Which plays by Ostrovsky are called proverbs. What did Ostrovsky give to Russian dramaturgy? General characteristics of creativity and themes of Ostrovsky's plays

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Sidorova Svetlana Vasilievna MBOU "Elasovskaya secondary school"

Questions for a quiz on the work of A. N. Ostrovsky

1. What were the names of Ostrovsky's parents, who were they by origin?
2. At what faculty of Moscow University did Ostrovsky study

From 1840 to 1843?

1. What helped Ostrovsky to study the life of the Russian merchants well?
2. What theater did Ostrovsky attend while studying at Moscow University?
3. What is the first literary work of Ostrovsky?
4. Name the first comedy play by Ostrovsky. Who, after reading this first comedy by Ostrovsky, wrote: “It is in vain that it is printed, it is forbidden to play it”?
5. Name the first play by Ostrovsky, which was played on the theater stage. When and in what theater did this play premiere?
6. What plays by Ostrovsky are titled as proverbs?
7. What is the name of the famous critical article by N. A. Dobrolyubov, dedicated to Ostrovsky's drama "Thunderstorm"?
8. Based on what Ostrovsky's play was the feature film "Cruel Romance" directed by Eldar Ryazanov?
9. Which theater in Moscow today is called "Ostrovsky's House"?
10. Who is the author of the monument to Ostrovsky in Moscow near the Maly Theater?
11. Where is the grave of A.N. Ostrovsky?
12. Recognize Ostrovsky's play by its ending

1. “Good for you, Katya! And why am I left to live in the world and suffer! (falls on the body of his wife).
2. “-No, no, why! .. Let them have fun, whoever has fun ... I don’t want to disturb anyone! Live, live everyone! You need to live, but I need to ... die ... I don’t complain about anyone, I don’t take offense at anyone ... you are all good people ... I love you all ”(Sends a kiss).

Loud gypsy choir.

1. Do you know Ostrovsky's play "Thunderstorm"

1. What is the name of the merchant Wild?
2. What is the surname, name, patronymic of Kabanikhi?
3. What is the name of Kabanikhi's son?
4. To whom do these words belong?

“After all, out of love, parents are strict with you, out of love they scold you, everyone thinks to teach good. Well, now I don't like it. And the children will go to people to praise that the mother is grumbling, that the mother does not give a pass, she shrinks from the light. And, God forbid, you can’t please the daughter-in-law with some word, well, the conversation started that the mother-in-law was completely stuck.

Answers

1. Father - Nikolai Fedorovich Ostrovsky, graduated from the Theological Academy - a man of sharp mind, educated, successfully engaged in private practice, he was a lawyer, conducted the affairs of merchants. In 1839, with the rank of collegiate assessor, Nikolai Fedorovich became a hereditary nobleman.

Mother Lyubov Ivanovna Ostrovskaya, nee Savkina, was born in Moscow, her father was a sexton of the Sretensky forty church of St. Nicholas near the Pokrovsky bridge.

2 At the Faculty of Law

3 Work in the Moscow Conscience Court as a clerk, then in a commercial court.

1. Moscow Maly Theater
2. The story "The Tale of How the Quarter Warden Started to Dance, or Only One Step From the Great to the Funny" (December 15, 1843)
3. The play "Our people - we will settle", the lines belong to Emperor Nicholas 1
4. The play "Do not get into your sleigh" January 14, 1853 at the Moscow Bolshoi Theater
5. "Own people - let's count" 1849

“Do not get into your sleigh 1852

"Poverty is not a vice" 1853

"An old friend is better than two new ones" 1860

“Their dogs are biting. Don't pester a stranger" 1861

"Not all cat carnival" 1871

"There was not a penny and suddenly Altyn" 1871

“Truth is good, but happiness is better” 1876

Guilty Without Guilt 1883

1. "A Ray of Light in a Dark Realm"
2. Based on the play "Dowry"

1. Maly Theater
2. Sculptor N.A. Andreev
3. In Shchelykovo, where the memorial museum of A.N. Ostrovsky
4. a) Thunderstorm

