home > All about the signs of the Zodiac

Viburnum red analysis of the work. The place of the chosen work in the writer’s work. Born in a Siberian, that is, Russian, village, he did not at all need to study or comprehend the national character. Behind him was piled a centuries-old, many

04.03.2020

Ministry of Education and Science of the Udmurt Republic

State educational institution of secondary vocational education "Debes Polytechnic"

ABSTRACT

On the topic of: " Red viburnum "

Completed by: 2nd year student of group "B"

Voblov Anton Igorevich

Teacher: Ivshina Natalya Vladimirovna

S. Debesy, 2009

Content

Introduction

1. Main part
1.1 Biography of the writer: Vasily Makarovich Shukshin (07/25/29 - 10/2/74)
1.4 Analysis of the selected work. (The story "Kalina Krasnaya")
Conclusion
Bibliography
Application

Introduction

The creative star of Vasily Makarovich Shukshin appeared on the horizon of current Russian culture rapidly and as if completely unexpectedly. It still burns, striking with its brightness and variety of color tints. However, Vasily Makarovich himself is no longer there... Smiling mischievously in Shukshin’s way towards the creators of culture, he disappeared from Moscow with the same strange surprise with which he appeared in it.

He lived only forty-five years. Moreover, his life was so difficult and unfavorable (early orphanhood, homeless youth, illness, late studies, mature years without his own roof over his head, etc.), that only ten to twelve years and of this small number of years he lived on earth, that’s all! - we can attribute it to the actual creative years. But this turns out to be enough for him to write more than one hundred and twenty stories, two novels, several stories, film scripts and plays, and stage five feature films according to their own scripts (“There lives such a guy”, “Your son and brother”, “ Strange people", "Stoves and Benches", "Kalina Krasnaya"), play more than twenty roles. This would be enough for several long and full-blooded creative lives, but he himself, on the eve of his untimely death, believed that he was just beginning to create for real, by and large...

Born in a Siberian, that is, Russian, village, he did not at all need to study or comprehend the national character. Behind him lay a centuries-old, largely tragic history, and a rich culture of folk art splashed about.

“Here you go!” his muffled voice, full of bitterness and inner strength, seems to sound. “So we have to work.” And numerous “middle peasants” from cinema and literature, puzzled by the “Shuksha phenomenon”, either continue to be perplexed, or rush into imitation, or pretend that nothing happened...

Shukshin's works are a bright kaleidoscope of literature. Each of them has its own “zest”, uniqueness, and dissimilarity from others. One of his brightest works was the story “Kalina Krasnaya”, which became one of his brightest directorial works.

1. Main part

1.1 Biography of the writer: Vasily Makarovich Shukshin (07/25/29 - 10/2/74)

V.M. Shukshin was born on July 25, 1929 in the village of Srostki Altai Territory. After eight classes he entered the Biysk Automotive Technical School, but soon left it. He worked on construction sites and on a collective farm. Tenth grade high school graduated as an external student. He worked as a rigger in Kaluga, Vladimir. He served in the navy (1949-1952), returning to his native village, was secretary of the rural district committee of the Komsomol, worked as a director at an evening school in the village of Srostki. In 1954 he entered the directing department of the All-Union State Institute of Cinematography. He first appeared in print in 1959 in the magazine "Smena".

Shukshin for a long time considered cinema to be his main calling and worked as a director and actor. Films with his participation as a director, screenwriter, actor - “There Lives Such a Guy”, “Strange People”, “Stoves-Benches”, “Kalina Krasnaya”, “They Fought for the Motherland” - became a significant event in Soviet cinema last decades. In 1964 The film "There Lives a Guy Like This" received the Venice Award international festival"Golden Lion of St. Mark".

Shukshin is the author of the novels “The Lyubavins” and “I Came to Give You Freedom” - about Stepan Razin. He wrote the stories “There, Away”, “Kalina Krasnaya”, “Until the Third Rooster”, the play “Energetic People”, many stories that formed collections - “Village People”, “Countrymen”, “Characters”, “Conversations in a Clear Moon” ". Shukshin's talent as a writer was most clearly revealed in his short stories, extremely capacious in content, imbued with love for the hard worker and contempt and hatred for parasites, philistines, and grabbers.

The great merits of V. Shukshin - a writer, film director and actor - were awarded the titles of Honored Artist of the RSFSR, laureate of State Prizes of the USSR and the RSFSR. He was posthumously awarded the title of Lenin Prize laureate (1976).

Vasily Makarovich Shukshin died on October 2, 1974.

1.2 Review of the writer’s work, main themes of creativity, main works

The writer took his material for his works from wherever people live. What material is this, what characters? That material and those characters that have rarely entered the sphere of art before. Apparently, it was necessary for a great talent to emerge from the depths of the people, to tell the simple, strict truth about his fellow countrymen with love and respect. And this truth became a fact of art and aroused love and respect for the author himself.

