Formulate the main features of the Ostrovsky style. A. N. Ostrovsky, general characteristics of the playwright's work. The beginning of literary activity

A.N. Ostrovsky considered the emergence of a national theater a sign of the coming of age of the nation. It is not by chance that this “age of majority” falls in the middle of the 19th century, when the efforts of the national playwright and his companions created the national repertoire and prepared the ground for the emergence of a national theater that could not exist with only a few plays by Fonvizin, Griboyedov, Pushkin and Gogol.

Ostrovsky found himself at the center of the dramatic art of that time. He set the tone, outlined the main paths along which the development of Russian drama went.

Our dramaturgy owes Ostrovsky its unique national image. There is nothing surprising in the fact that Ostrovsky begins his writing career with the essay "Notes of a Resident from Zamoskvoretsk" and that his first plays stray into cycles of everyday scenes that have many conflicts that have not yet developed, but are already ripening, which are captured in scenes gravitating towards the epic throughout their completeness.

Already in the early period of creativity, a characteristic feature of Ostrovsky's dramatic talent was determined, which subsequently gave Dobrolyubov a reason to call the scenes, comedies and dramas of the writer "plays of life."

Ostrovsky's genetically early dramaturgy is usually associated with the prose of the "natural school", with a physiological essay during the crisis of this genre. Indeed, by the end of the 1840s, the narrator in the essays and stories of the “natural school” changed decisively. He is no longer in a hurry to express his point of view on ongoing events, he does not interfere in the living stream of life. On the contrary, he prefers to "shrink", to turn into a chronicler, objectively and impartially recreating the facts. The artistic world of realistic prose is becoming more and more

Already contemporary criticism of Ostrovsky also pointed to the playwright's adherence to the Gogol tradition. The first comedy "Own people - let's agree!" (1850), which brought
Ostrovsky's fame and well-deserved literary success, contemporaries put in a number of Gogol's works and called the merchant's "Dead Souls". The influence of the Gogol tradition in "His people ..." is really great. At first, none of the comedy heroes causes any sympathy. It seems that, like Gogol's The Inspector General, Ostrovsky's only "positive hero" is laughter.

However, as the plot moves towards the denouement, new motifs that are not characteristic of Gogol appear. In the play, two merchant generations collide: "fathers" and "children". The difference between them is evident even in the speaking names and surnames: Bolshov - from the peasant bolshak, the head of the family, a merchant of the first generation, a peasant in the recent past. He traded in golitsami on Balchug, good people called him Samsoshka and fed him with slaps on the back of the head. Having become rich, Bolshov squandered the people's moral "capital".

But funny and vulgar at the beginning of the comedy, Bolshov grows up to its finale. When kindred feelings are defiled by children, when the only daughter regrets ten kopecks to creditors and with a light conscience accompanies her father to prison, a suffering person wakes up in Bolshovo: “Tell me, daughter: go, they say, you old devil, into the pit! Yes, in the hole! To his prison, the old fool. And for the cause! Don't go after more, be happy with what you have.< … >You know, Lazarus, Judas - after all, he also sold Christ for money, as we sell our conscience for money ... ".

Tragic motives make their way through the vulgar life in the finale of the comedy. Scolded by children, deceived and expelled, the merchant Bolshov resembles King Lear from Shakespeare's tragedy of the same name.

Inheriting Gogol's traditions, Ostrovsky went ahead. If in Gogol all the characters in The Inspector General are equally soulless, and their soullessness explodes from within only with Gogol's laughter, then in Ostrovsky's soulless world, sources of living human feelings are opened.

Ostrovsky's realism moves in the general direction of the historical and literary process of the late 1840s and early 1850s. During this period, Turgenev, with his "Notes of a Hunter", adds a gallery of living souls to the gallery of Gogol's "dead souls", and Dostoevsky in the novel "Poor People", arguing with Gogol's "Overcoat", opens a rich inner world in the poor official Makar Devushkin.

Simultaneously with his literary brethren, Ostrovsky returns complex human characters, suffering souls, "hot hearts" to the stage. The conflict between the "tyrant" and the "victim" enables Ostrovsky to psychologically enrich the characters' characters. The comedy The Poor Bride (1851) echoes Gogol's The Marriage - here and there the condemnation of inhuman marriages. But Ostrovsky has a man suffering from this soullessness. The dramatic conflict in the play changes: there is a clash of pure desires of people with dark forces blocking the way for these desires.

Psychologically complicating the characters of the characters, filling the drama with rich lyrical content, Ostrovsky follows not Gogol, not the writers of the "natural school", but Pushkin and Shakespeare.

Ostrovsky worshiped the great English playwright of the Late Renaissance throughout his entire career. This is evidenced by letters, theatrical notes, translations of Shakespeare, as well as echoes of Shakespearean techniques and motives in the plays of the Russian national playwright.

It is symbolic that Ostrovsky's death found him translating Shakespeare's drama Antony and Cleopatra.

In the mid-1850s, the look at merchant life in the first comedy “Let's Settle Our Own People” already seems to Ostrovsky “young and too tough ... Let a Russian person rejoice at seeing himself on stage rather than yearn. Correctors will be found even without us. In order to have the right to correct the people without offending them, it is necessary to show them that you know the good behind them; this is what I am doing now, combining the high with the comic.

In the plays Don't Get into Your Sleigh (1853), Poverty is Not a Vice (1854), Don't Live the Way You Want (1855), Ostrovsky depicts predominantly the bright, poetic aspects of merchant life.

Behind the social changes in the life of the merchants, who are losing touch with the fundamental foundations of folk morality, Ostrovsky's national forces and elements of life arise here. We are talking about the breadth of the Russian character, about the two extreme poles of his nature - meek and balanced, represented in the epics by Ilya Muromets, and predatory, masterful, personified by Vasily Buslaev. In the struggle between these poles, the truth ultimately remains with the first: the Russian person is arranged in such a way that sooner or later a saving, bright, pacifying principle awakens in him.

The happy endings in Ostrovsky's "Slavophile" dramas are no longer motivated only by social, but mainly by national causes. In a Russian person, despite social circumstances, there is an internal support associated with the fundamental foundations of folk life, with thousand-year-old Orthodox Christian shrines. The moral solution of social problems significantly changes the composition of Ostrovsky's plays of this period. It is built according to the type of a parable, a clear opposition of good and evil, light and dark principles.

Ostrovsky is convinced that such a composition corresponds to the national characteristics of the Russian people. An example of this are folk performances, in which constantly
there is a didactic, moralizing element. Ostrovsky consciously orients himself in his plays to the tastes of a democratic audience.

The very possibility of a sudden enlightenment of the soul of a Russian person, clouded by vicious passions, Ostrovsky explains by the breadth of Russian nature. He finds confirmation of the poetics of sudden fractures in human characters in folk tales and folk dramas.

There is a point of view that in the plays of the Slavophile period, Ostrovsky idealized the merchants and retreated from realism. But the artistic value of these plays lies precisely in the fact that Ostrovsky, occupying one of the leading places in the literary process of his time, took a decisive step in the development of realism in them, moving away from the precepts of the "natural school".

The heroes of his plays are no longer limited to what the "environment" forms in them. Neither Rusakov, nor Gordey Tortsov, nor his brother Lyubim fit into the usual social line of merchant morals.

They may act unexpectedly. Here Ostrovsky caught the new relationship between the individual and the environment, which the era of the middle of the 19th century brought to Russian literature.

In the comedy Profitable Place (1857), Ostrovsky shows that the hopes of Russian liberals for an enlightened official are fair-hearted, that the sources of bribery and embezzlement are not in vicious people, but in the social system itself, which gives rise to bureaucracy.

Ostrovsky sympathizes with the honest official Zhadov. In creating the image of this hero, he relies on the traditions of Griboedov's comedy "Woe from Wit", on the image of Chatsky in it. But at the same time, Ostrovsky sets off the youthful enthusiasm, the naive vehemence of Zhadov's convictions. A sober realist, Ostrovsky warns the liberal intelligentsia about the illusory nature of the naive belief that an enlightened official can radically change the bureaucratic world.

Ostrovsky's works capture an epoch-making conflict of tragic intensity: the disintegration of traditional social and spiritual ties in the county town and the Russian village, the birth of a strong folk character in the process of this thunderous disintegration.

At first glance, The Thunderstorm is an everyday drama that continues the tradition of Ostrovsky's previous plays. But now the playwright raises everyday life to the heights of tragedy. That is why he poeticizes the language of the characters. We are present at the very birth of tragic content from the depths of Russian provincial life. The people of Groza live in a special state of the world: the pillars holding back the old order have been shaken.

The first action introduces us into the pre-stormy atmosphere of life. The temporary triumph of the old only increases the tension. It matures and thickens by the end of the first act. Even nature, as in a folk song, responds to this: heat, stuffiness are replaced by a thunderstorm approaching Kalinov.

In Ostrovsky's Russian tragedy, two opposing cultures collide, generating a lightning discharge, and the confrontation between them goes into the depths of our history. A tragic clash is taking place between the two tendencies in historical Orthodoxy, brought to their logical conclusion and self-denial: the legalistic, “world-renouncing,” and the grace-filled, “peace-accepting.” Emitting spiritual light, Katerina is far from the harsh asceticism and dead formalism of the house-building rules and regulations, she came to Kalinov from a family where grace still reigns over the law.

In order to preserve their millions, it is to the advantage of the wealthy strata of the merchants to strengthen and bring to the extreme precisely the world-denying bias, which makes it easier for them, “under the guise of piety,” to do deeds that are far from holiness.

It is impossible to reduce the meaning of the tragic collision in The Thunderstorm only to a social conflict. The national playwright caught in it the symptoms of the deepest religious crisis that was approaching Russia, the deep sources of the great religious tragedy of the Russian people, the consequences of which gave their catastrophic results in the 20th century.

The playwright opens here a theme that will turn out to be one of the leading in Russian literature of his time. Echoes of two oppositely charged poles of the Russian
life, which gave rise to a lightning discharge in Ostrovsky's "Russian tragedy", run alarming flashes throughout the field of our classical literature of the second half of the 19th century.

We feel them in the clash of "Bolkon" and "Karataev" principles in "War and Peace", in the conflict between Father Ferapont and the elder Zosima in "The Brothers Karamazov", in the dispute with Dostoevsky of the religious philosopher Konstantin Leontiev, in the conflict between Vera and grandmother and Mark Volokhov in Goncharov's "The Cliff", in the Christian motifs of Nekrasov's poetry, in "The Golovlev Gentlemen" and "Tales" by Saltykov-Shchedrin, in the religious drama of L.N. Tolstoy.

Breaking with the world of the Kabanovs, Katerina finds salvation in the spiritual and moral atmosphere that arose in Russia even before the adoption of Christianity. The system of spiritual values ​​that lives in the Russian folklore consciousness, connected with paganism and going back to prehistoric times, was a constant source of temptation and “seduction”.

There could not be complete identity between ancient paganism and Christianity, and therefore repulsion from the imperfect manifestations of historical Christianity always gave rise to the danger of the people's consciousness leaving the circle of dogmatic Orthodox Christian ideas.

The artistically gifted nature of Katerina just falls into this “Russian temptation” at the end of the tragedy. At the same time, Ostrovsky cannot conceive of a national character without this powerful and fruitful poetic fundamental principle, which is an inexhaustible source of artistic imagery and preserves the heart instincts of Russian goodness in pristine purity. That is why, after her death, reminiscent of a voluntary departure into the world of nature, Katerina retains all the signs that, according to popular belief, distinguished a holy person from a mere mortal: she is dead, as alive. “And for sure, robots, as if alive! Only on the temple is a small such wound, and only one, as there is one, a drop of blood.

Dramaturgy of Alexander Nikolayevich Ostrovsky, problems, social significance. (March 31, 1823 - June 2, 1886)

Alexander Nikolayevich Ostrovsky was born on March 31, 1823 in Moscow, where his father served in the civil chamber, and then engaged in private advocacy. Ostrovsky lost his mother in childhood and did not receive any systematic education. All his childhood and part of his youth were spent in the very center of Zamoskvorechye, which at that time, according to the conditions of his life, was a completely special world. This world populated his imagination with those ideas and types that he later reproduced in his comedies. Thanks to his father's large library, Ostrovsky got acquainted early with Russian literature and felt an inclination towards writing; but his father certainly wanted to make a lawyer out of him.

After graduating from the gymnasium course, Ostrovsky entered the law faculty of Moscow University. He failed to complete the course due to some kind of collision with one of the professors. At the request of his father, he entered the service of a scribe, first in a conscientious, then in a commercial court. This determined the nature of his first literary experiments; in court, he continued to observe the peculiar Zamoskvoretsky types familiar to him from childhood, asking for literary processing. By 1846, he had already written many scenes from a merchant's life, and conceived a comedy: "Insolvent debtor" (later - "Own people - let's settle"). A small excerpt from this comedy was published in No. 7 of the Moscow City Listk, 1847; under the passage are the letters: "A. O." and "D. G.", that is, A. Ostrovsky and Dmitry Gorev. The latter was a provincial actor (real name - Tarasenkov), the author of two or three plays already played on the stage, who accidentally met Ostrovsky and offered him his cooperation. It did not go beyond one scene, and subsequently served as a source of great trouble for Ostrovsky, as it gave his ill-wishers a reason to accuse him of appropriating someone else's literary work. In issues 60 and 61 of the same newspaper, without a signature, another, already completely independent work by Ostrovsky appeared - "Pictures of Moscow Life. A Picture of Family Happiness." These scenes were reprinted, in a corrected form and with the name of the author, under the title: "Family Picture", in Sovremennik, 1856, No. 4. Ostrovsky himself considered the "Family Picture" his first printed work and it was from it that he began his literary activity. He recognized February 14, 1847 as the most memorable and dearest day of his life: on this day he visited S.P. Shevyrev and, in the presence of A.S. Khomyakov, professors, writers, employees of the Moscow City List, read this play, which appeared in print a month later. Shevyrev and Khomyakov, embracing the young writer, welcomed his dramatic talent. "From that day on," says Ostrovsky, "I began to consider myself a Russian writer, and without doubt or hesitation, I believed in my vocation."

He also tried his hand in the narrative kind, in feuilleton stories from life outside Moscow. In the same "Moscow City List" (No. 119 - 121) one of these stories is printed: "Ivan Erofeich", with the general title: "Notes of a Zamoskvoretsky Resident"; two other stories in the same series: "The Tale of How the Quarter Warden Started to Dance, or From the Great to the Funny, Only One Step", and "Two Biographies" remained unpublished, and the last one was not even finished.

Ostrovsky's comedy, under the changed title: "Our people - we will settle", after long troubles with censorship, reaching the highest authorities, was published in the 2nd March book of "Moskvityanin" 1850, but was not allowed to be presented; censorship did not even allow to talk about this play in the press. She appeared on the stage only in 1861, with the ending altered against the printed one. Following this first comedy by Ostrovsky, his other plays began to appear annually in "Moskvityanin" and other magazines: in 1850 - "The Morning of a Young Man", in 1851 - "An Unexpected Case", in 1852 - "The Poor Bride ", in 1853 - "Do not sit in your sleigh" (the first of Ostrovsky's plays, which hit the stage of the Moscow Maly Theater on January 14, 1853), in 1854 - "Poverty is not a vice", in 1855 - "Do not live as you want," in 1856 - "A hangover in someone else's feast."