B) "Dowry"

1. a) Savel Prokofievich

b) Marfa Ignatievna Kabanova

c) Tikhon Ivanovich Kabanov

d) Merchants Kabanova (Kabanikha)

Aug 02 2010

Ostrovsky appeared in his plays primarily as a first-class realist artist. Perfectly knowing the Russian life, especially the life of the merchants, Ostrovsky transferred the Russian to the stage in all its originality and naturalness. The family life of merchants with its despotism and tyranny, rudeness and ignorance in public and domestic life, the powerless position of women, the ritual side of life, prejudices and superstitions, folk dialect - all this was reflected in Ostrovsky's everyday plays so truthfully and vividly that the theater spectator, as it were, I felt the very atmosphere of Russian life on the stage. Having finally broken with the patterns of classicism and romanticism and made his numerous works “plays of life”, Ostrovsky completed the work of Fonvizin, Griboyedov, Pushkin and Gogol in dramaturgy and forever affirmed the triumph of realistic drama in Russia.

It should not be forgotten that Ostrovsky described the life of not only merchants. We see in his plays both officials, and clerks, and matchmakers, and actors, and businessmen of a new formation, and nobles, and poor intellectuals, and generals, and peasants, etc. This is a whole encyclopedia of life and customs of the era with all their positive and negative sides.

A return to stilted tragedy and sensitive melodrama became impossible after Ostrovsky's realistic plays.

Ostrovsky's skill as a realist is also reflected in the language of his plays, which characterizes the environment depicted. The speech of each character is one of the important methods of typing in the works of the epic genre. But in the novels, he has various means of characterizing the characters, up to and including direct authorial characterization. In the same author's speech is absent. Therefore, the characters in it is the main means of us typing. The characters in the play, as Gorky explains, "are created exclusively and only by their speeches." The hero of the play must speak

Remember how Manilov is characterized. Sobakevich. Plyushkin and Chichikov in Gogol's poem "Dead Souls" or Oblomov in Goncharov's novel "Oblomov",

so as would speak of his character, thoughts, moods, cultural level and social status or profession. Consequently, in a play it can only turn out to be typical and expressive when his speech is typical for this image.

There are more than a thousand characters in Ostrovsky's plays, and each of them speaks a language corresponding to his spiritual appearance and profession. Likewise, the lyrically colored language of Katerina in the play "Thunderstorm" has nothing to do with the rough, abrupt speech of Diky. And Diky's speech, in turn, differs significantly from the speech of another tyrant - Gordey Tortsov ("Poverty is not a vice"), who is fond of the external, ostentatious side of culture and uses such "foreign" words as nebel, champagne, waiters, etc. Skillful individualization the characters' speech characterizes Ostrovsky as a remarkable master of dialogue. It is enough to read or listen to the conversation between Kabanova, Tikhon and Katerina in the third scene of the second act, or Diky's conversation with Kuligin in the second scene of the fourth act, to be convinced of this. The difference in the speech of the characters in these dialogues is given so expressively and distinctly that the character of each character is made clear without any explanation.

Let us recall, for example, the songs of Kudryash in the third act of the drama Thunderstorm. Ostrovsky uses proverbs even in the titles of plays: “Don’t live as you want”, “Don’t get into your sleigh”, “Own people - we’ll settle”, “Poverty is not a vice”, “True is good, but better”, “Old friend better than two new ones, etc.

The fidelity and accuracy of the folk language of Ostrovsky were already noted by Dobrolyubov.

Assessing the remarkable linguistic skill of Ostrovsky, Gorky called him "the sorcerer of the word." The composition of Ostrovsky's plays also serves the task of a realistic depiction of reality. The action of his plays usually unfolds slowly, calmly, in accordance with the stable, sedentary life that they depict. Ostrovsky avoids dramatic effects in the form of shots, suicides, disguises, etc. Katerina's suicide in the drama "Thunderstorm" should be considered not as a stage device that enhances the impression of the play, but as a dramatic finale prepared by the whole course of events.