Lovers of “distilled” prose demanded a “beautiful hero”, demanded that the writer invent and not disturb them with his deep knowledge real life. Shukshin's heroes turned out to be not only unfamiliar, but also incomprehensible. The polarity of opinions and harshness of assessments arose, oddly enough, precisely because the characters were not fictitious. When a hero is invented, and often to please someone, this is where complete immorality manifests itself. And when the hero represents real person, he cannot be only moral or only immoral. Isn’t it from here, from a lack of understanding of Shukshin’s creative position, that creative errors in the perception of his heroes come from. After all, what is striking about his heroes is the spontaneity of action, the logical unpredictability of an act: he will either unexpectedly accomplish a feat, or suddenly escape from the camp three months before the end of his sentence. The writer's characters are truly impulsive and extremely natural. And they do this due to internal moral concepts, maybe not yet realized by them themselves. They have a heightened reaction to the humiliation of man by man. This reaction takes on the most various shapes. Sometimes it leads to the most unexpected results. Shukshin himself admitted: “I am most interested in exploring the character of a non-dogmatic person, a person not grounded in the science of behavior. Such a person is impulsive, gives in to impulses, and, therefore, is extremely natural. But he always has a reasonable soul.”

Shukshin never specifically looked for material for creativity; he lived, like the rest of us, he saw and heard the same things that we see and hear. The very fluidity of life, which depresses and eats us so much, gave him both “plots” and “characters”.

In Shukshin, the whole story, all its heroes and characters, are important.

The theme of a village man, torn from his usual environment and not finding new support in life, became one of the main themes of Shukshin’s stories.

Shukshin's stories, referring to "village prose", differed from its main stream in that the author's attention was focused not so much on the foundations of folk morality, but on the complex psychological situations in which the heroes found themselves. The city attracted Shukshinsky’s hero as the center cultural life, and repelled with his indifference to the fate of an individual person. Shukshin felt this situation as a personal drama. “That’s how it turned out for me when I was forty. Not a city person until the end, and not a village person anymore. It’s a terribly inconvenient position. It’s not even between two chairs, but rather like this - one foot to the shore, the other in the boat. And it’s impossible not to swim, and it’s kind of scary not to swim..."

This complex psychological situation determined the unusual behavior of Shukshin’s heroes, whom he called “strange, unlucky people.” The name “weirdo” has taken root in the minds of readers and critics. It is the “eccentrics” who are the main characters of the stories collected by Shukshin into one of the best collections “Characters”.

“Human sorrows and sorrows are living and tremulous threads...” These are lines from Shukshin’s story “I Believe” - lines that are the most accurate definition of many of Shukshin’s artistic studies, large, stretching from the first collection to the story “Other Games and Amusements” (from the last lifetime publication) way.

The folk art of this writer contains explanations for the phenomenality of his talent, his naturalness, high simplicity, and artistry.

1.3 The place of the chosen work in the writer’s work

The release of the film "Kalina Krasnaya" caused a number of complications. The resulting general creative and human overstrain of Vasily Makarovich affected his health, and at the beginning of 1974 he again found himself in the hospital.

Each hospital is, among other things, also a warning, advice that you need to be careful and change the rhythm of life in some way. However, Shukshin could not sit idle.

Everyone who wrote and spoke about the work of Vasily Shukshin could not help but mention his almost incredible versatility without surprise and some feeling of confusion.

After all, Shukshin the filmmaker organically penetrates Shukshin the writer, his prose is visible, his film is literary in the best sense of the word, it cannot be perceived “in sections,” and so, reading his books, we see the author on the screen, and looking at the screen, we remember his prose.

This fusion of the most diverse qualities and talents not only into a whole, but also into a very definite, completely complete one, still pleases and surprises us today, and will always delight and surprise us.

Shukshin belonged to Russian art in that tradition, due to which the artist not only humiliated himself, but did not notice himself in the face of the problem that he raised in his work, in the face of the object that became for him the subject of art.

Shukshin was not only uncharacteristic of, but also contraindicated in, any demonstration of himself, any indication of himself, although he had something to demonstrate to anyone. It was this shyness about himself that made him unforgettable to others.

1.4 Analysis of the selected work (the story "Kalina Krasnaya")

One can say about Shukshin’s work - to live among people, incidents, impressions, each of which requires its own, and rightful place in art, each, pushing away everything else, rushes through you onto paper, onto the stage, onto the screen, urgently demanding and grumbling, - It is very difficult.

Here we remember V. Shukshin’s film story “Kalina Krasnaya,” written in 1973. The main character is Yegor Prokudin. Yegor is inconsistent: sometimes he is touchingly lyrical and hugs one birch tree after another, sometimes he is rude, sometimes he is a ruffian and a drunkard, a lover of drinking, sometimes he is a good-natured person, sometimes he is a bandit. And now some critics were very confused by this inconsistency, and they took it for a lack of character and “truth of life.”

Criticism did not immediately notice that, perhaps, no one had been able to create such a way of life until now - not a single writer, not a single director, not a single actor, but Shukshin succeeded because he, Shukshin, piercingly saw the people around him, their destinies, their life's ups and downs, because he is a writer, a director, and an actor all rolled into one.

Prokudin's inconsistency is not at all so simple, spontaneous and unconditioned; it is by no means an empty place or a lack of character.

Prokudin is consistently inconsistent, and this is something else. This is already logic. His logic is not our logic, it cannot, and probably should not be accepted and shared by us, but this does not mean at all that it does not exist, that it is not able to open up to us and be understood by us.

Not quickly and not quietly, but with an even step, Yegor moves across the arable land he has just plowed towards his death.

He goes, knowing where he is going.

He goes, first sending away his henchman to plow, so that he would not be a witness to what is now inevitably going to happen, so that the person who was in no way involved in Prokudin’s fate would not be in any danger, some kind of trouble as a witness.

