Shapovalova Irina Anatolyevna, teacher of Russian language and literature

gymnasium №3 in Belgorod

The romantic tragedy of F. Schiller "The Robbers"

Lesson research

Goal: help to form the social competence of students.

Tasks for the formation of students' competencies:

Educational and cognitive (to work out the skills of independent text analysis; to continue work on the development of the creative abilities of students);

Communicative (cooperate, help others, participate in a group, exchange information);
- informational (independently search, analyze and select information, structure, transform, save and transmit it);
- personal self-improvement (analyze your achievements and mistakes, detect problems and difficulties in the messages of classmates, provide mutual assistance and support in difficult situations, critically evaluate and overestimate the results of your activities)

During the classes

Long live the great Schiller,

noble advocate of humanity!

V. Belinsky

I.A. Good afternoon! Dear guests, today we invite you to study lesson... Our lesson will be held in the form of a meeting of the artistic council of the 7-B grade theater, since the conversation will not just go about literary work, but about the drama, where the art of speech and theater is merged. We will talk about Schiller's romantic tragedy. It was in the era of Schiller that table rehearsals were first introduced into theatrical practice. We will try to stick to the foundations of theatrical romanticism aesthetics: imagination and feeling.

We will try to prove that the tragedy "The Robbers" by Friedrich Schiller can be attributed to a romantic tragedy.

Here is a cluster in which the features of romanticism and classicism are placed. In the course of the lesson, please note the features that are inherent in the tragedy in question, make notes about the characters of the characters. During the lesson, we will try to answer the questions: What is romantic piece? What feelings did the main characters of the play evoke? Do we need Schiller's plays in our time, or have they become deep history?

Well, we are opening an impromptu curtain. A word to the assistant director Kamenskaya Darina, who will remind us of the beginning of the drama. In the course of her performance, actors will join her, who will try to convey the super task of their image. Note that Schiller's tragedy is a romantic tragedy. Romanticism had a huge impact on the development of acting: for the first time in history, psychologism became the basis for creating a role. The rationally verified acting style of classicism was replaced by violent emotionality, vivid dramatic expression, versatility and contradictory psychological development of characters.

Darina. The action takes place in the contemporary author of the play in Germany. The plot unfolds over two years.

The plot is based on a family tragedy. In the ancestral castle of the barons von Moor live the father, the youngest son - Franz and the pupil of the count, the bride of the eldest son, Amalia von Edelreich. The opening is a letter allegedly received by Franz from the "Leipzig correspondent", which tells about the dissolute life of Karl von Moor, the eldest son of the Count, who is at the University of Leipzig. Saddened by the bad news, the old man von Moor allows Franz to write a letter to Karl and inform him that the Count, angry at the behavior of his eldest son, is depriving him of his inheritance and his parental blessing.

At this time, in Leipzig, in a tavern, where students of Leipzig University usually gather, Karl von Moor is waiting for an answer to his letter to his father, in which he sincerely repents of his dissolute life and promises to continue to do business.

/ Reading an excerpt /

Schwartz (She runs to meet him.) Brother! Brother! Letter, letter! (hands him the letter. Moore hastily prints it out). What's the matter with you? You are whiter than chalk.

Karl Moor. My brother's hand!

Moore drops the letter and runs out like mad. Everyone jumps up.

Rollerball (after him). Moore! Where are you, Moore? What happened to you?

Grimm. What about him? What about him? He is as pale as death.

Schweitzer. There must be good news. We'll see!

Rollerball (picks up a letter from the floor and reads). “Unhappy brother! I must briefly inform you that your hopes have not been realized. Go, your father tells you to say, wherever your shameful deeds lead you. Further, he orders to convey that you do not hope to beg forgiveness on your knees if you do not want to feast on bread and water in the basements of his towers until your hair grows from eagle feathers and your nails become like bird's claws. These are his own words. Goodbye forever. I feel sorry for you! Franz von Moor ".

Schweitzer. Dear brother! Needless to say! Franz is the name of this rascal?

SPIEGELBERG (approaches them quietly). Are you talking about bread and water? Good life! I have something better for you. (stands in the middle of them and speaks in the voice of a spellcaster). So, if you still have even a drop of the blood of Germanic heroes in you, follow me! We will settle in the Bohemian forests, gather a gang of robbers and ...

Rollerball. You are not the first con man to look over the top of the gallows. And yet, your truth is that we have no choice.<...>

M o o r (enters in great excitement and rushes about the room, talking to himself). People! People! Deceitful, insidious vipers! Their tears are water! Their hearts are iron! Lions and leopards feed their young, crows carry carrion to their chicks, and he, he ...

Rollerball. Listen, Moore! Do you think that robbery is better than sitting on bread and water in a dungeon?

Moore. And these are paternal feelings? Repentance - and there is no forgiveness! Such gullibility, such adamant confidence - and there is no mercy!

Rollerball. But listen, Moore, what I tell you!<...>

Moore. I loved him so incredibly! No son ever loved his father like that! I would have laid a thousand lives for him! (He stomps his foot in rage.) Oh, whoever gives me a sword to inflict a burning wound on the human tribe, he will become my friend, an angel, a god! I will pray for him.

Rollerball. We want to become such friends. Hear us out

Schwartz. Come with us to the Bohemian forests! We'll recruit a gang of robbers, and you ...

Schweitzer. You will be our chieftain! You must be our chieftain!

Moore. As if a thorn had fallen from my eyes. What a fool I was, striving back into the cage! My spirit longs for feats, breath for freedom! Murderers, robbers! With these words I violate the law. People shielded humanity from me when I appealed to humanity. Get away from me, compassion and human mercy! I no longer have a father, no more love! .. So let blood and death teach me to forget everything that was dear to me once! Let's go, let's go! Oh, I will find a terrible oblivion for myself! Resolved: I am your chieftain! Become all around me, and let everyone swear allegiance and obedience to me until the grave! Let's shake hands!

Everyone (holding out his hands to him). We swear to you in loyalty and obedience to the grave.

M about about r. And my right hand will be a guarantee that I will faithfully and invariably, until my death, remain your chieftain!

Darina Now that Franz von Moor has managed to banish his older brother from his father's loving heart, he is trying to blacken him in the eyes of his bride, Amalia.

Franz. Do you turn away, Amalia? Am I not worth what a damned father is worth?

Amalia. Away! Oh, this child-loving, merciful father who gave his son to be eaten by wolves and monsters! Sitting at home, he indulges in expensive wines and rests his decrepit body on down pillows, while his great, beautiful son is in the grip of need! Ashamed, you monsters! Shame on dragon hearts! You are the shame of humanity! His only son ...

F r a n c. I thought that he had two of them ... I love you as myself, Amalia!

