"A.N.OSTROVSKY Pieces" - Piez "Thunderstorm" (1859). The Russian dramatic theater has only one me. I am all: and the Academy, and the patron, and protection. "Columbus Zamoskvorechye" was born in the Dyakon family in the old Zamoskvorechye. "Plays of Life." Piece "Damnant" (1878). Drama of life? Conflict plays. What is a thunderstorm in drama? Landscape-acting face?
"Piece Thunderstorm" - make sure how the motives of sin and death are implemented in the text. A.N.ostrovsky. Find how the motives of sin and death are implemented in the text. Drama image system. The meaning of the name of the play of A.OSostrovsky "Thunderstorm". Thunderstorm. S.Shevyrev. Motive organization of drama. But how do you missed a thunderstorm in the billboard?
"Ostrovsky Pieces" - examples. Ostrovsky style features. There was no penny, yes suddenly Altyn. Dalmings in the dictionary of Dalya pushes as an unknown person. The meaning of the name. The originality of the names of the plays. "I'm working all my life." Group 2. The meaning of the name of the play "Thunderstorm". Left outcome: Children's years have passed in Zamoskvorechye, merchant and Meshchansky district of Moscow.
"Composition" - computer design. Called the reception "Fish". Font history. Word. A shift of pictographic writing has been made and monogrammed. Any letter or hieroglyph primarily image. Main touch. Basic principles. Paint. Text and image as elements of a composition of 8.Marotype of graphic design forms.
"Views of the composition" - the main types of composition. Volume composition. Spatial composition. The influence of visual illusions on the apparent changes in the size of the space. Frontal composition. Principles of identifying the nature of the volume form. Frontal composition Volume composition deep-spatial composition.
"Pieces of A.N. Ostrovsky" - "Sticker-berry". "Among the valley is flat, on a smooth height ...". "Definition" of the word E. Baratyan music M.I. Glinka. Romance. Romances in the plays of Ostrovsky. Types of romances. "Snow Maiden". Romance transmits the subtlettage of feelings: longing, disappointment, despondency. The role of music in Pieces A.N.ostrovsky. What is music?
What is the composition of the Piez "Thunderstorm"? And got the best answer
Reply from Juth [Expert]
Exposure, tie, conflict development, climax, omission.) And now remember the plot)) composition. The first action is a detailed exposure. She was needed by Ostrovsky for Toving to give an initial idea of \u200b\u200bacting persons, about the relationships that dominate the city of Kalinov.
The inhabitants of the city constantly feel the cruel and limitless power of the owners. Hence that the word of the invoice is so often repeated heroes. Katerina, Boris, Tikhon, Varvara say about her.
For the playwright it was very important to choose a so-called George, the mouth of the cat, he could give the overall picture of the life and morals of the city of Kalinov. Such a person in the play is the self-taught Kuligin mechanic: it is he who owns the words about the beauty of the surrounding nature, it is he who is able to appreciate what the Woktyg is happening. He parses Boris about the "brutal nravakh" of the city. Almost next to the monologue of Kuligina in the play, a monologue of the Wanderee of Feklushi was given in the play ("and merchants all the people are pious, virtues decorated with many!"). Other evaluation gives Kuligin Kabanova: "Hange, sir! The beggars will dwell, and home leisure lies at all. .
The fifth phenomenon reveals family relationships that killed in the house of Kabanova. .
A sharp collision of characters begins to be felt in this phenomenon. Feeling inner protest and quikhon, and barbarians, and most importantly - Katerina. But Tikhon hides his discontent for false phrases, full of humiliation, Varvara says "to herself", and Katerina, "that in humans, that without people ... All alone," says that even equal and, unlike Tikhon, even appeals to her on "you". It is in Katerina who sees Kabanova his opponent.
In the seventh phenomenon, Katerina talks about himself, about his life in the parent house, and the depth and poeticity of her intern world is felt. The impressions of the past are a sharp contrast with the atmosphere of the Kabanovsky House ("I got at all").
