OWN PEOPLE - LET'S MATCH

Nineteen-year-old merchant's daughter Lipochka talks to herself about how she likes to dance, but not with students: “Isn't it a matter of being different with the military! And mustaches, and epaulettes, and a uniform, and some even have spurs with bells! "

In her dreams, she has outfits, entertainment, brilliant gentlemen.

Lipochka is an empty-headed girl, and she waltzes badly, although she took twenty lessons from a local dance teacher.

Mamma scolds Lipochka for spinning and spinning, and Lipochka fights back: "You are not very important for me, mamma!"

Mother and daughter scold. Lipochka really wants to get married. The mother wants a respectable groom for her, and her daughter needs "darling, cutie, capid"!

"Capid" is a word derived from "Cupid", the god of love.

The speech of Lipochka, her mother, and her father is ridiculously illiterate. They constantly insult each other. And if Agrafena Kondratyevna nevertheless harbors an animal feeling of maternal love for her daughter (“Dyke, I'll wipe your forehead with a handkerchief!”), Lipochka is torn away from home - towards a free life, where there are only dresses and entertainment.

Lipochka does not want to go for a merchant, only “for a noble one”. And so that he was certainly a brunette!

A matchmaker comes, drinks a glass, promises a "bralyiant" groom.

And Samson Silych has his own problems and concerns. He turns to the solicitor (the master of concocting legal affairs) Rispozhensky (the “speaking” surname - from “getting drunk to the position of the vest”), a bitter drunkard, so that he helps him not to pay debts, declare himself bankrupt (insolvent debtor). In fact, Bolypov has money, but he doesn't want to give it back.

Rispozhensky advises Bolypov to sell or mortgage all of his shops to someone who is trustworthy. And then declare that he is naked as a falcon.

Excuse me, if you want, to receive twenty-five kopecks per ruble in debt, otherwise you will be left with nothing at all!

Samson Silych believes that he may well trust his clerk. He swears loyalty, but only has his own benefit in mind. No wonder the surname of this clever young man Podkhalyuzin is not even a toady, but a podkhalyuza. And what can Bol-shov expect from him, who took him to the shop as a boy and humiliated him as best he could, believing that he was doing a blessing?

How can Podkhalyuzin not snatch his piece from the deal?

He knows that Bolypov is a rich merchant, only out of greed and even for fun he started a bankruptcy scam.

Podkhalyuzin attracts Rispozhensky to his side, promising him twice as much money as Bolshov.

And one more idea dawns on the bailiff: why not conclude an alliance with Lipochka? Should I marry her?

For matchmaking, he promises Ustinya Naumovna a sable fur coat and two thousand rubles. The reward is simply incredible!

And the groom, whom the matchmaker has already found for Lipochka, you just need to say that there is no dowry for the bride, because her father is bankrupt.

Ustinya, seduced by a sable fur coat and a lot of money, promises to help Podkhalyuzin.

Bolyiyov agrees to give Lipochka for Podkhalyuzin: “My brainchild! I want - I eat with porridge, I want - I buttermilk butter! "

Sticky was discharged in anticipation of the groom's visit. The mother looks at her with tears of affection, the daughter pushes her away: “Leave me alone, mamma! Fi! You can’t dress more decently, you will immediately feel emotional ... "

The matchmaker reports that the "braliant" groom has changed his mind.

Sticky is desperate. Bolshov announces to his daughter that there is a groom! And he invites Podkhalyuzin: "Crawl!"

Lipochka refuses such an awkward marriage, but her father does not listen to her.

Bolypov's daughter is left alone with Podkhalyuzin. He shows her the documents: "Your daddy is a bankrupt!"

Podhalyuzin seduces her with perspectives future life:

"You will wear silk dresses at home, sir, but we will not wear them on a visit or to the theater, except for velvet ones."

And Lazar Elizarovich promises to buy the house and decorate it with glamorous luxury. And if Lipa doesn't like his beard, then he will change his appearance as his wife wishes.

And they will not obey their parents, they will heal themselves!

Olympiada Samsonovna agrees.

After the wedding, Lipochka is very happy with her life: she has a lot of new dresses, a good house, her husband did not break his promises!

But neither matchmaker Ustinya nor Rispozhensky received the promised reward. Podkhalyuzin deceived them.

Moreover, Bolshov is in prison - in a "debt hole". Podkhalyuzin is not going to pay his debts, even at twenty-five kopecks per ruble. Newly baked rich people do not need either a father or a mother.

Their people, and oozed in their own way - the deceiver deceived the deceiver.

And Podkhalyuzin opens a store and invites:

"Welcome! If you send a small child, we won't be able to hold it in an onion ”.

First successes 1847 - the beginning of Ostrovsky's literary activity. The newspaper "Moscow City Leaf" published scenes from the comedy "The Insolvent Debtor". It was an excerpt from the then unfinished comedy "Bankrupt" (later entitled "Our people - numbered!"). The excerpt was an exceptional success. This forever determined the future life path Ostrovsky. “I began to consider myself a Russian writer and without hesitation or hesitation I believed in my calling,” he wrote in his autobiographical note.

The writer Rostopchina conveyed her impressions in the following way: “What a charm, Bankrupt! This is our Russian Tartuffe, and he will not yield to his older brother in the dignity of truth, strength, energy. Hooray! Theatrical literature is being born here! ... ”Gogol praised the talent of the young playwright:“ The most important thing is that there is talent, and he is heard everywhere ... ”

Main characters: Samson Silych Bolshov, merchant Agrafena Kondratyevna, his wife Olympiada Samsonovna (Lipochka), their daughter Lazar Elizarych Podkhalyuzin, clerk Ustinya Naumovna, matchmaker Sysoy Psoich Rispozhensky, lawyer Tishka, boy in Bolshov's house

The plot of the work: The action takes place in the house of a wealthy merchant Bolshov. His daughter, Lipochka, a maiden of marriageable age, dreams of marrying a military man. As a last resort, for a noble one. Matchmaker Ustinya Naumovna's grooms are one better than the other, but even she cannot please everyone at once - papa, mamma and daughter.

The owner of the house, the merchant Bolshov, has his own problems. The time has come to repay debts, and although he has enough money, he does not want to pay creditors. With the help of a corrupt judge, Bolshov prepares documents from which it follows that he is bankrupt, and as proof of his bankruptcy transfers all the property to the clerk Podkhalyuzin.

The basis of all Ostrovsky's works. With what precision and realism all the characters of the comedy are drawn! It would seem that there is nothing interesting and entertaining in this plot. But the comedy is interesting not for a complex plot, but for the truth of life, which is

The comedy "Bankrupt" has been banned for thirty-two years. Why? The censor M. A. Gedeonov wrote in 1849: “All the characters: the merchant, his daughter, the solicitor, the clerk and the matchmaker are notorious scoundrels. The conversations are dirty, the whole play is offensive to the Russian merchants. " Theatrical history of the play:

In the play "Bankrupt" there is no division into right and wrong, there are no positive and negative characters. The theater is not going to denounce the "dark kingdom" or look for a "ray of light" in it. A funny and sad performance about how one businessman suffered a fiasco, a parable about the lost trust even to the closest people. A.I. Lyubeznov - Bolshov in the play "Our people - we will be numbered" by A.N. Ostrovsky. Small theater

Having become rich, Bolshov squandered the people's moral "capital" he inherited. Having become a merchant, he is ready for any meanness and fraud in relation to strangers. He has mastered the huckster-merchant "if you don't deceive - you won't sell." But some of the old moral foundations still glow in him. Bolshov still believes in the sincerity of family relations: his people will be numbered, they will not let each other down.