You think of Karl, but our brotherly hearts beat so in harmony!

Amalia. Oh no, it never happened!

Franz. We are so similar in inclinations! The rose was his favorite flower. What flower is dearer to me than a rose? He loved music incredibly. Heavenly stars, I call you to witness, in the dead silence of the night, when everything around was plunged into darkness and drowsiness, you overheard my playing on the harpsichord! How can you still doubt, Amalia? After all, our love converged at one point of perfection; and if love is one, how can those in whose hearts it nestles be dissimilar?

You don't know me, Amalia, you don't know me at all! You hate me!

A m a l and I... I hate you! Go away!

Franz (stamping his feet).You will tremble before me! Should I prefer a beggar ?! (Leaves.)

Amalia. Go, you scoundrel! Now I'm with Karl again. “Beggars,” he said? Everything has turned upside down in this world! Beggars became kings and kings became beggars. The rags worn on him, I will not exchange for the purple of God's anointed! His glance, when he asks for alms - oh, this proud, regal glance, turning to ashes pomp, splendor, triumph of the rich and the strong! Roll in the dust, a shiny necklace! (Tears pearls from her neck.) Wear it, rich, noble! Wear that damn gold and silver, those damn diamonds! Satisfy yourself with luxurious dishes, indulge your bodies on a soft bed! Charles! Charles! Now I deserve you!

I.A.... Thanks. Romanticism also enriched the palette of the theater's staging and expressive means. For the first time, the principles of the art of the artist, decorator began to be considered in the context of the emotional impact on the viewer, revealing the dynamics of action.

Costume designer Anastasia Bereznyak will introduce you to the makeup options and costumes for the characters. Actors will characterize their characters. Thus, we will be able to evaluate the artist's work by analyzing the super task of the image of each hero.

/Presentation/

Old Man Moore is honest, condescending. His home was an orphanage, a haven for mourners. He is about 70 years old, but he feels like an eighty-year old man.

Slide 3-5

Act one. Scene 2.

Tavern in Saxony.

Karl Moor received a letter from home that turned his whole life upside down.

Second act. Bohemian forests. Moore becomes chieftain of a band of robbers

Charles - the embodiment of a romantic outlook on life. He hates the squalor of life around him and treats with disgust and contempt the hypocrites who flatter powerful rulers while at the same time oppressing the poor. Karl does not want to live by the laws that deceivers and villains take advantage of.

In the depths of his soul, the young man remains a kind and pure person. Karl Moor, the count's son, plunders the rich and noble and helps the outcast and disadvantaged. Karl understands that high revenge and noble murder do not exist.

Slide 6.

Franz Moor- an egoist, a cynic, devoid of honor and conscience. He's not handsome. “It seems to me that nature has taken the vilest from all human breeds, mixed it into a heap and baked me from such a dough.” “I will be the master and by force I will achieve what I cannot achieve with a good looks,” he says. It was Franz who was the reason that his father disinherited Charles. He dishonored and defamed his brother, having two secret goals: to get all his father's property and to marry Charles's fiancee. Franz's purpose in life is to satisfy his desires

Slide 7-9.

Amalia von Edelreich

An orphan, lives in the house of Count Moore. She is no more than 23 years old. Loves music, plays on musical instruments, sings. She has long loved Karl More. She does not believe Franz's tales, believes that her “beloved is a reflection of the deity, and the deity is mercy and pity! He won't hurt a fly! His soul is as far from bloody thoughts as noon is from midnight. "

Slide 10

Spiegelberg was poor, traveled to Lepzig from Jordan, he is a thief. It is Spielberg who invites young people to become robbers. Arriving in any city, the first thing he did was to find out from the guards about the beggars, from the bailiffs and sentries about swindlers, swindlers and other rabble, he looked for these young men and recruited them into a gang. Spielberg was a coward, they say about him that there is not a single scar on his body.

Ratzman. Spielberg's constant interlocutor. On this occasion, they say to him: And you, your godless soul, you were at the same time with him! His motto: take the young man, yes,

so that he has no stake or yard left.

Slide 11

Shufterle. Poor, dressed from someone else's shoulder. I wanted to conduct weekly didactic talks. During the fire in the city, he raged and showed himself as a scoundrel: he threw the baby into the fire and admired his deed. Moore kicked him out of the gang, saying that he would not leave the gallows. And so it happened: Shufterle was hanged in Switzerland.

Grimm... A weak-willed person: If everyone agrees, then I don't argue either. Spiegelberg's friend. He participated in dirty tricks in the monastery with Spiegelberg. His motto: whoever gives more, I will go for that.

Slide 12

Rollerballwas loyal to Mora, and the chieftain always distinguished Roller.

Roller spent three weeks in prison, three times he was taken to interrogation, he was interrogated under torture where the chieftain was. He didn't betray anyone.

Moore trusted him. In a fight in a Bohemian forest, Roller, Schweitzer and Moor fought in

the thickest. The rollerball died a heroic death.

Schweitzer. Devoted to Mora to the point of recklessness. Strong, dare. He split the skull of a Bohemian dragoon as he raised his saber over Mora. Schweitzer gives Mohr his word to bring Franz alive, but Franz suffocated, and Schweitzer is true to his word

shoots himself in the temple.

Slide 13

Kosinsky. Kosinsky heard about Moore and asked to join the gang. He's twenty-four years old and a Bohemian nobleman. The early death of his father made him the owner of a considerable noble patrimony. The young man was supposed to marry, but he is accused of treason.

He spent a month in prison. Kossinsky tries to kill the prince because he forced his bride to become his mistress

Slide 14

Hermann“A resolute fellow, a soldier's heart. The bastard son of a nobleman, poor.

He was in love with Amalia. Did a mean act for the love of Amalia. Having recognized the plans of Franz, he confesses to the deed.

Slide 15

Daniel - Servant of Count von Moor. He is seventy-two years old. He always revere

Parents of Karl Moor .. He did not deceive a penny from anyone. He kept his faith honestly. Franz offers the old man to kill the count, but he refuses.

Pastor Moser has a heart-saving conversation with Franz.

I.A..Thanks. Do we approve makeup and costumes or not? Is the romantic style sustained? /Answer/

What scenes impressed you the most? Do they correspond to the romantic direction in literature?

Elena Shkuratova.

I liked the scene in which Franz persuades the bastard son of a local nobleman andon, Herman, change clothes and, having appeared to the old man Moor, to report that he had witnessed the death of Charles, who took part in the battle near Prague. For this Franz promises Hermann to return Amalia von Edelreich to him.