Katerina suffers from a heavy atmosphere in the house of Kabanii, and from the consciousness of his secret love for Boris, hence the premonition of trouble. The tragedy motive ("be gpexy some! .. Being trouble!") Permeates the first and second action, it sounds throughout the platform.
In the first action, the Ostrovsky leads the viewer from the general picture of the morals and the characters to the family of Kabanova and further to the spiritual drama of Katerina
^ The main event of WOPOGO Actions are Tikhon's wires to Moscow, which allows the playwright to more fully reveal the Domostroev orders reigning in the Kabanovsky house, the psychology and the characters of GepoE. In the wires of the wires there is a new collision of Kabani and Katerina. We see the inability of Tikhon not only to protect, but also to understand Katerina, who has the last hopes to find a support in the husband, from here and its exclamation, full of spiritual pain: "Ah, my trouble, trouble! Where to me, poor, going? For Koogo, I grab? My father, I die! " .
^ Second action and, in particular, scenes of Tikhon wires and the next monologue of Katerina with the key (the tenth phenomenon) - the drama tie, the turning point followed by the development of action.
"Ah, kababy night sooner! .." The second action of the drama ends with these words, but the third starts not from the night date, which is waiting for the heroine so much, and with the conversations of Kabani and Flocushi at the gate of the Kabanovsky house. This action is divided by the playwright into two pictures (scenes), sharply opposed each other.
The story of the wanderee of the fecles about visiting Moscow, who carefully listens to Kabanov, painted with a gloomy premonition - for all the signs they are "last time": one empty bustle, "Gulbishchi da Gpotschi, and the streets of Indo gpoxo goes ... Damage.
^ Second picture - night dates
Turn to the dialogue of Katerina and Boris. It seems that they speak different languages, feel different. The consciousness of his sinfulness does not leave Katerina, she stands, "without raising his eyes," almost sees almost not listening to Boris. Her passionate "Ty is opposed in a dialogue cautious" you ". With which Boris addresses to her. AT
The play "Thunderstorm" of the famous Russian writer of the XIX century Alexander Ostrovsky was written in 1859 on the wave of public lifting on the eve of social reforms. She became one of the best works of the author, opening the eyes of the whole world on the moral and moral values \u200b\u200bof the then merchant class. For the first time was published in the journal "Library for reading" in 1860 and thanks to the novelty of its topics (descriptions of the struggle of new progressive ideas and aspirations with old, conservative implications) immediately after the publication caused a wide public resonance. She became the topic for writing a large number of critical articles of that time ("Light of Light in the Dark Kingdom" Dobrolyubov, "Motifs of the Russian Drama" Pisarev, Critica of Apolone Grigoriev).
History of writing
Inspired by the beauty of the Volga region and his endless expanses during a trip with his family in Kostroma in 1848, the Ostrovsky starts writing the play in July 1859, after three months he finishes and sends it to the St. Petersburg censorship.
Having worked for several years in the office of the Moscow Council Court, he knew well that he was a merchants in Zamoskvorechye (the historical region of the capital, on the right bank of the Moscow River), more than once facing the debt of the service with what was going on behind the high fences merchant choir , namely, with cruelty, samorament, ignorance and various superstitions, illegal transactions and apartments, tears and the suffering surrounding. The basis for the plot of the play was the tragic fate of the daughter-in-law in the merchant altitude family of cannon, which occurred in reality: a young woman rushed to the Volga and drowned, not to withstand oppression from the power of the powerful mother-in-law, tired of her husband's lack of battery and secret passion to the postal service. Many believed that it was the stories from the life of the Kostroma merchants that became a prototype for the plot written by an Ostrovsky play.
In November 1859, the play was played at the Minor Academic Theater Slogs in Moscow, in December of the same year in the Alexandrin Drama Theater in St. Petersburg.