Comedy as an expression of a typical merchant life Its plot is taken from the very thick of life, from the legal practice and merchant life that is well known to the playwright. The deception here begins with a small one, with the clerk's ability to tighten the matter tighter or "sniff" through the hand of an arshin of chintz in front of a gaping buyer; continues with a large and risky scam. This whole life is based on the mechanisms of deception, and if you do not deceive, you will be deceived, this is what Ostrovsky was able to show.

Federal Agency for Education

GOU VPO "Udmurt State University"

Institute for Social Communication

Course work

on the topic: "Classics in our time (on the example of the performance of the Izhevsk municipal youth theater" Young man "" Our people - numbered, or Bankrupt "by AN Ostrovsky)"

ISK student,

course, gr. 47-21 A.P. Dolmatov

Leader,

ph.D., associate professor L.M. Orlova

Izhevsk, 2010

Introduction

1 A.N. Ostrovsky. Obvious and unknown facts of biography

2 Ostrovsky on the modern stage

1 Folk comedy "Our people - numbered." Features of Ostrovsky's poetics

2.2 Reading and seeing the play "Our people - we are numbered, or Bankrupt" A.N. Ostrovsky after a century and a half (on the example of the performance of the Izhevsk Municipal Youth Theater "Young Man")

Conclusion

List of used literature

Applications

Introduction

What's becoming a classic? What is modern is not only the time of writing. The author and his contemporaries have passed away, and the play arouses interest, something in it resonates with our experiences. Many theatrical figures share the point of view of those theater researchers who believe that art is concerned with a person, and not with the mores of a particular time, not with kings and subjects, not with merchants or nobles.

The classics have already settled in time. She usually has a decent history of readings, relationships, interpretations. At a distance measured in years, decades, centuries, it becomes clearer what in the classical work is the "trunk" and what is the "branches" if we compare it with a monumental similar tree, even though different times choose different moments of the same piece.

Turning to the classics, we understand that if, even for unexplained reasons, the performance did not succeed, then, obviously, the reason for the failure lies precisely in the production, and not in the play itself.

The classics are, of course, meaningful. "Passable" works do not experience their time, no matter how topical they are at the time of writing.

E.V. Tables

The purpose of this course work is to study attitudes towards classical works contemporary figures of theatrical art and actors involved in contemporary productions.

Tasks: analysis of the play by A.N. Ostrovsky "Our people - we are numbered, or Bankrupt"; clarification of the reasons for the appeal of today's theatrical figures to classical works at the present stage.

Scientific novelty of this research work is determined by the nature of the sources of information used and the ways of its interpretation.

Chapter 1

.1 A.N. Ostrovsky. Obvious and unknown facts of biography

Ostrovsky Alexander Nikolaevich (1823 - 1886) Russian playwright, theatrical figure. Born on April 12 (old style - March 31) 1823, in Moscow. Ostrovsky's father graduated from the course at the theological academy, but he served in the civil chamber, and then was engaged in a private lawyer. Hereditary nobility was acquired. The mother, whom he lost as a child, came from the lower clergy. He did not receive a systematic education. Childhood and part of youth were spent in the center of Zamoskvorechye. Thanks to his father's large library, Ostrovsky got acquainted with Russian literature early and felt a penchant for writing, but his father wanted to make him a lawyer. After graduating from the gymnasium course in the 1st Moscow Gymnasium in 1840 (entered in 1835), Ostrovsky entered the law faculty of Moscow University, but he failed to complete the course (he studied until 1843). At the request of his father, he entered the service of a scribe in court. He served in the Moscow courts until 1851; the first salary was 4 rubles a month, after a while it increased to 15 rubles. By 1846, many scenes from the merchant's life had already been written, and the comedy "The Insolvent Debtor" was conceived (according to other sources, the play was called "The Picture of Family Happiness"; later - "Our People - Let's Numbered"). The sketches for this comedy and the sketch "Notes of a Zamoskvoretsky Resident" were published in one of the issues of the "Moscow City Leaflet" in 1847. The letters "A.O." and "DG", that is, A. Ostrovsky and Dmitry Gorev, a provincial actor who offered him cooperation. The collaboration did not go beyond one scene, and later served as a source of great trouble for Ostrovsky, since it gave his ill-wishers a reason to accuse him of misappropriating someone else's literary work. Ostrovsky's literary fame was brought by the comedy "Our People - Let's Numbered!" (original title - "Bankrupt"), published in 1850. The play drew an approving response from H.V. Gogol, I.A. Goncharova. The comedy was banned for staging on stage. The influential Moscow merchants, offended for their entire estate, complained to the "authorities"; and the author was dismissed from service and placed under police supervision on the personal order of Nicholas I (supervision was lifted only after the accession of Alexander II). The play was admitted to the stage only in 1861. Starting in 1853 and for more than 30 years, new plays by Ostrovsky appeared in the Moscow Maly and St. Petersburg Alexandrinsky theaters almost every season.

In 1856 Ostrovsky became a permanent contributor to the Sovremennik magazine. In 1856, when, according to the idea of \u200b\u200bGrand Duke Konstantin Nikolaevich, a business trip of prominent writers took place to study and describe various localities of Russia in industrial and domestic relations, Ostrovsky took over the study of the Volga from the upper reaches to the lower. In 1859, in the publication of Count G.A. Kushelev-Bezborodko, two volumes of Ostrovsky's works were published. This publication was the reason for the brilliant assessment that Dobroliubov gave Ostrovsky and which cemented him the fame of the depiction of the "dark kingdom". In 1860, The Thunderstorm appeared in print, prompting an article by Dobrolyubov (A Ray of Light in the Dark Kingdom).

From the second half of the 60s, Ostrovsky took up the history of the Time of Troubles and entered into correspondence with Kostomarov. In 1863 Ostrovsky was awarded the Uvarov Prize and was elected a corresponding member of the St. Petersburg Academy of Sciences. In 1866 (according to other sources - in 1865), he created an Artistic Circle in Moscow, which subsequently gave the Moscow stage many talented figures. I.A. Goncharov, D.V. Grigorovich, I.S. Turgenev, A.F. Pisemsky, F.M. Dostoevsky, I.E. Turchaninov, P.M. Sadovsky, L.P. Kositskaya-Nikulina, Dostoevsky, Grigorovich, M.E. Saltykov-Shchedrin, L.N. Tolstoy, I.S. Turgenev, P.I. Tchaikovsky, Sadovsky, M.N. Ermolova, G.N. Fedotov. From January 1866 he was the head of the repertoire part of the Moscow imperial theaters. In 1874 (according to other sources - in 1870) the Society of Russian Drama Writers was formed and opera composers, whose permanent chairman Ostrovsky remained until his death. Working on the commission "for the revision of legal provisions in all parts of theatrical administration", established in 1881 under the Directorate of the Imperial Theaters, he achieved many transformations that significantly improved the position of the artists.