Count von Moor blames himself for his son's death, and his heart seems to stop. Franz rejoices at the long-awaited death of his father. Herman, mon iwhen Franz had deceived him, he reveals to Amalia a "terrible secret" - Karl von Moor is alive and old man von Moor is also. I liked this scene because there is an intrigue in it, and the reader still has no idea what will happen next. We understand that the playwright in the image of Karl More, already at the beginning of the action, declares that the human personality is complex and deep. Karl has a view of life "through the prism of the heart."

Dasha. And I liked the scene in which, under an assumed name, Karl enters his ancestral castle. He meets his Amalia and is convinced that she is loyal to "the deceased Karl". In the gallery, among the portraits of ancestors, he stops at the portrait of his father and furtively brushes away a tear. No one recognizes the eldest son of the Count, only the all-seeing Franz seems to guess his older brother is visiting.

Franz makes the old butler take an oath that he will kill the visiting count. By the scar on his hand, the butler recognizes in the Count Karl that he is unable to lie to the old servant who raised him, but now he must hurry to leave the castle forever. I loved the touching conversation between Daniel and Karl. I felt sorry for the old servant. Romantic traits embodied in this scene: here is reflected the "night" side of the movements of the soul, the craving for the intuitive and the unconscious.

Yana. And I think that the most vivid, emotional penultimate scene of the fifth act. Franz cannot calm down, he had a dream about the Last Judgment, at which he is sent to hell for his sins. The atheist begs Daniel to send for the pastor. Having received confirmation from the pastor that the most serious sins of man are fratricide and parricide, Franz is frightened and understands that his soul cannot escape hell.

The robbers sent by Karl attack the castle, they set fire to the castle, but they fail to capture Franz. In fear, he strangles himself with a hat-string. In this scene, the comic and the tragic are intertwined - this is a clear sign of romanticism.

I.A.Thanks. Thanks. And now I suggest you get acquainted with the sketches of the scenery. Chepeleva Nastya and Shevtsova Irina tried not to recreate, but to recreate reality

/ Presentation /

Slide 1.

1. ACT ONE. SCENE ONE Franconia. Hall in the castle Moorov.

2. The first stage set is presented in golden-black tones. Franz and old Moore are involved in this scene. We would like to emphasize the richness of the soul of Maximilian More and highlight black thoughts, and, consequently, the black soul of Karl.

Slide 2.

1.SCENE TWO.Tavern on the border of Saxony.

2. This scene is also solved in orange and black tones. Orange color clears away unpleasant feelings, helps to accept negative events in life, helps to forgive another person, to let go of an insoluble situation.

1. Karl Moore is at a dead end and is afraid of change, his state corresponds exactly to this color.

2. Why is there black in this scene? There is not much of it, but this color symbolizes the decision of students to become robbers, that is, to step on the wrong path.

Slide 3.

1.SCENE THREE. In the castle of Moora. Amalia's room.

2. There is a lot of light in this scene: white, gold, green. There are no dark tones.

Massive wooden furniture, many paintings, an open bed without canopies - all this emphasizes the character of Amalia. She adheres to the laws of honor, pure as white color, true to ancient traditions, she is open, appreciates art.

Slide 4.

1 ACT TWO

SCENE ONE. Franz von Mohr's room.

2. Light walls are almost invisible. In the foreground is a bed in black and red tones. A four-poster bed indicates a closed, closed character. As you know, red is the color of aggression, passion, struggle, anger, emphasizes fear and self-doubt.

1. Dark fireplace, dark ceiling. We placed the fireplace in Franz's room, it is cold, and the fireplace, perhaps, will help him thaw out, his black deeds, like the dark ceiling, press on him.

2. In this room there is a conversation with Herman. And Herman agrees to do mean things.

Slide 5.

1.SCENE TWO.Old Man Moore's bedroom.

2. This scene is oversaturated with colors. Old Man Moore embodies various character traits. He is soft, kind, compassionate, but also weak-willed, capricious.

Slide 6.

1 SCENE THREE Bohemian forests.

2.The back is made in light - green tones. It is known that greenis intermediate between black and white, therefore it is considered a neutral color.

Slide 7.

1 ACT THREE

SCENE ONE. Garden

2. Against the background of the "Garden" backdrop, Amalia plays the lute. Lots of Lilac color. Lilac is the color of inspiration, inherent in creative individuals, helps to calm the soul and nourish it with the energy of inspiration, unites body and mind

Slide 8.

1SCENE TWOThe robbers are positioned against the background of the "Forest" backdrop.

Slide 9

1 ACT FOUR

SCENE ONE.

2. Backside "Terrain near the castle". The predominant color is pale yellow. sets feelings in motion, frees from negativity, gives self-confidence. The desperate robber Moore, under an assumed name, decides to appear before Amalia and her father.

Slide 10

1.SCENE TWO.

2. The back of the "Gallery in the castle" is made in light gray colors. It is in this scene that the robber Moore talks to Amalia. The inner world of Amalia is expressed in white tones, but there are more gray shades, since Moor's soul no longer contains that purity of feelings, his actions are terrible. Yes, he still loves Amalia, but his heart turned cruel, gray.

Slide 11

1SCENE THREEAnother room in the castle.

2.Room in gold colors. Obviously, this is Karl's former room. It remains the same, it breathes the same beautiful Karl, with a heart of gold. Here is a conversation between Karl and his old servant Daniel.

Slide 12

1.SCENE FOUR ... Moore and Amalia.

2.Back "Garden". Moore as Count von Brand talks about his love for a girl named Amalia. Amalia, on the other hand, confesses to an imaginary stranger that she still loves her Karl. She believes that her Karl is a reflection of the deity, and the deity is mercy and pity.

Slide 13

1.SCENE FIVE

2. Backside "Forest". The robbers are waiting for their chieftain. They are alarmed, quarreling. Moore returns. He delivers his confession speech.

Slide 14

1. ACT FIVE. SCENE ONE. Enfilade of rooms.

2.Lots of blue. Blue color develops mental abilities, clears thinking, frees from anxieties and fears, allows you to hear the inner voice, make the right decision.

1. This scene is the climax: Daniel talks to Franz about God's retribution. Franz admits that there is emptiness in his heart. Franz dies

Slide 15

1.SCENE TWO.The scenery for the last scene of the fourth act is the basement of the castle.

2. There is no reference to the basement in the drama, but it seems to us that this place is most appropriate in this scene. Basement pit, death. This pit consumes everyone. The ending is obvious.

I.A.... Thanks. I think I liked the scenery. Now I want to announce the start of the game. In every literary work, the text is very important. Do you remember the text well? Now we will check your attention, memory, intelligence.