A very important feature of Ostrovsky's plays is the comic element, skillfully used by the playwright. It manifests itself in Ostrovsky in different forms: as humor, warmed by warmth and sympathy, when depicting small, downtrodden

life, honest people, unwitting victims of social inequality, then as accusatory, satirical laughter directed against the despotism of tyrants, the shamelessness and ruthlessness of predators, the depravity of the nobility, etc. The satirical orientation of Ostrovsky's plays was deeply revealed by Dobrolyubov.

In his articles on Ostrovsky, the great critic explained, as far as it was possible within the framework of tsarist censorship, how important the ideological significance of Ostrovsky's laughter was, aimed at exposing various aspects of the "dark kingdom".

Ostrovsky's dramaturgy is a complex phenomenon that absorbed the experience of a number of Russian and Western European playwrights, whom Ostrovsky carefully studied.

The most important advantage of Ostrovsky's work is deep realism, expressed in a broad, truthful coverage of Russian life, in the creation of many typical images from various social classes, in a remarkable description of the environment depicted and the naturalness of the construction of plays.

Need a cheat sheet? Then save it - "What did Ostrovsky give to Russian dramaturgy? . Literary writings!

Almost fifty plays were written by Ostrovsky. Some of them are more, others are less known. Some are constantly on stage, filmed in films and on television, others are almost never staged. But in the minds of the public and the theater there lives a certain stereotype in relation to what is called "Ostrovsky's play." Ostrovsky? Well, this is a comedy from outside Moscow or an everyday drama with an indispensable samovar on the table and geraniums on the windows, with unhurried action, common morals, matchmakers in colorful scarves, bearded tyrant merchants.

Upon a closer and more thoughtful acquaintance, Ostrovsky threatens to confuse us. We impose a template, and the author breaks out from under it and often turns out to be unlike himself, remaining, however, himself ... Shakespeare's tragedy of passions on Russian soil ("Sin and trouble does not live on anyone"), and next to it is light, sparkling with all shades humor, virtuoso, just without music, Moscow vaudeville (trilogy about Balzaminov). A satire of the Shchedrin type with a political lining ("There is enough simplicity for every wise man") and then a psychological melodrama ("Guilty Without Guilt").

The playwright invariably proceeded to a greater extent from life, its impressions and suggestions, than from a genre form frozen and consecrated by tradition. Therefore, even within the limits of the comedic kind of dramatic art alone, we will find in it so many plays that do not fit into any theoretical canon, borderline between drama and comedy, comedy and farce. And if the play, according to the author’s concepts, did not grow to a high idea of ​​“comedy”, as something complete in thought and plot, Ostrovsky resorted to more than modest genre designations: “Pictures of Moscow life” or “Scenes from the life of a backwoods” . But at its core, it's all a comedy. The simplicity of Ostrovsky happened to confuse criticism: it seemed to border on primitiveness. N. K. Mikhailovsky, summing up his path as a playwright, once said that all his work is endless variations of only two qualities in characters: “wolf mouth” and “fox tail”. Indeed, much of Ostrovsky's plays depend on predatory violence and deceit. Many, but not all.

Putting proverbs in the titles of his plays, Ostrovsky confuses people who are accustomed to perceiving art by a signboard, a distinct author's self-characterization and not going deep. Like the denunciation of the "wolf" and "fox" nature of a bad person, Ostrovsky's encouraging morality seemed well-tried and complacent. “Poverty is not a vice”, “Do not sit in your sleigh” - the names promised a monosyllabic, textbook, not rich in content thought-lecture. But the life depicted in the plays struck with authentic surprise, and the “colored” language made the characters alive to the point of illusion.

Art theorists have long noticed that the range of main themes and motifs in relation to the entire repertoire of world drama is very limited: sometimes it was even said that only forty-two starting points constitute the arsenal of world art - everything else is their variation. The essence of artistic originality, apparently, lies in the personality of the author and in the way the time in which he creates colors the faces and positions. In fact, love, jealousy, envy, generosity, betrayal, the desire to get rich or make a career, the relationship of fathers and children, men and women, class inequality, etc. - all these conflicts, in themselves not new, are presented by Ostrovsky in their infinitely varied and often bizarre combinations.