In 1885 Ostrovsky was appointed head of the repertoire section of Moscow theaters and head of the theater school. Despite the fact that his plays did a good job and that in 1883 Emperor Alexander III granted him an annual pension of 3 thousand rubles, Ostrovsky's financial problems did not leave him until the last days of his life. Health did not meet the plans that he set for himself. The hard work quickly depleted the body; June 14 (old style - June 2) 1886 Ostrovsky died at his Kostroma estate Shchelykov. The writer was buried in the same place, the sovereign gave 3000 rubles from the sums of the cabinet to the funeral, the widow, inseparably with 2 children, was assigned a pension of 3000 rubles, and 2400 rubles a year for raising three sons and a daughter.

After the writer's death, the Moscow Duma set up a reading room named after A.N. Ostrovsky. On May 27, 1929, a monument to Ostrovsky was unveiled in front of the Maly Theater (sculptor N.A.Andreev, architect I.P. Mashkov).

Author of 47 plays (according to other sources - 49), translations of William Shakespeare, Italo Franchi, Theobaldo Ciconi, Carlo Goldoni, Giacometti, Miguel de Cervantes. Among the works - comedies, dramas: "Notes of a resident of Zamoskvoretsk" (1847), "Our people - numbered!" (original title - "Bankrut"; 1850; comedy), "Poor Bride" (1851; comedy), "Do not sit in your sleigh" (1852), "Poverty is not a vice" (1854), "Do not live like I want to "(1854)," Hangover in someone else's feast "(1855, comedy)," A profitable place "(1856, comedy), the trilogy about Balzaminov (1857 - 1861)," Festive sleep before dinner "(1857)," They did not agree characters "(1858)," Pupil "(1858-1859)," Thunderstorm "(1859-1860, drama)," An old friend is better than two new ones "(1860)," Your dogs squabble, strangers do not bother "(1661), "Kozma Zakharyich Minin-Sukhoruk" (1861, 2nd edition 1866; historical play), "Minin" (1862, historical chronicle), "Hard days" (1863), "Jokers" (1864), "Voevoda" (1864 , 2nd edition 1885; historical play), "Abyss" (1865-1866), "Dmitry the Pretender and Vasily Shuisky" (1866; historical play), "Tushino" (1866-1867; historical play), "Vasilisa Melentieva" (1867, tragedy), "Enough simplicity for every wise man" (1868, comedy), "Warm Heart" (1868-1869), "Mad Money "(1869-1870)," Forest "(1870-1871)," Not everything for the cat is butter "(1871)," There was not a penny, suddenly altyn "(1872)," Snow Maiden "(1873; fairy tale, opera by N.A. Rimsky-Korsakov), " Late love"(1874)," Labor Bread "(1874)," Wolves and Sheep "(1875)," Rich Brides "(1876)," Truth is Good, Happiness is Better "(1877)," Belugin's Marriage "(1878; written in collaboration with N. Ya. Solovyov), "The Last Sacrifice" (1878), "Dowry" (1878-1879), "Good Master" (1879), "Heart is not a Stone" (1880), "Wild Woman" (1880; written in collaboration with N.Ya.Soloviev), "Slaves" (1881), "On the Threshold to Business" (1881; written in collaboration with N.Ya.Soloviev), "Shines, but does not warm" (1881; written in collaboration with N.Ya.Soloviev), "Talents and Admirers" (1882), "Guilty Without Guilt" (1884), "Handsome Man" (1888), "Out of This World" (1885; Ostrovsky's last play, published for several months before the writer's death); translation of ten "interludes" by Cervantes, Shakespeare's comedy "The Taming of the Wayward", "Antony and Cleopatra" (translation was not published), Goldoni's comedy "Coffee House", Frank's comedy "The Great Banker", Giacometti's dramas "family criminal ".

1.2 Ostrovsky on the modern stage

The repertoire of Russian theaters today includes 89 plays by Alexander Nikolaevich Ostrovsky. His plays go in a steep wave from Kaliningrad to Khabarovsk. Ostrovsky is not only alive, he is undoubtedly a playwright-leader in Russian contemporary theater. Why? Which of his plays are chosen more often and more willingly now? Which ones, for various reasons, are afraid to touch? What do they not understand, do not want or cannot understand, despite the simplicity (harmonious, however, simplicity) of his letter? What, from the point of view of the "conquests of progress", do they look at with arrogance and condescension?

Most of all, it seems, theaters love Ostrovsky - a singer backstage and backstage, a connoisseur and connoisseur of acting and acting destinies. The directors enthusiastically put Talents and Admirers, Forest, Guilty Without Guilt in different ways. Here in the foreground is the art of the actor, his magical power and victorious power.

Ostrovsky loved and knew how to write the roles of actresses and actors. These roles were played in the Russian theater by the great predecessors and predecessors of our modern favorites and favorites. However, the very stream of plays about the theater, about acting, specially selected from the richest dramatic storehouses of Ostrovsky, points to the merciless dictate of the times.

It is no coincidence that the stunning success fell to the lot of the Vakhtangov performance “Guilty Without Guilt”, which was quite deliberately turned into a melodrama with a sugar ending, when the characters, as if on New Year's Eve shifting wine glasses in a fit of love, promise each other new happiness. The performance was doomed to success also because the revered and famous Yulia Borisova and Lyudmila Maksakova performed the roles of the actresses Kruchinina and Shelavina, based on the play of the famous and revered.

An actor or actress playing an actor or actress in Ostrovsky's plays (a kind of play in a square) is today almost the main indicator of calculated success, this is understandable. But also some kind of doping, without which it is harder and harder for the theater to compete with the progressive domination of human acting behavior; with the power of image, mask, casinos ó- roulette excitement, penetrated into our life at the speed of seven-mile fabulous lope; with the total domination of the game, merrymaking on the TV screen, when most of the airtime is devoted to show programs, as if specially combined by the phrase of the crazy Hermann: “What is our life ?! A game!"

The play "Guilty Without Guilt" was staged by Pyotr Fomenko and played by the actors in the Vakhtangov buffet, not on the Vakhtangov stage. “We are actors, our place is in the buffet,” says the unforgettable Shmaga. The director, inviting spectators to the buffet, instantly turns them into actors. All the actors. Every corner of the earthly world is a theater stage. And what? The Buffet Theater represents not so much a “magic land” as a “land” of not very smart, not very kind, not very decent people. Their place is, indeed, in the buffet. The real scene is not given to them, not to them. She is somewhere outside these "snack limits". It is no coincidence that Kruchinina (Yulia Borisova) leaves in different costumes on the "off-stage" stage and from somewhere else here, in the pantry room, sad, returns. As much as life with its deceptions, hypocrisy and deceit captures the world of the theater, the same amount of intrigue, the depravity of the "magic land" rolls like a ninth wave onto the remnants of the order of everyday life. The famous Vakhtangovites (Yuri Yakovlev, Vyacheslav Shalevich, Yuri Volyntsev, Yevgeny Knyazev and others are also involved in the play), playing Ostrovsky in the style of an unexpected, risky collision of melodrama and farce, seem to shift the alleged wonderful world backstage into the realm of life's unpredictable accidents. And when this abrupt shift, this turbulent process of crossing play and the sorrow of life is illuminated by a bright flare of unjustified theatrical effect, like Kruchinina and Neznamov's acquisition of family ties, the dirt of life is cleansed with a happy ending. However, she has not disappeared anywhere. It has moved, flowed over to the "theatrical half". There are no sacred boundaries between the ramp and the hall. Where is the "holy" art, where the roughness of life - it doesn't matter. The process of interpenetration and substitution is important. The redistribution of zones of influence is important: not the victory of life on stage, but the victory of the game in life.