Analysis of the work
Story line
In the value of the events described in the play, there is a wealthy merchant family of Kabanov, living in the fictional Volga city of Kalinov, a kind of peculiar and closed Mirka, symbolizing the overall arrangement of the entire patriarchal Russian power. The Kabanov family consists of a powerful and cruel woman-tyrant, and in fact the head of the family, rich pitfall and widow Marfi Ignatievna, her son, Tikhon Ivanovich, a born and non-fractive on the background of a heavy ingredient of his mother, daughters of Varvara, who learned the deception and cunning to resist the mothers despotism , as well as the daughter-in-law of Katerina. A young woman who has grown in the family where she loved and regretted, suffers in the house of an unloved her husband from his dryness and claimants of the mother-in-law, in fact, having lost their will and becoming a victim of cruelty and self-making kabani, left at the arbitrary of fate with a cloth-husband.
From the hopelessness and despair, Katerina is looking for consolation in love for Boris Way, who also loves her, but it is afraid to disobey her uncle, the rich merchant Saven's Prokofyevka, because his and sister depends on him. He meets with Katerina with secret, but at the last moment he betrays her and runs away, then at the direction of the uncle goes to Siberia.
Katerina, being brought up in obedience and subordinate to her husband, tormented by his own sin, admits in all her husband in the presence of his mother. She makes the life of the daughter-in-law completely unbearable, and Katerina, suffering from unhappy love, stors of the conscience and cruel persecutions of Tirana and the despota of Kabani, decides to commit to her torment, the only way in which she sees salvation is suicide. She rushes off the cliff in the Volga and tragically dies.
Main characters
All the characters of the play are divided into two opposing camps, one (Kabaniha, her son and daughter, a merchant wild and his nephew Boris, the servants of the fecles and heel) are representatives of the old, patriarchal lifestyle, others (Katerina, self-taught coaligin mechanic) - new, Progressive.
Young woman, Katerina, the wife of Tikhon Kabanov, is the central heroine of the play. It is raised in strict patriarchal rules, in accordance with the laws of the ancient Russian housework: the wife must submore her husband in all, respect it, fulfill all his demands. At first, Katerina tried to love her husband with all their forces, to become a submissive and good wife for him, but because of his complete fierceness and weakness of character, he may only have pity for him.
Outwardly, it looks like a weak and silent, but in the depths of her soul is stored enough willpower and perseverance, in order to resist the tyranny mother-in-law, which is afraid that the daughter-in-law can change her son Tikhon and he will no longer overcome the will of the mother. Katerina is closely and stuffy in the dark king life in Kalinov, she literally chips there and in dreams she flies like a bird away from this terrible place for her.
Boris.
Having loved the arrival of the young man of Boris, the nephew of a rich merchant and Deltsa, she creates in his head the image of an ideal beloved and a real man who does not correspond to reality, breaks her the heart and leads to the tragic final.
In the play, Katerina Character is opposed to a specific person, his mother-in-law, but everything at that time an existing patriarchal defendant.
Kabaniha
Marfa Ignatievna Kabanova (Kabaniha), like the merchant-Samodor Wild, who tormented and insults his relatives, does not pay a salary and deceives his workers, are bright representatives of the old, the mesh of life. They are distinguished by stupidity and ignorance, unjustified cruelty, rudeness and rudeness, complete rejection of any progressive changes in the hospital patriarchal lifestyle.
Tikhon.
(Tikhon, on the illustration near Kabani - Martha Ignatievna)
Tikhon Kabanov throughout the play is characterized as a quiet and haired person, which is under the full influence of a despotic mother. Featuring the softness of character, he does not attempt to protect his wife from mother attacks.
At the end of the play, he eventually does not withstand and the author shows his rebellion against tyranny and despotism, it is his phrase at the end of the play leads readers to a certain conclusion about the depth and tragedy of the current situation.