In all these plays, Ostrovsky portrayed such aspects of Russian life that before him had hardly been touched upon by literature at all and were not at all reproduced on the stage. A deep knowledge of the life of the depicted environment, the vivid vitality and truth of the image, a peculiar, lively and colorful language, clearly reflecting the real Russian speech of the "Moscow prosvirens", which Pushkin advised Russian writers to learn - all this artistic realism with all simplicity and sincerity, up to which even Gogol did not raise, was met in our criticism by some with stormy enthusiasm, by others with bewilderment, denial and ridicule.

Ostrovsky introduces into the circle of actors the world of large and small officials, and then the landowners. In 1857, “Profitable Place” and “Festive Sleep Before Dinner” were written (the first part of the “trilogy” about Balzaminov; two further parts - “Your own dogs bite, don’t pester someone else” and “What you go for, you will find” - appeared in 1861), in 1858 - "The characters did not agree" (originally written in the form of a story), in 1859 - "The Pupil". In the same year, two volumes of Ostrovsky's works appeared, in the edition of Count G.A. Kushelev-Bezborodko. This edition was the reason for the brilliant assessment that Dobrolyubov gave to Ostrovsky and which secured his fame as a depicter of the "dark kingdom".

Ostrovsky himself was by nature not a satirist at all, hardly even a humorist; with truly epic objectivity, caring only about the truth and vitality of the image, he "calmly matured at the right and the guilty, knowing neither pity nor anger" and not at all hiding his love for the simple "Russian girl", in whom, even among the ugly manifestations of everyday life, he always was able to find certain attractive features. Ostrovsky himself was such a "Russian", and everything Russian found a sympathetic echo in his heart. In his own words, he cared first of all about showing a Russian person on stage: “let him see himself and rejoice. There will be correctors without us.

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, Lope de Vega in Spain, Molière in France, Goldoni in Italy, and Schiller in Germany.

Ostrovsky appeared in literature under very difficult conditions of the literary process, which hindered and favored him, as a bold innovator and an outstanding master of dramatic art.

Ostrovsky is one of the few playwrights of the 19th century who can be considered a true classic of drama.

The peculiarity of the position in which Ostrovsky was in comparison with other world playwrights lies in the fact that he wrote at a time when in the West, in particular in France, the vulgarization and expression of drama had already begun. A bourgeois-entertaining drama was born.

“Do not live as you want” - “he wrote this drama about the event of the end of the last century, under the influence of the mood of the circle ...” - S.V. Maksimov notes in his memoirs about Ostrovsky.

Here is the edifying outline of the play. Dasha married Peter without the blessing of her parents and without their consent. For this "sin" she was punished. The husband went on a rampage and started a mistress. Dasha runs away from her husband's house. But God helped her. She meets her parents on the way, and her father persuades her to be submissive and return home. In his rampage and debauchery, Peter went to the extreme. However, God stopped him at the edge of the abyss and returned him to the righteous path. Peter repented and reconciled with Dasha. Dasha found her family happiness. This is a reward for her obedience. The patriarchal way of Russian life appears in this scheme as reasonable and just, and the Orthodox faith as the main manifestation of the spiritual life of the people.

The Russian life of old times appeared not in the light of Slavophile dreams, but in its real complexity. The play is built very subtly and accurately and reveals the different facets and turns of this life.

Ostrovsky depicts not modernity, but antiquity, pushes back actions 60 - 70 years ago. This creates a distance between the viewer and what is depicted. Ostrovsky transferred responsibility for the events taking place in the drama to unknown representatives of the people. He hid behind them. Everything depicted in the play acquired the character of giving. This is a legend about devilish obsession and evil spirits, a legend about how God intervened in the fate of a person and saved him. The plot contains a fantastic element and goes beyond everyday reality. The theme of the play is the disintegration of patriarchal relations and patriarchal delinquency, an attempt by an individual to defend freedom and live in his own way.

The feudal-feudal system could not completely suppress the people's amateur performance, the people's craving for creativity, could not kill the soul of the people. This was imprinted in the artistic monuments of the old culture. This was also captured in the "Thunderstorm".

No matter how significant Katerina's personality is, it was not by chance that Ostrovsky did not name the play after her. This is due to a different and special interpretation of the personality, its position in society and relationships with other people. "Thunderstorm" is an unusual title for a tragedy. Finally, the following is also important: tragedy is alienated from everyday life. She gravitates towards legend and tradition, refers to the past.

The creators of the tragedy make the heroes speak in verse and thereby elevate them above everyday life. Alexander Nikolaevich Ostrovsky understood this very well. In a conversation with Leo Tolstoy, he told him that he wrote his "Minin" in verse in order to elevate him above everyday life.

But Ostrovsky wrote "Thunderstorm" in prose. I wrote it in the colors of everyday life. He depicted in it an everyday incident in the spirit of those that often happened in the Volga cities. The heroes of "Thunderstorm" - people of the same merchant rank, who so closely surround us in Ostrovsky's comedies, a poetic note sounded.

But "Thunderstorm" is a play from modern life, a play in prose, an everyday family drama. The title of the play does not mean the name of the heroine of the tragedy, but a violent manifestation of nature, its phenomenon. And this cannot be considered a coincidence. Nature is an important character in the play. The heroes of "Thunderstorm", in contrast to the heroes of old tragedies, are merchants and philistines. Many features of Ostrovsky's play arise from this. We can say that Ostrovsky goes the opposite way compared to the authors of the old tragedies. "Thunderstorm" is built very complex and very peculiar. And this complexity of its artistic form serves to reveal the deep concept contained in the play. Ostrovsky often takes the action of the play outside the private home. The action of the first act takes place in the public garden, the fourth act unfolds against the backdrop of a covered gallery where the inhabitants of the city are walking, in one of the paintings of the second act the characters are shown on the street.

Having created "Thunderstorm", Ostrovsky opened up new paths in art. And this was supposed to give deep responses in various spheres of artistic life. First of all, "Thunderstorm" could not be a solitary phenomenon in the development of Russian drama. It was only the most striking expression of the new tendencies that emerged in it. "Thunderstorm" could not but find embodiment in the theater.

"Thunderstorm" Ostrovsky - a work that goes beyond the prosaic bourgeois existence. She contrasts prose with the great poetry of human characters, the song, poetic beginning of folk life. In these characters, in this song, poetic sound of the play, the possibility of overcoming the prose of a proprietary society, the possibility of free development was prophetically expressed.

The drama of Alexander Nikolaevich Ostrovsky "The Dowry" written in 1879, reflected the phenomena characteristic of that time: a sharp jump in the development of trade and industry, a change in the former "dark kingdom" towards civilization, the decline of the nobility

and his role in society. But Ostrovsky is primarily interested in the rise in the sense of personality caused by the reforms, therefore "Dowry" is a psychological drama in which a woman plays the main role, a heroine with a deep inner world and dramatic experiences.

"Dowry" occupies a special place in the legacy of the classic of Russian drama. Many people love this play. They are loved even by those who are generally indifferent to Ostrovsky, who consider him a "bytovnik", a primitive writer and who does not own the complex secrets of the human soul.

Drama Ostrovsky. A. N. "Dowry" is built on the classical naturalness and simplicity of the characters' images, but at the same time on the complexity of their characters and actions. The drama is not like the others, there are no strong intrigues in it, the characters are the same people, but with the difference that they are simpler, they are easy to understand.

The action of the play takes place in the city of Bryakhimov. There is no such city as the city of Kalinov on the map of the Russian Empire, this city did not develop and did not become a modern capitalist city. Ostrovsky developed it in his poetic fantasy, putting into it the features of many Volga cities, standing on the high bank of the great river. He populated this fictitious city with his fictitious characters and started a drama between them.

The title of the play very accurately expresses its theme. As always with Ostrovsky, the theme of the play is a social theme. Larisa is a poor girl from a provincial noble family - a dowry. Hence the ambiguity of her position, the complexity of her fate. Larisa is an outstanding personality, significantly standing out from her environment. She is beautiful, educated, talented - she sings and plays various musical instruments. This attracts numerous guests to the Ogudalovs' house, but these same guests mockingly appreciate her deep feeling in Poratova. They do not condemn Larisa for her "simplicity" - after all, dowry women cannot be told the truth.

In old Russia, a woman of this circle was cut off from the practical activities of her class. She could only express herself in love and family relationships. The fact that a woman is isolated from all forms of practical life allows her to preserve the purity of her thoughts, not to stain herself with selfishness and meanness, inseparable from commerce and noble life.

In many of his plays, Ostrovsky again and again created images of women, striking in their spiritual beauty and strength, wealth and integrity of their nature. They express themselves in love.

But even against the background of these women, Larisa looks like an outstanding creature. Larisa is a musical nature. Musical, not just in the professional sense of the word, but precisely in humanity, nature is melodious, talented, poetic. Music captivates her. She sings and plays the piano. The guitar sounds in her hands. Dreamy and aristocratic Larisa, as it were, hovers over life. She does not notice the vulgarity of the people around her. Her ability to see in everything only the ideal and noble manifested itself in her attitude towards the gypsies. In these people, placed by society in the position of miserable hangers-on, living on the handouts of the masters, she sees, first of all, musicians, artists, creators.

An old gypsy song, with its invincible elemental charm, with its passion and impulse to will, corresponds to Larisa's own passionate nature. The culmination of the play - Larisa sings the romance "Do not tempt me unnecessarily ...". This is a romance to the words of Baratynsky's famous elegy.

With the words of the romance, Larisa expresses her feelings, she begs Poratov not to tempt her unnecessarily with the return of her tenderness.

The plot of the play reproduces the situation outlined in Baratynsky's melancholy elegy.

Ostrovsky's work does not fit into any of the classical genre forms, this gave Dobrolyubov a reason to speak of it as a "play of life". In "Dowry" Ostrovsky comes to the disclosure of complex, subtle psychological polyphonic human characters. He shows us a life conflict, the reader lives this short period of life as a resident of the same city of Bryakhimov, or, even more interesting, like any hero of the drama.

This story is about how Paratov, despite the plea of ​​Larisa, tempted her and what came of it. A woman with a tender and passionate soul, who was tempted by a seducer shrouded in mystery and mystery, charm and reassurance, murder out of jealousy - the whole situation of the play is based on the motives and conflicts of the romance.

Larisa lives in a world where everything is bought and sold, even girlish beauty and love. But, lost in her dreams, in her rainbow world, she does not notice the most disgusting sides in people,

does not notice an unbeautiful attitude towards himself. Larisa sees only the good everywhere and in everyone and believes that people are like that.

This is how Larisa made a mistake in Paratov. He leaves the girl in love for the sake of profit, destroys at his own will. After, Larisa is preparing to marry Karandyshev. The girl perceives him as a kind poor man who is not understood by others. But the heroine does not understand and does not feel the envious, proud nature of Karandyshev. Indeed, in his attitude towards Larisa, there is more complacency for owning such a precious stone as Larisa.

At the end of the drama, Larisa comes to a realization. She understands with horror and bitterness that everyone around perceives her as a thing or, even worse, wants to make her a kept woman. And then the heroine utters the words: "Thing ... yes, a thing. They are right, I am a thing, not a person." Larisa, in desperation, tries to rush into the Volga, but she cannot, she is afraid to part with her life, no matter how useless and unhappy it may seem to her.

The frustrated girl understands the end, that in this world everything is estimated by "the rustle of banknotes", and then she decides: "If it is to be a thing, then one consolation is to be expensive."

Karandyshev's shot is salvation in Larisa's eyes, she is glad that she belongs only to herself again, they cannot sell or buy her, she is free. Larisa finds a shadow of nobility and a living human feeling in Karandyshev's imprudent, random act, and her spiritual drama finally ends, for the first time the heroine feels truly happy and free.

Ostrovsky. A. N. read the story of a woman with a romantic soul through the eyes of a realist. Before us is a romance adjusted for reality, with those adjustments that bring heartlessness, selfishness and vulgarity of bourgeois life into the romantic situation.

The spring fairy tale "The Snow Maiden" embodies Ostrovsky's poetic ideal, his idea of ​​beauty. Therefore, the history of the creation of the "Snow Maiden", its various interpretations, the complex life of this image in the minds of new generations - all this is closely connected with the problem of the ideal, the problem of beauty and fantasy in art.

A fairy tale about how a childless peasant couple - Ivan and Marya - decided to fashion a Snow Maiden girl from the snow, how this Snow Maiden came to life, grew up and took on the appearance of a thirteen-year-old girl, how she went for a walk in the forest with other girls, how they began to jump over the fire, and when she jumped, she melted.

Ostrovsky developed and modified this tale. But it was from this grain that he grew his creation, grew it based on life. Moreover, he introduced real and even everyday features into the fantasy world. One of the amazing features of the poetic style of "The Snow Maiden" is in this habit of fantasy.

"The Snow Maiden" is peculiar and unique not only in the work of Ostrovsky. A. N. but also in the history of world drama. However, it is not useless to establish what brings it closer to other plays by Alexander Nikolayevich Ostrovsky and even more broadly - to all the art of that era. In The Snow Maiden, Ostrovsky set himself other goals, other characters act in it, and their logic of behavior is different. Nevertheless, there is no doubt that there is an organic internal connection between The Snow Maiden and plays about modernity. In "The Snow Maiden" the poetic conception of Alexander Nikolaevich Ostrovsky and his poetic ideal came out directly and openly. "The Snow Maiden" carries in a philosophically generalized form the life and poetic concept of Ostrovsky's work. A.N. And yet she stands apart from the mainstream of art of that era and from the very work of Alexander Nikolayevich Ostrovsky.

The plays of Alexander Nikolaevich Ostrovsky appeared in the period of the great flowering of the Russian novel, the novel of Turgenev and Goncharov, Tolstoy and Dostoevsky.

Ostrovsky wrote mainly comedies. Only four of his plays he designated the word "drama".

The plays of Alexander Nikolayevich Ostrovsky, the most progressive in the dramaturgy of the second half of the 19th century, constitute a step forward in the development of world dramatic art, an independent and important chapter.

The selfless work that accompanied the playwright throughout his life was marked by brilliant results. It was Alexander Nikolayevich Ostrovsky who, with his dramatic masterpieces, completed the creation of the Russian national-original theater, begun by Fanvizin, Griboyedov and Gogol. The role of Ostrovsky, a leading writer, a luminary of national original drama, was recognized by the entire progressive public during his lifetime. Goncharov wrote: "Ostrovsky is undoubtedly the greatest talent in modern literature."

The innovation of Alexander Nikolayevich Ostrovsky was reflected not only in the fact that he abruptly turned dramaturgy and theater to life, to its urgent social and moral problems, but also in the fact that he wrote his plays in the name of the people and for the people. And the people gratefully accepted his dramaturgy.

The enormous influence of Ostrovsky on the dramaturgy of the domestic, fraternal nations that make up the USSR, Slavic and other peoples, in many respects not yet realized, requires serious study.

Ostrovsky noted: “Dramatic poetry is closer to the people than all other branches of literature. All other works are written for educated people, and dramas and comedies are for the whole people ... This proximity to the people does not in the least humiliate dramaturgy, but, on the contrary, doubles its strength and does not allow her to become vulgar and grind."

But the work of Alexander Nikolayevich Ostrovsky is connected not only with the past. It is active in the present. By his contribution to the theatrical repertoire, which is an expression of current life, the great playwright is our contemporary. Attention to his work does not decrease, but increases.

The great creative heritage of Ostrovsky. A. N., which had a huge impact on the development of domestic drama and the stage, on dramatic and stage art in general, retains and will retain for a long time the value of a wonderful, indispensable textbook of life, delivering true aesthetic pleasure to readers and viewers. His plays, being among the world's literary and artistic values, more and more often attract the attention of foreign publishers and theaters.