The emphasis of displacement gives rise to sad irony in the Vakhtangov performance. That is the irony of the objective implications and comparisons of the play, which are manifested in Fomenko's performance precisely as an ironic attitude towards the art of the actor. As if with the help of Ostrovsky, the theater makes fun of itself, booes, whips, but also excuses for the sins and abominations that have accumulated over the time of treating oneself as a proud, bloated with narcissism, a darling of fortune.

In the role of the tragedian Neschastlivtsev at the Malaya Bronnaya Theater (Les, staged by Lev Durov), the remarkably talented Oleg Vavilov reveals the depth of the irony of the tragicomic role in almost imperceptible transitions from the serious to the comic and tragicomic. The role, like the tragic actor of former greatness, alas, is not present in the theater. Everything was once. Some kind of quiet fading away of tragic passion, the elusive leakage of life from the game, constitute, in my opinion, an unconventional tone, the highlight of the role of Neschastlivtsev in Durov's play. The director, undoubtedly, cherishes Ostrovsky's thought about the greatness of an acting vocation. One problem: many are invited to the merry feast, but few are chosen. The soul asks everyone for songs, a tragedian or comedian is hiding in everyone, but nature is busy across the soul, she has no time for songs, her rule is: fun is an hour - time is for business. This "Forest" is as if permeated, translucent colors of autumn, gold, splendor of fading. In the loud shouting of Neschastlivtsev, in Oleg Vavilov, an actor as temperamental, as lyrically restrained, the inner silence of surprise at the beauty of such a fading is revealed, a sad resignation in front of something inevitably impending. Later, for example, in Chekhov's Shamraev, who is not at all like Neschastlivtsev, but partly also a tragicomic hero, such surprise will turn into deliberate tactlessness, contempt for the theater, an actor, into a complete colorless perception of the world, and it will be roughly recorded: “The stage has fallen! .. Before there were mighty oaks, and now we see only stumps. "

Before there was Nikolai Khrisanfych Rybakov - now here he is, Gennady Neschastlivtsev. Before there was Gennady Neschastlivtsev - but today who?

And the role of the tragedian of the Russian stage, a drunkard in general, but an excellent human soul, is covered, like a patina of bronze, with a touch of compassionate irony, becoming an invaluable asset of the past.

It's the same with the role of a tragic heroine. But about this - in its place.

In the performances of the "actor's stream" Ostrovsky, without losing the honorary title of a painter of everyday life, singer of scenes, genre painter, etc., suddenly appeared as a keen intellectual who foresaw modern spiritual ailments and all sorts of shifts, distortions, ugly adhesions; he even appeared, if you will, as a clever auditor, who seemed to appear unexpectedly, who found confusion both in life and in the theater.

On the one hand, he persistently and stubbornly, reborn on a multifaceted stage at some turning points in the life of Russia, turns the theater towards its core - the actor, reminding in the chaos of time about the non-splitting of the core. He returns and returns to the theater the unsaturated craving of artists for a juicy word, first-class, vivid roles, types of another time, voluntarily or involuntarily forcing today's favorites and favorites to study themselves, to think about gains, losses, about the devaluation of art. On the other hand, dictating a certain choice - a lurch - the playwright pushes us to think about disharmony, about the split of our existence into “play” and “non-play” halves, about the struggle of miraculous formations (from the word monstrous, not from the word wonderful) of the late XX in. for leadership, for the influence on the soul of a person. At first glance, innocent, a hint of the survival period for theaters and directors of these, and not other plays, opens up in the context of time a picture of serious temptations in battles on "fields of miracles", throwing, maneuvering a bewildered spectator-non-participant among the shifts of life. And in general, it’s scary to say, the very concept of holiness, the inviolability of human life disappears with an inconceivable acceleration. One of the reasons for the acceleration, I am not exaggerating, is the newfangled "moral": that our life is a game! If so, then it all depends on luck. The pursuit of luck (in any form: from financial success to prestige, fame, etc.) at any cost and entails the disappearance of the understanding of the invaluableness of a separate human life. Here again the end justifies the means. Again man is a trifle.

Ostrovsky today leads actors and non-actors to a situation of not everyday, social or political, but spiritual choice. What will overpower us: inner order, attitude towards life and man as an unconditional value? Or internal chaos, calculation, animal principles of survival, the temptation of buffoonery, gambling partnership, winning at any cost? The point, of course, is not to play or not to play, to laugh or not to laugh, to become an actress or not. The point is that the game (in the broadest sense of the word) knows its place, its rigid framework, so that its aggression does not squeeze, does not cancel in life that space in which any games are destructive. The situation of such a choice is eternal. Ostrovsky is also eternal.

But at the end of the century it manifested itself, in my opinion, in all the force of the tragic. Therefore, in the present A.N. Ostrovsky is perceived as a dramatic playwright. Not a singer of Zamoskvorechye, not a denouncer of the "dark kingdom" or the vices of intolerable bureaucracy, not a connoisseur of the glory of the Russian theater, etc. Ostrovsky today is a psychologically subtle, sensitive researcher of the fragmentation of human consciousness. Both male and female. This is where the "stream of actors" of his plays unexpectedly pours in. The directors' appeal to the same names, the cozy neighborhood on the stage of his "backstage" plays about the relationship between play, risk, intrigue, cunning, calculation - and everyday life, work of life, patience involuntarily expose a clear reluctance, I will say more sharply, the fear of modern theater talk about the moral deformation of society, about the very devaluation of art, which can be called the devaluation of spirit and culture. Those. about a tragic situation.

Is it because, not because of confusion in front of such a situation, not because of deep-rooted fear, both in the "play" and in the audience halves in performances based on Ostrovsky's plays, nowadays the ball is ruled by an unexpectedly new, as if double-faced, compassionate, but and the cold-detached, rational guest irony?

The theater of the 90s, if we mean the younger directors and actors, certainly felt in Ostrovsky's drama the situation of such a choice. One of the most recent productions touching upon a range of similar problems was the 1994 premiere at the Pokrovka Theater. The play "Talents and Admirers" staged by Sergei Artsibashev, one of the most promising Moscow directors of the middle generation, in my opinion, is being built into a number of "backstage" plays. Young actors play cunningly and easily, with irony over themselves and those relations into which the modern theater is inevitably drawn by the market situation. However, this performance is special in intonation, in the attitude of the director and actors to the players of life. The Artsibashev performance is also distinguished by the fact that irony envelops modern interbreeding, more often ugly than beautiful, art and commerce.

In Talents and Admirers, both actresses, Negina (N. Grebenkina) and Smelskaya (E. Borisova), are gifted, beautiful, and have deserved respect. There is no emphasis on the rivalry of the two prima donnas, as one might expect. The play is not about the struggle of pride. Then what about?