The blows of Prokudin’s tarpaulin boots on the wooden walkways are loudly and continuously heard when he leaves prison to freedom, but now he almost inaudibly, but in the same rhythm, walks across the arable land from freedom to his death, and the circle closes, and everything becomes clear to us.

But then we understand that this is the only way this person should have acted - all his previous inconsistency spoke about this.

Prokudin neither pity, nor love, nor patronage, nor help - he would not accept anything from us, but he needs our understanding. It is necessary in its own way - after all, he resists this understanding all the time, it is not for nothing that he was so inconsistent and threw out his knees, but all this is because he needed our understanding.

And then you involuntarily begin to think that Prokudin gives us an understanding not only of himself, but also of his artist - Vasily Shukshin.

Time is running. Those born in the year of Shukshin’s death are becoming his readers today. For them, he involuntarily is the name of the classical series. But the years that passed after his death did not lose the desired meaning of the words that he wrote with a capital letter. People, Truth, living Life. Every word is a reflection of Shukshin’s soul, his life position- never give up, never bend under the weight of life, but, on the contrary, fight for your place in the sun.

Conclusion

The last years of Shukshin's life were a period when everything that surrounded him - all the people and facts - became for him a subject of art, whether it concerned a quarrel with a janitor at the hospital or the study of the biography and deeds of Stepan Razin.

In modern Russian literature, Shukshin’s works have remained unique artistic phenomenon. When reading his stories, you need to think about their essence, delve into every word, feel and hear what his characters feel. The main characters of most of his stories are rural and urban simple people. The writer admires them for their dissimilarity, originality, roughness, and self-esteem. It is these qualities that make his heroes close and dear to us.

In his story "Kalina Krasnaya" Shukshin showed another life. The life of a “small”, but at the same time big person. Big... who experienced the hardships of life, but managed to take the right path, and did not go down the “uneven path”.

For me, Shukshin’s works are vivid examples of life... examples that teach us to understand life. His stories are like instructions to readers. All his heroes make mistakes, but in the end, these mistakes lead to the right path, to a new life. Using the example of Yegor Prokudin, I discovered a new quality of a person - inconsistency leading to the truth. It turns out that the right path cannot always be found with the help of rules and life examples. There are also those who are special, unlike anyone else, but achieve success in life.

Bibliography

1. Shukshin V.M. Stories. - L.: Lenizdat, 1983. - 477 p.

2. Shukshin V.M. Stories. - M.: Det. Lit., 1990. - 254 p.

Application

Dark pages of biography

The old school is now a museum. Vasily Makarovich once studied here and later taught here. Everything here breathes the atmosphere in which Shukshin grew up. An old desk, maps, pens, pointers, textbooks. Here he met his first wife, who also taught at this school. Met, dated, got married. And when he left to study in Moscow, he never returned to his wife. He didn’t even return to get a divorce. There is still no explanation for this action. Shukshin married for the second time in Moscow. His second wife was his daughter famous writer Soviet era Anatoly Sofronov, who at that time headed the Ogonyok magazine. Vasily Shukshin acted simply - he told the police that he had lost his passport. And they gave him a new passport, without marriage and divorce stamps. So he lived undiluted, although for his own short life managed to get married three times. The first wife waited for her husband for quite a long time. Now she has new family, but when she remembers Shukshin, no, no, and she will cry. Apparently, she has many memories associated with Vasily Makarovich.

These words interested us, and we asked if it was possible to go to her and talk about Shukshin. But the guide shook her head and explained that such conversations are extremely difficult for her, and her second husband gets angry when anyone starts talking about Shukshin. He is still jealous of him, although Shukshin has been dead for a long time. Maybe because, in fact, the wife still remains Shukshin’s wife.

From school we leisurely walked along the village streets past former home Shukshin, past the place where Vasily Shukshin spent his childhood, straight to Mount Piket. Here on the mountain, from time to time, Shukshin readings are held, where guests from different cities of Russia come and local poets and prose writers often perform. Bards also come here, form a tent city and sing songs about Shukshin, about their native lands, about Russia. This is a good place, free. And the Katun mountain flows nearby. Vasily Makarovich bought his mother a house here when he received a fee for The Lyubavins. The wives changed, but only the mother remained beloved throughout her life. Shukshin treated her touchingly, tenderly, and respectfully. Although both were stingy with their feelings, they did not hug or kiss in front of everyone, they talked about the main and serious things in private. Shukshin consulted only with her on all vital issues. And when I entered college, and when I was going to get married, and maybe even when I was going to start another new job. He filmed her in "Kalina Krasnaya", immortalized his beloved mother forever. The monument to Shukshin stands next to the house, in a small garden, next to a viburnum tree, which is actually red. The mother survived her son, who lived only 45 years. If you count how many years his life allowed him to create, then he will get nothing at all - 15 years. To write so much in fifteen years, film so much, go down in the history of cinema as a wonderful actor and director, in literature national writer, it probably took a lot of strength, both moral and physical. We can say that Shukshin was on fire in his creativity and burned out untimely, not appreciated during his lifetime as he should have been appreciated, including in his own homeland.

Loyalty to a great man is a difficult matter. His mother was faithful to him. Mother was unable to go to the funeral and did not come to Moscow. She couldn’t believe that her son was no longer there, and she didn’t have the strength to go to the grave. But one of Vasily Makarovich’s admirers began to write to her, and described in detail what flowers she was planting, how the viburnum was leaning towards the monument, as red as in the novel, as in her mother’s garden.