The playwright tirelessly repeated that life is richer than all the fantasies of an artist, that a true artist does not invent anything, but strives to understand the complex intricacies of reality. “The playwright does not invent plots,” said Ostrovsky, “all our plots are borrowed. They are given by life, history, the story of a friend, sometimes a newspaper article. What happens, the playwright should not invent; his job is to write how it happened or could happen. his work. When paying attention to this side, living people will appear in his presence, and they themselves will speak.

Ostrovsky. A. N. acted as a continuation of the humanistic tradition of Russian literature. Following Belinsky, the highest artistic criterion of artistry, Alexander Nikolaevich Ostrovsky, considered realism and nationality, which are inconceivable both without a sober, critical attitude to reality, and without the affirmation of a positive folk principle. “The more elegant the work,” the playwright wrote, “the more popular it is, the more this accusatory element in it.”

The peculiarity of the dramatic action in Ostrovsky's plays determined the interaction of various parts in the structure of the whole, in particular, the special function of the finale, which is always structurally significant: it does not so much complete the development of the dramatic collision itself, but reveals the author's understanding of life. Disputes about Ostrovsky, about the relationship between the epic and dramatic beginnings in his works, in one way or another, also affect the problem of the finale, the functions of which in Ostrovsky's plays were interpreted differently by critics. Some believed that Ostrovsky's finale, as a rule, translates the action into slow motion. Thus, the critic of Notes of the Fatherland wrote that in The Poor Bride the finale is the fourth act, and not the fifth, which is needed "to determine the characters that were not determined in the first four acts," and turns out to be unnecessary for the development of the action, because " action is over." And in this discrepancy, the discrepancy between the "scope of action" and the definition of character, the critic saw a violation of the elementary laws of dramatic art.

Other critics believed that the ending in Ostrovsky's plays most often coincides with the denouement and does not slow down the rhythm of the action in the least. To confirm this thesis, they usually referred to Dobrolyubov, who noted "the decisive need for that fatal end that Katerina has in The Thunderstorm."

Ostrovsky believed that the writer must not only become related to the people, studying their language, way of life and customs, but also must master the latest theories of art. All this affected the views of Alexander Nikolayevich Ostrovsky on drama, which, of all types of literature, is closest to the broad democratic strata of the population. Ostrovsky considered comedy to be the most effective form and recognized in himself the ability to reproduce life mainly in this form.

In the dramatic works of Alexander Nikolayevich Ostrovsky, one can observe how the temporal sequence and concentration of the action are torn apart: the author directly points to significant periods of time separating one act from another. However, such temporary breaks are found most often in the chronicles of Ostrovsky, pursuing the goal of an epic, rather than a dramatic reproduction of life. In dramas and comedies, the time intervals between acts contribute to the identification of those boundaries of the characters of the characters that can only be found in new, changed situations.

The secret of Ostrovsky's dramatic writing lies not in one-planned characteristics of human types, but in the desire to create full-blooded human characters, the internal contradictions and struggles of which serve as a powerful impetus for the dramatic movement.

Literature

• 1. Revyakin. A. I. The Art of Drama by A. N. Ostrovsky. - M., "Enlightenment", 1974.
• 2. Stein. A. L. Master of Russian drama. - M., "Soviet writer", 1973.
• 3. Brykina.Yu.Ya. The problem of perception and interpretation of the dramaturgy of A.N. Ostrovsky in the second half of the 19th century: : source study. aspect: Abstract. dis. for the competition scientist step. cand. ist. Sciences: 07.00.09 / Brykina Yuliya Yakovlevna; [Est.-arch. in-t Ros. state humanitarian. university]. - M., 2001.
• 4. Dramaturgy of Russian classics: [Collection / Comp., entry. Art.: L. Kalyuzhnaya. - M. : Zvonnitsa-MG, 2002. - 492, p.
• 5. Stein.A.L. The good genius of the Russian theater: about A.N. Ostrovsky / A.L. Stein. - Moscow: Lazur, 2004. - 238, p.
• 6. Ivanov.I.I. Alexander Ostrovsky: His life and literature. activity: biogr. feature article. - St. Petersburg, 1900. - 99, p. - (ZhZL. Biogr. F. Pavlenkov's library).
• 7. Mildon.V.I. Philosophy of Russian drama: the world of Ostrovsky / Valery Mildon. - Moscow: ROSSPEN, 2007. - 237, p. - (Faces of culture: LK).

He opened the world to a man of a new formation: an Old Believer merchant and a capitalist merchant, a merchant in an Armenian coat and a merchant in a “troika”, traveling abroad and doing his own business. Ostrovsky opened wide the door to the world, hitherto locked behind high fences from strange prying eyes.
V. G. Marantsman

Dramaturgy is a genre that involves the active interaction of the writer and the reader in considering the social issues raised by the author. A. N. Ostrovsky believed that dramaturgy has a strong impact on society, the text is part of the performance, but the play does not live without staging. Hundreds and thousands will view it, and much less will read it. Nationality is the main feature of the drama of the 1860s: heroes from the people, a description of the life of the lower strata of the population, the search for a positive national character. Drama has always had the ability to respond to topical issues. Creativity Ostrovsky was at the center of the dramaturgy of this time, Yu. M. Lotman calls his plays the pinnacle of Russian drama. I. A. Goncharov called Ostrovsky the creator of “, the “Russian national theater”, and N. A. Dobrolyubov called his dramas “life plays”, since in his plays the private life of the people is formed into a picture of modern society. In the first big comedy "Our People - Let's Settle" (1850), it is through intra-family conflicts that public contradictions are shown. It was with this play that Ostrovsky's theater began, it was in it that new principles of stage action, the behavior of an actor, and theatrical entertainment first appeared.

Creativity Ostrovsky was new to Russian drama. His works are characterized by the complexity and complexity of conflicts, his element is a socio-psychological drama, a comedy of manners. The features of his style are speaking surnames, specific author's remarks, peculiar titles of plays, among which proverbs are often used, comedies based on folklore motives. The conflict of Ostrovsky's plays is mainly based on the incompatibility of the hero with the environment. His dramas can be called psychological, they contain not only an external conflict, but also an internal drama of a moral principle.

Everything in the plays historically accurately recreates the life of society, from which the playwright takes his plots. The new hero of Ostrovsky's dramas - a simple man - determines the originality of the content, and Ostrovsky creates a "folk drama". He accomplished a huge task - he made the "little man" a tragic hero. Ostrovsky saw his duty as a dramatic writer in making the analysis of what was happening the main content of the drama. “A dramatic writer ... does not compose what was - it gives life, history, legend; his main task is to show on the basis of what psychological data some event took place and why it was so and not otherwise ”- this, according to the author, is the essence of the drama. Ostrovsky treated dramaturgy as a mass art that educates people, and defined the purpose of the theater as a "school of social morals." His very first performances shocked with their truthfulness and simplicity, honest heroes with a "hot heart". The playwright created, "combining the high with the comic", he created forty-eight works and invented more than five hundred heroes.

Ostrovsky's plays are realistic. In the merchant environment, which he observed day after day and believed that the past and present of society were united in it, Ostrovsky reveals those social conflicts that reflect the life of Russia. And if in "The Snow Maiden" he recreates the patriarchal world, through which modern problems are only guessed, then his "Thunderstorm" is an open protest of the individual, a person's desire for happiness and independence. This was perceived by playwrights as an affirmation of the creative principle of love of freedom, which could become the basis of a new drama. Ostrovsky never used the definition of "tragedy", designating his plays as "comedies" and "dramas", sometimes providing explanations in the spirit of "pictures of Moscow life", "scenes from village life", "scenes from backwater life", pointing out that that we are talking about the life of a whole social environment. Dobrolyubov said that Ostrovsky created a new type of dramatic action: without didactics, the author analyzed the historical origins of modern phenomena in society.

The historical approach to family and social relations is the pathos of Ostrovsky's work. Among his heroes are people of different ages, divided into two camps - young and old. For example, as Yu. M. Lotman writes, in The Thunderstorm Kabanikha is the “keeper of antiquity”, and Katerina “carries the creative beginning of development”, which is why she wants to fly like a bird.

The dispute between antiquity and newness, according to the scholar of literature, is an important aspect of the dramatic conflict in Ostrovsky's plays. Traditional forms of everyday life are considered as eternally renewing, and only in this the playwright sees their viability... The old enters the new, into modern life, in which it can play the role of either a “fettering” element, oppressing its development, or stabilizing, ensuring the strength of the emerging novelty, depending on the content of the old that preserves the people's life. The author always sympathizes with young heroes, poeticizes their desire for freedom, selflessness. The title of the article by A. N. Dobrolyubov “A ray of light in a dark kingdom” fully reflects the role of these heroes in society. They are psychologically similar to each other, the author often uses already developed characters. The theme of the position of a woman in the world of calculation is also repeated in "The Poor Bride", "Hot Heart", "Dowry".

Later, the satirical element intensified in the dramas. Ostrovsky refers to Gogol's principle of "pure comedy", bringing to the fore the characteristics of the social environment. The character of his comedies is a renegade and a hypocrite. Ostrovsky also turns to the historical-heroic theme, tracing the formation of social phenomena, growth from a “little man” to a citizen.

Undoubtedly, Ostrovsky's plays will always have a modern sound. Theaters constantly turn to his work, so it stands outside the time frame.

Dramaturgy by A.P. Chekhov.

Chekhov is called "Shakespeare of the 20th century". Indeed, his drama, like Shakespeare's, played a huge turning point in the history of world drama. Born in Russia at the turn of the new century, it has developed into such an innovative artistic system that has determined the future development of dramaturgy and theater throughout the world.
Of course, the innovation of Chekhov's drama was prepared by the searches and discoveries of his great predecessors, the dramatic works of Pushkin and Gogol, Ostrovsky and Turgenev, on the good, strong tradition of which he relied. But it was Chekhov's plays that made a real revolution in the theatrical thinking of their time. His entry into the sphere of drama marked a new starting point in the history of Russian artistic culture.
By the end of the 19th century, Russian dramaturgy was in an almost deplorable state. Under the pen of craft writers, the once lofty traditions of drama degenerated into routine clichés, turned into dead canons. The scene is too noticeably removed from life. At that time, when the great works of Tolstoy and Dostoyevsky raised Russian prose to unprecedented heights, Russian drama eked out a miserable existence. To overcome this gap between prose and dramaturgy, between literature and theater, it was destined for none other than Chekhov. Through his efforts, the Russian stage was raised to the level of great Russian literature, to the level of Tolstoy and Dostoevsky.
What was the discovery of Chekhov the playwright? First of all, he brought the drama back to life itself. Not without reason did it seem to his contemporaries that he simply offered briefly written long novels for the stage. His plays were striking in their unusual narrative, realistic thoroughness of their manner. This manner was not accidental. Chekhov was convinced that drama cannot be the property of only outstanding, exceptional personalities, a springboard only for grandiose events. He wanted to discover the drama of the most ordinary everyday reality. It was in order to give access to the drama of everyday life that Chekhov had to destroy all the outdated, firmly rooted dramatic canons.
“Let everything on the stage be as simple and at the same time as complicated as in life: people dine, only dine, and at that time their happiness is added up and their lives are broken,” said Chekhov, deriving the formula of a new drama. And he began to write plays in which the natural course of everyday life was captured, as if completely devoid of bright events, strong characters, sharp conflicts. But under the upper layer of everyday life, in an unprejudiced, as if accidentally scooped up everyday life, where people "just dined", he discovered an unexpected drama that "composes their happiness and breaks their lives."
The drama of everyday life, deeply hidden in the undercurrent of life, was the first most important discovery of the writer. This discovery required a revision of the previous concept of characters, the relationship between the hero and the environment, a different construction of the plot and conflict, a different function of events, breaking the usual ideas about dramatic action, its plot, climax and denouement, about the purpose of the word and silence, gesture and look. In a word, the entire dramatic structure from top to bottom has undergone a complete re-creation.
Chekhov ridiculed the power of everyday life over a person, showed how any human feeling becomes smaller and distorted in a vulgar environment, how a solemn ritual (funeral, wedding, anniversary) turns into absurdity, how everyday life kills holidays. Finding vulgarity in every cell of life, Chekhov combined a cheerful mockery with good humor. He laughed at human absurdity, but did not kill the man himself with laughter. In peaceful everyday life, he saw not only a threat, but also protection, appreciated the comfort of life, the warmth of the hearth, the saving power of gravity. The genre of vaudeville gravitated towards tragic farce and tragicomedy. Perhaps that is why his humorous stories were fraught with the motive of humanity, understanding and sympathy.

24. Moscow Art Theater. Creativity of K.S. Stanislavsky.

Moscow Art Theatre. The innovative program of the Moscow Art Theater (founded in 1898) and its connection with the ideas of advanced Russian aesthetics of the 19th century. Use in creative practice of the best achievements of the world realistic theater. Theatrical activities of K. S. Stanislavsky (1863-1938) and Vl. I. Nemirovich-Danchenko (1858-1943) before the creation of the Moscow Art Theater. Creation of the Moscow Public Art Theater by Stanislavsky and Nemirovich-Danchenko (1898). "Tsar Fedor Ivanovich" by A. K. Tolstoy - the first performance of the Moscow Art Theater. Historical and everyday line of performances of the Moscow Art Theater.

Productions of Chekhov's plays in the period 1898-1905: "The Seagull", "Uncle Vanya", "Three Sisters", "The Cherry Orchard", "Ivanov". Innovation in the interpretation of Chekhov's plays.

Socio-political line in the repertoire of the Moscow Art Theater. "Doctor Stockman" Ibsen. Performances of Gorky's plays "Petty Bourgeois", "At the Bottom", "Children of the Sun". Passion for recreating life on stage. "At the bottom" - the creative victory of the Moscow Art Theater. Staging "Children of the Sun" during the revolutionary events of 1905. Gorky's role in the ideological and creative development of the Art Theater.

Acting art of the Moscow Art Theatre: K.S. Stanislavsky, I. M. Moskvin, V. I. Kachalov, O. L. Knipper-Chekhova, L. M. Leonidov and others.

Konstantin Sergeevich Stanislavsky(real name - Alekseev; January 5, 1863, Moscow - August 7, 1938, Moscow) - Russian theater director, actor and teacher, theater reformer. The creator of the famous acting system, which for 100 years has been very popular in Russia and in the world. People's Artist of the USSR (1936).

In 1888 he became one of the founders of the Moscow Society of Art and Literature. In 1898, together with Vl. I. Nemirovich-Danchenko founded the Moscow Art Theater.

Konstantin Sergeevich was born in Moscow, in a large (he had nine brothers and sisters in total) family of a well-known industrialist, who was related to S. I. Mamontov and the Tretyakov brothers. Father - Alekseev, Sergey Vladimirovich (1836-1893), mother - Elizaveta Vasilievna (nee Yakovleva), (1841-1904).

The mayor of Moscow N. A. Alekseev was his cousin. The younger sister is Zinaida Sergeevna Sokolova (Alekseeva), Honored Artist of the RSFSR.

His first and illegitimate son from a peasant girl Avdotya Nazarovna Kopylova V. S. Sergeev (1883-1941) was adopted by Stanislavsky's father S. V. Alekseev, after whom he received his surname and patronymic, later became a professor at Moscow State University, a historian of antiquity.

Wife - Maria Petrovna Lilina (1866-1943; by her husband - Alekseeva) - Russian and Soviet theater actress, actress of the Moscow Art Theater.

