"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
Reading a collection of proverbs is one of my favorites - not an occupation, but a pleasure.
L. N. Tolstoy
Dear friends!
We offer you a collection of Russian and foreign proverbs and sayings.
Do you know how they differ from each other? The answer is very simple. As folk wisdom says:
A proverb is a flower, a proverb is a berry.
The fact is that the saying is by no means always a whole phrase, a complete sentence - often it is only a hint:
Look at both (about vigilance).
There are not enough screws (about stupidity).
It is written on the water with a pitchfork (about uncertainty).
At least the ropes from it are wei (about the weak character).
You can’t take it with your bare hands (with a shoe).
He weaves lace with his tongue (about a talker, about a talker).
He carries water with a sieve (about the stupid one).
A saying can be a wish, a dream:
Detach, thin life, tie a good one.
Every dog has his day.
Very popular nominal sayings:
Every Masha has her own manners.
Every Fedorka has his own excuses.
Fedot, but not that one.
Meli, Emelya, is your week (about a talker).
Oh, Yerema, you should sit at home!
Yawn-yawn, go to Fedot, from Fedot to Yakov, from Yakov to everyone.
There are even historical sayings:
He died like a Swede near Poltava! (Memories of the Battle of Poltava in 1709, when Peter I defeated the troops of the Swedish king Charles XII.)
Empty, as if Mamai had passed. (Memories of the Tatar invasion; Mamai is the Tatar Khan, the ruler of the Golden Horde, known for devastating raids on Russia.)
A proverb is a complete sentence - short and always moralizing; this is a lesson, expressed either directly or obliquely:
Finished the job - walk boldly.
Mind is good, but two is better.
A bargain is a bargain.
The word is not a sparrow, it will fly out - you won’t catch it (about prudence).
To be afraid of wolves - do not go into the forest (about cowardice).
The wolf is not beaten for being gray, but for having eaten a sheep (that is, not for a bad look, but for bad deeds).
A cat is dainty to a fish, but you don’t want to climb into the water.
N.V. Gogol wrote about Russian proverbs as follows: “Our proverbs are more significant than the proverbs of all other peoples ... They reflected many of our properties; they have everything: mockery, mockery, reproach, in a word, everything stirring and tearing to the quick ... All great people, from Pushkin to Suvorov and Peter, were in awe of our proverbs.
We find these "pearls of folk speech" in the works of many Russian writers. A. N. Ostrovsky, for example, used proverbs and sayings in the titles of his plays:
“Poverty is not a vice”, “What you go for is what you will find”, “Each sage is quite simple”, “Do not sit in your sleigh”, “Not everything is Shrove Tuesday (there will be Great Lent)”, “The heart is not a stone " and others.
The work of I. A. Krylov is closely connected with proverbial wisdom and imagery. The lines of many of his fables have long been included in everyday speech, becoming proverbs, sayings and popular expressions:
Hey Moska! know that she is strong that she barks at the Elephant!
Tearing up a heap of dung, the Rooster found the Pearly Grain.
This book ends with lines from Krylov's fables, in which "a cheerful cunning of the mind, mockery and a picturesque way of expressing" (L. S. Pushkin).
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, commonplace 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 \u200b\u200b"comedy" as something completed 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 initial positions constitute the arsenal of world art - everything else is their variations. 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 don’t read and watch his plays, after all, to find out only 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 they paid tribute to. If we were possessed only by a coldish cognitive interest, the audience would have had enough of 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, a clerk, a watchman, a pupil, a farmer, a noble dude or a provincial actor were - what their typical appearance, interests and occupations were, lingering in front of the museum window. The classical play, and the theater of Ostrovsky 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 the unity and immobility, if I may put it that way, of the historical process passes before me with unusual clarity and strength. In this sense, comedy always gives me a lot, that is, 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 how remarkable it is 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 called 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. More than once it was 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 lies, 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 belonging. The main means of this miracle of mutual understanding with people of new generations remains the language of Ostrovsky - a living, semi-precious one, woven before our eyes into a bright carpet.
This text is an introductory piece.The work of Alexander Nikolayevich Ostrovsky is deservedly the pinnacle of Russian drama in the mid-19th century. It is familiar to us since school years. And despite the fact that Ostrovsky's plays, the list of which is very long, were written in the century before last, they remain relevant even now. So what is the merit of the famous playwright and how did the innovation of his work manifest itself?
short biography
Alexander Ostrovsky was born on March 31, 1823 in Moscow. The childhood of the future playwright passed in Zamoskvorechye, a merchant district of Moscow. The playwright's father, Nikolai Fedorovich, served as a court lawyer and wanted his son to follow in his footsteps. Therefore, Ostrovsky studied law for several years and after that, at the behest of his father, he entered the court as a scribe. But even then Ostrovsky began to create his first plays. Since 1853, the playwright's works have been staged in St. Petersburg and Moscow. Alexander Ostrovsky had two wives and six children.