Vasily Makarovich Shukshin is buried at Novodevichy Cemetery in Moscow. His grave is neat and well-groomed; apparently, there are still people who revere his work, who come to bow to the grave of the writer and director. Everything is as it should be, but my heart aches at how quickly his widow recovered from her loss. She married one, then another, all in plain sight, in front of the people. It's hard to understand how the leader of a trendy pop group can replace a great man in his heart. Although everyone has their own truth. The widow herself says that life was not easy for her with the writer, that he drank and cursed, and when he was jealous, he could hit. It's a difficult thing to live next to a very talented person. In life, they are not so good and unambiguous, however, like their heroes.

Specialty 050146 Teaching in primary school

EDP 11 Literature

21-U group

Lesson topic: “Depiction of human moral qualities in a story

Medvedeva V.V., literature teacher

OGAPOU "Stary Oskol Pedagogical College"

Target: expand students’ understanding of the work of V.M. Shukshina; develop skills in analyzing literary texts and improve your creative skills;

Lesson type : consolidation of new material;

Training component :

To ensure that students understand the story by V.M. Shukshina “Kalina red”;

Practice creative writing skills;

Show the interrelation and interdependence of the phenomena of the surrounding world and internal qualities person;

Developmental

Develop cognitive processes(attention, memory, thinking);

Develop speech (correctly use terms, concepts, definitions, improve the expressiveness of speech);

Develop interest in Russian literature and language;

Educational component :

Cultivate love for mother and loved ones;

To contribute to the formation of a highly moral personality, capable of seeing, feeling, loving their nature, the people around them, their small homeland;

Educational technologies used : technology of pedagogical workshops;

Intersubject and intrasubject connections : music, cinema, expressive reading, art, text analysis;

Forms of work :

Frontal work;

Independent work;

Resource support :

Interactive board;

Methodological support :

Multimedia presentation;

Literary texts by V. Shukshin “Red Kalina”;

Stills from the film “Kalina Krasnaya”.

Predicted result : at the end of the lesson, students should master the following competencies:

OK 2. Organize your own activities, determine methods for solving professional problems, evaluate their effectiveness and quality;

Be able to:

Formulate your attitude to the work you read in a reasoned manner;

Know:

The figurative nature of verbal art; the content of the studied literary work;

During the classes

Teacher's word : Good afternoon, dear students and guests. We continue to work as a creative workshop.

And today's lesson I suggest you start with reflection:

“What is the beauty of a person?”

Write down in a notebook words and phrases that are associations to the concept of human beauty, and pictures of the world around us and amazing music will help you.

(music plays and slides with pictures of the surrounding world are on the screen)

What associations did you have?

(students read their associations, for example: charm, harmony, love, goodness, splendor, peace of mind, lightness,

bright dreams, etc.)

Now, based on what you heard and your associations, say:

What is the beauty of a person?

(For example, the beauty of a person is manifested in the beauty of the heart. Beauty inspires noble feelings in a person. Beauty manifests itself in good, useful deeds. And for me, beauty manifests itself in respect for parents and the people around us…..)

2. Teacher's word : topic of our lesson

“Depiction of human moral qualities in the story by V.M. Shukshina "Kalina red"

And now we will try, using the example of the story, to reveal very important question: What is the beauty of a person?

Conversation on the story “Kalina Krasnaya”

Every person is born good, he does not have an evil inclination. But in my later life he may stumble, go astray from the right path, lose his inner beauty, like the hero of Shukshin’s story Yegor Prokudin.

- Tell me, what was the beauty of the hero of the story by Yegor Prokudin from birth?

- And where did all this beauty go? Follow the text: who is he now, Yegorushka, Grief, Goryushka, as the author calls him?

Watch a still from the movie “Kalina Krasnaya”

(scene of wild life)

- Name the qualities of the main character that were evident in this scene and in the passages you read. How does he relate to the people around him, to himself?

Now let's look at another shot (visiting the mother)

- Tell me, how did he show himself in this episode, what is his attitude towards his mother?

And if Yegor Prokudin is so self-sufficient, generous, ready to throw money left and right, why didn’t he confess to his mother and leave her money when she lives in such poverty?

- Yegor's soul asked for something. What didn’t suit him in such a life? Support with examples from the text.

- Yes, indeed, Yegor goes through a difficult path of understanding that life is not intended for holidays, but for the correction and salvation of his warped soul.

Assignment: “Draw a picture”

The director of the film “Kalina Krasnaya” is V.M. himself. Shukshin, and he allowed us to move away from the content of the story, including in his picture an episode when Yegor Prokudin rapidly rushes on a “rocket” across a body of water against the backdrop of a destroyed church. There is a certain symbolism in this.

I offer you work in rows: students in the first row draw word picture, displaying a flooded, destroyed church, against the backdrop of which Yegor Prokudin rushes through the water space; The second row paints a picture of bitter repentance after visiting the mother against the background of the temple.

(student performances)

Indeed, in the film “Kalina Krasnaya” the path of the blessed transformation of Yegor Prokudin’s soul is marked, like milestones, by pictures of two destroyed churches.

Now look at the association words written in your notebook at the beginning of the lesson. Please, underline the word or phrase that you think is most suitable for understanding the beauty of a person.

(students name words)

This word will be the leitmotif of your mini-essay

What is the beauty of a person?