Theater historian E. G. Kholodov calculated that in Ostrovsky's forty-seven original plays there are 728 actors - a whole crowd. If for a moment imagine her coming to the monument to Ostrovsky at the Maly Theater, she would fill almost the entire Theater Square with her. But is it possible to say that at least one face in this huge motley crowd simply repeats another, merges with another? No, everyone is tightly attached to his time, environment and environment, has a special character and habits, which distinguishes his intonation and way of speech. In other words, each individual.

Apparently, just as a set of twenty-three pairs of chromosomes creates a unique human personality each time at birth, so the combination of a few initial dramatic or comedic situations under the pen of an artist like Ostrovsky is capable of conveying the vivid multicolored situations and characters.

The faces of Ostrovsky's comedies are historically accurate and ethnographically vivid. But we read and watch his plays not just to find out how people of a bygone era once lived, loved, deceived each other, what costumes they wore, what sayings they used, and what now forgotten habits paid tribute to. If we were possessed only by a coldish cognitive interest, the audience would have had the effect of a “wax museum” from the theater with all the naturalness of hairstyles, clothes and utensils. In fact, you can find out what a merchant, clerk, watchman, pupil, farmer, noble dude or provincial actor was - what their typical appearance, interests and occupations were, lingering in front of the museum window. The classical play, and Ostrovsky's theater in particular, gives us incomparably more - the recognition of characters, passions, claims and interests that are vividly touched even today, have an undeniable relation to ourselves, people of a different era and environment.

This phenomenon of the “eternity” of Ostrovsky’s theater is partly shed by one statement of the great scientist of our time, Academician V. I. Vernadsky:

“Yesterday my thought was transported into the distant past—sometimes a kind of consciousness of unity and immobility, if I may put it that way, of the historical process passes before me unusually brightly and powerfully. In this sense, comedy always gives me a lot, i.e., together with a fairy tale, it is the only form that gives you an idea of ​​the spiritual life of mankind under the most diverse historical conditions, in various climates and places over the past 2000-2500 years.

As is clear from the context of the letter, these thoughts were inspired by Vernadsky's direct re-reading of Ostrovsky's writings. And it is remarkable that, while clarifying the origins of the "eternity" or, at least, the longevity of his plays, Vernadsky names fairy tale, a genre of unnamed folk art, next to comedy. With folklore in its other form, with the proverb, as you know, the dramaturgy of Ostrovsky is closely related. In his plays, according to some estimates, 305, according to others - 307 proverbs and sayings.

Many of his dramas and comedies are named proverbs. The speech of the heroes of Ostrovsky, according to the old expression of B. Almazov, “is in full swing” with well-aimed folk catchphrases.

The well-known literary critic academician A. I. Beletsky once wrote a tiny, but brilliant in form and very informative study, a kind of critical “poem in prose” dedicated to Ostrovsky. It was called "The Wisdom of the Proverb". In his discussion of the work of the playwright, Beletsky proceeded from an idea beautifully formulated in one poem by Baratynsky:

We are diligently observing the light.

Diligently we observe people

And we hope to comprehend miracles.

What is the fruit of science for many years?

What, finally, will the eyes of the vigilant see?

That the confused mind will finally understand

At the height of all experiences and thoughts?

What? The exact meaning of the folk saying.

In these lines, an amazing paradox is revealed, which is directly related to Ostrovsky. The wisdom of the proverb, which seemed to be something archaic, hopelessly backward and unnecessary, returns to a person after the most complex temptations of a sophisticated consciousness, “at the height of all experiments and thoughts”, as an undoubted and unshakable value. The same can be said about the dramaturgy of Ostrovsky. It was repeatedly declared obsolete, obsolete in its simple morality, but in the provisions and characters of his plays, important spiritual experience, popular common sense and great artistic vigilance turned out to be accumulated, returning the attention of new generations to it.