1.Where is the castle of Counts von Morov located? / In Franconia /

2. How long does the action take place? / During 2 years /

3. What historical figures were admired by Karl Moor? / Julius Caesar, Alexander the Great /

4. Who said it: "The law makes that which should fly an eagle to crawl." / Karl Moor /

5. Who said it: "I will be the ruler and by force I will achieve what I cannot achieve with a disposable appearance" / Franz Moor /

6. Who said it: “I have the courage to go barefoot through hell.” / Schweitzer /

6. Whose motto is this: take the young man, so much so that he has no stake or yard left. / Ratsmana /

7. Who is it about: He spent three weeks in prison, three times he was taken to interrogation, he was interrogated under torture where the chieftain was. He did not give anyone away. / Roller /

8. Who was a soldier, was a member of the expedition to the East Indies / Kossinsky /

9. How many years did Daniel serve in the house of the Counts of Moore? / Forty-four years /

10. What amount was appointed as a reward for the capture of the robber Mora? / A thousand louis /

I.A.Let's sum up the game. Thank you. Now let's approve the sets, the costumes. Who agrees? Who is against?

Critic./Shpakovsky / No, of course everything is fine. But somehow boring. Vasily Barkhatov chose Schiller's "Robbers" as his debut play. As befits a modern director, he shortened, altered and transferred the action to Europe in the 21st century. In addition, he added live music. In addition to the actors, Schubert's piano works are played by a pianist.

So, daddy Maximilian von Moor, a wealthy retired soldier, has two sons, one (Karl Moor) studies at a prestigious university, the other (Franz Moor) hangs at home. Both belong to the number of "golden youth" and both, out of boredom, arrange art provocations, which gradually turn into real crimes. “Karl and Franz are so different, but the result is the same - a mountain of corpses,” says Vasily Barkhatov. By the way, he considers himself a robber, because he treats old Schiller - just like Franz - with old Moore.

I.A. Thank you for your opinion. An unusual reading of the play by the modern director Vasily Barkhatov separates the viewer from the classics. Yes, "The Robbers" is a rebellious drama, its hero Karl is a noble robber, and Franz is a low, vile man. Friedrich Schiller, when characterizing characters, uses the technique antitheses: the appearance of the brothers is contrasting, their inner world, their actions. It seems to me that you cannot do with the classics the way the 24-year-old director did. He obviously had a different task. The theme of the riot is shown, but its hero is not a noble robber, but a criminal. Of course, Barkhatov did not adhere to the laws of romanticism.

The theme of the noble romantic robber was continued in the novel by A.S. Pushkin "Dubrovsky", with whom we met in the last quarter. At home you were asked to compare the hero of Schiller's play with famous hero A.S. Pushkin - Vladimir Dubrovsky.

Voloshin Violetta: The theme of rebellion and a noble robber is presented in the novel by A.S. Pushkin's "Dubrovsky". Vladimir Dubrovsky - Russian noblemen andn, fed with a sense of revenge for the insult and death of his father, is forced to burn down the family estate and go to the forest as the leader of the robbers.

Dubrovsky and Karl Moor are united by the similarity of fate. Nobility, honesty, generosity unites these heroes Karl kills not for robbery, but the sire distributes his legal share of the spoils aboutthere. Both of them are matched by the characteristic - noble. Their inner world and character is incompatible with the environment (a gang of robbers) in which they both find themselves: The actions of Vladimir Dubrovsky, his desire for revenge and his refusal to take revenge coincide with the path of Schiller's hero, only he, unlike Vladimir, surrenders to justice, and does not hide behind border.

I.A. .Thanks. So let's summarize. Pay attention to your clusters. What features are more inherent in our tragedy: features of realism or classicism.

Yana. In my cluster, I noted more signs of romanticism than classicism. It:

the proclamation of the human personality as complex, deep, the assertion of the inner infinity of the human individuality;

a look at life "through the prism of the heart";

interest in everything strong, bright, sublime;

the tendency to reflect the "night" side of the movements of the soul, craving for the intuitive and the unconscious;

a tendency to mix the high and the low, the comic and the tragic, the ordinary and the unusual;

a painful experience of discord with reality;

the individual's striving for absolute freedom, for spiritual perfection, for an unattainable ideal, combined with an understanding of the imperfection of the world.

Manifestations of classicism: the language is pathetic solemn.

Conclusion.Schiller's tragedy "The Robbers" belongs to the romantic direction in literature and art.

IA Creativity of Friedrich Schiller to this day continues to cause controversy and judgments, some of which were presented in our lesson. The works of the great German poet did not go unnoticed by the musicians.

Burmakina Katya. In 1824, already seriously ill, Beethoven wrote the last - the 9th symphony. It was a song of freedom, a fiery call to posterity. The concluding part of the symphony sounded especially solemn. The composer put the music to the words of Schiller's ode To Joy. In one impulse, the great composer and the great poet urged everyone: "Hug, millions!" (Expressive reading of an ode to a student.)

Mishustina Katya: Joy, unearthly flame
The heavenly spirit that flew to us
Intoxicated by you
We entered your bright temple.
You bring you closer without effort
All scattered by enmity
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!

(Beethoven's 9th symphony sounds, an ode to Joy.)

I.A. Thanks. Could the heroes of the drama take the ode to Joy?

I.A. Years pass, director's interpretations and actor's costumes change, certain accents are shifted, but the fiery pathos of the tragedy remains unchanged. Schiller and his hero continue to passionately appeal to the human conscience, and readers and viewers continue to search for the truth to this day.

Homework: Write a short meditation essay on the topic "What is close to the modern reader of Schiller's drama" The Robbers "?"

So the curtain is closed. It is worth taking stock.

8th grade

Elena KUDINOVA

Elena Aleksandrovna KUDINOVA - teacher of Russian language and literature, Komsomolsk-on-Amur, Khabarovsk Territory.

Lesson-reflection on the drama by F. Schiller "The Robbers"

For work on the play, I devote two lessons, the third is a generalizing lesson-reflection. In the first lessons, there is a detailed work on the text of the play, reading by roles.

In the process of preparing for the final lesson, the children were divided into creative groups with tasks: the "Actors" group was preparing the third scene of the second act "Bohemian Forests" for staging; the group "Designers" prepared a playbill for the play, portraits of the main characters - Franz Moor and Karl Moor; the group "Researchers" worked on the novel by A.S. Pushkin "Dubrovsky"; group "Art Critics" worked on the history of the creation of the 9th symphony by L.V. Beethoven.

Registration:theatrical screen, portrait of the writer, poster for the drama, illustrations for the work.

Musical accompaniment: L.V. Beethoven. 9th Symphony, Ode to Joy.

Epigraph: “I really can be amazed” (Karl Moore).

