job, began to drink. The walls of loneliness began to converge, he was in despair. The daughter was tired of pulling the whole family (she had to work, and therefore looked older than her 19 years), it seemed to her that leaving for Sakhalin as the wife of a military pilot was a wonderful way out. Still better than this life. Vasenka also looked for a way out and did not find it, so he decided to go into the taiga, since he did not manage to cling to a more experienced woman (Natasha Makarskaya).

During the night conversation, when the father dedicated his son to the details of his life and the details of the life of his family, he very accurately described the situation, it could be fit in one phrase: “Everyone is running, anticipating a huge tragedy hanging over them.” Only Andrei Grigorievich has nowhere to run.

Busygin as a savior

The older brother came just when everyone needed him. Vladimir restored the balance and harmony of the family. Their love with Nina filled the empty reservoirs of family grace, and no one wanted to run anywhere.

The father felt that he had a son, the eldest son, on whom he could rely. Nina realized that it was not necessary to go to the island, and her brother was able to overcome his painful attachment to a girl much older than himself. Naturally, under Vasya's love for Natasha, there was a global longing for his mother, a sense of security and comfort.

The only character in the play who has remained at an absolute loss is Silva, since all the other main characters have formed an inner circle. Only Semyon was excluded from it.

Of course, Vladimir Busygin also won in the end: he had a father, whom he had dreamed about since childhood. In other words, the play ends with a scene of shared family harmony. This concludes the brief analysis. "The Elder Son" by Vampilov is written brilliantly, and it is not only a wonderful, but also a profound work that poses serious questions to the reader.

Biography of A. Vampilov

Alexander Vampilov was born on August 19, 1937 in the regional center of Kutulik, Irkutsk Region, into an ordinary family. His father, Valentin Nikitovich, worked as the director of the Kutulik school (his ancestors were Buryat lamas), his mother, Anastasia Prokopievna, worked there as a head teacher and mathematics teacher (her ancestors were Orthodox priests). Before the birth of Alexander, the family already had three children - Volodya, Misha and Galya.

Valentin Nikitovich never had a chance to raise his son. Literally a few months after his birth, one of the teachers of his own school wrote a denunciation of him to the NKVD. The accusation was serious and did not give the arrested person any chance of survival. The court sentenced him to death, the sentence was carried out in early 1938 near Irkutsk. Only 19 years later, Valentin Vampilov was rehabilitated.

The Vampilov family lived very hard, literally living from bread to water. Even during his lifetime, the relatives of Valentin Nikitovich did not like his Russian wife, and when Vampilov Sr. was gone, they completely turned away from her. Anastasia Prokopievna continued to work at the school, and her salary was barely enough to support herself and her four young children. Sasha Vampilov received his first suit in his life only in 1955, when he finished ten years of high school.

Sasha grew up as a completely ordinary boy, and for a long time his relatives did not distinguish any special talents in him. After graduating from school, Vampilov entered the Faculty of History and Philology of Irkutsk University. Already in his first year, he began to try his hand at writing, writing short comic stories. In 1958, some of them appear on the pages of local periodicals. A year later, Vampilov was enrolled in the staff of the Irkutsk regional newspaper "Soviet Youth" and in the Creative Association of the Young (TOM) under the auspices of the newspaper and the Union of Writers. In 1961, the first (and only during his lifetime) book of Alexander's humorous stories was published. It was called "Coincidence". True, on the cover was not his real name, but a pseudonym - A. Sanin. In 1962, the editors of the "Soviet Youth" decided to send their talented employee Vampilov to Moscow for the Higher Literary Courses of the Central Komsomol School. After studying there for several months, Alexander returns to his homeland and immediately rises one step higher in his career: he is appointed executive secretary of the newspaper. In December of the same year, a creative seminar was held in Maleevka, at which Vampilov presented to the readers two of his one-act comedies: The Crow Grove and One Hundred Rubles with New Money.