General characteristics of creativity and themes of Ostrovsky's plays
Over the years of his work, the playwright created 47 plays. "Poor Bride", "Forest", "Dowry", "Snow Maiden", "Poverty is not a vice" - all these are Ostrovsky's plays. The list can go on for a very long time. Most of the plays are comedies. Not without reason Ostrovsky remained in history as a great comedian - even in his dramas there is a funny beginning.
The great merit of Ostrovsky lies in the fact that it was he who laid down the principles of realism in Russian dramaturgy. His work reflects the very life of the people in all its diversity and naturalness, the heroes of Ostrovsky's plays are a variety of people: merchants, artisans, teachers, officials. Perhaps the works of Alexander Nikolayevich are still close to us precisely because his characters are so realistic, truthful and so similar to us. Let's analyze this with specific examples of several plays.
Early work of Nikolai Ostrovsky. "Own people - let's get along"
One of the debut plays that gave Ostrovsky a universal celebrity was the comedy “Own people - let's get it right”. Its plot is based on real events from the playwright's legal practice.
The play depicts the deception of the merchant Bolshov, who declared himself bankrupt so that he would not have to pay his debts, and the reciprocal fraud of his daughter and son-in-law, who refused to help him. Here Ostrovsky depicts the patriarchal traditions of life, the characters and vices of Moscow merchants. In this play, the playwright sharply touched on a theme that ran through all his work in red lines: this is the theme of the gradual destruction of the patriarchal way of life, transformation and human relations themselves.
Analysis of Ostrovsky's play "Thunderstorm"
The play "Thunderstorm" became a turning point and one of the best works in the works of Ostrovsky. It also shows the contrast between the old patriarchal world and a fundamentally new way of life. The action of the play takes place on the banks of the Volga in the provincial town of Kalinov.
The main character Katerina Kabanova lives in the house of her husband and his mother, the merchant's wife Kabanikhi. She suffers from constant pressure and oppression from her mother-in-law, a bright representative of the patriarchal world. Katerina is torn between a sense of duty towards her family and an overwhelming feeling for another. She is confused because she loves her husband in her own way, but she cannot control herself and agrees to dates with Boris. After the heroine repents, her desire for freedom and happiness collides with established moral principles. Katerina, incapable of deceit, confesses her deed to her husband and Kabanikh.
She can no longer live in a society where lies and tyranny reign and people are not able to perceive the beauty of the world. The heroine's husband loves Katerina, but cannot, like her, rise up against his mother's oppression - he is too weak for that. Beloved, Boris, is also unable to change anything, since he himself cannot free himself from the power of the patriarchal world. And Katerina commits suicide - a protest against the old way of life, doomed to destruction.
As for this play by Ostrovsky, the list of heroes can be divided into two parts. The first will be representatives of the old world: Kabanikha, Wild, Tikhon. In the second - heroes symbolizing a new beginning: Katerina, Boris.
Heroes of Ostrovsky
Alexander Ostrovsky created a whole gallery of a wide variety of characters. Here officials and merchants, peasants and nobles, teachers and artists - many-sided, like life itself. A remarkable feature of Ostrovsky's drama is the speech of his characters - each character speaks his own language, corresponding to his profession and character. It is worth noting the skillful use of folk art by the playwright: proverbs, sayings, songs. As an example, one can cite at least the title of Ostrovsky's plays: "Poverty is not a vice", "Our people - we will get along" and others.
The Significance of Ostrovsky's Dramaturgy for Russian Literature
The dramaturgy of Alexander Ostrovsky served as a significant stage in the formation of the national Russian theater: it was he who created it in its present form, and this is the undoubted innovation of his work. Ostrovsky's plays, a list of which was briefly given at the beginning of the article, confirmed the triumph of realism in Russian drama, and he himself went down in its history as a unique, original and brilliant master of the word.
Alexander Nikolayevich Ostrovsky is an unusual phenomenon. His role in the history of the development of Russian dramaturgy, performing arts and the entire national culture can hardly be overestimated. He did as much for the development of Russian dramaturgy as Shakespeare did in England, Lone de Vega in Spain, Molière in France, Goldoni in Italy, and Schiller in Germany.