Teacher's introduction

In the previous lessons, we met you with the famous classic drama of the German poet and playwright Friedrich Schiller (1759-1805) "The Robbers", a writer whom A.S. Pushkin ranked with the greatest figures of different eras - Homer, Dante, Shakespeare, Racine. Today, the last page of the play has been turned over, so there is an impromptu curtain in the classroom, since the conversation will not only be about a literary work, but about drama, where the art of speech and theater are merged together. “Let's talk about the stormy days of the Caucasus, about Schiller, about glory, about love,” we will say after A.S. Pushkin.

Today's lesson is a meditation lesson on what you read. We will try to answer the questions: How did we, pupils of the 8th grade, understand the pages of the great work? Do we need Schiller's plays in our time, or have they become a deep history? What is a classic classic? What feelings caused you main character plays?

Conversation with the class

The play "The Robbers" is set in 18th century Germany. Its plot is based on the enmity of two brothers. What can you say about the main characters of the play?

Student responses

The main characters are brothers Karl and Franz Moory. One of them - the younger brother Franz - is a heartless, hypocritical, low man. He does everything to discredit his older brother in the eyes of his father - Count von Moor. Treacherous, despotic, outwardly ugly, Franz pursues only one goal - power and money.

Another - noble, fiery, heroic, daring Karl Moor, by the will of fate, turned out to be the leader of a band of robbers.

What is the artistic technique underlying the construction of the characters of the brothers? Justify this.

When characterizing the characters, Schiller uses the technique antitheses. The appearance of the brothers, their inner world, their actions are contrasting.

One hypocritically pretends to be a meek and loving son, although in fact he is ready for meanness to discredit Karl. The other is generous, capable of exalted feelings. In characterizing the brothers, antonyms are used: vile - generous, shameless - honest, immoral - noble.

Look at the portraits of these characters by the Artists group. How do you think they managed to convey the main character traits of the characters? Support your answers with quotes from the text. (Expanded student responses.)

“Who now dares to come and pull me to an answer or tell me in my eyes:“ You are a scoundrel! ” Now down with the onerous mask of meekness and virtue! Look at the real Franz and be horrified! .. Ironing and caressing - not in my customs. The pallor of poverty and slavish fear is the color of my livery. I will dress you in this livery! ” (Characteristic of Franz; Act 2, Scene 2.)

“Amalia. The faded colors cannot repeat the high spirit that shone in his fiery eyes ...

Old Man Moore.This friendly, affectionate look. " (Characteristic of Karl; Act 2, Scene 2.)

Teacher.As a result of Franz's intrigue, Karl Moor becomes a criminal, his desire for freedom turns into hatred of all humanity as a whole. Wanting to restore justice and take revenge on his brother, Karl becomes the leader of a gang of robbers. However, the life of robbers is far from the ideal of a "moral world order." One of the key scenes in the play is the scene in the Bohemian woods. Let's turn to a fragment of the 2nd scene of the 3rd act.

Group "Actors" presents a fragment of this scene from the words of the father: “So here it is - the dragon's lair! With your permission, judge me, I am a minister of the church, and there are seventeen hundred people over there, protecting every hair on my head ... "to the words of Moore:" Now we are free, friends ... "

Conversation with the class

Why is a priest brought to the camp of robbers?

Answer. The playwright takes his hero through a test of conscience.

What better helps us understand the character of the protagonist?

Answer. Schiller in "The Robbers" was able to show the most intimate movements of the soul through the monologues and lines of the hero. Karl Moor's monologues help us to understand what an internally contradictory path from hatred and revenge to the realization of the horror of death and repentance is the hero. He takes upon himself the right to execute and have mercy, but the atrocities and atrocities of the robbers do not give him the opportunity to become the same. The hero's monologue shows how deeply he experiences discord with his conscience.

“Moore. How do you know that I do not see bad dreams at night, that I will not cover myself with pallor on my deathbed? How many things did you have to do for which you were responsible? Know, ambitious youth: laurels turn green not for murderers and arsonists! Not glory meets robbery victories, but curses, dangers, death, shame! "

Teacher.The Robbers is a rebellious drama, and its hero is a noble robber. What a rich topic! Schiller was not the first to discover it, and in Russian literature it was continued in the novel by A.S. Pushkin's "Dubrovsky". I suggested comparing the hero of Schiller's play with the famous hero Vladimir Dubrovsky to a group of literary scholars.

What can you say about the life goals of these heroes? What qualities of the characters do you think are similar?

The answer from the "Researchers" group. The theme of rebellion and a noble robber is presented in the novel by A.S. Pushkin's "Dubrovsky", written in 1832-1833. Vladimir Dubrovsky, a Russian nobleman, fueled by a sense of revenge for the insult and death of his father, is forced to burn down the family estate and go into the forest as the leader of the robbers. The scene in the Bohemian forests resembles a scene from Chapter XIX: “In the middle of a dense forest, on a narrow lawn, stood a small earth fortification, consisting of a rampart and a ditch, behind which there were several huts and dugouts ... The robbers took each of a certain place. At this time, three sentinels ran to the gate. Dubrovsky went to meet them. "What?" he asked them. "The soldiers in the forest," they answered, "are surrounding us" ... "

Dubrovsky and Karl Moor are united by the similarity of fate. Karl does not kill for robbery, but distributes his legal share of the spoils to orphans. The characteristic is suitable for both of them - noble. The actions of Vladimir Dubrovsky, his desire for revenge and rejection of it coincide with the path of the hero Schiller, only he, unlike Vladimir, surrenders to justice, and does not hide abroad. Considering these images of world literature, we see similarities in the depiction of a rebel hero in Pushkin and Schiller. Nobility, honesty, generosity unites these heroes. Their inner world and character is incompatible with the environment (a gang of robbers), in which they both find themselves: “I am not a thief, tell them that my craft is retribution, my craft is revenge” (Karl Moor).

Teacher. For two hundred years, the finale of the play has been interpreted in different ways. The main question of the finals invariably arises before us:

What did the main character condemn himself for? Why is he surrendering to justice?

Based on the analysis of the last act, the guys show the protagonist's awareness of the fatality of his path and the desire to retaliate for the death of Amalia, father and brother. A person is responsible for his actions both to himself and to society: “Oh, I am a fool who dreamed of correcting the world with atrocities and observing the laws by lawlessness! I called it revenge and right! .. Ruined by me is ruined. Never recover a defeated one! But I can still pacify the outraged laws, heal the wounded world ... ”With bitterness and shame, Karl Moor admitted that he had gone the wrong way. With the sword, he tried to restore justice to the world, but his good intentions were accompanied by dishonorable atrocities.

Why did Karl Moore's words “Yes, I really can cause amazement” as an epigraph to the lesson?

Did the protagonist surprise you? How do you feel about his act? (Answers of students.)