Features of composite construction
(Fragment of dramatic production)
The work begins with a description of the city on the Volga Kalinov, the image of which is a collective way of all Russian cities of that time. The Landscape of the Volga Prosts, depicted in the play contrasting the scene, the sad and gloomy atmosphere of life in this city, which is emphasized by the deadly closedness of the life of its inhabitants, their underdeveloped, seriousness and wildness. The general state of urban life, the author described as if before the thunderstorm, when the old, dilapidated way, and new and progressive trends, as a rush of the mad thunderstorm wind, will carry out the proper rules and prejudices to live normally to live normally. The period of life of residents of the city of Kalinova described in the play is in a state when it looks very calm, but it is only calm before the coming storm.
The play genre can be interpreted as a socio-domestic drama, as well as tragedy. For the first characteristic, the use of a thorough description of living conditions, the maximum transfer of its "density", as well as leveling characters. The attention of readers should be distributed between all participants in the production. The interpretation of the play as the tragedy involves her deeper meaning and foundation. If you see in the death of Katerina, the consequence of her conflict with mother-in-law, then it looks like a victim of a family conflict, and all the very unfolding effect in the play for the real tragedy seems small and insignificant. But if we consider the death of the main character as a conflict of a new, progressive time with a fading, old epoch, then its act is not better interpreted in the heroic vein characteristic of the tragic narration.
Talented playwright Alexander Ostrovsky from the socially domestic drama about the life of the merchant class gradually creates a real tragedy, in which he showed the onset of an epochal fracture in the consciousness of the people with the help of a loving conflict. Simple people are aware of the waking sense of self-esteem, they begin to treat the world around the world, they want to finish their fates themselves and rebuild their will. This emerging desire enters an irreconcilable contradiction with a real patriarchal entry. The fate of Katerina acquires public historical meaning expressing the state of the people's consciousness on a turning bowl of two eras.
Alexander Ostrovsky, who has noticed the doomes of attending patriarchal ruins in time, wrote a "thunderstorm" play and opened his eyes to the whole Russian public. He portrayed the destruction of the usual, obsolete lifestyle, with the help of a multi-valued and figurative concept of thunderstorm, which gradually increasing, will meet everything from its path and will open the road to a new, better life.
The pies "thunderstorm" was written by Ostrovsky during the summer and autumn of 1859, in the same year it was put in the theaters of Moscow and St. Petersburg, it was printed in 1860. The success of the play and performances was so great that the playwright was awarded the Uvarov Prize (the highest award for the dramatic work).
The scene was based on the impressions of the literary expedition on the Volga in 1856-1857. In order to study the life and morals of the Volga settlements. The plot is taken from life. It is no secret that many Volga cities challenged the right to the fact that the action of the play occurred in their city (Domostroy, Samoram, rudeness and humiliation were dominated in many cities of Russia of the time).
This is a period of public lifting when the ranks of serfdom crack. The name "Thunderstorm" is not just a majestic phenomenon of nature, but a social shock. . Thunderstorm becomes the background, on which the final stage of the play is unfolded. The broken thunderstorm scares all fear of retaliation for sins.
Thunderstorm... The peculiarity of this image is that, symbolically expressing the main idea of \u200b\u200bthe play, he at the same time directly participates in the actions of the drama as a very real phenomenon of nature, determines (in many ways) the actions of the heroine.
Thunderstorm over Kalinov broke out in the act. She caused confusion in the soul of Katerina.
In IV action, the motive of thunderstorm no longer cleans. ("The rain is painting, how would the thunderstorm gathered? .."; "The thunderstorms we will be sent in punishment so that we feel ..."; "Thunderstorm will kill! Not a thunderstorm it, but grace ..."; " that this thunderstorm will not pass in gift ... ")
Thunderstorm is the natural strength of nature, terrible and not fully studied.
Thunderstorm is the "thunderstorm state of society", a thunderstorm in the souls of the inhabitants of the city of Kalinov.
Thunderstorm is a threat to the leaving, but also the strong world of Kabanov and wild.