( Students write essays to music, and then each

reads out his text)

Examples:

I think that true beauty person is inner beauty his soul. If one person is ready to give to another all the most precious things he has, to respond to any request and at the same time does not require gratitude, then this is a beautiful person. Even external unattractiveness will not prevent such a person from doing good.

The beauty of a person lies in his behavior, in his actions and deeds. It is actions that speak about a person’s personality, his appearance, sincerity and hard work.

What is the beauty of a person? I think there is no definite answer to this question, since beauty is present everywhere, but not everyone is able to see it. Truly beautiful is the one who has an open and kind heart who can love nature, homeland, and most importantly the people around you.

People often say that the main thing in a person is spiritual beauty, but sometimes there is nothing behind these words. People first look at his appearance, and then look into his soul. I always remember an excerpt from Zabolotsky’s poem “ Ugly girl»:

And if this is so, then what is beauty,

And why do people deify her?

She is a vessel in which there is emptiness,

Or a fire flickering in a vessel?

In these words, in my opinion, there is an answer to the question posed.

Beautiful person is a passionate person who knows how to love and make friends. This is a person who is interested in living in the world of his country. This is a person for whom there are no barriers, boundaries or stereotypes. This is probably free man enjoying his freedom to the fullest.

Yes, indeed, a person is beautiful in relation to himself, to the world around him and to people.

In the next lesson we will continue to consider the problem of the moral qualities of Shukshin's heroes using the example of other stories. We will be interested in the question: What do Shukshin’s heroes think and reflect on, what questions occupy them?

Reflection:

I want to give each of you the floor to express what has not been said, what remains to be agreed upon...

Download:

Preview:

Commentary on the film story by V.M. Shukshina "Kalina red".

Let's read. We are thinking...

For better understanding the plan of V.M. Shukshin, I decided to analyze the language of his work of art. Everyone should understand and feel that literary and artistic creativity is, first of all, the writer’s ability to express his vision of the world, convey his feelings, and influence the reader through a system of linguistic visual and expressive means.

The names of the characters play a big role in the film story.

Egor Prokudin, Egor, Egorushka, Georgy, Grief - this is how the main character is addressed throughout the entire film story.

Egor - folk from Georgy - Greek "farmer" The character's name emphasizes his origins - he comes from peasants; determines his original, natural need - to plow the land. It is no coincidence that upon leaving prison, Yegor, when asked by his boss what he plans to do in freedom, answers “agriculture.” Yegor goes to the village, unable to find shelter in the city. And the hero dies on the arable land, having found his true face: “And he lay, a Russian peasant, in his native steppe, close to home... He lay with his cheek pressed to the ground...” Surname central character goes back to the nickname Where are you going? – prankster, resourceful, enterprising.

The thief's nickname of the main character is Grief. That's what Guboslap dubbed him. This is the essence of the character in the film story “Kalina Krasnaya”. He brings grief to the people around him. Grief lives in his soul. And that’s why she has no peace.

It is no coincidence that V.M. Shukshin calls sweetheart, kind woman, who became the lover of Yegor Prokudin, Love. It is Lyuba who helps the hero find peace of mind and learn to love. The name Love is Old Slavonic.

The entire text of “Kalina Krasny” is built on contradictions and contrasts that reflect the tossing of the main character and gradually bring him to the inevitable end - death. Truth and lies, life and death constantly coexist in the film story and in the soul of the main character, Yegor Prokudin.

The leading role in the organization of the text is played by antithesis, designed to convey the contradictions in the mind and soul of a repeat offender who is trying to return to his roots.

The contrast appears already on the first pages of the film story. Yegor Prokudin goes free, where spring is, life awakens, where there is “a continuous birch forest.” And he himself leaves it for the thieves’ den: “The room was tattered, disgusting. Some blue wallpaper, seized and also torn, completely inappropriately resembled the spring sky in its color, and this made it not at all good to be in this stinking hidden little world, heavy.” Free life and life as a thief are incompatible.

The internal conflict of “Kalina Krasny” is associated with the hero’s search for a “celebration of the soul.” Holiday, according to V.M. Shukshin, this is relaxation, liberation, an explosion of passions. The story of the life and death of Yegor Prokudin is nothing more than the tragedy of a false “celebration of the soul.” The thirst for the holiday was embodied in the dance of Yegor and Lucienne, who with this dance seemed to “drive” “their crippled life” into the coffin. And behind the walls of the thieves’ den is spring. Spring for V.M. Shukshina is a symbol of purity, renewal, life. In the spring, Yegor Prokudin will be released. And it is in the spring that it dies. A contrast arises: spring is life, but spring also brings death with it.

The dialogue in the film story “Kalina Krasnaya” is unusually expressive. The episode of Yegor Prokudin’s acquaintance with Lyuba Baikalova’s parents is remarkable. The speech of the old man and Yegor is each lexically colored in its own way, each has its own intonation. During this conversation, Egor either irrationally “floods”, hurt by the distrust of the old people, or attacks Fedor with questions, pretending to be an investigator conducting an interrogation. He is resourceful, eloquent and, one might say, “artistic.” It’s not for nothing that in the end the angry old man becomes delighted with this brawler: “What a pure commissar!”

In the film story “Kalina Krasnaya” the author shows two special worlds close to the main character: the “thieves’” world and the world in which Yegor Prokudin, unusual person, an exalted nature, capable of deep feelings. Conveying the uniqueness of each world, V.M. Shukshin uses special figurative and expressive means.