In 1964, Vampilov left the Soviet Youth and devoted himself entirely to writing. Soon two collective collections with his stories were published in Irkutsk. A year after this, Vampilov again went to Moscow in the hope of attaching his new play "Farewell in June" to one of the capital's theaters. However, these attempts then ended in vain. In December, he enters the Higher Literary Courses of the Literary Institute. Here, in the winter of 1965, he unexpectedly met playwright Alexei Arbuzov, who was fashionable in those years.

In 1966 Vampilov joined the Writers' Union. Vampilov wrote his first play in 1962 - "Twenty Minutes with an Angel". Then came "Farewell in June", "The case with the meter page", "The Elder Son" and "Duck Hunt" (both 1970), "Last Summer in Chulimsk" (1972) and others. They evoked the warmest responses from those who read them, but not a single theater in Moscow or Leningrad undertook to stage them. Only the provinces welcomed the playwright: by 1970, his play “Farewell in June” was running in eight theaters at once. But the native Irkutsk Youth Theater, which now bears his name, did not stage any of Vampilov's plays during Vampilov's lifetime.

By 1972, the attitude of the capital's theatrical community towards Vampilov's plays began to change. “Last summer in Chulimsk” took the Yermolova Theater for production, “Farewell” - the Stanislavsky Theater. In March, the premiere of "Provincial Anecdotes" takes place in the Leningrad BDT. Even the cinema pays attention to Vampilov: Lenfilm signs a contract with him for the script of Pine Springs. It seemed that luck finally smiled at the talented playwright. He is young, full of creative energy and plans. His personal life with his wife Olga is also going well. And suddenly - a ridiculous death.

On August 17, 1972, two days before his 35th birthday, Vampilov, along with his friends - Gleb Pakulov and Vladimir Zhemchuzhnikov - went on vacation to Lake Baikal.

According to the description of the witnesses of the incident, the boat, in which Vampilov and Pakulov were, caught on a driftwood and turned over. Pakulov grabbed the bottom and began to call for help. And Vampilov decided to swim to the shore. And he got to him, touched the ground with his feet, and at that moment his heart could not stand it.

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. His museum was opened in Kutulik, in Irkutsk the Youth Theater was named after A. Vampilov. A memorial stone appeared at the place of death ...

The play "Elder Son"

A. Vampilov's play "Elder Son" exists in several versions. Vampilov's earliest recordings relating to the play "Elder Son" date back to 1964: the title is "Peace in Sarafanov's House". A version of the play called "Grooms" was published in excerpts on May 20, 1965 in the newspaper "Soviet Youth". In 1967 the play was called "Suburb", published in 1968 in the anthology "Angara". In 1970, Vampilov finalizes the play for the Art publishing house, where it is called The Elder Son and is published as a separate edition.

Note that the name "Elder Son" is the most successful. For the author, the main thing is not where the events take place, but who participates in them. To be able to listen, to understand another, to support in difficult times - this is the main idea of ​​the play. Being related in spirit is more important than blood relationship.

In addition, Volodya Busygin justified the role he took on: he helped Nina and Vasenka understand how much their father means to them, who raised both of them without a mother who left their family, and Sarafanov's father, in turn, found support and understanding in the person of Volodya.

Vampilov himself wrote: ... At the very beginning ... (when it seems to him that Sarafanov went to commit adultery) he (Busygin) does not think about meeting him, he avoids this meeting, and when he meets, he does not deceive Sarafanov just like that, out of evil hooliganism, but rather acts like a moralist in a way. Why shouldn't this (father) suffer a little for that one (Busygin's father)? Firstly, having deceived Sarafanov, he is always burdened by this deception, and not only because he is Nina, but also before Sarafanov he has downright remorse. Subsequently, when the position of the imaginary son is replaced by the position of the beloved brother - central situation of the play, Busygin's deceit turns against him, he takes on a new meaning and, in my opinion, looks completely harmless».