Thunderstorm is the benefit of the news of the new forces designed to free the Society from Despotia.
For Kuligina, the thunderstorm is God's grace. For wild and kabani - Heavenly Kara, for FEKLOSH - Ilya, the prophet is rolling across the sky, for Katerina - Retribution for sins. But after all, heroine herself, her last step, from which the Kalinovsky world was stupid, is also a thunderstorm.
Thunderstorm in the play island, as in nature, combines destructive and creative strength.
The drama reflected the rise of social movement, the moods that the advanced people of the era of 50-60s lived.
"Thunderstorm" was permitted by a dramatic censorship to the presentation in 1859, and printed in January 1860 at the request of the friends of Ostrovsky Central Council, I. Nordstrem, who favored the playwright, presented "thunderstorm" as a play not socially accusatory, satirical, and loving household Nor not mentioning in his report on the wild, nor about Kuligin, nor about the fecushev.
In the general formulation, the main theme of "thunderstorms" can be determined as a clash between new trends and old traditions, between the impaired and rocks, between the desire of people to the free manifestation of their human rights, spiritual needs and dominated in the predhormed Russian public and family-household orders.
The topic "Thunderstorm" is organically related to its conflicts. The conflict constituting the basis of the plot of drama is the conflict between old socio-household principles and new, progressive aspirations to equality, to the freedom of a human person. The main conflict is Katerina and Boris with the environment surrounding them - combines all the others. Culinine conflicts with wild and ribs, kudryash with wild, Boris with wild, barbarians with ribs, tachone with ribs are joined to him. The play is the truthful reflection of public relations, interests and struggle of their time.
The general topic of "thunderstorms" entails and a number of private topics:
a) the stories of Kuligin, the replicas of Kudryash and Boris, the actions of Wild and Kabani Ostrovsky gives a detailed description of the material and legal status of all sections of the Society of the Epoch;
c) drawing life, interests, hobbies and experiences of existing persons "Thunderstorms", the author from different parties reproduces public and family-households of merchants and burghers. Thereby covers the problem of social and family-household relations. The position of the woman in the mesh and merchant medium is bright outlined;
d) a life background and problems of that time are displayed. Heroes talk about important public events for their pores: about the emergence of the first railways, on cholera epidemics, on the development of trade and industrial activities in Moscow, etc.;
e) Along with the socio-economic and living conditions, the author of the master painted and the surrounding nature, a different attitude towards her actors.
So, in the words of Goncharov, in the "thunderstorm", "there was a wide picture of national life and morals." The predhormerary Russia is represented in it and its socio-economic, and cultural and moral, and family-domestic appearance.
Composition play
In the play of the 5rd actions: I Action - Zaguka, II-III - Development of action, IV - Culmination, V - Dissection.
Exposition - Pictures of the Volga Prostone and the stuffiness of Kalinovsky morals (d. I, yawl. 1-4).
Vazka - At the pickle of the mother-in-law, Katerina with dignity and peacefully responsible: "You're talking about me, Mama, you speak in vain. What in humans, that without people, I'm all alone, I do not prove anything. " First collision (d. I, yawl. 5).
Next goes conflict development Between heroes, in nature, the thunderstorm is gathering twice (d. I, yawl 9). Katerina is recognized by Varvar, which loved Boris - and the prophecy of the old lady, a distant thunder blow; end d. IV. The thunderstorm cloud crawls, like a living, half-sized old woman threatens Katerina with death in Omte and hell, and Katerina confesses to sin (first climax), falls without feelings. But the thunderstorm never collapsed on the city, only the precreasary tension.
Second culmination - Katerina pronounces the last monologue, when he says goodbye to life, which is already unbearable, but with love: "My friend! My joy! Goodbye! (V, Yavl. 4).
Junction - Suicide Katerina, the shock of the inhabitants of the city, Tikhon, who, being alive, envies the deceased wife: Good to you, Katya! And I needed to live yes torture! .. "(V, Yavl. 7).