The choice, of course. About the actress's choice of her destiny. But also about choosing a talent in a fan. Patience, loneliness, slow self-improvement work - or success, fame, money? Both actresses choose success and money. However, Nina Smelskaya was given a kind of vulgar, ordinary choice. Sasha Negina is more sophisticated and cunning. This temptation of a young, fragile soul becomes the seed of the performance. Therefore, the insinuating, seductive and coldly calculating Velikatov (V. Stukalov) is so important here. Did he come to the theater like to a store and confidently bought a beautiful thing? It would be too straightforward. Velikatov in this performance is not disinterested, but still a sincere connoisseur of acting talent. Knowing the mores behind the scenes, observing deceptions and deaths, he decides on an ordinary deal for the future flourishing of an extraordinary talent. This fan is also talented in his own way.

In the play, a kind of invisible coexistence of disinterestedness grows into a symbol, huge, from some other dimension, for all time, the love of the old man Narokov (V. Polyakov) and the self-interest of Velikatov, which seems to be purified “under the wing” of Narokov. The very past of the theater, personified by this strange old man, with his past, incidents, dishonesty - and true nobility, disinterested love for talent, is brought to the fore by the director. Everything was once. It was and has not disappeared anywhere. Lives nearby. Only Thu ó we choose from the past, everyone decides alone. In "Talents and Admirers" of the Theater on Pokrovka there is a belief in the life of modern theater, depending as much on the attitude of fans, patrons of art to talent, as well as the attitude of talent to oneself. And this clear note about the dignity of the actor, about the careful, or maybe gentle, attention to real talent sounds passionate and powerful.

In connection with the problem of spiritual choice, we cannot avoid talking about the "Thunderstorm". This play is mysterious and, despite many wonderful performances in the theater of the past, it does not want to be solved by modern theater. Let us dwell on only one stage.

In the play "The Thunderstorm" there is a scene that, in the context of our reflections, reads as deeply obligatory for the time, for the natural development of Russian theater. In it, I think, is the foresight of what is now defined as a situation of spiritual choice.

The whole phenomenon is dedicated by the writer, it seems, to a typical everyday scene: Varvara gave Katerina the key to the gate. Katerina is faced with a choice: to leave the key or not? I omit her lyrical complaints and quote the stages of the internal process: confusion - fear - self-conviction - self-justification - joy. “Katerina (alone, holding the key in her hands).<…> Here is the death! There she is! Throw it, throw it far away, throw it into the river, so that they never find it. He burns his hands like coal ... (Looks thoughtfully at the key.) Throw it? Of course, you have to quit. And how did he get into my hands? To temptation, to my ruin. (Listens.) ". This scene at different times in the Soviet theater was played completely differently, although, it would seem, what is there to be wise? Ostrovsky clearly wrote out a drawing of the role for the actress. For example, in the 70s, in the famous performance of the Maly Theater, staged by Boris Babochkin, the episode with the key was solved as follows. The actress (L. Shcherbinina) grabbed the key almost immediately. She hid it in her pocket quickly, convulsively, as if she was taking revenge on the evil mother-in-law Kabanikha with this secret. She ran away victorious, passionately begging someone on the move: "If only the night is faster." There was no choice. Temptations did not torment the heroine. Rather, the problem of fathers and children was being solved here.

In 1992, in St. Petersburg at the Youth Theater appeared the first in many years ("The Thunderstorm" has not been staged for almost 20 years, which also leads to some reflections), a modern production of "The Thunderstorm" (director - S. Spivak). Katya Kabanova was played by a pretty actress, rather, perhaps, lyrical, rather than dramatic, and even more so tragic. It was just Katya, Katyusha, and not Katerina at all. The scene with the key in Spivak's performance is the central one. It was in her that Katyusha was transformed into Katerina. The actress (E. Untilova) on the almost empty stage, covered with a gray-blue canvas, as if between heaven and earth, remained alone with herself. She began to struggle with the temptation of something unknown, as if from all sides enveloping her, inexplicable, realizing, nevertheless, one thing: death is approaching her. In an unequal duel, woman and rock met. Therefore, Katya's unhappy life became tragic fate Katerina. The actress first threw the key, as if burned, then studied it like some unusual creature. And suddenly, as if unwittingly touching, she could not tear the key from her own fingers, it slipped out of its own accord and fell into the pocket of her dress. And she, realizing that her soul had perished, and that an unknown force had subjugated her entire being, went towards not Boris, but her own death. If the soul is not saved, physical death is nothing. Tikhon Kabanov's wife knew this.

The love of Katerina and Boris was shown in Spivak's play ... what do you think? Ironically. Like an innocent get-together game. Having met at night, Katerina and Boris (A. Petrov) sat down opposite each other, propped their cheeks with their fists and began, like children, chatting and chirping all kinds of nonsense. The performance of the Petersburgers was not about love, but precisely about the fragmentation of the personality, about the death of the soul as a result of such and not another choice. This "Thunderstorm", I think, tried to return to the modern theater, to our world of unbelief and cynicism, the concepts of sin, confession, and the last judgment. That is, those concrete, age-old values \u200b\u200bof the Russian Orthodox consciousness that have constituted and still constitute the meaning of the word spiritual: the relationship of man with God and the Church, life in faith, life outside of faith, etc. However, Spivak's performance was received coldly, condescendingly indifferently, as if not wanting to complicate his life, violate inner comfort, however, false.

And our theater lives today as a magical world, the game is gambling, risky, but with an obligatory successful outcome. Tired people who have lost their faith yearn for, wait for happy endings, and this bitter expectation inexorably influences the director's choice of plays. They draw from Ostrovsky to muffle fear. It is striking how theaters change the names of Ostrovsky's plays, in which direction. In the Voronezh Theater of Drama named after A. Koltsov, for example, "Wolves and Sheep" began to be called "Frisky Wings of Cupid". The director does not hide his goals: no social conflicts, no tension. We show an uncomplicated love story, moderately vulgar, moderately funny, moderately calculating. We show, cutely ironic, kindly laughing at the naivety of both "wolves" and "sheep", which the frolic Cupid deftly mixed in one flock, quite, in general, respectable. Anatoly Ivanov staged a colorful, stylish performance with beautiful porcelain-graceful mise-en-scènes. Ostrovsky appeared in this spectacular performance in a new quality - a chant-romance, perhaps. Are you tired of the storms of life? Go to the theater! Relax in it if you can. Such a modern Ostrovsky theater, apparently, should also be. But what's next? In Moscow, for several years he was on the poster and the play by Yuri Pogrebnichko "The Forest" was popular, renamed as "A tragic actress is required." Are Russian tragic actresses a thing of the past? I don't want to believe it. However, there is no "Thunderstorm". There is no "Dowry". However, both plays require a separate article.

Chapter 2

2.1 Folk comedy "Our people - numbered." Features of Ostrovsky's poetics

The intrigue of the comedy itself, which was banned from staging for 11 years, was very traditional. Ostrovsky did not at all strive for novelty in the plot, he wrote: "The playwright does not invent plots ... They are given by life, history, the story of a friend, sometimes a newspaper article. I have ... all the plots are borrowed."

In the center of the comedy "Our people - we will be numbered" - a rich owner, a clever clerk, a cunning daughter. The merchant Bolshov started a false bankruptcy in order to deceive the creditors, and the clerk Podkhalyuzin eventually deceived him - and appropriated his fortune, and "conquered" his daughter Lipochka. The action develops according to the principle of an hourglass: Bolshov's strength gradually weakens, his power "leaks", at some point the clock turns over - and Podkhalyuzin appears at the top ...