“The old woman had a ruddy, wrinkled face and clear eyes”;

“And so the district bus brought Yegor to the village of Yasnoye”;

“And the morning was good - cool, clear.”

When the writer characterizes Yegor’s former friends, and now enemies, words with the meaning “evil” come to the fore:

“(Guboshlep’s) eyes burned with anger”;

“He looked... with an angry and promising look.”

Clear and evil enter into antonymous relationships within the context of the film story. This becomes possible because the lexeme clear has a figurative meaning of “not clouded by anything, calm,” and evil has the figurative meaning of “full of malice, anger.”

Showing the thieves’ “environment”, V.M. Shukshin uses jargon and colloquial words that fill the speech of the characters.

“Your rotten business” is colloquial;

“They’re fighting” – colloquial;

“Roam around” – colloquial;

“He rushed to bark” - colloquial;

“E-mine” is colloquial;

“To sandal” is colloquial;

“I’m grabbing” – colloquial;

“Huge bad luck” is colloquial;

Describing the “lair” of Guboshlep and the company of thieves, the author uses the following epithets:

“Tattered, disgusting room”, “seized, torn wallpaper”, “smelly little world”. With their help, a feeling of detachment and hostility towards the gang of thieves arises.

The work contains folklore words and jargon:

That I got sad good fellow?

Are you puffing?

The world in which Yegor Prokudin was able to morally cleanse himself and fall in love is depicted in a completely different way. V.M. Shukshin here uses a lot of epithets, phraseological units, bright, colorful addresses. The speech of the characters also contains elements of folklore vocabulary.

Describing the old woman who met on Yegor’s path, the author uses the epithet “clear eyes.” In the description of Lyuba, the epithet “sweet Russian simple face” helps to see a real Russian woman, kind and sympathetic.

And Yegor’s meeting with the birch trees characterizes him as an exalted and kind person. The hero calls them “girlfriends”, “brides”. These appeals used by the author are unusually tender and beautiful.

One is struck by the originality of Yegor’s addresses to Lyuba: “Liubushka-darling”, “Siberian pancakes”, “bad darling”, “clear dawn”. And how can one not smile at these words of the hero, spoken with such trepidation and mischief?

There are clericalisms and colloquialisms in the film story:

Well, let's pose the question a little differently...

Quiet! - the old man commanded. - Onea fool makes a fuss about something without getting it, and the other...

V.M. Shukshin highly valued art. Therefore, in his film story there are many musical and literary works.

Thus, the film story “Kalina Krasnaya” begins with the song “ evening call, evening Bell”, which is performed by repeat offenders. This is no coincidence. Songs entered the life of V.M. Shukshina since childhood. At home with their mother and sister Taya, they sang in the evenings. Maria Sergeevna knew a lot of songs. She started, Taya picked up. Vasya sang like a man, quietly, but very accurately and sincerely. Later, when Vasily Makarovich came home with the film crew, his relatives always gathered for festive table in honor of the dear guest and they always sang old songs.

There are two versions of the song “Evening Bells”. One is folk, the other is the poem “Evening Bells,” set to music by the Russian composer A.T. Grechaninov and Polish composer S. Moniuszko. It is this song that helps us understand how important both the “native land” and the “father’s home” to which they said goodbye are important for repeat offenders.

It is impossible to imagine a film story without the wonderful song “Kalina Krasnaya”. The words of the folk song, the music is by Y. Frenkel. I noticed that in the story the characters sing the song “Kalina Krasnaya” four times. At first, Lucien sings it, for the second and third time the song is performed by Yegor Prokudin, and only the last, fourth time, the song began to play in a new way: “so good, so glorious,” and this is because Yegor and Lyuba performed it together.

Particular attention is drawn to the episode in which Yegor Prokudin reads S. Yesenin’s poem “Let the heart be viscous.” It is full of premonitions of its death. And this premonition haunted the hero throughout the entire film story:

“...I’ll fall and bury myself in the snow.”

Egor reads a poem by A.S. Pushkin's "Prisoner". This happens while the hero is in the bathhouse with Peter.

“I’m sitting behind bars in a damp dungeon...” -

Egor started it first. Petro supported. And it turned out so unexpectedly beautiful for them, so – to the point of tears – beautiful and sad.”

Undoubtedly, the hero is close literary creativity. Perhaps this is because the works help Yegor “heal” his soul, improve morally, and perhaps Yegor sees his life in the plots of the works.

Thus, I found out that the visual and expressive means of language add to the film story of V.M. Shukshin's laconicism and picturesqueness create emotionality and enhance the expressiveness of speech. And the works of art that the author placed in work of art, I help to better reveal the images of the characters, convey their feelings and emotions.

Egor Prokudin(thief's nickname - Woe) - main character story, a “forty-year-old, short-haired” criminal, having served another (five years) sentence, is released from prison and, by coincidence, is forced to go to the village to visit the girl Lyuba, whom he met through correspondence. He is traveling with the intention of taking a break after imprisonment. Seriously about my trip and about what I said when parting with the head of the colony (“ Agriculture I’ll get busy, get married”), E. does not apply. “I can’t be anyone else on this earth - only a thief,” he says about himself almost proudly. About Lyuba, to whom he is going, he thinks like this: “Oh, you, my darling!.. I’ll at least eat around you... You’re my rich darling!.. I’ll strangle you in my arms!.. I’ll tear you apart and shave you! And I'll drink it with moonshine. All!" But, finding myself in a childhood friend village life, among people who were strangers before, but who turned out to be unexpectedly family (Lyuba, her parents, Peter), having discovered the unexpected power over himself of the very way of village life and relationships, E. suddenly felt unbearable pain because his life had not gone as it had need to. He makes a desperate attempt to change his fate - he becomes a tractor driver, lives in Lyuba’s house as her husband; But his former thieves friends appear, who have not forgiven him for his betrayal of the thieves, and kill E.