What is the composition of the Piez "Thunderstorm"? And got the best answer
Reply from Juth [Expert]
Exposure, tie, conflict development, climax, omission.) And now remember the plot)) composition. The first action is a detailed exposure. She was needed by Ostrovsky for Toving to give an initial idea of \u200b\u200bacting persons, about the relationships that dominate the city of Kalinov.
The inhabitants of the city constantly feel the cruel and limitless power of the owners. Hence that the word of the invoice is so often repeated heroes. Katerina, Boris, Tikhon, Varvara say about her.
For the playwright it was very important to choose a so-called George, the mouth of the cat, he could give the overall picture of the life and morals of the city of Kalinov. Such a person in the play is the self-taught Kuligin mechanic: it is he who owns the words about the beauty of the surrounding nature, it is he who is able to appreciate what the Woktyg is happening. He parses Boris about the "brutal nravakh" of the city. Almost next to the monologue of Kuligina in the play, a monologue of the Wanderee of Feklushi was given in the play ("and merchants all the people are pious, virtues decorated with many!"). Other evaluation gives Kuligin Kabanova: "Hange, sir! The beggars will dwell, and home leisure lies at all. .
The fifth phenomenon reveals family relationships that killed in the house of Kabanova. .
A sharp collision of characters begins to be felt in this phenomenon. Feeling inner protest and quikhon, and barbarians, and most importantly - Katerina. But Tikhon hides his discontent for false phrases, full of humiliation, Varvara says "to herself", and Katerina, "that in humans, that without people ... All alone," says that even equal and, unlike Tikhon, even appeals to her on "you". It is in Katerina who sees Kabanova his opponent.
In the seventh phenomenon, Katerina talks about himself, about his life in the parent house, and the depth and poeticity of her intern world is felt. The impressions of the past are a sharp contrast with the atmosphere of the Kabanovsky House ("I got at all").
Katerina suffers from a heavy atmosphere in the house of Kabanii, and from the consciousness of his secret love for Boris, hence the premonition of trouble. The tragedy motive ("be gpexy some! .. Being trouble!") Permeates the first and second action, it sounds throughout the platform.
In the first action, the Ostrovsky leads the viewer from the general picture of the morals and the characters to the family of Kabanova and further to the spiritual drama of Katerina
^ The main event of WOPOGO Actions are Tikhon's wires to Moscow, which allows the playwright to more fully reveal the Domostroev orders reigning in the Kabanovsky house, the psychology and the characters of GepoE. In the wires of the wires there is a new collision of Kabani and Katerina. We see the inability of Tikhon not only to protect, but also to understand Katerina, who has the last hopes to find a support in the husband, from here and its exclamation, full of spiritual pain: "Ah, my trouble, trouble! Where to me, poor, going? For Koogo, I grab? My father, I die! " .
^ Second action and, in particular, scenes of Tikhon wires and the next monologue of Katerina with the key (the tenth phenomenon) - the drama tie, the turning point followed by the development of action.
"Ah, kababy night sooner! .." The second action of the drama ends with these words, but the third starts not from the night date, which is waiting for the heroine so much, and with the conversations of Kabani and Flocushi at the gate of the Kabanovsky house. This action is divided by the playwright into two pictures (scenes), sharply opposed each other.
The story of the wanderee of the fecles about visiting Moscow, who carefully listens to Kabanov, painted with a gloomy premonition - for all the signs they are "last time": one empty bustle, "Gulbishchi da Gpotschi, and the streets of Indo gpoxo goes ... Damage.
^ Second picture - night dates
Turn to the dialogue of Katerina and Boris. It seems that they speak different languages, feel different. The consciousness of his sinfulness does not leave Katerina, she stands, "without raising his eyes," almost sees almost not listening to Boris. Her passionate "Ty is opposed in a dialogue cautious" you ". With which Boris addresses to her. AT