S. V. Alekseev, father of K. S. Stanislavsky.

In 1878-1881 he studied at the gymnasium at the Lazarev Institute, after which he began serving in a family firm. The family was fond of the theater, in the Moscow house there was a hall specially rebuilt for theatrical performances, in the Lyubimovka estate - a theater wing.

Stage experiments began in 1877 in the home Alekseevsky circle. He intensively studied plasticity and vocals with the best teachers, studied on the examples of the actors of the Maly Theater, among his idols were Lensky, Musil, Fedotova, Yermolova. He played in operettas: "The Countess de la Frontière" by Lecoq (the ataman of the robbers), "Mademoiselle Nitouche" by Florimore, "The Mikado" by Sullivan (Nanki-Poo).

On the amateur stage in the house of A. A. Karzinkin on Pokrovsky Boulevard in December 1884, his first performance as Podkolesin in Gogol's "Marriage" took place. Also for the first time, the young actor worked under the direction of the artist of the Maly Theater M. A. Reshimov, who staged the play.

On the day of the premiere, there was also a curiosity that Konstantin Sergeevich remembered for the rest of his life. In his declining years, he himself spoke about this episode: “In the last act of the play, as you know, Podkolesin climbs out the window. The stage where the performance takes place was so small that, getting out of the window, one had to step along the piano standing behind the scenes. Of course, I blew the lid and broke a few strings. The trouble is that the performance was given only as a boring prelude to the upcoming merry dances. But at midnight they could not find a master to repair the piano, and the unlucky performer had to sit all evening in the corner of the hall and sing all the dances in a row. “It was one of the most fun balls,” recalled K. S. Stanislavsky, “but, of course, not for me.” We will also sympathize not only with the poor young man, but also with the charming young ladies who lost this evening an elegant and skillful handsome gentleman ...

In 1886, Konstantin Alekseev was elected a member of the directorate and treasurer of the Moscow branch of the Russian Musical Society and the conservatory attached to it. His associates in the directorate of the conservatory were P. I. Tchaikovsky, S. I. Taneev, S. M. Tretyakov. Together with the singer and teacher F. P. Komissarzhevsky and the artist F. L. Sollogub, Alekseev is developing a project for the Moscow Society of Art and Literature (MOIiL), investing personal funds in it. At this time, in order to hide his real name, he took the name Stanislavsky for the stage.

The impetus for the creation of the Society was a meeting with the director A.F. Fedotov: in his play “The Players” by N. Gogol, Stanislavsky played Ikharev. The first performance took place on December 8 (20), 1888. For ten years of work on the stage of the MOIiL, Stanislavsky became a famous actor, his performance of a number of roles was compared with the best works of the professionals of the imperial stage, often in favor of an amateur actor: Anania Yakovleva in A Bitter Fate (1888) and Platon Imshin in A. Pisemsky; Paratov in "Dowry" by A. Ostrovsky (1890); Zvezdintsev in "The Fruits of Enlightenment" by L. Tolstoy (1891). On the stage of the Society, the first director's experience was "Burning Letters" by P. Gnedich (1889). A great impression on the theatrical community, including Stanislavsky, was made on tour in Russia, in 1885 and 1890, by the Meiningen Theater, which was distinguished by a high production culture. In 1896, regarding Stanislavsky's Othello staged, N. Efros wrote: “The Meiningen people must have left a deep mark on the memory of K. S. Stanislavsky. Their setting is drawn to him in the form of a beautiful ideal, and he strives with all his might to approach this ideal. Othello is a big step forward on this pretty path.

In January 1891, Stanislavsky officially took over the directorship of the Society of Arts and Literature. Staged performances Uriel Acosta by K. Gutskov (1895), Othello (1896), Erkman-Shatrian's The Polish Jew (1896), Much Ado About Nothing (1897), Twelfth Night (1897), The Sunken Bell "(1898), played Acosta, burgomaster Matis, Benedict, Malvolio, master Henry. Stanislavsky was looking for, according to the definition he formulated later, "director's techniques to reveal the spiritual essence of the work." Following the example of the Meiningen artists, he uses authentic antique or exotic objects, experiments with light, sound, and rhythm. Subsequently, Stanislavsky would single out his production of Dostoevsky's The Village of Stepanchikov (1891) and the role of Thomas (Paradise for the Artist).

Moscow Art Theater

Dissatisfaction with the state of the drama theater at the end of the 19th century, the need for reforms, and the denial of stage routine provoked the search for A. Antoine and O. Bram, A. Yuzhin at the Moscow Maly Theater and Vl. Nemirovich-Danchenko at the Philharmonic School.

In 1897, Nemirovich-Danchenko invited Stanislavsky to meet and discuss a number of issues related to the state of the theatre. Stanislavsky kept a business card, on the back of which is written in pencil: “I will be at the Slavianski Bazaar at one o'clock - see you?” On the envelope, he signed: “The famous first meeting-sitting with Nemirovich-Danchenko. The first moment of the founding of the theatre.

In the course of this conversation, which has become legendary, the tasks of the new theatrical business and the program for their implementation were formulated. According to Stanislavsky, they discussed "the foundations of the future business, questions of pure art, our artistic ideals, stage ethics, technique, organizational plans, projects for the future repertoire, our relationships." In an eighteen-hour conversation, Stanislavsky and Nemirovich-Danchenko discussed the composition of the troupe, the backbone of which was to be composed of young intelligent actors, a circle of authors (G. Ibsen, G. Hauptman, A. P. Chekhov) and the modestly low-key design of the hall. Duties were divided: the literary and artistic veto was given to Nemirovich-Danchenko, the artistic veto to Stanislavsky; sketched out a system of slogans by which the new theater would live.

On June 14 (26), 1898, in the suburban suburb of Pushkino, the work of the Art Theater troupe began, created from the students of Nemirovich-Danchenko in the Philharmonic Society and amateur actors of the Society of Arts and Literature. In the very first months of rehearsals, it turned out that the division of duties of leaders is conditional. The rehearsals of the tragedy “Tsar Fyodor Ioannovich” were started by Stanislavsky, who created the mise-en-scenes of the performance that shocked the audience at the premiere, and Nemirovich-Danchenko insisted on choosing his student I. V. Moskvin for the role of Tsar Fyodor and, in individual lessons with the artist, helped him create the image of the "king-peasant", which became the opening of the performance. Stanislavsky believed that the historical and everyday line in the Moscow Art Theater began with "Tsar Fyodor", to which he attributed the productions of "The Merchant of Venice" (1898), "Antigone" (1899), "The Death of Ivan the Terrible" (1899), "The Power of Darkness" (1902), "Julius Caesar" (1903), etc. With A.P. Chekhov, he connected another - the most important line of productions of the Art Theater: the line of intuition and feeling - where he attributed "Woe from Wit" by A.S. Griboyedov (1906 ), “A Month in the Village” (1909), “The Brothers Karamazov” (1910) and “The Village of Stepanchikovo” (1917) by F. M. Dostoevsky and others.

K. Stanislavsky, 1912.

The most significant performances of the Art Theater, such as "Tsar Fyodor Ioannovich" by A. K. Tolstoy, "The Seagull", "Uncle Vanya", "Three Sisters", "The Cherry Orchard" by A. P. Chekhov were staged by Stanislavsky and Nemirovich-Danchenko jointly. In the following productions of Chekhov, the discoveries of The Seagull were continued and brought to harmony. The principle of continuous development united the crumbling, disparate life on the stage. A special principle of stage communication (“an object outside the partner”), incomplete, semi-closed, was developed. The spectator at Chekhov's performances of the Moscow Art Theater was pleased and tormented by the recognition of life, in its previously unthinkable details.

In the joint work on the play by M. Gorky "At the Bottom" (1902), the contradictions of the two approaches were identified. For Stanislavsky, the impetus was a visit to Khitrov Market's rooming houses. In his directorial plan, there are a lot of sharply noticed details: Medvedev's dirty shirt, shoes wrapped in outerwear on which Satin sleeps. Nemirovich-Danchenko was looking for "cheerful lightness" on the stage as the key to the play. Stanislavsky admitted that it was Nemirovich-Danchenko who found "the real manner of playing Gorky's plays", but he himself did not accept this manner of "simply reporting the role". The poster for "At the Bottom" was not signed by either director. From the beginning of the theater, both directors sat at the director's table. Since 1906, “each of us had his own table, his own play, his own production,” because, Stanislavsky explains, each “wanted and could only follow his own independent line, while remaining true to the general, basic principle of the theater.” The first performance where Stanislavsky worked separately was Brandt. At this time, Stanislavsky, together with Meyerhold, creates an experimental Studio on Povarskaya (1905). Stanislavsky would then continue his search for new theatrical forms in L. Andreev’s Life of a Man (1907): against the background of black velvet, schematically depicted fragments of interiors appeared, in which schemes of people arose: grotesquely pointed lines of costumes, make-up masks. In The Blue Bird by M. Maeterlinck (1908), the principle of the black cabinet was applied: the effect of black velvet and lighting techniques were used for magical transformations.

Stanislavsky-actor[edit | edit wiki text]

When creating the Art Theater, Stanislavsky believed Nemirovich-Danchenko that the roles of the tragic warehouse were not his repertoire. On the stage of the Moscow Art Theater, he played out only a few of his previous tragic roles in performances from the repertoire of the Society of Arts and Literature (Heinrich from The Drowned Bell, Imshin). In productions of the first season, he played Trigorin in The Seagull and Levborg in Hedda Gabler. According to critics, his masterpieces on stage were the roles: Astrov in "Uncle Vanya", Shtokman in G. Ibsen's play "Doctor Shtokman"), Vershinin "Three Sisters", Satin in "At the Bottom", Gaev "The Cherry Orchard", Shabelsky in Ivanov, 1904). The duet of Vershinin - Stanislavsky and Masha - O. Knipper-Chekhova entered the treasury of stage lyrics.

Stanislavsky continues to set himself more and more new tasks in the acting profession. He demands from himself the creation of a system that could give the artist the possibility of public creativity according to the laws of the “art of experience” at every moment of being on stage, an opportunity that opens up to geniuses in moments of the highest inspiration. Stanislavsky transferred his searches in the field of theatrical theory and pedagogy to the First Studio he created (public shows of its performances began in 1913).

The cycle of roles in modern drama - Chekhov, Gorky, L. Tolstoy, Ibsen, Hauptmann, Hamsun - was followed by roles in the classics: Famusov in "Woe from Wit" by A. Griboyedov (1906), Rakitin in "A Month in the Country" by I. Turgenev (1909), Krutitsky in A. Ostrovsky’s play “Enough Stupidity for Every Wise Man” (1910), Argan in Molière’s “Imaginary Sick” (1913), Count Lubin in W. Wicherly’s “Provincial Girl”, Cavalier in “The Hostess of the Inn” by K. Goldoni (1914).

The fate of Stanislavsky was echoed by his last two acting works: Salieri in the tragedy “Mozart and Salieri” by A. S. Pushkin (1915), and Rostanev, whom he was supposed to play again in the new production of “The Village of Stepanchikov” by F. M. Dostoevsky. The reason for the failure of Rostanev, the role that was not shown to the public, remains one of the mysteries of the history of the theater and the psychology of creativity. According to many testimonies, Stanislavsky "rehearsed beautifully." After a dress rehearsal on March 28 (April 10), 1917, he stopped work on the role. After Rostanev was “not born”, Stanislavsky forever refused new roles (he violated this refusal only out of necessity, during his tours abroad in 1922-1924, agreeing to play the governor Shuisky in the old play “Tsar Fyodor Ioannovich”).

After 1917[edit | edit wiki text]

K. S. Stanislavsky with the troupe of the studio theater in Leontievsky Lane in the scenery of the Lensky Mansion (c. 1922)

In the autumn of 1918, Stanislavsky directed a 3-minute comic film that was not released and has no title (it is found on the net under the name "Fish"). Stanislavsky himself and the actors of the Art Theater I. M. Moskvin, V. V. Luzhsky, A. L. Vishnevsky, V. I. Kachalov take part in the film. The plot of the film is as follows. In the garden at the house in Karetny, I. M. Moskvin, V. V. Luzhsky, A. L. Vishnevsky and Stanislavsky begin a rehearsal and wait for V. I. Kachalov, who is late. Kachalov comes up to them, who gestures that he cannot rehearse, because something is wrong with his throat. Moskvin examines Kachalov and removes a metal fish from his throat. Everyone laughs.

Stanislavsky's first production after the revolution was D. Byron's Cain (1920). Rehearsals had just begun when Stanislavsky was taken hostage during the Whites' breakthrough to Moscow. The general crisis in the Art Theater was aggravated by the fact that a significant part of the troupe, headed by Vasily Kachalov, who went on tour in 1919, was cut off from Moscow by military events. An absolute victory was the production of The Inspector General (1921). For the role of Khlestakov, Stanislavsky appointed Mikhail Chekhov, who had recently moved from the Moscow Art Theater (the theater had already been declared academic) to his 1st studio. In 1922, the Moscow Art Theater under the direction of Stanislavsky went on a long foreign tour of Europe and America, which was preceded by the return (not in full force) of the Kachalovsky troupe.

In the 1920s, the issue of changing theatrical generations became acute; the 1st and 3rd studios of the Moscow Art Theater turned into independent theaters; Stanislavsky painfully experienced the "betrayal" of his students, giving the studios of the Moscow Art Theater the names of Shakespeare's daughters from King Lear: Goneril and Regan - the 1st and 3rd studios, Cordelia - the 2nd [ source unspecified 1031 days] . In 1924, a large group of studio members, mostly pupils of the 2nd studio, joined the troupe of the Art Theater.

Stanislavsky's activity in the 1920s and 1930s was determined, first of all, by his desire to defend the traditional artistic values ​​of Russian stage art. The production of "Hot Heart" (1926) was the answer to those critics who assured that "The Art Theater is dead." Rapid ease of pace, picturesque festivity distinguished Beaumarchais's Crazy Day, or The Marriage of Figaro (1927) (set by A. Ya. Golovin).

After joining the troupe of the Moscow Art Theater of youth from the 2nd studio and from the school of the 3rd studio, Stanislavsky taught them classes and released on stage their works performed with young directors. Among these works, far from always signed by Stanislavsky, are “The Battle of Life” according to Dickens (1924), “The Days of the Turbins” (1926), “The Sisters Gerard” (a play by V. Massa based on the melodrama of A. Dennery and E. Cormon “Two orphans") and "Armored Train 14-69" Sun. Ivanova (1927); "Squanderers" by V. Kataev and "Untilovsk" by L. Leonov (1928).

Later years[edit | edit wiki text]

After a severe heart attack that happened on the anniversary evening at the Moscow Art Theater in 1928, the doctors forbade Stanislavsky to go on stage forever. Stanislavsky returned to work only in 1929, focusing on theoretical research, on pedagogical tests of the "system" and on classes at his Opera Studio of the Bolshoi Theater, which had existed since 1918 (now the Moscow Academic Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko).

For the production of Othello at the Moscow Art Theater, he wrote the director's score of the tragedy, which act after act was sent along with letters from Nice, where he hoped to complete the treatment. Published in 1945, the score remained unused, since I. Ya. Sudakov managed to release the performance before the end of Stanislavsky's work.

In the early 1930s, Stanislavsky, using his authority and the support of Gorky, who had returned to the USSR, applied to the government to secure a special position for the Art Theatre. They went towards him. In January 1932, the abbreviation "USSR" was added to the name of the theater, equating it with the Bolshoi and Maly Theaters, in September 1932 it was named after Gorky, - the theater became known as the Moscow Art Theater of the USSR. Gorky. In 1937 he was awarded the Order of Lenin, in 1938 - the Order of the Red Banner of Labor. In 1933, the building of the former Korsh Theater was transferred to the Moscow Art Theater to create a branch of the theater.