To the traditions of Russian theater XVIII Ostrovsky's onomastics - the system of names of his characters - also dates back to the century.

Classicism prescribed strict rules for the comedian. The viewer had to know in advance how the author relates to this or that hero, - therefore, the names and surnames were chosen to speak. The Starodum and Skotinins in the Fonvizin "Nedorosl" are vivid examples of this kind. Early Ostrovsky does not deviate from this rule. If in the center of the action there is a petty rascal (in the dictionary of Vladimir Dal referred to as a podhalyuza), then the name Podkhalyuzin suggests itself. And it is natural to give the main character, a rich and strong merchant, the arrogant surname Bolshov, the biblical name Samson (in the Bible this is a mighty hero who has lost his strength) and the mockingly proud patronymic Silych.

The intrigue was not new. What was new was not the naming convention. The author's approach to heroes was new. Theatrical art is much more conventional than epic prose and even lyrics; stage performance dictates its strict rules to the playwright. An actor cannot play well if there is no audience response, a response "wave" of the audience. At the same time, the performance does not last long, it unfolds rapidly. In order for the viewer to immediately, without wasting time, join in the course of events, emotionally respond to them, common, typological features should be recognized in the characters. (Remember what a theatrical role is - we talked about them when we repeated Griboyedov's comedy "Woe from Wit".)

Of course, in these recognizable roles, as in a kind of cones, the artist "pours" new content, endows the heroes with individuality and character. But Ostrovsky focused on another task from the very beginning. It was not for nothing that he took lessons from the "natural school". "Naturalists" described the surrounding reality in detail, in detail, paying attention to the little things, including the unsightly; they wanted the reader to check the literary image not with cultural tradition, not with other people's books, but with untidy Russian reality. So the early Ostrovsky correlated his characters not with theatrical types, not with theatrical masks (a clever servant, a deceived husband, a stingy master, an intelligent peasant woman), but with social types. That is, he did everything so that the viewer looked at the stage events through the prism of the surrounding life, compared the images of the heroes with their social prototypes - merchants, servants, nobles.

In the image of Bolshov, the viewer immediately recognized the features of a modern merchant, "model" of the 1850s. The same is with Podkhalyuzin. The playwright's everyday observations were condensed, concentrated and focused in his characters. And only then these fresh observations were set off by an easily recognizable literary background. (In Podkhalyuzin, the type of Molchalin is recognized; some scenes with the suffering Bolshov resemble a parody of Shakespeare's King Lear.)

In the first notable play by Ostrovsky, other features of his poetics were also identified.

The speech characteristics of the heroes did not just add additional colors to the character's image, not only emphasized his individuality. Dialogue in Ostrovsky's comedies and dramas played a much more serious role, they served as a speech analogue of action. What does it mean? Here's what. When you read the plays of the great Russian playwright, you will surely pay attention: for all their fascination, they are not too dynamic. The exposition in them is very long, and the climax and decoupling, on the contrary, are swift and fleeting. The interest of the viewer and the reader is provided for something completely different: a vivid description of morals, the tension of moral conflicts that arise before the heroes. How do we know about these collisions? Just from the dialogues of heroes. How do we judge color and originality? By the speech of the characters. Including their monologues.

Ostrovsky transferred to the dramatic plane the psychological experience accumulated by Russian narrative prose. He deliberately romanizes his plays, that is, like the authors of Russian psychological novels, he shifts the center of gravity from intrigue to inner world human. (That is why they are so interesting to read - no less interesting than watching them in the theater.)

The same explains another feature of Ostrovsky's poetics. In his comedies there is no figure of an educated hero-resonator (as, for example, Chatsky in Griboyedov). Almost all the characters belong to one - the merchant, less often the noble, even less often the bourgeois - class. In modern merchants, as in a drop of water, all of Russia is reflected, it turns out to be, as it were, the resultant of Russian history, a clot of the Russian people. And the merchant house, in which the action of many of Ostrovsky's comedies is concentrated, appears to be a small "model" of the entire middle Russia. The conflict between the older and younger generations of Russian merchants, between old and new, which unfolds right before the eyes of the viewer, sums up the contradictions of the era.

For all that - and this is another important principle of Ostrovsky - the playwright invariably looks at all social problems through the prism of morality. His heroes make their moral (or, more often, immoral) choice in rigidly defined social circumstances, but circumstances are not important in and of themselves. They only exacerbate the eternal questions of human life: where is the truth, where is the lie, what is worthy, what is unworthy, what is the world on ...

ostrovsky stage play performance

2.2 Reading and seeing the play "Our people - we are numbered, or Bankrupt" A.N. Ostrovsky after a century and a half (on the example of the performance of the Izhevsk municipal youth theater "Young Man")

Russian classics is a rather serious test for the modern viewer, sometimes indifferent, cynical. Who of those gathered in this hall will be interested in "the affairs of bygone days"? and maybe we all just want to hear each other, feel, realize: what are we laughing at, about what are we crying? I wonder what the creators of the play think themselves?

Interview with the chief director of the Izhevsk municipal youth theater "Young man" E.V. Dining room, theater actresses E. Sushkova-Oparina, M. Rudneva:

Evgeny Vadimovich, what do you think, are the problems raised by Ostrovsky interesting to the modern viewer?

I have a feeling that the plays of all our Russian playwrights, in principle, cannot but be interesting, or, more precisely, the problems they raise. They turn out to be projected for any time: even 50 years ago, even 100, even 150 years ago, the name “Bankrupt” has not lost its meaning today. The play is written as if now and for this time. I think that we are discovering almost nothing new here, all the problems that were once relevant are natural from year to year, they just look somewhat different from different angles. And just the same, our main goal is to present these problems in an interesting, breathtaking form to the modern viewer without losing even the smallest share of the semantic and spiritual load that the play carries in the original. Indeed, over time, nothing changes: a person does not change, he cannot be corrected. He was both adaptable to the circumstances that surrounded him, and adapts, adapts to life to this day.

Okay, Evgeny Vadimovich, then why do all this - put on performances about these problems? Why, if nothing changes:

Well, I believe that this is not being done in vain. It was not for nothing that the philosopher said: "As long as mankind can remember, there has always been a theater." The theater cannot be empty. In life we \u200b\u200bare constantly surrounded by situations that allow us to discharge ... Discharge externally: in an emotional and vocal way, if I may say so. And a person comes to the theater to unload and relax internally. And the most important thing is that he should see on stage what is close and familiar to him.

The play is all about one thing: Podkhalyuzin begins to take revenge. He takes revenge on Bolshov for all the humiliation he endured. And as soon as a convenient situation arises, he caught it, "hooked on the ridge", took it and did it! And that's all ... Nothing else. Now, it's the same in life. Look, you remember how 20 years ago it was easy to get rich - quickly, instantly! Now try it!

It turns out that the time of the Podkhalyuzins has now come ...