Teacher.F. Schiller remains popular in Russia in the XXI century, as he was in the XIX century. His plays do not leave the stages of Russian theaters: the Moscow theater named after A.S. Pushkin, Maly, BDT and others. Viewers and readers of our time continue to seek the answer to the question: is it possible to remain a person without repentance? The act of the main character of the play Karl Moor continues to cause controversy and judgments, some of which were presented in our lesson, to this day. The thoughts of the great poet about the measure of a person's responsibility for their actions were close to the great Russians writers XIX century (for example, A.S. Pushkin and F.M.Dostoevsky).

The work of the great German poet did not go unnoticed by the musicians.

Group "Art Critics". In 1824, already seriously ill, Beethoven wrote the last - the 9th symphony. It was a song of freedom, a fiery appeal to descendants. The concluding part of the symphony sounded especially solemn. The composer put the music on the words of Schiller's ode To Joy. In one impulse, the great composer and the great poet urged everyone: "Hug, millions!" (Expressive reading of an ode to students.)

Joy, unearthly flame,
The heavenly spirit that flew to us
Intoxicated by you
We entered your bright temple.
You bring you closer without effort
All scattered by enmity
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!

(Beethoven's 9th symphony sounds, an ode to Joy.)

Compare Schiller's ode-song to his "Rogues." Could the heroes of the drama accept it? (Answers of students.)

Closing remarks from the teacher. Years pass, director's interpretations and actor's costumes change, certain accents are shifted, but the fiery pathos of the tragedy remains unchanged. Schiller and his hero continue to passionately appeal to the human conscience, and readers and viewers continue to search for the truth to this day.

Homework. Write a small meditation essay on the topic "How is Schiller's drama" The Robbers "close to the modern reader?"

Literature

History of German Literature: In 3 volumes.M .: Raduga, 1985.Vol. 1.
Libenzon Z.E.Friedrich Schiller. M .: Education, 1990.
Materials of the lessons of I. Arkin: Literature at school, 1998.

"The Robbers" was finished in 1781. Schiller had just finished his course at the Military Academy in Stuttgart, and he wrote the drama while still studying there. The young writer had to publish the drama at his own expense, because no publisher in Stuttgart wanted to print it.

But the director of the Meingham Theater, Baron von Dahlberg, undertook to stage it. The premiere took place in Meingheim in 1882. Schiller immediately became famous.

Genre and direction

Young Schiller is an ideological follower of Storm and Onslaught, an association close to sentimentalism. The Storm and Onslaught participants carried the educational ideology on German soil. Rousseau's works are very important for Schiller, especially his literary work. The Rogues reflects the idea of \u200b\u200ba “natural man”, the rejection of modern civilization and doubts about progress. Schiller shared Rousseau's religious concept (one of the qualities of Franz Moor's negative hero is godlessness). Schiller puts Russo's ideas into the mouths of his heroes.

The genre of the work "The Robbers" is a drama. In the finale, all of Karl's relatives die, and he himself goes to surrender to the authorities. The contradictions in his life are insoluble. He is morally broken and expects physical retribution. Some researchers concretize the genre, calling the work a robber drama.

Topics and problems

The theme of the drama is enmity and hatred between loved ones, which can kill; the responsibility of a person for his choice and his actions, for moral obligations.

The main idea is pronounced by the priest: there is no greater sin than parricide and fratricide. Karl echoes him in the finale: "Oh, I am a fool who dreamed of correcting the world with atrocities and keeping the laws of lawlessness!"

In the foreword, Schiller admits that his goal as a playwright is "to spy on the innermost movements of the soul." The problems raised in the drama are human passions: revenge and betrayal, slander of the eldest son, grief of the deceived father, the choice of Amalia, the loyalty of the robbers and Charles to the word.

Social problems are associated with the omnipotence of the feudal lords (the story of Kosinsky, whose beloved became the mistress of the prince, and he took away the lands of Kosinsky and gave them to the minister). One of the epigraphs of the drama is “On Tyrants”.

Women in drama make a choice between honor and love. Amalia (Kosinsky's bride) chooses love (while losing her lover). And Karl saves his Amalia from such a choice by returning home on time.

Plot and composition

The plot is borrowed by Schiller from Shubart's story "Towards the History of the Human Heart". The plot was influenced by stories about noble robbers fighting against feudal lords. Robbery was not uncommon social phenomenon Schiller's time.

The youngest son Franz slandered the elder Karl in the eyes of his father, and then declared him dead. He wanted to inherit his father's wealth and marry his brother's bride. He declared his sick father dead and locked him in the family crypt.

Karl, a noble robber, but also a murderer, feeling anxiety for the bride, decides to secretly sneak into the family castle. He finds his barely alive father, who spent 3 months in the crypt, still loving him Amalia. Karl wants to take revenge on his brother for the suffering of his father, but he himself strangles himself with a lace. The father dies after learning that Karl is a robber, and Amalia asks to stab her, so as not to part with him again. Karl fulfills Amalia's request and surrenders himself to the hands of justice, along the way doing a boon for the father of 11 children.

Heroes and characters

Old Man Moore wants only one thing: that his children love each other. He is too soft, which Franz uses and pulls out of his mouth the curse directed at Karl. It was the father's refusal to accept his son in his castle that prompted Charles to become a robber. The father then curses his son, then calls him a pearl in the crown of the Most High and an angel. The old man is not ready to accept his son Karl as a robber and a murderer, he dies from this news.

Franz Moor, the youngest son, is cunning and deceitful. His goal is to take possession of his father's estate. In his own words, he is mired in all mortal sins. Franz suspects that all people are like him. Franz considers man to be dirt, and he himself is completely devoid of conscience.

The priest calls Franz a tyrant. Franz is an atheist, but deep down he is afraid of meeting God. He is tormented by the sin of parricide, which is reflected in the dream of the Last Judgment. His death is correlated with sins: he strangled himself like Judas.

The elder brother Karl Moor is a noble robber. He himself does not consider himself either a criminal or a thief, calling his trade retribution, and his trade - revenge.

Karl is devout, but with contempt for the churchmen, calling them Pharisees, interpreters of truth, monkeys of the deity.

Karl, according to the father, is consumed by pride. Indeed, Karl treats the robbers with contempt, calling them godless villains and the instrument of his great plans.

Karl is a natural person who acts according to common sense. Upon learning of his brother's treachery, Karl is ready to flee so as not to kill him in anger. He is generous and generous, gives Daniel a wallet. At the end of the tragedy, Karl decides not only to surrender to the authorities, but also to help the poor man by giving him money for his capture.

Moreover, Karl is a robber and a murderer. He would like to forget the cries of his victims, trying to find an excuse for his actions in his pedigree and his upbringing.