The plot of the play "The Elder Son" is born out of chance, out of a strange combination of circumstances. As in no other play by Vampilov, in "The Elder Son" "accidental coincidence" is the engine of the plot. An accident, a trifle, a combination of circumstances become the most dramatic moments in the development of the action of this play. By chance, the heroes meet in a cafe, accidentally find themselves in the suburbs, accidentally overhear Sarafanov's conversation with a neighbor, accidentally learn about the relationship between Vasenka and Makarska, and accidentally find themselves initiated into a family secret. Busygin then himself confesses to Nina: "It all happened quite by accident." Busygin and Silva hardly know each other, in a cafe they did not even catch each other's names and in the course of the play they get to know each other again, but this does not prevent them from understanding each other literally from a half-word.

The poetics of the play retains the main features of Vampilov's dramaturgy: this, as O. Efremov noted, is a craving for an acute form, a non-standard situation, an unworn technique; according to V. Rozov - vaudeville and even farcical beginning, rapidly reaching the ultimate dramatic tension; convex everyday materiality, corporality of life, acute plot tension, according to E. Gushanskaya; the combination of philosophical depth with a dazzlingly bright purely theatrical form, according to A. Simukov.

In The Elder Son, the anecdote becomes a genre-forming component - a kind of novelization of the genre takes place. It is the novelistic intrigue that gives the play what the critics almost unanimously call "high mastery of plot construction."

Undoubtedly, the adventurous idea of ​​meeting the Sarafanov family belongs to Busygin, and Silva cowardly warns his friend: “This night will end at the police station. I feel". But the idea to pass off Busygin as the eldest son belongs to Silva. Rhetorical Biblical the figure of "suffering, hungry, cold" brother, standing at the threshold, acquires the features of a real Busygin. Busygin does not immediately accept the role offered to him, he hesitates. The heroes seem to change places: now Silva is ready to stay, and Busygin is in a hurry to leave. However, the cowardice of Silva and Busygin has different roots: if the former is driven by fear of the police, then the latter is driven by fear of conscience.

The naivete, purity, gullibility, “word of mouth” of the father, Nina’s sober skepticism and incredulity, developing into frank sympathy for the imaginary brother, Vasenka’s enthusiasm, the charm and intelligence of Busygin himself, Silva’s assertive impudence thicken, materialize the image of the eldest son. The family faced a situation where he - the eldest son - had to appear and he did.

At the same time, the image of another “eldest son” materializes - Nina's husband, cadet and future officer Kudimov. It is created mainly by Nina and jealously corrected by Busygin. About Kudimov, even before his appearance on stage, we know almost everything. Busygin is in an incomparably more advantageous position: no one knows anything about him, and he tells about himself what he wants to tell. Already in Nina's assessment, Kudimov appears as a rather limited person. The appearance of the hero only confirms this.

The scene of Kudimov's appearance (second act, scene two) is a mirror image of another scene - the appearance of Busygin and Silva in the Sarafanovs' house (first act, scene two): acquaintance, offer to drink, claims to sonship ("Where's papa?" asks Kudimov).

The clash between Busygin and Kudimov is a kind of duel, the reason for which is Nina. But behind this reason are hidden other reasons that lie in the belonging of these people to different spheres of human life and to their different understanding of life itself.

Like a spell, Nina's continuously repeated words addressed to Kudimov, “it doesn’t matter if you are even late today”, “today you will be a little late”, “just like that, you will be late and that’s it”, “today you will be late, I so want”, “no, you will stay”,- not easy "caprice", according to Kudimov, but the last attempt to humanize his fiancé, who is ready to bring the spirit of the barracks and discipline into family life.

Nina talks about Kudimov : “Let’s say he doesn’t have enough stars from the sky, so what? I think it's even better. I don’t need Cicero, I need a husband.” Excellent student of combat and political training Kudimov now, in the future he is capable of "marks of darkness differences" pick up, because he is never late and does not do what he does not see the point in. By keeping Kudimov, Nina keeps herself from falling in love with Busygin. Nina does not have the opportunity to choose, but in the end she makes her choice: "I'm not going anywhere."