Associated with the image of E. main topic not only this story, but, perhaps, the entire work of Shukshin - the drama of human destinies in a country devastated by war and social experiments; homelessness of a person who has lost his natural way of life and habitat. The emotional background of the development of this topic: “resentment” for the Russian peasant, and more broadly - “resentment for a person in general,” for a person broken by circumstances. (“Shukshin of the 60s was rooting for the peasant. Shukshin of the 70s was rooting for the man” - L. Anninsky.)

E. grew up in a village without a father, with his mother and five brothers and sisters. At a time of famine for the family, E., as a teenager, leaves for the city. He leaves with a terrible resentment towards people, their senseless cruelty. One day their only cow, nurse Manka, came home with a pitchfork in her side. Someone just like that, out of malice, deprived six orphans of their wet nurse. The first person E. met in the city and from whom he learned to make his way to the real one, beautiful life, there was a thief, Guboslap. And it seems like E made his way. “Sometimes I am fantastically rich,” he tells Lyuba. The soul of E., will and beauty, wants a holiday. “He couldn’t stand sadness and creeping lethargy in people. That’s why, perhaps, his life’s path led him so far astray, that from a young age he always gravitated towards people who were outlined sharply, at least sometimes with a crooked line, but sharply, definitely.”

Gradually E. finds out that this is not what his soul asked for. “I stink this money... I completely despise it.” The fee for free thieves turned out to be exorbitant for E. the feeling of being an outcast among normal people, the need to lie. "I wouldn't want to lie<...>All my life I hate lying<...>I'm lying, of course, but that doesn't<...>It's just harder to live. I lie and despise myself. And I really want to finish off my life completely, to smithereens, if only it would be more fun and preferably with vodka.” The most difficult test was the meeting with his abandoned mother, the blind old woman Kudelikha. E. did not say a word, he only attended the conversation between Lyuba and his mother. From all his bright, risky, at times rich and free life, nothing remained in his soul except melancholy. E.’s appearance constantly emphasizes his “fiery passion” for life: “you are like a horse uphill<...>Just don't fall through on the sides yet. Yes, I'm foaming at the mouth. You'll fall. You’ll get fired up and fall,” Lyuba tells him. The fun that E. indulges in on the thief's raspberry is hysterical and hysterical. An attempt to organize a loud drunken spree in the town with his own money ends with his nightly flight to the village, to Lyuba and her brother Peter - the sight of people gathered “for debauchery” is very wretched and disgusting for E. In E., his peasant spirit and his nature, twisted by the life of a thief, are fighting. The most difficult thing for him is to find peace of mind: “My soul... is kind of tarnished.” According to Shukshin, Yegor died because he realized: neither from people nor from himself would he receive forgiveness. The story was supposed to end with E.'s suicide, but the author did not have enough determination for such an ending.

Narration is from a third person. Lots of dialogue. The plot is dynamic, eventful, and largely melodramatic.

Yegor Prokudin's last evening in the zone has ended. In the morning, the boss gives him a farewell. We learn that Yegor dreams of his own farm, a cow. His future wife is Lyubov Fedorovna Baikalova. He has never seen her; they know each other only by correspondence. The boss advises you to dress better.

After leaving prison, Prokudin enjoys the spring, feels a surge of strength, and rejoices in the feeling of life. In the regional center, Yegor comes to his comrades “at the hut”. There are a lot of young people there. Among others - Lipslap, Bulldog, Lucien. They are waiting for a call from their accomplices: they are committing another robbery. Egor (he is called Gore there) does not want to talk about the zone, he wants to take a break from the cruelty. They dance with Lucienne. It is felt that no one shares Yegor’s mood, not even Lucien (who understands better than others the abomination of their occupation and Yegor’s inner purity). Lipslap is nervous, Lucien is a little jealous of Yegor. The bell rings: the police have caught up with the accomplices, everyone needs to run away. Yegor also runs, although it is risky for him. He tries to find his acquaintances in the city, but they don’t want to answer him.

“And so the district bus brought Yegor to the village of Yasnoye” - to Lyuba. She meets him at the bus stop. In the teahouse, he says that he was an accountant and ended up in prison by accident. Lyuba knows that he is a repeat offender, but hopes that Yegor will find his way to normal life. She introduces him to her parents. Lyuba uses Yegor’s “legend” about the accountant so as not to scare her parents. But when Yegor is left alone with them, Lyuba’s father (his wife calls him Mikitka) begins to “interrogate” Yegor. He answers sarcastically: he killed seven, but the eighth didn’t work out. Yegor believes that anyone can end up in prison (ironically reminds the old man about the years civil war, collectivization), and there is no point in tormenting a person if he decides to start new life. Egor tries on a mask public figure, a communist, “convicts” “backward” old people.