Karl has a heightened sense of justice. He himself rebelles against human laws, considering them unjust, but is outraged that Franz violates God's laws when he kills and tortures his father: “The laws of the universe have been turned into dice! The connection of nature fell apart ... The son killed his father. "

From Karl's point of view, revenge justifies his robbery and the murder of his brother. And yet he does not consider himself entitled to be happy and love if he has killed so many.

Daniel, a seventy year old servant, is exceptionally honest. He does not console Franz, who told a terrible dream about the Last Judgment, but only promises to pray for him. Franz calls this sincerity the wisdom and cowardice of the rabble. Daniel refuses to stab Franz as the hour of retribution approaches, unwilling to commit a sin.

Outlaw Skins

They are loyal to their ataman and do not agree to hand him over to the authorities even for a signed pardon. Karl calls the robbers punishing angels. Obligation to them forces Karl to kill Amalia.

Amalia

The girl is faithful to her lover, idealizes him. Amalia is ready to go to a monastery after learning about the imaginary death of Karl and his father, but does not agree to become Franz's wife, wants to stab herself when her younger brother harasses her by force.

Amalia cannot imagine her life without her beloved. When the girl finds out that her fiancé is a robber, she calls him both a demon and an angel. She herself becomes a victim of the duty of her lover.

Conflict

The conflict in the drama is external and internal. External social conflict: rebellion against feudal arbitrariness. He encourages Karl to become a robber, and Franz - to plot against his father and brother. At the end of the novel, the conflict is resolved by Karl's recognition of the fallacy of his path.

Karl's internal conflict is a contradiction between the right to protest and the criminal ways of its implementation based on violence. This conflict is insoluble.

Internal conflict is inherent in every hero. Amalia resolves the conflict between her love for Karl and her sympathy for the disguised Karl. Franz's internal conflict is about the existence of God. The father cannot decide whether to forgive or curse each of his sons.

Artistic originality

For young Schiller, the main thing in the drama is to convey his ideas to the reader and viewer. The plot is not based on facts of life, but comes from ideas. Schiller's character of the hero is conditional. He builds it rationally, based on his meager knowledge of society and the world, subordinates it to the idea.

Schiller created a new type of drama. It has a political component, pathos, emotionality and lyricism.

Songs are of great importance in drama. Karl and Amalia are singing, restoring their strength by playing the lute and pouring out longing. The songs reveal the true feelings of the heroes, for example, Karl sings about Caesar and the traitor Brutus, having learned about his brother's betrayal.

For work on the play, I assign two lessons, the third is a generalizing lesson-reflection. In the first lessons, there is a detailed work on the text of the play, reading by roles.

In the process of preparing for the final lesson, the children were divided into creative groups with tasks: the "Actors" group was preparing the third scene of the second act "Bohemian Forests" for staging; the group "Designers" prepared a playbill for the play, portraits of the main characters - Franz Moor and Karl Moor; the group "Researchers" worked on the novel "Dubrovsky" by AS Pushkin; group "Art Critics" worked on the history of the creation of the 9th symphony of L. V. Beethoven.

Registration:Theatrical screen, portrait of the writer, poster for the drama, illustrations for the work.

Musical accompaniment: L. V. Beethoven. 9th Symphony, Ode to Joy.

Epigraph: “I really can be amazed” (Karl Moore).

Teacher's introduction

In the previous lessons, we met you with the famous classic drama of the German poet and playwright Friedrich Schiller (1759-1805) "The Robbers", a writer whom Alexander Pushkin put in a row with the greatest figures of different eras - Homer, Dante, Shakespeare, Racine ... Today the last page of the play has been turned over, so there is an impromptu curtain in the classroom, since the conversation will not just be about a literary work, but about drama, where the art of speech and theater is merged together. “Let's talk about the stormy days of the Caucasus, about Schiller, about fame, about love,” we will say after Alexander Pushkin.

Today's lesson is a meditation lesson on what you read. We will try to answer the questions: How did we, pupils of the 8th grade, understand the pages of the great work? Do we need Schiller's plays in our time, or have they become deep history? What is a classic, a classic work? What feelings did the main character of the play evoke in you?

Conversation with the class

The play "The Robbers" is set in 18th century Germany. Its plot is based on the enmity of two brothers. What can you say about the main characters of the play?

Student responses

The main characters are brothers Karl and Franz Moore. One of them - the younger brother Franz - is a heartless, hypocritical, low man. He does everything to discredit his older brother in the eyes of his father - Count von Moor. Treacherous, despotic, outwardly ugly, Franz pursues only one goal - power and money.

Another - noble, fiery, heroic, daring Karl Moor, by the will of fate, turned out to be the leader of a band of robbers.

What is the artistic technique underlying the construction of the characters of the brothers? Justify this.

When characterizing the characters, Schiller uses the technique Antitheses. The appearance of the brothers, their inner world, their actions are contrasting.

“Amalia. The faded colors cannot repeat the high spirit that shone in his fiery eyes ...

Old Man Moore.This friendly, affectionate look. " (Characteristic of Karl; Act 2, Scene 2.)

Conversation with the class

Why is a priest brought to the camp of robbers?

Answer. The playwright takes his hero through a test of conscience.

What better helps us understand the character of the protagonist?

Teacher.The Robbers is a rebellious drama, and its hero is a noble robber. What a rich topic! Schiller was not the first to discover it, and in Russian literature it found its continuation in the novel by A. Pushkin "Dubrovsky". I suggested comparing the hero of Schiller's play with the famous hero Vladimir Dubrovsky to a group of literary scholars.

What can you say about the life goals of these heroes? What qualities of the characters do you think are similar?

The answer from the "Researchers" group. The theme of rebellion and a noble robber is presented in the novel by Alexander Pushkin "Dubrovsky", written in 1832-1833. Vladimir Dubrovsky, a Russian nobleman, fueled by a sense of revenge for the insult and death of his father, is forced to burn down the family estate and go into the forest as the leader of the robbers. The scene in the Bohemian forests resembles a scene from Chapter XIX: “In the middle of a dense forest, on a narrow lawn, stood a small earth fortification, consisting of a rampart and a ditch, behind which there were several huts and dugouts ... The robbers took each of a certain place. At this time, three sentinels ran to the gate. Dubrovsky went to meet them. "What?" he asked them. "The soldiers in the forest," they answered, "are surrounding us" ... "

Dubrovsky and Karl Moor are united by the similarity of fate. Karl does not kill for robbery, but distributes his legal share of the spoils to orphans. The characteristic is suitable for both of them - Noble. The actions of Vladimir Dubrovsky, his desire for revenge and rejection of it coincide with the path of the hero Schiller, only he, unlike Vladimir, surrenders to justice, and does not hide abroad. Considering these images of world literature, we see similarities in the depiction of a rebel hero in Pushkin and Schiller. Nobility, honesty, generosity unites these heroes. Their inner world and character is incompatible with the environment (a gang of robbers), in which they both find themselves: “I am not a thief, tell them that my craft is retribution, my craft is revenge” (Karl Moor).