I think it has already gone ... gone to come again. Again, the great dictum applies here: "History repeats itself." But now slightly different times have come when, if I may put it that way, it is very difficult to push Podkhalyuzin away. Although ... if we take the first title of the play "Bankrupt" - it is very important. Now look at what is happening in our life: behind bars, the oligarchs, the ex-president of Kyrgyzstan, are accused, not groundlessly, in our opinion, because "there is no smoke without fire", of embezzlement of budget funds. Isn't this the Podhalyuzins? They just robbed and that's all ... And here too ... robbed and that's it. Guessed the moment, took advantage of it and was like that. Well, the situation is this way! .. Now, probably, there is an opinion that I justify him (Podkhalyuzin) that he is a very good person who used it in time, well, someone else's wallet was lying, no one needed, and he took it. If you take this situation out of context, you can, of course, say that a scoundrel, a scoundrel! Offended tatienka - you can't do that! Where are the human feelings, where are the qualities that you should feel for your parent? And even more so to the benefactor who fostered you, one might say, from childhood! The boy was taken! You were stroked ... and inserting the torn piece back into the context - the question: "How did you stroke?" - "Kicks!" And if not stroked with kicks, maybe this would not have happened. The fact is that Podkhalyuzin is a very talented person. He has a very large potential both sensual and, if I may say so, mental.

Elena Sushkova-Oparina:

When I read the role, I immediately wrote to myself: "Mommy has seven Fridays a week." In general, I tried to implement these "seven Fridays of the week".

Why do you love your profession and, probably, will never cheat on it?

For what? For everything: for what is difficult, for the fact that success happens very often ... with all of us, naturally. This is not individual creativity, but collective. And we are all very dependent on each other. And I always thought so, I was taught this way by my first teachers of GITIS and theater comrades, that in general, a lot depends on the partner. And that's what I can only say, maybe, unlike someone else - I take a lot from a partner, I take and feed on a partner. I can't live without a partner. Everything that I do well in the role is, of course, the merit of my partners. And I was taught that in no case should you scold your partner. Even allowing himself to say inwardly: “Ah, he could have been better here! I did well now, but he did not do very well ”- I don’t understand this. I can only say that this is a collective creation, we are all together, and our successes, of course, are common and, I think, failures are common.

Maria Rudneva

Masha, tell me, why is this Lipochka interesting to you?

The fact that she is a living person ... with a foulbrood, of course ... if we talk about the finale of the play, she mercilessly takes revenge for the fact that she was not understood, did not want to understand, did not hear, did not listen and did not want to hear.

Do you think theater can change something in a person, or is it an illusion?

Probably, something can ... As you open a book and know that it will not teach you - it is dumb. She talks, but she talks with your eyes, your images, your ideas. The theater is like a book. When a person takes an interesting book, gets carried away by it, reads it out. He wants not to be taught, but to give him a ground for thought. In the theater, the most subtle nerve endings are touched, since everything is passed through the inner world of a person, an attempt is made to stir up feelings, arouse empathy, compassion, or, conversely, anger and dislike for the character. But this is already decided by the viewer - how he will relate to this or that character. Nothing happens in the empty space - not a single role, even the smallest one.

Conclusion

In the 21st century we have not changed much in comparison with the 19th century. The external conditions of life have changed - cars instead of horses and harnesses, e-mail instead of epistolary contact, women have mastered trousers, but consciousness is a more inertial thing. The rules of the game were not settled.

Lipa and Lazar in the play "Our People - Let Us Numbered" do not give their father the required amount, not because they are cruel capitalist sharks, but they simply do not understand how it is possible to give money if they are needed to "live like people" ... That is, the way they imagine a life worthy of themselves. “We are not some philistines,” Lipa says to his father. They cannot be called heartless for all the heartlessness of their act: the father gave all his capital, and they do not want to disrupt their plans for a prosperous life in order to free their father from the debt hole.

It looks like meanness, but they don't realize it yet ...

This play by the master of Russian drama, published for the first time exactly 160 years ago, turns out to be absolutely equivalent to its projection to our days, to the present. The experiences and feelings caused by her seem incredible when you see a production in a modern interpretation and on a modern stage. She really gives birth to "Feelings" with a capital letter, and this is her charm. After all, "only a beard can be fake, and feelings - they are all real" (M. Rudneva)

So, perhaps, it is for these lively and kind, real feelings that we come to the theater. Maybe such performances help us realize ourselves not just as a population without clan and tribe, but as Russians!

List of used literature

1.Ashukin N.S., Ozhegov S.I., Filippov V.A. Dictionary to Ostrovsky's plays. M., 1983.

2.Zhuravleva A.I., Nekrasov V.N. Ostrovsky Theater. M., 1986.

.Lakshin V.Ya. Alexander Nikolaevich Ostrovsky. M., 1982.

.Lotman L.M. Ostrovsky's dramaturgy // History of Russian drama: Second half of the XIX - early XX century. Until 1917. L., 1987.

Other sources of information

.Interview with the chief director, actors of the Izhevsk municipal youth theater "Young man"

2.Review of the performance of the Izhevsk municipal youth theater "Young man" "Our people - numbered" by A.N. Ostrovsky People's Artist of the UR, Honored Artist of the Russian Federation, Chairman of the Union of Theater Workers of Udmurtia A.G. Mustaeva

Applications

1.Written answers of the chief director of the Izhevsk municipal youth theater "Young man" to the questions posed

2.A documented interview with the chief director, actors of the Izhevsk municipal youth theater "Young man"

.Audio recording of an interview with the chief director of the Izhevsk municipal youth theater "Young man" E.V. The dining room

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The play "Our people - let's count", over which A.N. Ostrovsky worked from 1846 to 1849, became the debut of a young playwright. The original title of the work - "Bankrut" - gives an idea of \u200b\u200bthe plot of the play. Its main character, the hardened merchant Bolshov, conceives and implements an unusual scam. He declares himself to be a Bacrot, although in fact he is not.

Thanks to this deception, Bolshov expects to get even more rich. But he alone is "inconvenient", and the clerk Podkhalyuzin is well aware of the state of his affairs. The main character makes the clerk his accomplice, but does not take into account one thing - Podkhalyuzin is an even greater swindler than Bolshov. As a result, an experienced merchant, the thunderstorm of the entire city, "remains with a big nose" - Podkhalyuzin takes possession of his entire fortune, and even marries his only daughter Lipochka.

In my opinion, in this comedy Ostrovsky largely acted as the successor of the traditions of N.V. Gogol. So, for example, the "manner" of the great Russian comedian is felt in the nature of the conflict of the work, in the fact that there is no goodies (laughter can be called the only such "hero").

But, at the same time, "Our people - we will be numbered" is a deeply innovative work. This was recognized by all of Ostrovsky's "literary" contemporaries. In his play, the playwright used completely new material - he brought merchants to the stage, showed the life and customs of their environment.

In my opinion, the main difference between “Our people - we will be numbered” from Gogol's plays is the role of comedy intrigue and the attitude towards it actors... In Ostrovsky's comedy there are characters and whole scenes that are not only unnecessary for the development of the plot, but, on the contrary, slow it down. However, these scenes are no less important for understanding the work than the intrigue based on Bolshov's alleged bankruptcy. They are necessary in order to more fully describe the life and customs of the merchants, the conditions in which the main action takes place.