In 1935, the last one was opened - the Opera and Drama Studio of K. S. Stanislavsky (now the Moscow Drama Theater named after K. S. Stanislavsky) (among the works - Hamlet). Practically without leaving his apartment in Leontievsky Lane, Stanislavsky met with the actors at home, turning the rehearsals into an acting school according to the method of psycho-physical actions he was developing.

Continuing the development of the "system", following the book "My Life in Art" (American edition - 1924, Russian - 1926), Stanislavsky managed to send the first volume of "The Work of an Actor on Himself" (published in 1938, posthumously) to print.

Stanislavsky died on August 7, 1938 in Moscow. An autopsy showed that he had a whole bunch of diseases: an enlarged, failing heart, emphysema, aneurysms - a consequence of a severe heart attack in 1928. " Pronounced arteriosclerotic changes were found in all the vessels of the body, with the exception of the brain, which did not succumb to this process."- such was the conclusion of the doctors [ source unspecified 784 days] . He was buried on August 9 at the Novodevichy cemetery.

25. Creativity of V.E. Meyerhold.

Vsevolod Emilievich Meyerhold(real name - Karl Casimir Theodor Mayergold(German Karl Kasimir Theodor Meyergold); January 28 (February 9), 1874, Penza - February 2, 1940, Moscow) - Russian Soviet theater director, actor and teacher. Theorist and practitioner of theatrical grotesque, author of the Theater October program and creator of the acting system, called "biomechanics". People's Artist of the RSFSR (1923).

Biography[edit | edit wiki text]

Karl Casimir Theodor Mayergold was the eighth child in the family of Germanized Lutheran Jews of the winemaker Emil Fedorovich Mayergold (d. 1892) and his wife Alvina Danilovna (nee Neeze). In 1895 he graduated from the Penza Gymnasium and entered the law faculty of Moscow University. In the same year, upon reaching the age of majority (21), Meyerhold converted to Orthodoxy and changed his name to Vsevolod- in honor of the beloved writer V. M. Garshin.

In 1896, he moved to the 2nd year of the Theater and Music School of the Moscow Philharmonic Society in the class of Vl. I. Nemirovich-Danchenko.

In 1898, Vsevolod Meyerhold graduated from college and, together with other graduates (O. L. Knipper, I. M. Moskvin), joined the troupe of the Moscow Art Theater being created. In the play "Tsar Fyodor Ioannovich", which opened the Public Art Theater on October 14 (26), 1898, Vasily Shuisky played.

In 1902, Meyerhold left the Art Theater with a group of actors and began an independent directorial activity, heading a troupe in Kherson together with A. S. Kosheverov. From the second season, after the departure of Kosheverov, the troupe received the name "New Drama Partnership". In 1902-1905, about 200 performances were staged.

In May 1905, Konstantin Stanislavsky invited him to prepare the performances The Death of Tentagil by M. Maeterlinck, The Comedy of Love by G. Ibsen and Shlyuk and Yau by G. Hauptmann for the Studio Theater, which he planned to open on Povarskaya Street in Moscow. However, the Studio did not exist for long: as it turned out, Stanislavsky and Meyerhold understood its purpose in different ways. Having watched the performances staged by Meyerhold, Stanislavsky did not consider it possible to release them to the public. Years later, in the book “My Life in Art,” he wrote about Meyerhold’s experiments: “A talented director tried to hide the artists with himself, who in his hands were simple clay for sculpting beautiful groups, mise-en-scenes, with the help of which he carried out his interesting ideas. But in the absence of artistic technique among the actors, he could only demonstrate his ideas, principles, searches, but there was nothing to implement them, no one with whom, and therefore the studio’s interesting ideas turned into an abstract theory, into a scientific formula. In October 1905 the Studio was closed and Meyerhold returned to the provinces.

In 1906, he was invited by V. F. Komissarzhevskaya to St. Petersburg as the chief director of her own Drama Theater. In one season, Meyerhold produced 13 performances, including: "Hedda Gabler" by G. Ibsen, "Sister Beatrice" by M. Maeterlinck, "Public Show" by A. Blok, "The Life of a Man" by L. N. Andreev.

Imperial theaters[edit | edit wiki text]

Director of the Imperial Theatres.

In 1910, in Terijoki, Meyerhold staged a performance based on the play by the 17th century Spanish playwright Calderon Adoration of the Cross. The director and actors have been looking for a suitable place in nature for a long time. It was found in the estate of the writer M.V. Krestovskaya in Molodyozhny (fin. Metsäkyla). There was a beautiful garden here, a large staircase descended from the dacha to the Gulf of Finland - a stage platform. The performance, according to the plan, was to go on at night, "by the light of burning torches, with a huge crowd of the entire surrounding population." At the Alexandrinsky Theater he staged At the Royal Doors by K. Hamsun (1908), Jester Tantris by E. Hart, Don Giovanni by Molière (1910), Halfway by Pinero (1914), The Green Ring by Z. Gippius, "The Steadfast Prince" by Calderon (1915), "Thunderstorm" by A. Ostrovsky (1916), "Masquerade" by M. Lermontov (1917). In 1911 he staged Gluck's opera Orpheus and Eurydice at the Mariinsky Theater (artist - Golovin, choreographer - Fokin).

After the revolution[edit | edit wiki text]

B. Grigoriev. Portrait of V. Meyerhold, 1916

Member of the Bolshevik Party since 1918. Worked at Theo Narkompros.

After the October Revolution, he staged V. Mayakovsky's Mystery Buff in Petrograd (1918). From May 1919 to August 1920 he was in the Crimea and the Caucasus, where he experienced several changes of power, was arrested by white counterintelligence. From September 1920 to February 1921 - head of the TEO. In 1921 he staged the second edition of the same play in Moscow. In March 1918, in the cafe "Red Rooster", opened in the former San Galli Passage, Meyerhold staged A. Blok's play "The Stranger". In 1920, he proposed and then actively implemented the program "Theatrical October" into the theory and practice of the theater.

In 1918, the teaching of biomechanics as a theory of movements was introduced at the Stage Performance Courses in Petrograd; in 1921 Meyerhold uses the term for the practice of stage movement.

GosTeam[edit | edit wiki text]

Main article:State Theater named after Vs. Meyerhold

State Theater named after Vs. Meyerhold (GosTiM) was created in Moscow in 1920, initially under the name "Theater of the RSFSR-I", then since 1922 it was called the "Actor's Theater" and the GITIS Theater, since 1923 - the Meyerhold Theater (TiM); in 1926 the theater was given the status of a state theater.

In 1922-1924, Meyerhold, in parallel with the formation of his theater, directed the Theater of the Revolution.

In 1928, GosTiM was almost closed: having gone abroad with his wife for treatment and negotiations about the theater tour, Meyerhold stayed in France, and since at the same time Mikhail Chekhov, who headed the Moscow Art Theater at that time, did not return from foreign trips 2nd, and head of the GOSET Alexei Granovsky, Meyerhold was also suspected of unwillingness to return. But he was not going to emigrate and returned to Moscow before the liquidation commission had time to disband the theater.

In 1930, GosTiM successfully toured abroad, - Mikhail Chekhov, who met Meyerhold in Berlin, said in his memoirs: “I tried to convey to him my feelings, rather premonitions, about his terrible end if he returns to the Soviet Union. He listened in silence, calmly and sadly answered me this way (I don’t remember the exact words): from my school years in my soul I carried the Revolution and always in its extreme, maximalist forms. I know you are right - my end will be as you say. But I will return to the Soviet Union. To my question - why? - he answered: out of honesty.

In 1934, the play "The Lady of the Camellias", in which Reich played the main role, was watched by Stalin, and he did not like the performance. Criticism fell upon Meyerhold with accusations of aestheticism. Zinaida Reich wrote a letter to Stalin saying that he did not understand art.

On January 8, 1938, the theater was closed. Order of the Committee for Arts under the Council of People's Commissars of the USSR "On the liquidation of the Theater. Sun. Meyerhold" was published in the newspaper "Pravda" on January 8, 1938. In May 1938, K. S. Stanislavsky offered Meyerhold, who was left without a job, the position of director in the opera theater he himself directed. After the death of K. S. Stanislavsky, Meyerhold became the chief director of the theater. Continued work on the opera "Rigoletto".

Arrest and death[edit | edit wiki text]

Photo of the NKVD after the arrest

On June 20, 1939, Meyerhold was arrested in Leningrad; at the same time, a search was carried out in his apartment in Moscow. The search protocol recorded a complaint from his wife Zinaida Reich, who protested against the methods of one of the NKVD agents. Soon (July 15) she was killed by unidentified persons.

After three weeks of interrogation, accompanied by torture, Meyerhold signed the testimony necessary for the investigation: he was accused under Article 58 of the Criminal Code of the RSFSR. In January 1940, Meyerhold wrote to V. M. Molotov:

... They beat me here - a sick sixty-six-year-old man, they laid me on the floor face down, they beat me with a rubber tourniquet on my heels and on my back, when I sat on a chair, they beat me with the same rubber on my legs […] the pain was such that it seemed to hurt the sensitive places of the legs poured boiling water ...

The meeting of the Military Collegium of the Supreme Court of the USSR took place on February 1, 1940. The board sentenced the director to death. On February 2, 1940, the sentence was carried out. The Teatral magazine writes about the burial place of Meyerhold: “Granddaughter of Vs. E. Meyerhold Maria Alekseevna Valentey back in 1956, having achieved his political rehabilitation, but not knowing then how and when her grandfather died, she installed a common monument on the grave of Zinaida Nikolaevna Reich, in the Vagankovsky cemetery, to her, the actress and her beloved wife, and to him. The monument is engraved with a portrait of Meyerhold and the inscription: "To Vsevolod Emilievich Meyerhold and Zinaida Nikolaevna Reich."<…>In 1987, she also became aware of the true burial place of Meyerhold - “Common grave No. 1. Burial of unclaimed ashes from 1930 - 1942 inclusive” at the cemetery of the Moscow crematorium near the Donskoy Monastery. (According to the decision of the Politburo of January 17, 1940 No. II 11/208, signed personally by Stalin, 346 people were shot. Their bodies were cremated, and the ashes poured into a common grave were mixed with the ashes of other dead.) ".

In 1955, the Supreme Court of the USSR posthumously rehabilitated Meyerhold.

Family[edit | edit wiki text]

• Since 1896 he has been married to Olga Mikhailovna Mundt (1874-1940):
• Maria (1897-1929), married Evgeny Stanislavovich Beletsky.
• Tatyana (1902-1986), married Alexei Petrovich Vorobyov.
• Irina (1905-1981), married Vasily Vasilyevich Merkuriev.
• The son of Irina and V.V. Merkuriev - Pyotr Vasilyevich Merkuriev (he played the role of Meyerhold in the film " I'm an actress", 1980, and in the television series" Yesenin", (2005).
• Since 1922 he has been married to Zinaida Nikolaevna Reich (1894-1939), in her first marriage she was married to Sergei Yesenin.

In 1928-1939 Meyerhold lived in the so-called "House of Artists" in Moscow, Bryusov per., 7. Now there is a museum in his apartment

Creativity[edit | edit wiki text]

Theatrical work[edit | edit wiki text]

Acting[edit | edit wiki text]

• 1898 - "Tsar Fyodor Ioannovich" by A. K. Tolstoy. Stage directors K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko - Vasily Shuisky
• 1898 - "The Merchant of Venice" by W. Shakespeare - Prince of Aragon
• 1898 - "The Seagull" by A.P. Chekhov. Directors K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko - Treplev
• 1899 - "Death of Ivan the Terrible" by A. K. Tolstoy. Directors K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko - Ivan the Terrible
• 1899 - Antigone by Sophocles - Tiresias
• 1899 - "Lonely" by G. Hauptmann. Directors K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko - Johannes
• 1901 - "Three Sisters" by A.P. Chekhov. Directors K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko - Tuzenbach
• 1907 "Balaganchik" A. Blok - Pierrot

Director's[edit | edit wiki text]

• 1907 - "Balaganchik" by A. Blok
• 1918 - "Mystery-Buff" by V. Mayakovsky

Theater of the RSFSR-1 (Actor's Theatre, GITIS Theater)

• 1920 - "Dawns" by E. Verharn (together with V. Bebutov). Artist V. Dmitriev
• 1921 - "Union of Youth" G. Ibsen
• 1921 - "Mystery-buff" by V. Mayakovsky (second edition, together with V. Bebutov)
• 1922 - "Nora" by G. Ibsen
• 1922 - "The Magnanimous Cuckold" by F. Krommelink. Artists L. S. Popova and V. V. Lutse
• 1922 - "Death of Tarelkin" by A. Sukhovo-Kobylin. Director S. Eisenstein

Tim (GosTim)

• 1923 - "The Earth on End" by Martin and S. M. Tretyakov. Artist L. S. Popova
• 1924 - "D. E." Podgaetsky according to I. Ehrenburg. Artists I. Shlepyanov, V. F. Fedorov
• 1924 - "Teacher Bubus" A. Fayko; director Sun. Meyerhold, artist I. Shlepyanov
• 1924 - "Forest" by A. N. Ostrovsky. Artist V. Fedorov.
• 1925 - "Mandate" N. Erdman. Artists I. Shlepyanov, P. V. Williams
• 1926 - The Inspector General by N. Gogol. Artists V. V. Dmitriev, V. P. Kiselev, V. E. Meyerhold, I. Yu. Shlepyanov.
• 1926 - “Roars, China” by S. M. Tretyakov (together with the laboratory director V. F. Fedorov). Artist S. M. Efimenko
• 1927 - "Window to the village" R. M. Akulshin. Artist V. A. Shestakov
• 1928 - “Woe to the mind” based on the comedy by A. S. Griboyedov “Woe from Wit”. Artist N. P. Ulyanov; composer B. V. Asafiev.
• 1929 - "The Bedbug" by V. Mayakovsky. Artists Kukryniksy, A. M. Rodchenko; composer - D. D. Shostakovich.
• 1929 - "Commander-2" by I. L. Selvinsky. Artist V. V. Pochitalov; stage design by S. E. Vakhtangov.
• 1930 - "Shot" by A. I. Bezymensky. Directors V. Zaichikov, S. Kezikov, A. Nesterov, F. Bondarenko, under the direction of Vs. Meyerhold; artists V. V. Kalinin, L. N. Pavlov
• 1930 - "Bath" by V. Mayakovsky. Artist A. A. Deineka; stage design by S. E. Vakhtangov; composer V. Shebalin.
• 1931 - "The last decisive" Sun. V. Vishnevsky. Design by S. E. Vakhtangov
• 1931 - "List of good deeds" by Y. Olesha. Artists K. K. Savitsky, V. E. Meyerhold, I. Leystikov
• 1933 - "Introduction" by Yu. P. German. Artist I. Leystikov
• 1933 - "Krechinsky's Wedding" by A. V. Sukhovo-Kobylin. Artist V. A. Shestakov.
• 1934 - "Lady with Camellias" by A. Dumas son. Artist I. Leystikov
• 1935 - "33 fainting" (based on the vaudeville "Proposal", "Bear" and "Jubilee" by A.P. Chekhov). Artist V. A. Shestakov

In other theaters

• 1923 - "Lake Lyul" A. Fayko - Revolution Theater
• 1933 - "Don Juan" by Moliere - Leningrad State Drama Theater

Filmography[edit | edit wiki text]

• "The Picture of Dorian Gray" (1915) - director, screenwriter, performer of the role Lord Henry
• "Strong Man" (1917) - director
• "White Eagle" (1928) - dignitary

Legacy[edit | edit wiki text]

Monument to Meyerhold in Penza (1999)

The exact date of the death of Vsevolod Meyerhold became known only in February 1988, when the KGB of the USSR allowed the granddaughter of the director Maria Alekseevna Valentey (1924-2003) to get acquainted with his “case”. On February 2, 1990, the day of Meyerhold's death was marked for the first time.