Egor meets Pyotr, Lyuba's brother. Petro and Yegor go to the bathhouse. Petro is indifferent to both the hero’s past and to himself: he doesn’t want to get to know each other or communicate. Yegor doesn’t like feeling like a poor relative, smiling at everyone and at the same time feeling distrust of himself. Petro does not react to Yegor's insults, and after a while Yegor realizes that Petro has no prejudices: he is simply taciturn.

Zoya, Peter's wife, and Lyuba's mother discuss Yegor with her. Lyuba expresses disapproval. Women express the general opinion of the entire village. Unexpectedly, Lyuba is protected by her father. Here Peter's scream is heard. Yegor accidentally scalded him with boiling water. Zoya is horrified, Lyuba’s father grabbed an ax - but everything turned out to be a joke. Neighbors on the street are actively discussing what happened.

The evening in the Baikalovs’ house passes peacefully and calmly. The old people remember some old relatives, Lyuba shows photographs, Egor and Petro peacefully joke about the incident in the bathhouse. At night, Yegor can’t sleep, he wants to talk to Lyuba, she sends him out with her mother’s approval, but she also can’t sleep.

Egor leaves for the regional center. He honestly tells Lyuba: “Maybe I’ll come back. Maybe not." On the way, he imagines that his friends are returning for him. He thinks about Lipslapper. In the regional center, he goes to the telegraph office and sends him money. At this time, her work friend Varya advises Lyuba to leave Yegor and take back her ex-husband, Kolka. Obviously, the villagers do not like Lyuba’s action, not because Yegor may turn out to be unreliable, but because Lyuba does not behave like everyone else. Varya begins to cheerfully tell how wonderful her life is with her alcoholic husband, whom she beats with a rolling pin.

Egor heads to a restaurant where he is having a “picnic”. He feeds and waters strangers. The most drunken men gather. Egor spends a lot of money. He calls Lyuba and says that he needs to stay the night - he hasn’t settled the issues with the military registration and enlistment office. At this time, the mother incredulously asks Lyuba where Egor is. Again the father protects his daughter and helps her believe in Yegor’s next “legend”.

Egor continues to “debauch” (Shukshin’s word): he drinks, sings, dances, and pronounces speeches filled with life-affirming pathos. In the end, Yegor gives away the remaining money, takes cognac and chocolate, gets into a taxi and goes to Yasnoye. He comes to Peter and offers him a drink in the bathhouse. In this “small black world” they drink cognac and greet the dawn with the song “I’m sitting behind bars in a damp dungeon.”

In the morning he accompanies Lyuba to the farm. They chat along the way. Among other things, Lyuba mentions her ex-husband Kolka, who constantly drinks. Egor remembers his childhood, his mother and the cow Manka. Lyuba introduces Yegor to the director of the farm, Dmitry Vladimirovich. She gets Yegor a job as a driver at the farm: the director urgently needed a driver. Yegor didn’t like the director: “smooth, happy.” The director doesn’t like Yegor either: “pointlessly obstinate.”

The director gives the task - to pick up foreman Savelyev in the village of Sosnovka. Egor completes the task, but upon returning, refuses further work. It's easier on a tractor.

Egor asks Peter for a dump truck and takes Lyuba with him. On the way, he explains to her that he wants to visit an old woman, Kudelikha. Allegedly, a friend asked him to find out about her health. Lyuba needs to introduce herself as a district security worker and ask about her. The old woman talks about herself, that the children are all confused. Lyuba calms her down. Egor sits silently, wearing dark glasses. When they drove away, he tells Lyuba that this is his mother.

At home Lyuba comes to her ex-husband with three friends. Yegor drags him out of the house. They retreat to the trees and a fight begins. Kolka has drunk too much, so there is a bit left. Another one rushes at Yegor, but Yegor stops him with one blow. Kolka runs back, grabs the stake, goes towards Yegor - Yegor stops him with a look.

In the morning Egor made the first furrow in his life (on a tractor). He breathes in the smell of plowed earth and feels joy from it.

Shura, one of his former accomplices, comes to Yegor. They talk about something, Shura hands over money from Guboshlep (so that Yegor has something to return to them with), but Yegor throws this money in Shura’s face. He's leaving. Lyuba is worried, Yegor tries to calm her down, but it is clear that he himself is not in a good mood.

The next day they work in the field. It's already being sown. Egor notices that a black Volga is parked near the forest. He sees Lipslap, Bully and Lucienne there. He goes to them. Lucien, meanwhile, demands that Lipslap not touch Yegor. But Guboshlep emotionally expresses his position: he doesn’t like the fact that Yegor is now almost a saint, and only they are sinners. We learn that danger is looming over Guboshlep and therefore he wants to have time to deal with Yegor.

Lyuba sees Yegor going into the forest with someone. She runs home - it turns out that her father even explained to them how to get there. Here Lyuba stops Petro’s dump truck, they drive towards the forest. The criminals see this, call Lipslap - he runs out of the forest, hides something under his clothes and they leave.

Egor is seriously wounded. Lyuba and Petro put him in a dump truck and quickly drive him away. But then Yegor feels that he is dying and asks to be put on the ground. He asks Lyuba to take his money and give it to his mother.

“And he lay, a Russian peasant, in his native steppe, close to home... He lay with his cheek pressed to the ground, as if he was listening to something that only he could hear. This is how he pressed himself against the pillars as a child.”

Petro catches up with Volga. People come running. The fate of the criminals is predetermined.