Ostrovsky is alien to philosophical abstraction, he never "thinks". But, possessing artistic clairvoyance, he teaches his viewers to understand people - to see desires, intentions, passions, benefits, high and low impulses behind words and to distinguish their connection with circumstances, the environment and the social world.

The path of the playwright to the hearts of his viewers and readers is always direct and sincere. We despise his "tyrants" and laugh at the "wise men" and heroes of the "budget", merchants who are bored "with big capital." We feel hurt and touched when, clutching a tattered hat to our chest, Lyubim Tortsov denounces a lie, Neschastlivtsev’s bass thunders solemnly in defense of trampled justice, Katerina desperately dreams of happiness ...

Much continues to sound in these plays with live joy and pain, echoing in our souls.

Ostrovsky had a rare flair for stage truth, an intuition for positions and words that, with talented performance, flew like a spark from the stage to the audience. But his dramaturgy was also clever, although snobbish critics sometimes reproached the playwright for the weak "intellectuality" of his creations. Is it worth refuting? Philosopher John Locke said: "There is nothing in the intellect that is not in the feeling."

Ostrovsky's heroes do not solve sophisticated brain riddles, but the author's world is so rich in a heartfelt, enduring understanding of characters and passions that, rereading an old and seemingly familiar classic play, the reader, as well as the viewer, are captured by a joyful feeling of surprise, novelty and involvement. The main means of this miracle of mutual understanding with people of new generations remains Ostrovsky's language - a living, semi-precious one, woven before our eyes into a bright carpet.

This text is an introductory piece.

"Ostrovsky Theater" - 1. "Columbus Zamoskvorechye." Biographical note. 2.A.N. Ostrovsky - the creator of the Russian national theater. 3. Portrait of A.N. Ostrovsky. 4.Childhood and youth. 5. The first plays by A.N. Ostrovsky. 6. The last years of A.N. Ostrovsky. Lesson-presentation in the 10th grade in literature. TOPIC: A.N. Ostrovsky is the creator of the Russian theater.

"Dowry of Ostrovsky" - Born on March 31, 1823. in the family of an official. Love Social. Topics: Ostrovsky Alexander Nikolaevich (1823-1886). Conflicts. A remarkable play of the late period of A. N. Ostrovsky's work is the drama "Dowry". A. Ostrovsky died on June 14, 1886 at the Shchelykovo estate. Social problems: The position of women in Russian society Rich and poor.

"Lesson Ostrovsky Snow Maiden" - In 1900, at least four productions of the play took place. Opera "Snow Maiden". The Kingdom of the Berendeys and Tsar Berendey in the play. "The Snow Maiden" and the Russian Literary Fairy Tale. The second is the own structure of the kingdom of the Berendeys. Ostrovsky refers the action of the play to "prehistoric times". Fairy tale as a genre of literature.

"Ostrovsky Creativity" - Other arts have schools, academies, high patronage, patrons ... The main method is realism. From a letter from I.A. Goncharov to A.N. Ostrovsky. Russian dramatic art has only me. I am everything: the academy, the philanthropist, and the defense. Uses symbols: thunderstorm, lightning rod. A.N. Ostrovsky - the creator of the Russian national theater.

"The Life of Ostrovsky" - The artist admires the stately Russian beauty, full of health. The Moscow City Leaf newspaper published scenes from the comedy The Insolvent Debtor. Merchants observed traditions and moral values. N.V. Gogol. The painting "Merchant" is beautiful with a picturesque palette. The passage was an exceptional success.

"Biography of Ostrovsky" - Library in the house-museum of A.N. Ostrovsky. One of Ostrovsky's types of recreation was carpentry. Zamoskvorechye. The building of the Maly Theater in Moscow. 1859 Zamoskvorechye (beginning of the 19th century). Alexandrinsky Theater in Petersburg. Ostrovsky with the staff of the Sovremennik magazine. The grave of A.N. Ostrovsky. The house on Zhitnaya Street, where A.N. Ostrovsky.

Total in the topic 22 presentations