If Busygin's phrase “a suffering, hungry, cold brother stands at the threshold ...” the elder brother begins to enter the Sarafanov family, then from Nina's remark addressed to Kudimov: “Enough for you! So you can remember until death!”- the reverse process begins.

The image of the funeral begins to hover invisibly over the Sarafanov family: the head of the family buries his dreams of calling a composer (“I won’t be a serious musician, And I must admit it”); parting with her hopes Nina ( "Yes. Go. And what good, and in fact you will be late ”), sets up a funeral pyre for Vasenka, burning Makarska's carpet and his opponent's pants. But death is ambivalent: it is reborn for the Sarafanov family, Nina finds a new love, Makarskaya's interest in Vasenka flares up.

The image of the funeral of "some kind of driver" - a symbol of an interrupted path, both in life and professional - is ambiguous in the play. The flight school cadet Kudimov leaves, Sevostyanov “disappears”. The last attempt of Silva, who is no longer satisfied with the secondary role, to annoy a successful rival and expose the impostor was belated and unsuccessful: physical kinship ceases to be decisive and significant and gives way to true kinship - spiritual: “You are a real Sarafanov! My son. And besides, a beloved son. In addition, Busygin himself admits : "I am glad that I came to you ... Frankly, I myself no longer believe that I am not your son."

Reasonable and serious Nina, ready to repeat her mother's act and leave with a "serious person", in the play's finale she realizes that she "father's daughter. We are all in dad. We have one character. They, the Sarafanovs, are wonderful people, blessed.

A. Demidov also called the comedy "Elder Son" "a kind of philosophical parable".

Started as an everyday joke, the play gradually develops into a dramatic story, behind which the motifs of the biblical parable of the prodigal son are guessed.

At the same time, the well-known biblical parable undergoes a certain transformation: the prodigal "son" returns to the house from which he never left; Sarafanov's "prodigal" children return to the house they never left. They stay at the House to restore it.

This play is a kind of philosophical parable about the kinship of souls and the acquisition of a native shelter. A new person appears in the Sarafanov family, introducing himself as the “eldest son” of the head of the family. In the whirlwind of family troubles and problems, Busygin really begins to feel at home in the Sarafanovs' house and responsible for their lives.

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 a private everyday history, the play rises to universal humanistic problems (trust, mutual understanding, kindness and responsibility). And the paradox is that people become relatives, they begin to feel responsible for each other only by a lucky chance. The play shows the moral essence of the eldest son - everything is on his shoulders: hope, the future of the family. And Busygin revived the family.

Literature

1. Vampilov A.V. Eldest son. - M .: Pushkin Library: AST: Astrel, 2006. - S. 6 - 99.
2. Gushanskaya E. Alexander Vampilov: Essay on creativity. - L .: Owls. Writer. Leningrad. department, 1990. - 320s.
3. The World of Alexander Vampilov: Life. Creation. Fate. - Irkutsk, 2000. - S. 111-116.
4. About Vampilov: Memoirs and reflections // Vampilov A. House with windows in the field. Irkutsk: East Siberian Book Publishing House, 1981. - S. 612-613.
5. Russian Literature of the 20th – Early 21st Century: Proc. allowance for students of higher education. ped. textbook institutions: in 2 vols. T. 2. 1950 - 2000s / (L.P. Krementsov, L.F. Alekseeva, M.V. Yakovlev and others); ed. L.P. Krementsov. - M .: Publishing Center "Academy", 2009. - P. 452 - 460.
6. Sushkov B.F. Alexander Vampilov: Reflections on the ideological roots, problems, artistic method and the fate of the playwright's work. – M.: Sov. Russia, 1989. - 168s.