Teacher. For two hundred years, the finale of the play has been interpreted in different ways. The main question of the finals invariably arises before us:

What did the main character condemn himself for? Why is he surrendering to justice?

Why did Karl Moore's words “Yes, I really can cause amazement” as an epigraph to the lesson?

Did the protagonist surprise you? How do you feel about his act? (Answers of students.)

Teacher.F. Schiller remains popular in Russia in the 21st century, as he was in the 19th century. His plays do not leave the stages of Russian theaters: the Moscow Pushkin Theater, Maly Theater, BDT and others. Viewers and readers of our time continue to seek the answer to the question: is it possible to remain a person without repentance? The act of the main character of the play Karl Moor continues to cause controversy and judgments, some of which were presented in our lesson, to this day. The thoughts of the great poet about the measure of a person's responsibility for their actions were close to the great Russian writers of the 19th century (for example, A.S. Pushkin and F.M.Dostoevsky).

The description of events in the novels and other works of the great German poet did not go unnoticed by the musicians.

Group "Art Critics". In 1824, already seriously ill, Beethoven wrote the last - the 9th symphony. It was a song of freedom, a fiery call to posterity. The concluding part of the symphony sounded especially solemn. The composer put the music to the words of Schiller's ode To Joy. In one impulse, the great composer and the great poet urged everyone: "Hug, millions!" (Expressive reading of an ode to students.)

Joy, unearthly flame,
The heavenly spirit that flew to us
Intoxicated by you
We entered your bright temple.
You bring you closer without effort
All scattered by enmity
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!

(Beethoven's 9th symphony sounds, an ode to Joy.)

Compare Schiller's ode-song to his "Rogues." Could the heroes of the drama accept it? (Answers of students.)

Homework. Write a small essay-reflection on the topic "What is close to the modern reader of F. Schiller's drama" The Robbers "?"

Literature History of German Literature: In 3 volumes.M .: Raduga, 1985.Vol. 1. Libenzon Z.E.Friedrich Schiller. M .: Education, 1990. Materials of I. Arkin's lessons: Literature at school, 1998.

Modern literature needs to be read, because people in modern literature are ourselves. It is pleasant to realize that everything in our world does not stand still, including literature. It is impossible not to take into account the fact that everyone can write, but far from every person has talent. Many of today's writers and playwrights give literature a new breath also by the fact that they radically change its presentation. Many works modern literature is filmed. Visualization in our time is very important for society, and it is impossible to deny that it also happens that the adaptation of a work pushes a person to read and understand the special metatext presented by the author to the reader. Well-known names of modern literature, such as Sanaev, Vyrypaev, Pelevin, Ulitskaya, touch a person, primarily because they offer subjects that are subordinate to realism. Much in modern world for a person the game also means. In literature, as in life, the author offers the reader a game with emotional intelligence, implying a complete openness of the reader, his interest, a life response to situations that are definitely vital. We see that the heroes of the works of modern literature are similar to ourselves. The way they evolve throughout the finished work resonates with our souls. Modern literature should be read not for self-development, but for introspection, for penetration into one's own world, sometimes hidden from a person under many layers of unnecessary information, vanity and chaos. Someday a person will stop reading altogether, stop picking up books and simply read, plunging into his own atmosphere, and stop being open to literature. But as long as there are poets and writers who influence souls, literature will live.

1. One often hears such a question: “We know Pelevin, Sorokin, Akunin, too. Tell me, are there any other good writers? "

“Conservator ”, 5.10.2002

“In a situation where you can soto ask and not burn out with shame for their own ignorance, Russian literature appeared for the first time. They fell out of love with her. She - making an exception for several well-known names - is no longer interested. She is shunned. Although to her, however, they are quite condescending: let, they say, while he lives. But separately. By her own. Away from the mainstream of national and personal priorities. In their increasingly narrowing circle, where each other will soon be known by sight and name. In the dispute between physicists and lyricists, the accountants won. "

Sergey Chuprinin

In the dispute between physicists and lyricists, marketers won. The Eksmo publishing house has flooded the ratings with Marinina, Belyanin, Panov and other well-bought waste paper, which, in terms of artistic value, is only suitable for kindling a fireplace in an oligarch's cottage. It is not re-read. They don't think about it. Pondering is not in vogue these days, and the book market encourages this trend. However, it is difficult to figure out what comes first here, the reader's laziness or the desire for profit from the publishers. One thing I can say for sure - the modern reader is eager to find a "good" writer, but will not look for him himself. People, willy-nilly, trust the market, and that, in turn, does not miss the opportunity to play with the trust of a lazy reader. 2. “If we judge by interests, what is modern is what the reader sees as adequate to his expectations and meets“ response ”to his questions. Therefore, today the most modern can be considered, on the one hand, D. Dontsova and A. Marinina, and on the other, the same Pasternak and Akhmatova, who have become “brands”, and not just myths, sometimes (and more often, alas) regardless of penetration into the essence of their work ”.

Ivanova N.

Before discussing the expectations of the reader, one should understand whether there is an unambiguous "modernity"? Cultural realities, supported traditions, canons ... Is there a stable idea of \u200b\u200bthe reality in which he lives in the mind of a Russian person?

Modern man is abandoned by modernity. He is no longer required to create a new national idea. It is not surprising that in such a situation the reader becomes egocentric and relies only on himself in everything. He is looking in literature for something that answers his personal questions and his personal interests... Who cares about Akhmatova's life tragedies when she writes so aptly about female love and devotion? Who cares about the integrity of the text if it can be taken apart into quotes taken out of context? Take a look at any thematic community on social networks - a lot of scattered quotes snatched from literary texts. And after all, each such piece of text can be given the meaning that suits the current state of a single person. The reader sees in the text only what he wants to see. Perhaps this was the case before, but it seems to me that in the 21st century the reader's desire to enter into a dialogue with the author is becoming weaker and weaker. Of course, there is a whole layer of modern literature that helps our lonely reader to revive his abilities. These are ultra-modern Makanin, lyric Dovlatov, L. Ulitskaya, calling for good nostalgia ... and others.

3. « There are many wonderful things in poetry and prose of the new generation that are already helping to live today. New literary landscapes give the impression that the world is growing. The world goes in breadth and depth. Against the background of dubious social and everyday twists and turns, the new depth of the literary space gapes with attractive perspectives and promises to endow an unprecedented experience of participation in life more real than the chimeric reality of the era of fictions and spectacles. "