Immediately after the official rehabilitation of Vs. Meyerhold, in 1955, the Commission on the creative heritage of the director was formed. From the moment of foundation to 2003, M.A. Valentei-Meyerhold was the permanent scientific secretary of the Commission; Pavel Markov (1955-1980), Sergey Yutkevich (1983-1985), Mikhail Tsarev (1985-1987), V.N. Pluchek (1987-1988) headed the Heritage Commission in different years. Since 1988, the director Valery Fokin has been the chairman of the Commission.

At the end of 1988, it was decided to create a memorial Museum-apartment in Moscow - a branch of the Theater Museum. A. A. Bakhrushina

Since February 25, 1989 at the Theater. M. N. Yermolova, who at that time was headed by Valery Fokin, held evenings in memory of Meyerhold.

In 1991, at the initiative of the Heritage Commission and with the support of the Union of Theater Workers of Russia, on the basis of the All-Russian Association "Creative Workshops" established back in 1987, the Center named after Vs. Meyerhold (CIM). The Center is engaged in scientific and educational activities; in more than two decades of its existence, it has become a traditional venue for international festivals and the Golden Mask national festival, a platform for touring the best European and Russian performances.

Memory[edit | edit wiki text]

• In Penza, on February 24, 1984, the Center for Theater Arts "Meyerhold's House" was opened (director Natalia Arkadyevna Kugel), in which the Theater of Doctor Dapertutto has been operating since 2003.
• In 1999, a monument to V. E. Meyerhold was unveiled in Penza.
• In honor of the 140th anniversary of the birth of V.I. Meyerhold in St. Petersburg on the street. Borodinskaya 6, February 10, 2014 a memorial plaque was unveiled in the hall where Meyerhold worked [ source unspecified 366 days] .

Similar information.

Alexander Nikolayevich Ostrovsky is a famous Russian writer and playwright who had a significant impact on the development of the national theater. He formed a new school of realistic play and wrote many remarkable works. This article will outline the main stages of Ostrovsky's work. As well as the most significant moments of his biography.

Childhood

Alexander Nikolayevich Ostrovsky, whose photo is presented in this article, was born in 1823, on March 31, in Moscow, in the area. His father, Nikolai Fedorovich, grew up in a priest's family, graduated from the Moscow Theological Academy himself, but did not serve in the church. He became a court lawyer, engaged in commercial and legal cases. Nikolai Fedorovich managed to rise to the rank of titular adviser, and later (in 1839) to receive the nobility. The mother of the future playwright, Savvina Lyubov Ivanovna, was the daughter of a sexton. She died when Alexander was only seven years old. Six children grew up in the Ostrovsky family. Nikolai Fedorovich did everything to ensure that the children grew up in prosperity and received a decent education. A few years after the death of Lyubov Ivanovna, he married a second time. His wife was Emilia Andreevna von Tessin, baroness, daughter of a Swedish nobleman. The children were very lucky with their stepmother: she managed to find an approach to them and continued to educate them.

Youth

Alexander Nikolayevich Ostrovsky spent his childhood in the very center of Zamoskvorechye. His father had a very good library, thanks to which the boy got acquainted early with the literature of Russian writers and felt a penchant for writing. However, the father saw only a lawyer in the boy. Therefore, in 1835, Alexander was sent to the First Moscow Gymnasium, after studying in which he became a student at Moscow University. However, Ostrovsky did not succeed in obtaining a law degree. He quarreled with the teacher and left the university. On the advice of his father, Alexander Nikolaevich went to work in the court as a scribe and worked in this position for several years.

Attempt at writing

However, Alexander Nikolayevich did not leave attempts to prove himself in the literary field. In his first plays, he adhered to an accusatory, "moral-social" direction. The first were printed in a new edition, Moscow City List, in 1847. These were sketches for the comedy "Failed Debtor" and the essay "Notes of a Zamoskvoretsky Resident". Under the publication were the letters "A. O." and "D. G." The fact is that a certain Dmitry Gorev offered the young playwright cooperation. It did not progress beyond the writing of one of the scenes, but subsequently became a source of great trouble for Ostrovsky. Some ill-wishers later accused the playwright of plagiarism. In the future, many magnificent plays will come out from the pen of Alexander Nikolaevich, and no one will dare to doubt his talent. Further, the table below will be presented in detail, which will allow systematizing the information received.

First success

When did it happen? Ostrovsky's work gained great popularity after the publication in 1850 of the comedy "Our people - let's settle!". This work evoked favorable reviews in literary circles. I. A. Goncharov and N. V. Gogol gave the play a positive assessment. However, an impressive fly in the ointment also fell into this barrel of honey. Influential representatives of the Moscow merchants, offended by the estate, complained to the highest authorities about the impudent playwright. The play was immediately banned for staging, the author was expelled from service and placed under the strictest police supervision. Moreover, this happened on the personal orders of Emperor Nicholas I himself. Supervision was abolished only after Emperor Alexander II ascended the throne. And the theatrical public saw the comedy only in 1861, after the ban on its production was lifted.

Early plays

The early work of A. N. Ostrovsky did not go unnoticed, his works were published mainly in the Moskvityanin magazine. The playwright actively collaborated with this publication both as a critic and as an editor in 1850-1851. Under the influence of the “young editors” of the magazine and the main ideologist of this circle, Alexander Nikolayevich composed the plays “Poverty is not a vice”, “Don’t get into your sleigh”, “Don’t live as you want”. The themes of Ostrovsky's work during this period are the idealization of patriarchy, Russian ancient customs and traditions. These moods slightly muffled the accusatory pathos of the writer's work. However, in the works of this cycle, the dramatic skill of Alexander Nikolayevich grew. His plays have become famous and in demand.

Collaboration with Sovremennik

Beginning in 1853, for thirty years, the plays of Alexander Nikolayevich were shown every season on the stages of the Maly (in Moscow) and Alexandrinsky (in St. Petersburg) theaters. Since 1856, Ostrovsky's work has been regularly covered in the Sovremennik magazine (works are published). During the social upsurge in the country (before the abolition of serfdom in 1861), the writer's works again acquired accusatory sharpness. In the play “Hangover at a Strange Feast,” the writer created an impressive image of Bruskov Tit Titych, in which he embodied the brute and dark power of domestic autocracy. Here, for the first time, the word "tyrant" was heard, which later became fixed for a whole gallery of Ostrovsky's characters. In the comedy "Profitable Place" the corruption of officials that has become the norm was ridiculed. The drama "The Pupil" was a living protest against violence against the person. Other stages of Ostrovsky's work will be described below. But the peak of the achievement of this period of his literary activity was the socio-psychological drama "Thunderstorm".

"Thunderstorm"

In this play, the "bytovik" Ostrovsky painted the dull atmosphere of a provincial town with its hypocrisy, rudeness, and the indisputable authority of the "senior" and rich. In opposition to the imperfect world of people, Alexander Nikolayevich depicts breathtaking pictures of the Volga nature. The image of Katerina is covered with tragic beauty and gloomy charm. The thunderstorm symbolizes the spiritual confusion of the heroine and at the same time personifies the burden of fear under which ordinary people constantly live. The kingdom of blind obedience is undermined, according to Ostrovsky, by two forces: common sense, which Kuligin preaches in the play, and Katerina's pure soul. In his "Ray of Light in the Dark Kingdom", the critic Dobrolyubov interpreted the image of the main character as a symbol of deep protest, gradually ripening in the country.

Thanks to this play, the work of Ostrovsky soared to an unattainable height. "Thunderstorm" made Alexander Nikolaevich the most famous and revered Russian playwright.

Historical motives

In the second half of the 1860s, Alexander Nikolayevich began to study the history of the Time of Troubles. He began to correspond with the famous historian and Nikolai Ivanovich Kostomarov. Based on the study of serious sources, the playwright created a whole series of historical works: "Dmitry the Pretender and Vasily Shuisky", "Kozma Zakharyich Minin-Sukhoruk", "Tushino". The problems of national history were depicted by Ostrovsky talentedly and reliably.

Other plays

Alexander Nikolaevich still remained true to his favorite topic. In the 1860s, he wrote many "everyday" dramas and plays. Among them: "Hard days", "Abyss", "Jokers". These works consolidated the motives already found by the writer. Since the late 1860s, Ostrovsky's work has been undergoing a period of active development. Images and themes of the “new” Russia that survived the reform appear in his dramaturgy: businessmen, acquirers, degenerate patriarchal moneybags and “Europeanized” merchants. Alexander Nikolayevich created a brilliant series of satirical comedies debunking the post-reform illusions of citizens: “Mad Money”, “Hot Heart”, “Wolves and Sheep”, “Forest”. The moral ideal of the playwright is pure-hearted, noble people: Parasha from the "Hot Heart", Aksyusha from the "Forest". Ostrovsky's ideas about the meaning of life, happiness and duty were embodied in the play "Labor Bread". Almost all of Alexander Nikolayevich's works written in the 1870s were published in Otechestvennye Zapiski.

"Snow Maiden"

The appearance of this poetic play was completely accidental. The Maly Theater was closed for repairs in 1873. Its artists moved to the building of the Bolshoi Theatre. In this regard, the commission for the management of the Moscow imperial theaters decided to create a performance in which three troupes will be involved: opera, ballet and drama. Alexander Nikolaevich Ostrovsky undertook to write a similar play. The Snow Maiden was written by the playwright in a very short time. The author took a plot from a Russian folk tale as a basis. While working on the play, he carefully selected the sizes of the verses, consulted with archaeologists, historians, and connoisseurs of antiquity. The music for the play was composed by the young P. I. Tchaikovsky. The premiere of the play took place in 1873, on May 11, on the stage of the Bolshoi Theatre. K. S. Stanislavsky spoke of The Snow Maiden as a fairy tale, a dream told in sonorous and magnificent verse. He said that the realist and bytovik Ostrovsky wrote this play as if he had not been interested in anything before, except for pure romance and poetry.

Work in recent years

During this period, Ostrovsky composed significant socio-psychological comedies and dramas. They tell about the tragic fate of sensitive, gifted women in a cynical and greedy world: "Talents and Admirers", "Dowry". Here the playwright developed new techniques of stage expression, anticipating the work of Anton Chekhov. Preserving the peculiarities of his dramaturgy, Alexander Nikolaevich sought to embody the "internal struggle" of the characters in an "intelligent fine comedy".

Social activity

In 1866, Alexander Nikolaevich founded the famous Artistic Circle. He subsequently gave the Moscow stage many talented figures. Ostrovsky was visited by D. V. Grigorovich, I. A. Goncharov, I. S. Turgenev, P. M. Sadovsky, A. F. Pisemsky, G. N. Fedotova, M. E. Ermolova, P. I. Tchaikovsky , L. N. Tolstoy, M. E. Saltykov-Shchedrin, I. E. Turchaninov.

In 1874, the Society of Russian Dramatic Writers and Opera Composers was established in Russia. Alexander Nikolaevich Ostrovsky was chosen as the chairman of the association. Photos of the famous public figure were known to every lover of theatrics in Russia. The reformer made a lot of efforts to ensure that the legislation of the theater management was revised in favor of the artists, and thereby significantly improved their financial and social situation.

In 1885, Alexander Nikolayevich was appointed to the post of head of the repertoire and became the head of the theater school.

Ostrovsky Theater

The work of Alexander Ostrovsky is inextricably linked with the formation of a real Russian theater in its modern sense. The playwright and writer managed to create his own theater school and a special holistic concept of staging theater performances.

Features of Ostrovsky's work in the theater are the lack of opposition to the acting nature and extreme situations in the action of the play. In the works of Alexander Nikolaevich, ordinary events occur with ordinary people.

The main ideas of the reform:

• the theater should be built on conventions (there is an invisible “fourth wall” that separates the audience from the actors);
• when staging a performance, it is necessary to bet not on one well-known actor, but on a team of artists who understand each other well;
• the invariability of the attitude of actors to language: speech characteristics should express almost everything about the characters represented in the play;
• people come to the theater to watch the actors play, and not to get acquainted with the play - they can read it at home.

The ideas that the writer Ostrovsky Alexander Nikolayevich came up with were subsequently finalized by M. A. Bulgakov and K. S. Stanislavsky.

Personal life

The personal life of the playwright was no less interesting than his literary work. Ostrovsky Alexander Nikolaevich lived in a civil marriage with a simple bourgeois for almost twenty years. Interesting facts and details of the marital relationship between the writer and his first wife still excite researchers.

In 1847, in Nikolo-Vorobinovsky Lane, next to the house where Ostrovsky lived, a young girl, Agafya Ivanovna, settled with her thirteen-year-old sister. She had no relatives or friends. Nobody knows when she met Alexander Nikolayevich. However, in 1848 the young people had a son, Alexei. There were no conditions for raising a child, so the boy was temporarily placed in an orphanage. Ostrovsky's father was terribly angry that his son not only dropped out of a prestigious university, but also got in touch with a simple bourgeois woman living next door.

However, Alexander Nikolaevich showed firmness and, when his father, together with his stepmother, left for the recently purchased Shchelykovo estate in the Kostroma province, he settled with Agafya Ivanovna in his wooden house.

The writer and ethnographer S.V. Maksimov jokingly called Ostrovsky's first wife "Marfa Posadnitsa", because she was next to the writer in times of severe need and severe hardship. Ostrovsky's friends characterize Agafya Ivanovna as a very intelligent and cordial person by nature. She remarkably knew the manners and customs of merchant life and had an unconditional influence on Ostrovsky's work. Alexander Nikolaevich often consulted with her about the creation of his works. In addition, Agafya Ivanovna was a wonderful and hospitable hostess. But Ostrovsky did not register an official marriage with her even after the death of his father. All the children born in this union died very young, only the eldest, Alexei, briefly survived his mother.

Over time, Ostrovsky had other hobbies. He was passionately in love with Lyubov Pavlovna Kositskaya-Nikulina, who played Katerina at the premiere of The Thunderstorm in 1859. However, a personal break soon occurred: the actress left the playwright for the sake of a rich merchant.

Then Alexander Nikolaevich had a connection with a young artist Vasilyeva-Bakhmetyeva. Agafya Ivanovna knew about this, but she steadfastly carried her cross and managed to maintain Ostrovsky's respect for herself. The woman died in 1867, March 6, after a serious illness. Alexander Nikolaevich did not leave her bed until the very end. The burial place of Ostrovsky's first wife is unknown.

Two years later, the playwright married Vasilyeva-Bakhmetyeva, who bore him two daughters and four sons. Alexander Nikolaevich lived with this woman until the end of his days.

Writer's death

Tense public and could not but affect the health of the writer. In addition, despite good fees from staging plays and an annual pension of 3 thousand rubles, Alexander Nikolayevich was always short of money. Exhausted by constant worries, the writer's body eventually failed. In 1886, on June 2, the writer died at his Shchelykovo estate near Kostroma. The emperor granted 3,000 rubles for the playwright's burial. In addition, he assigned a pension of 3,000 rubles to the writer's widow, and another 2,400 rubles a year for the upbringing of Ostrovsky's children.