Despite the harassment inflicted by the censorship, the theatrical and literary committee and the directorate of the imperial theaters, despite the criticism of reactionary circles, Ostrovsky's dramaturgy gained more and more sympathy every year both among democratic spectators and among artists.
Alexander Nikolayevich Ostrovsky was born in Moscow into a cultural, bureaucratic family on April 12 (March 31, old style), 1823. The family had its roots in the clergy: the father was the son of a priest, the mother was the daughter of a sexton. Moreover, his father, Nikolai Fedorovich, himself graduated from the Moscow Theological Academy. But he preferred the career of an official to the craft of a clergyman and succeeded in it, as he achieved material independence, a position in society, and a noble rank. This was not a dry official, closed only in his service, but a well-educated person, as evidenced by at least his passion for books - the Ostrovskys' home library was very solid, which, by the way, played an important role in the self-education of the future playwright.
Developing the best traditions of Russian dramatic art, using the experience of progressive foreign drama, tirelessly learning about the life of his native country, constantly communicating with the people, closely connecting with the most progressive contemporary public, Ostrovsky became an outstanding depiction of the life of his time, who embodied the dreams of Gogol, Belinsky and other progressive figures. literature about the appearance and triumph on the national stage of Russian characters.
The creative activity of Ostrovsky had a great influence on the entire further development of progressive Russian drama. It was from him that our best playwrights studied, he taught. It was to him that aspiring dramatic writers were drawn in their time.
The strength of Ostrovsky's influence on the writers of his day can be evidenced by a letter to the playwright poetess A. D. Mysovskaya. “Do you know how great was your influence on me? It was not love for art that made me understand and appreciate you: on the contrary, you taught me to love and respect art. I am indebted to you alone for the fact that I resisted the temptation to fall into the arena of miserable literary mediocrity, did not chase after cheap laurels thrown by the hands of sweet and sour half-educated. You and Nekrasov made me fall in love with thought and work, but Nekrasov gave me only the first impetus, you are the direction. Reading your works, I realized that rhyming is not poetry, and a set of phrases is not literature, and that only by processing the mind and technique, the artist will be a real artist.
Ostrovsky had a powerful impact not only on the development of domestic drama, but also on the development of the Russian theater. The colossal importance of Ostrovsky in the development of the Russian theater is well emphasized in a poem dedicated to Ostrovsky and read in 1903 by M. N. Yermolova from the stage of the Maly Theater:
On the stage, life itself, from the stage blows the truth,
And the bright sun caresses and warms us;
The live speech of ordinary, living people sounds,
On stage, not a “hero”, not an angel, not a villain,
But just a happy person
In a hurry to quickly break the heavy fetters
Conditions and lies. Words and feelings are new
But in the secrets of the soul, the answer sounds to them, -
And all the mouths whisper: blessed is the poet,
Tore off the shabby, tinsel covers
And shed a bright light into the kingdom of darkness
The famous actress wrote about the same thing in her memoirs in 1924: “Together with Ostrovsky, truth itself and life itself appeared on the stage. The growth of original drama began, full of responses to modernity; They started talking about the poor, the humiliated and the offended.”
The realistic direction, muffled by the theatrical policy of the autocracy, continued and deepened by Ostrovsky, turned the theater onto the path of close connection with reality. Only it gave life to the theater as a national, Russian, folk theater.
“You brought a whole library of works of art as a gift to literature, you created your own special world for the stage. You alone completed the building, at the foundation of which the cornerstones of Fonvizin, Griboyedov, Gogol were laid. This wonderful letter was received among other congratulations in the year of the thirty-fifth anniversary of literary and theatrical activity, Alexander Nikolaevich Ostrovsky from another great Russian writer - Goncharov.
But much earlier, about the very first work of the still young Ostrovsky, published in Moskvityanin, a subtle connoisseur of elegance and a sensitive observer V. F. Odoevsky wrote: this man is a great talent. I consider three tragedies in Russia: “Undergrowth”, “Woe from Wit”, “Inspector General”. I put number four on Bankrupt.
From such a promising first assessment to Goncharov's anniversary letter, a full, busy life; labor, and led to such a logical relationship of assessments, because talent requires, first of all, great labor on itself, and the playwright did not sin before God - he did not bury his talent in the ground. Having published the first work in 1847, Ostrovsky has since written 47 plays and translated more than twenty plays from European languages. And all in all, in the folk theater he created, there are about a thousand actors.
Shortly before his death, in 1886, Alexander Nikolaevich received a letter from L. N. Tolstoy, in which the brilliant prose writer admitted: “I know from experience how people read, listen and remember your things, and therefore I would like to help you have now become, in fact, what you undoubtedly are - a writer of the whole people in the broadest sense.