For the first time Ostrovsky uses a technique that is repeated in almost all of his plays - an extended slow-motion exposure. In addition, some characters of the work are not introduced into the play in order to somehow develop the conflict. These "decorous persons" (for example, matchmaker, Tishka) are interesting in themselves, as representatives of the everyday environment, manners and customs: “If the other owners have a boy, he lives in boys, so he is present at the shop. And here, here and there, shuffle along the pavement like crazy all day. " We can say that these characters complement the image of the merchant world with small, but bright, colorful strokes.

Thus, the everyday, the ordinary interests Ostrovsky the playwright no less than something out of the ordinary (the scam of Bolshov and Podkhalyuzin). Thus, the conversations of Bolshov's wife and daughter about outfits and grooms, the squabble between them, the grumbling of the old nanny perfectly convey the usual atmosphere of a merchant family, the circle of interests and dreams of these people: “It was not you who taught - outsiders; fullness, please; you yourself, I must admit, have not been brought up in anything ”; “Calm down, hey, calm down, shameless woman! If you will bring me out of patience, I will go straight to my father, so I will bryaknutsya, living, I will say, no from my daughter, Samsonushko! ”; “… We all walk under fear; just look, drunk will arrive. And what a good thing, Lord! After all, such a mischievous person will be born! " etc.

It is important that the speech of the characters here becomes their capacious internal characteristic, an exact "mirror" of everyday life and customs.

In addition, quite often Ostrovsky kind of slows down the development of events, considering it necessary to show what his characters were thinking, in what verbal form their reflections are clothed: “What a misfortune! This is where trouble came upon us! What to do now? Well, bad business! It is impossible to avoid now to appear insolvent! Well, suppose the owner will have something left, but what will I have to do with it? " (Podkhalyuzin's reasoning), etc. In this play, thus, for the first time in Russian drama, the dialogues of the characters have become an important means of moral description.

It is worth noting that some critics considered Ostrovsky's widespread use of everyday details as a violation of the laws of the scene. The only justification, in their opinion, could be that the novice playwright was the discoverer of merchant life. But this "violation" later became the law of Ostrovsky's drama: already in his first comedy, he combined the sharpness of intrigue with numerous everyday details. Moreover, the playwright not only did not abandon this principle later, but also developed it, achieving the maximum aesthetic effect of both components of his play - a dynamic plot and static “conversational” scenes.

Thus, the play by A.N. Ostrovsky "Our people - numbered!" - This is an accusatory comedy, the playwright's first satire on the customs of the merchant environment. The playwright, for the first time in Russian literature, showed the life of Zamoskvorechye - the way of life and customs of Moscow merchants, their views on life, dreams and aspirations. In addition, Ostrovsky's first play determined his creative style, techniques and methods, with the help of which he subsequently created such dramatic masterpieces as "The Thunderstorm" and "Dowry".

The writing

The play "Our people - let's count", on which A. N. Ostrovsky worked from 1846 to 1849, became the debut of the young playwright. The original title of the work - "Bankrut" - gives an idea of \u200b\u200bthe plot of the play. Its main character, the hardened merchant Bolshov, conceives and implements an unusual scam. He declares himself to be a Bacrot, although in fact he is not.

Thanks to this deception, Bolshov expects to get even more rich. But he alone is "inconvenient", and the clerk Podkhalyuzin is well aware of the state of his affairs. The main character makes the clerk his accomplice, but does not take into account one thing - Podkhalyuzin is an even greater swindler than Bolshov. As a result, an experienced merchant, the thunderstorm of the whole city, "remains with a big nose" - Podkhalyuzin takes possession of all his fortune, and even marries his only daughter Lipochka.

In my opinion, in this comedy Ostrovsky largely acted as a continuer of the traditions of N.V. Gogol. So, for example, the "manner" of the great Russian comedian is felt in the nature of the conflict of the work, in the fact that there are no positive heroes (the only such "hero" can be called laughter).

But, at the same time, "Our people - we will be numbered" is a deeply innovative work. This was recognized by all of Ostrovsky's "literary" contemporaries. In his play, the playwright used completely new material - he brought merchants to the stage, showed the life and customs of their environment.

In my opinion, the main difference between Our People - Let 's be numbered from Gogol's plays lies in the role of comedy intrigue and the attitude of the characters towards it. In Ostrovsky's comedy there are characters and whole scenes that are not only unnecessary for the development of the plot, but, on the contrary, slow it down. However, these scenes are no less important for understanding the work than the intrigue based on Bolshov's alleged bankruptcy. They are necessary in order to more fully describe the life and customs of the merchants, the conditions in which the main action takes place.

For the first time, Ostrovsky uses a technique that is repeated in almost all of his plays - an expanded slow-motion exposure. In addition, some characters of the work are not introduced into the play in order to somehow develop the conflict. These "decorous persons" (for example, matchmaker, Tishka) are interesting in themselves, as representatives of the everyday environment, manners and customs: “If the other owners have a boy, he lives in boys, so he is present at the shop. And here, here and there, shuffle along the pavement like crazy all day. " We can say that these characters complement the image of the merchant world with small, but bright, colorful touches.

Thus, the everyday, the mundane interests Ostrovsky the playwright no less than something out of the ordinary (the scam of Bolshov and Podkhalyuzin). Thus, the conversations of Bolshov's wife and daughter about outfits and grooms, the squabble between them, the grumbling of the old nanny perfectly convey the usual atmosphere of a merchant family, the circle of interests and dreams of these people: “It was not you who taught - outsiders; fullness, please; you yourself, I must confess, have not been brought up to anything ”; “Calm down, hey, calm down, shameless woman! If you will bring me out of patience, I will go straight to my father, so I will bryaknutsya, living, I will say, no from my daughter, Samsonushko! ”; “… We all walk under fear; just look, drunk will arrive. And what a good thing, Lord! After all, such a mischievous person will be born! " etc.

It is important that the speech of the characters here becomes their capacious internal characteristic, an exact "mirror" of everyday life and customs.

In addition, quite often Ostrovsky kind of slows down the development of events, considering it necessary to show what his characters were thinking, in what verbal form their reflections are clothed: “What a misfortune! This is where trouble came upon us! What to do now? Well, that's bad! It is impossible to avoid now to appear insolvent! Well, suppose the owner will have something left, but what will I have to do with it? " (Podkhalyuzin's reasoning), etc. In this play, thus, for the first time in Russian drama, the dialogues of the characters have become an important means of moral description.

It is worth noting that some critics considered Ostrovsky's widespread use of everyday details as a violation of the laws of the scene. The only justification, in their opinion, could be that the novice playwright was the discoverer of merchant life. But this "violation" later became the law of Ostrovsky's drama: already in his first comedy he combined the sharpness of intrigue with numerous everyday details. Moreover, the playwright not only did not abandon this principle later, but also developed it, achieving the maximum aesthetic effect of both components of his play - a dynamic plot and static "conversational" scenes.

Thus, the play by A. N. Ostrovsky "Our people - we will be numbered!" - This is an accusatory comedy, the playwright's first satire on the customs of the merchant environment. The playwright, for the first time in Russian literature, showed the life of Zamoskvorechye - the way of life and customs of Moscow merchants, their views on life, dreams and aspirations. In addition, Ostrovsky's first play determined his creative style, techniques and methods, with the help of which he subsequently created such dramatic masterpieces as "The Thunderstorm" and "Dowry".