Chronological table

The life and work of Ostrovsky can be briefly displayed in a chronological table.

A. N. Ostrovsky. Life and art

	A. N. Ostrovsky was born.
	The future writer entered the First Moscow Gymnasium.
	Ostrovsky became a student at Moscow University and began to study law.
	Alexander Nikolayevich left the university without receiving a diploma of education.
	Ostrovsky began to serve as a scribe in the Moscow courts. He did this work until 1851.
	The writer conceived a comedy called "The picture of family happiness."
	In the "Moscow City List" appeared an essay "Notes of a resident of Zamoskvoretsk" and sketches of the play "A Picture of Family Happiness".
	Publication of the comedy "The Poor Bride" in the magazine "Moskvityanin".
	Ostrovsky's first play was performed on the stage of the Maly Theatre. This is a comedy called "Do not get into your sleigh."
	The writer wrote an article "On sincerity in criticism." The premiere of the play "Poverty is not a vice" took place.
	Alexander Nikolaevich becomes an employee of the Sovremennik magazine. He also takes part in the Volga ethnographic expedition.
	Ostrovsky is finishing work on the comedy "They didn't get along." His other play, Profitable Place, was banned from being staged.
	The premiere of Ostrovsky's drama The Thunderstorm took place at the Maly Theatre. The collected works of the writer are published in two volumes.
	"Thunderstorm" is published in the press. The playwright receives the Uvarov Prize for it. Features of Ostrovsky's work are described by Dobrolyubov in a critical article "A Ray of Light in a Dark Kingdom".
	The historical drama Kozma Zakharyich Minin-Sukhoruk is published in Sovremennik. Work begins on the comedy Balzaminov's Marriage.
	Ostrovsky received the Uvarov Prize for the play "Sin and trouble does not live on anyone" and became a corresponding member of the St. Petersburg Academy of Sciences.
1866 (according to some sources - 1865)	Alexander Nikolaevich created the Artistic Circle and became its foreman.
	The spring fairy tale "The Snow Maiden" was presented to the audience.
	Ostrovsky became the head of the Society of Russian Dramatic Writers and Opera Composers.
	Alexander Nikolayevich was appointed to the post of head of the repertoire of theaters in Moscow. He also became head of the theater school.
	The writer dies on his estate near Kostroma.

Ostrovsky's life and work were filled with such events. The table, which shows the main events in the life of the writer, will help to better study his biography. The dramatic heritage of Alexander Nikolaevich is difficult to overestimate. Even during the life of the great artist, the Maly Theater was called “Ostrovsky's house”, and this says a lot. The work of Ostrovsky, a brief description of which is presented in this article, is worth studying in more detail.

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Referat

Life and artistic originality of the playsA.N.Ostrovsky

Executed by D.R. Nikitin

"You brought literature as a gift a whole library of works of art, created your own special world for the stage ... I greet you as the immortal creator of an endless line of poetic creations, from "The Snow Maiden", "The Voyevoda's Dream" to "Talents and Admirers" inclusive, where we see with our own eyes and we hear the primordial, true Russian life in countless burning images, with its true appearance, warehouse and dialect"

With these words, I.A. Goncharov turned to Alexander Nikolaevich Ostrovsky in 1882 - on the day of the thirty-fifth anniversary of the literary activity of the great Russian playwright.

Russian dramaturgy and Russian theater experienced an acute crisis from the 30s-40s of the 19th century. Despite the fact that many dramatic works were created in the first half of the 19th century (plays by A.S. Griboyedov, A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol), the state of affairs on the Russian dramatic stage continued to remain deplorable. Many works of the named playwrights were censored and appeared on the stage many years after their creation.

The situation was not rescued by the appeal of Russian theatrical figures to Western European dramaturgy. The works of the classics of world dramaturgy were still not sufficiently known to the Russian public, and often there were no satisfactory translations of their works. That is why the position of the Russian drama theater caused anxiety among writers.

Ostrovsky noted: “Dramatic poetry is closer to the people than all other branches of literature. All other works are written for educated people, and dramas and comedies are for the whole people ... This proximity to the people does not in the least humiliate dramaturgy, but, on the contrary, multiplies its strength and does not lets her vulgarize and grind."

He began to write plays, knowing the capital's theater perfectly: its repertoire, the composition of the troupe, acting skills. It was the time of almost undivided power of melodramas and vaudeville. About the properties of that melodrama, Gogol aptly said that it "lies in the most shameless way." The essence of a soulless, flat and vulgar vaudeville is clearly revealed by the title of the first of them, which was shown at the Maly Theater in 1855: "They came together, got mixed up and parted."

Ostrovsky created his plays in a conscious confrontation with the invented world of protective-romantic melodrama and the flat snarling of naturalistic pseudo-realistic vaudeville. His plays radically updated the theatrical repertoire, introduced a democratic element into it and sharply turned the artists towards the burning dilemmas of reality, towards realism.

The poetic world of Ostrovsky is only diverse. The researchers were able to calculate and identify that in 47 plays - 728 (not counting secondary and episodic) good roles for actors of various talents; that all his plays are a vast canvas of Russian life in 180 acts, the place of action in which is Russia - in its main turning points in two and a half centuries; that in the works of Ostrovsky people of "different rank" and customs are represented - and in the most diverse actual manifestations. He created dramatic chronicles, family scenes, disasters, pictures of metropolitan life, and dramatic sketches. His talent is multidimensional - he is a romantic, a householder, a tragedian, and a comedian ...

Ostrovsky does not withstand a one-dimensional, one-dimensional approach, therefore, behind the brilliant satirical manifestation of talent, we see the depth of mental analysis, behind the accurately reproduced everyday-viscous life, we see narrow lyricism and romance.

Ostrovsky was most anxious to ensure that all faces were actual and psychologically reliable. Without this, they could lose their artistic credibility. He noted: “We are now trying to depict our standards and types, taken from life, as realistically and truthfully as possible to the smallest everyday details, and most importantly, we consider the first condition for artistry in the image of this type to be the correct transmission of its type of expression, i.e. language and even the tone of speech, which determines the very tone of the role.Now the stage production (decoration, costumes, make-up) in everyday plays has made great strides and has gone far in its gradual approach to the truth.

The playwright tirelessly repeated that life is richer than all the fantasies of an artist, that a real painter does not compose anything, but strives to understand the complex intricacies of reality. “The playwright does not compose plots,” Ostrovsky said, “all our plots are taken. They are given by life, history, the story of a friend, sometimes a newspaper article. What happened the playwright should not invent; his job is to write how it happened or could happen. Here is all his work When attention is called to this side, people will appear alive, and they themselves will speak.

But the depiction of life, based on a clear reproduction of the real, should not be limited only to mechanical reproduction. "Naturality is not the main quality; the main advantage is expressiveness, expression." Therefore, we can safely speak about an integral system of actual, mental and sensual authenticity in the plays of the majestic playwright. Ostrovsky play playwright

History has left stage interpretations of Ostrovsky's plays, different in their own level. There were indisputable creative fortunes, and there were outright troubles caused by that. That the directors forgot about the main thing - about the actual (and, as it should be, sensual) authenticity. And this main thing was sometimes revealed in some ordinary and insignificant, at first glance, detail. A relevant example is Katherine's age. And in truth, it matters how old the main character is? One of the greatest figures in the Russian theater, Babochkin, wrote in this regard: “If Katerina is even 30 years old from the stage, then the play will acquire a new and unnecessary meaning for us. It is necessary to correctly find her age at 17-18 years. According to Dobrolyubov, the play catches Katerina at the moment of transition from youth to maturity. This is absolutely true and necessary. "

Ostrovsky's work is closely connected with the principles of the "natural school", which affirms "nature" as the starting point in artistic creativity. It is no accident that Dobrolyubov called Ostrovsky's plays "the plays of life." They appeared to critics as a new word in dramaturgy, he wrote that Ostrovsky's plays "are not comedies of intrigue and not comedies of manners in fact, but something new, which can be given the name "plays of life", if it were not very broad and therefore not completely accurate. ". Speaking about the originality of Ostrovsky's dramatic action, Dobrolyubov remarked: "We want to say that in his foreground there is always a general environment of life that does not depend on any of the characters."

This "general environment of life" is found in Ostrovsky's plays in the most daily, everyday facts of life, in the petty configurations of the human soul. Speaking about "the life of this dark kingdom", which became the main object of depiction in the playwright's plays, Dobrolyubov noted that "endless enmity reigns between its inhabitants. Everything is at war here."

In order to define and artistically reproduce this incessant war, completely new methods of studying it were required, it was necessary, to use the words of Herzen, to introduce the use of a microscope into the moral world. In "Notes of an inhabitant outside Moscow" and in "Pictures of domestic happiness" Ostrovsky for the first time gave a true picture of the "dark kingdom".

But the true reproduction of the life and characters of Zamoskvorechye went beyond the boundaries of only a "physiological" description, the writer did not limit himself to only a true external picture of life. He seeks to find positive beginnings in Russian reality, which first affected the sympathetic portrayal of a "small" person. So, in the Notes of a Zamoskvoretsky inhabitant, a downtrodden man, clerk Ivan Erofeevich, sought: “Show me. How bitter I am, how unfortunate I am! kind heart, warm soul.

Ostrovsky acted as a successor to the humanistic tradition of Russian literature. Right behind Belinsky, the highest artistic aspect of artistry, Ostrovsky considered realism and folk. Which are unimaginable both without a sober, critical approach to reality, and without the affirmation of a positive popular principle. "The more elegant the work," the playwright wrote, "the more popular it is, the more this accusatory element in it."

Ostrovsky believed that the writer should not only become related to the people, studying their language, way of life and characters, but also should take possession of new theories of art. All this affected Ostrovsky's views on drama, which of all types of literature is closest to the broad democratic sections of the population. Ostrovsky considered comedy to be a more effective form and recognized in himself the ability to reproduce life to a greater extent in this form. Thus, Ostrovsky, the comedian, continued the satirical line of Russian drama, starting with the comedies of the 18th century and ending with the comedies of Griboyedov and Gogol.

Because of his closeness to the people, many contemporaries attributed Ostrovsky to the camp of the Slavophiles. But Ostrovsky only for a short time shared common Slavophile opinions, expressed in the idealization of patriarchal forms of Russian life. Ostrovsky later revealed his attitude to Slavophilism as a certain public phenomenon in a letter to Nekrasov: “You and I are only two true folk poets, we are the only two who know him, we know how to adore him and feel his needs with our hearts without armchair Westernism and childish Slavophilism. Slavophiles have done for themselves tree peasants, well, they console themselves with them. You can do all sorts of experiments with pupae, they do not require food.

Nevertheless, the elements of Slavophile aesthetics had some positive impact on Ostrovsky's work. The playwright awakened an invariable enthusiasm for folk life, for oral poetic creativity, for folk speech. He tried to find positive beginnings in Russian life, sought to bring to the fore the good in the character of a Russian person. He wrote that "for the right to correct people, he needs to be shown that you know good behind him."

He also found reflections of the Russian state character in the past - at turning points in the history of the Russian Federation. The first plans on a historical theme date back to the end of the 40s. It was the comedy "Lisa Patrikeevna", which was based on actions from the era of Boris Godunov. The play remained unfinished, but the very fact of young Ostrovsky's appeal to history testified that the playwright made an attempt to find in history the key to modern troubles.

The historical play, according to Ostrovsky, has an indisputable advantage over the most honest historical writings. If the historian's task is to convey "what happened", then "the dramatic poet indicates how it was, transferring the viewer to the very place of the act and making him a participant in the action," the playwright noted in "Note on the position of dramatic art in RF at the current time" (1881).

This expression expresses the very essence of the historical and artistic thinking of the playwright. With greater clarity, this position was already reflected in the dramatic chronicle "Kozma Zakharyich Minin, Sukhoruk", built on a painstaking study of historical monuments, annals, folk legends and traditions. In a true poetic picture of the distant past, Ostrovsky was able to find genuine heroes who were ignored by official historical science and were considered only "material of the past."

Ostrovsky portrays the people as the main driving force of history, as the main force for the liberation of the motherland. One of the representatives of the people is the zemstvo leader of Nizhny Posad Kozma Zakharyich Minin, Sukhoruk, who acted as the organizer of the people's militia. Ostrovsky sees the majestic significance of the era of unrest in the fact that "people have awakened ... the dawn of liberation here in Nizhny Novgorod has taken over all of Russia." Emphasizing the decisive role of the people in historical events and portraying Minin as a truly statesman's hero caused the rejection of Ostrovsky's dramatic chronicle by official circles and criticism. The patriotic ideas of the dramatic chronicle sounded very modern. The critic Shcherbin wrote, for example, that Ostrovsky's dramatic chronicle practically does not reflect the spirit of that time, that there are practically no morals in it, that the main character seems to be a man who has read the contemporary poet Nekrasov. Other critics, on the contrary, wanted to build in Minin the predecessor of the Zemstvos. "... Now everyone has been overcome by veche fury," Ostrovsky wrote, "and in Minin they want to create a demagogue. There was nothing like that, and I don't agree to lie."

Rejecting countless criticisms that Ostrovsky was an ordinary copyist of life, a very impartial "poet without a standard" (as Dostoevsky said), Kholodov writes that "the playwright obviously had his own point of view. But this was the position of the playwright, in other words an artist who, by the very nature of the art form he has chosen, reveals his attitude to life not concretely, but mediocrely, in the most impartial form. Researchers have shown impressively different forms of expression of the author's "voice", the author's consciousness in Ostrovsky's plays. It is found in most cases not openly, but in the very principles of organizing material in plays.

The peculiarity of the dramatic act in Ostrovsky's plays determined the interaction of different parts in the structure of the whole, namely, the extraordinary function of the end, which is always structurally significant: it does not so much complete the development of an actual dramatic collision, but reveals the author's awareness of life. Disputes about Ostrovsky, about the connection between the epic and dramatic beginnings in his works, in one way or another, also affect the dilemma of the end, the functions of which in Ostrovsky's plays were interpreted differently by critics. Some considered. That the end of Ostrovsky usually translates the action into slow motion. Thus, the critic of "Russian Notes" wrote that in "The Poor Wife" the end is the 4th act, and not the 5th, which is needed "to determine the morals that were not determined in the first 4 acts", and turns out to be unnecessary for the development of the act , because "the action is already over." And in this discrepancy, the discrepancy between the "volume of the act" and the definition of morals, the critic saw a violation of the simple laws of dramatic art.

Other critics believed that the end in Ostrovsky's plays in most cases coincides with the denouement and does not in the least slow down the rhythm of the act. To prove this thesis, they usually referred to Dobrolyubov, who noted "the decisive need for that fatal end that Katerina has in The Thunderstorm." But the "fatal end" of the heroine and the end of the work are far from the same concepts. Pisemsky's famous expression about the last act of "The Poor Wife "("The last act was written by Shakespeare's brush") also cannot serve as a basis for identifying the end and the denouement, because Pisemsky is not talking about architectonics, but about pictures of life, colorfully reproduced by the artist and subsequent in his plays "one after another, like pictures in panorama.

The action in a dramatic work, which has temporal and spatial limits, is specifically related to the interaction of the initial and final conflict situations; it moves within these boundaries, but is not limited by them. In contrast to epic works, the past and future in the drama become in a special form: the prehistory of the characters in their own concrete form cannot be introduced into the structure of the drama (it can be given exclusively in the stories of the characters themselves), and their next fate is only in the most general form. looms in the finishing scenes and paintings.

In Ostrovsky's dramatic works, one can observe how the temporal sequence and concentration of the act are broken: the creator directly points to significant periods of time separating one act from another. But such temporary breaks are found in most cases in the chronicles of Ostrovsky, pursuing the goal of epic, and not dramatic, replaying of life. In dramas and comedies, the time intervals between acts help to reveal those facets of the morals of the characters that can only be found in new, changed situations. Broken by a significant time interval, the acts of a dramatic work acquire relative independence and enter the general structure of the work as separate steps in a continuously developing act and movement of morals. In some of Ostrovsky's plays ("Jokers", "Luminous Days", "Sin and bad luck does not live on anyone", "In a busy place", "Voevoda", "Abyss", etc.), the isolation of a relatively independent structure of acts is achieved, namely, by the fact that in each of them a special list of actors is given.

But even with such a structure of the work, the end cannot be in an infinite distance from the climax and denouement; in this case, its organic connection with the main conflict will be broken, and the end will gain independence, without being properly subordinated to the action of the dramatic work. A more appropriate example of such a structural organization of material is the play "The Abyss", the last act of which was presented to Chekhov in the form of a "whole play".

The secret of Ostrovsky's dramatic writing lies not in the one-dimensional properties of human types, but in the desire to make full-blooded human mores, the internal contradictions and struggles of which serve as a massive impetus for the dramatic movement. Tovstonogov spoke excellently about this feature of Ostrovsky's creative manner, referring, namely, to Glumov from the comedy "For every wise man there is enough simplicity", the character is far from flawless: "Why is Glumov charming, although he commits a number of bad deeds? After all, if he is unsympathetic to us , then there is no spectacle. What makes it charming is hatred of this world, and we inwardly justify its method of retribution with it.

Striving for a comprehensive disclosure of morals, Ostrovsky seems to turn them in different ways, noting the different psychological states of the characters in the new "turns" of the act. This feature of Ostrovsky's dramaturgy was noted by Dobrolyubov, who saw in the 5th act of The Thunderstorm the apotheosis of Katerina's temper. The development of Katerina's sensual state can be conditionally divided into several steps: childhood and all life before marriage - a state of harmony; her zeal for true happiness and love, her spiritual struggle; the time of meeting with Boris is a struggle with the color of feverish happiness; a harbinger of a thunderstorm, a thunderstorm, the apogee of a desperate struggle and death.

The movement of character from the initial conflict situation to the final one, passing through a number of precisely defined mental stages, determined in The Thunderstorm the similarity of the external structure of the first and last acts. Both have a similar beginning - they open with Kuligin's poetic outpourings. Actions in both acts take place at a similar time of day - in the evening. But the changes in the alignment of the opposing forces, which led Katerina to a fatal end. They were emphasized by the fact that the action in the first act took place in the moderate glow of the sunset sun, in the last - in the oppressive atmosphere of the gathering twilight. The end of the topics created a sense of openness. The incompleteness of the very process of life and the movement of morals, because after the death of Katerina, i.e. after the resolution of the central conflict of the drama, there was revealed (in the words of Tikhon, for example) a certain new, albeit weakly expressed, shift in the minds of the characters, containing the potential for further conflicts.

And in "The Poor Wife" the end outside is a certain independent part. The denouement in "The Poor Wife" is not that Marya Andreevna gave her consent to marriage with Benevolensky, but that she did not renounce her own consent. This is the key to solving the difficulty of the end, the function of which can only be understood in view of the general structure of Ostrovsky's plays, which become "plays of life." Speaking of Ostrovsky's endings, one might say that an excellent scene contains more thoughts than a whole drama can offer events.

In Ostrovsky's plays, the setting of a certain artistic problem is preserved, which is proved and illustrated by live scenes and paintings. “I don’t have a single act ready until the last word of the last act is written,” the playwright noted, thereby asserting the internal subordination of all the scenes and paintings that are scattered at a glance to the general idea of ​​\u200b\u200bthe work, not limited by the framework of the “cramped circle of personal life”.

Faces in Ostrovsky's plays are formed not according to the principle "one against the other", but according to the principle "each against at least one". Hence - not only the epic calmness of the development of the act and the panorama in the coverage of actual phenomena, but also the multi-conflict nature of his plays - as a typical reflection of the complexity of human relations and the impossibility of reducing them to a single collision. The inner drama of life, inner tension became evenly the main object of the image.

The "abrupt denouements" in Ostrovsky's plays, being structurally located far from the ends, did not eliminate the "lengthiness", as Nekrasov believed, but, on the contrary, contributed to the epic flow of the act, which lasted even after one of its cycles ended. After the climactic tension and denouement, the dramatic action at the end of Ostrovsky's plays seems to be gaining strength again, striving for some new culminating elevations. The action does not close in the denouement, although the final conflict situation undergoes significant changes in comparison with the initial one. Outwardly, the end is open, and the function of the last act is not reduced to an epilogue. The external and internal openness of the end will then become one of the distinctive structural features of the psychic drama.

The external and internal openness of the end was later especially pronounced in the dramatic works of Chekhov, who did not give ready-made formulas and conclusions. He deliberately focused on the fact that the "perspective of thoughts" caused by his work. By its own difficulty, it corresponded to the nature of modern reality, so that it led far, forced the viewer to abandon all "formulas", to re-evaluate and revise almost everything that seemed to be decided.

“Just as in life we ​​are better aware of people if we see the environment in which they live,” Ostrovsky wrote, “so on the stage, the truthful situation immediately acquaints us with the situation of the characters and makes the derived types livelier and more understandable for the audience.” In everyday life, in the outdoor environment, Ostrovsky seeks additional mental supports for revealing the morals of the characters. Such a principle of disclosing morals sought more and more new scenes and pictures, so that a feeling of their redundancy was immediately created. But, on the one hand, their purposeful selection made the author's point of view accessible to the viewer, on the other hand, it emphasized the continuity of the movement of life.

And because new scenes and pictures were introduced even after the denouement of the dramatic conflict had come, they themselves made it possible for new turns of the act, potentially containing future conflicts and clashes. What happened to Marya Andreevna at the end of "The Poor Wife" can be considered the psycho-situational plot of the drama "Thunderstorm". Marya Andreevna marries a hateful man. A difficult life awaits her, because her ideas about the future life are catastrophically inconsistent with Benevolevsky's dreams. In the drama "Thunderstorm" the whole prehistory of Katerina's marriage is left outside the play and only in the most general terms is indicated in the memoirs of the heroine herself. The creator does not repeat this picture at one fine moment. But in The Thunderstorm we see a typical analysis of the consequences of the final situation of The Poor Wife. Such a conclusion into new spheres of analysis is greatly facilitated by the 5th act of The Poor Wife, which not only contained the prerequisites for future clashes, but also outlined them in dotted lines. The structural form of the end in Ostrovsky, which turned out to be unacceptable for some critics, aroused the admiration of others precisely for this reason. What seemed like a "whole play" capable of living an independent life.

And this connection, the correlation of the conflict end situations of some works and the initial conflict situations of others, combined according to the principle of a diptych, allows you to feel life in its uninterrupted epic flow. Ostrovsky appealed to its mental turns, which, at each moment of its own manifestation, were connected by thousands of invisible threads with other similar or close moments. With all this, it turned out to be completely insignificant. That the situational linkage of works contradicted the chronological principle. Each new work of Ostrovsky seemed to grow on the basis of the previously made and at the same time add something, clarify something in this previously made.

This is one of the main features of Ostrovsky's work. To verify this again, let's take a closer look at the drama "Sin and failure does not live on anyone." The initial situation in this play is comparable to the final situation in the play "Rich Wives". At the end of the latter, major notes sound: Tsyplunov has found his beloved. He dreams about it. That he will live with Belesova "merrily and joyfully", in the beautiful features of Valentina he sees "childish purity and clarity." It was with this that it all began for another hero, Krasnov ("Sin and failure does not live on anyone"), who not only dreamed, but also strove to live with Tatiana "joyfully and cheerfully." And again, the initial situation is left outside the play, and the viewer can only guess about it. The play itself begins with "ready moments"; a knot is unraveled in it, which is typologically comparable to the finishing outline in the play "Rich Wives".

The characters of Ostrovsky's various works are psychologically comparable to each other. Shambinago wrote that Ostrovsky subtly and jeweler finishes his own style "according to the mental categories of characters": "For each temper, male and female, a special language is forged. to conclude that its owner, as a type, is a forthcoming development or a variation of a species already bred in other plays. Such a device opens up inquisitive abilities to understand the mental categories conceived by the creator. " Shambinago's observations on this peculiarity of Ostrovsky's style are directly related not only to the repetition of types in various plays by Ostrovsky, but also, as a result, to a certain situational repetition. Calling the psychic analysis in "The Poor Wife" "falsely narrow", I.S. Turgenev speaks with condemnation of Ostrovsky's manner "to climb into the soul of each of the faces he made." But Ostrovsky, apparently, thought differently. He realized that the ability to "get into the soul" of each of the characters in the chosen mental situation is far from being exhausted - and many years later he will repeat it in "Dowry".

Ostrovsky is not limited to depicting morality in the only possible situation; he refers to these mores repeatedly. This is facilitated by repetitive pictures (for example, the thunderstorm scenes in the comedy "The Joker" and in the drama "Thunderstorm") and the recurring names and surnames of the characters.

So, the funny trilogy about Balzaminov is a three-term construction of similar situations related to Balzaminov's attempts to find a wife. In the play "Dark Days" we again meet with "familiar strangers" - Tit Titych Bruskov, his wife Nastasya Pankratievna, son Andrey Titych, Lusha's maid, who first appeared in the comedy "Hangover at someone else's feast". We also recognize the lawyer Dosuzhev, whom we already met in the play "Profitable Place". It is also curious that these persons in various plays act in similar roles and act in similar situations. The situational and characterological closeness of Ostrovsky's various works also allows us to speak about the similarity of the ends: as a result of the beneficial effects of virtuous characters, such as the teacher Ivanov ("A hangover in someone else's feast"), the lawyer Dosuzhev ("The Dark Days"), Tit Titych Bruskov, not only does not resist, and indeed contributes to the accomplishment of a good deed - the marriage of the offspring to the beloved girl.

In such ends it is easy to see a hidden lesson: it should be so. "Random and apparent unreasonable outcomes" in Ostrovsky's comedies depended on the material that became the object of the image. "Where can one get rationality when it is not in life itself, portrayed by the creator?" Dobrolyubov noted.

But this was not and could not be in reality, and this became the basis for the dramatic act and the final decision in the plays of catastrophic, and not funny, coloring. In the drama "Dowry", for example, this was clearly heard in the final words of the heroine: "It's me myself ... I'm not complaining about anyone, I'm not offended by anyone."

Considering the ends in Ostrovsky's plays, Markov directs increased attention to their stage effectiveness. But from the logic of the researcher's reasoning, it is clear that under stage showiness, he assumed only bright, external spectacular means of finishing scenes and pictures. A very significant feature of the endings in Ostrovsky's plays remains unaccounted for. The playwright makes his works, taking into account the nature of their perception by the viewer. In this way, the dramatic action seems to be transferred to its new high-quality state. The role of translators, "transformers" of a dramatic act, usually makes the ends, which determines their extraordinary stage effectiveness.

Very often in research papers they say that Ostrovsky anticipated Chekhov's dramatic technique in almost everything. But this conversation often does not go beyond general statements and premises. At the same time, it will suffice to give certain examples of how this proposition acquires extraordinary weight. Speaking of polyphony in Chekhov, they usually cite an example from the first act of "3 Sisters" about how the dreams of the Prozorov sisters about Moscow are interrupted by the remarks of Chebutykin and Tuzenbakh: "Damn it!" and "Naturally, nonsense!". But we find a similar structure of dramatic dialogue with approximately the same multifunctional and psychological-emotional load much earlier - in Ostrovsky's "Poor Wife". Marya Andreevna Nezabudkina is trying to come to terms with her own fate, she hopes that she can make a decent person out of Benevolevsky: “I thought, thought ... but you know what I thought of? him, make a decent man out of him." Although here she expresses hesitation: “It’s stupid, isn’t it, Platon Makarych? After all, this is nothing, huh? Platon Makarych, isn’t it? The crooked hesitation does not leave her, although she tries to convince herself of the reverse. "It seems to me that I will be happy ..." - she says to her mother, and this phrase is like a spell. But the spell-phrase is interrupted by a “voice from the crowd”: “Another, mother, self-willed, loves to be pleased. It’s a well-known fact that they come home more intoxicated, they love it so much that they look after themselves, they don’t let people near themselves. This phrase translates the attention and feelings of the audience into a completely different emotional and semantic sphere.

Ostrovsky was well aware that in the modern world life is made up of inconspicuous, outwardly unremarkable events and facts. With this awareness of life, Ostrovsky anticipated Chekhov's dramaturgy, in which everything spectacular and essential on the outside is fundamentally excluded. The image of everyday life becomes for Ostrovsky the fundamental basis on which the dramatic action is built.

The contradiction between the natural law of life and the inexorable law of everyday life that disfigures the soul of a person determines the dramatic action, from which various types of finishing decisions appeared - from comically comforting to hopelessly tragic. In the end, the deepest socio-psychological analysis of life lasted; at the ends, as in tricks, all rays converged, all the results of observations, finding consolidation in the didactic form of proverbs and sayings.

The image of a separate variant in its own meaning and essence went beyond the boundaries of the personal, acquired the character of a philosophical understanding of life. And if it is impossible to fully accept Komissarzhevsky's idea that Ostrovsky's way of life is "brought to the mark", then it is possible and necessary to agree with the statement that each image of the playwright "acquires the deepest, eternal, symbolic meaning". Such, for example, is the fate of the merchant's wife Katerina, whose love is catastrophically incompatible with the existing principles of life. But even the defenders of the Domostroy's concepts cannot feel relaxed, because the very foundations of this life are crumbling - a life in which "the living envy the dead." Ostrovsky reproduced Russian life in such a state that "everything turned upside down" in it. In this atmosphere of general disintegration, only dreamers like Kuligin or teachers Korpelov could still rely on finding at least an abstract formula for universal happiness and truth.

Ostrovsky "weaves the golden threads of romanticism into the grayish fabric of everyday life, creating from this combination a surprisingly artistic and truthful whole - a realistic drama."

The irreconcilable contradiction between natural law and the laws of everyday life is revealed at various characterological levels - in the poetic parable "The Snow Maiden", in the comedy "Forest", in the chronicle "Tushino", in the social dramas "Dowry", "Thunderstorm", etc. Depending on this, the content and character of the end changes. The central characters intensely do not accept the laws of everyday life. Often, not being spokesmen for a positive beginning, they still look for some new solutions, though not always where they should be found. In their own denial of the established law, they cross, sometimes unconsciously, the boundaries of the permissible, they cross the fatal line of the simple rules of human society.

So, Krasnov (“Sin and failure lives on someone”) in affirming his own happiness, his own truth, decisively breaks out of the closed sphere of established life. He stands up for his truth right to the disastrous end.

So, let's briefly list the features of Ostrovsky's plays:

All Ostrovsky's plays are deeply realistic. They truly reflect the life of the Russian people in the mid-19th century, as well as the history of the Time of Troubles.

All of Ostrovsky's plays grew on the basis of what had been done earlier and were combined according to the principle of a diptych.

The characters of Ostrovsky's various works are psychologically comparable to each other. Ostrovsky is not limited to depicting morals in the only possible situation; he refers to these mores repeatedly.

Ostrovsky is the creator of the genre of psychic drama. In his plays, one can observe not only the external conflict, but also the internal one.

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