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Analysis of a dramatic work. Epic and dramatic works

Fundamentals of literary criticism. Analysis of a work of art [ tutorial] Esalnek Asiya Yanovna

Epic and dramatic works

From this paragraph, the reader will learn what the specifics of epic and dramatic works are, and will become acquainted with the concepts used in the analysis of such works: character, hero, character, off-stage character, narrator, character, type, typification.

In epic and dramatic works, the reader or viewer encounters actors, which are also called heroes, or characters. There may be only a few of them in a story (for example, L.N. Tolstoy has four characters in the story “After the Ball”, and in the novel “War and Peace” there are about 600 characters). Characters are people who take part in the action, even occasionally. There are also so-called off-stage characters, which are only mentioned in the statements of the heroes or the narrator. These characters include those mentioned by the heroes plays A-C. Griboyedov “Woe from Wit” Princess Marya Aleksevna, Praskovya Fedorovna, Kuzma Petrovich, Maxim Petrovich. Distinguished from a character or hero narrator, who at the same time can be an actor, main or secondary, and thereby a participant in the action. This role is played by Pyotr Andreevich Grinev in the story by A.S. Pushkin " Captain's daughter"or Grigory Aleksandrovich Pechorin in that part of the novel by M.Yu. Lermontov’s “Hero of Our Time,” which contains his diary. In other cases, the narrator is not a character and does not take part in the action, as, for example, in the novels of I.S. Turgenev “Fathers and Sons”, F.M. Dostoevsky “Crime and Punishment”, L.N. Tolstoy's "War and Peace" and many others. In these cases, the narrator appears to be very close to the writer, but is not identical to him and cannot be identified with the biographical author. Sometimes the narrator says that he is familiar with the characters and is somehow involved in their fate, but his main mission is to narrate the events and circumstances that occurred. We find this option in the story by A.P. Chekhov's "Man in a Case", where the teacher Burkin tells the story of the marriage of another teacher, Belikov, and thereby recreates the atmosphere of the provincial gymnasium in which both of them taught.

When reading an epic work or perceiving a stage performance, one cannot help but notice that characters, or characters, may in some way resemble the people around us or ourselves. This happens because the heroes literary work are associated in our minds with certain characters or types. Therefore, we will try to understand what meaning and meaning are contained in the concepts of “characteristic” and “typical”.

Using concepts characteristic And characteristic, we, realizing it or not, pay attention to the presence of general, repeating and, therefore, essential in the specific, individual, unique. We apply the concept of characteristic to the assessment of a particular landscape reproduced by an artist or photographer, if in their drawings or photographs a certain type of trees and plants characteristic of different corners of this area. For example, Levitan’s diverse landscapes convey the landscape Middle zone Russia is also characterized by this, and seascapes Aivazovsky - appearance sea ​​elements in its various manifestations and states. Various churches and cathedrals, such as the Cathedral of Christ the Savior, St. Basil's Cathedral on Red Square, the Assumption Cathedral in the Kremlin, with all the originality of each of them, contain in their design something common, characteristic of church buildings of the Orthodox type, in contrast to Catholic or Muslim ones. Thus, specificity occurs when the general is seen in something specific (landscape, cathedral, house).

As for people, each person is unique and individual. But in his appearance, manner of speaking, gesticulating, moving, as a rule, something common, constant, inherent in him and revealed in different situations appears. Features of this kind can be determined by natural data, a special mentality, but they can also be acquired, developed under the influence of circumstances, a person’s social status and, thus, socially significant. They are revealed not only in the way of thinking and judging others, but even in the manner of speaking, walking, sitting, and looking. About some people we can say: he does not walk, but walks, does not speak, but broadcasts, does not sit, but sits. These kinds of actions, statements, gestures, postures are characteristic.

The concepts of type and typicality, apparently, are very close in meaning to the concepts of “character” and “characteristic”, but emphasize greater degree generality, concentration and nakedness of one or another quality in a person or hero. For example, there are plenty of phlegmatic, passive, lack of initiative people around us, but in the behavior of people like Ilya Ilyich Oblomov from the novel by I.A. Goncharov’s “Oblomov”, these qualities appear with such strength and nakedness that their inherent way of life is spoken of as Oblomovism, giving this phenomenon a generalizing meaning.

Revealing the characteristic, typical, that is, the general through the individual, when depicting heroes is the essence of art itself. Many writers are quite clearly aware of this circumstance, which is why in their statements the concepts of “character” and “type” appear quite often. By referring to these concepts, they clearly emphasize the need to generalize life phenomena in art. “In life you rarely meet pure, unalloyed types,” noted I.S. Turgenev. “Writers for the most part try to take types of society and present them figuratively and artistically - types that are extremely rarely encountered in reality in their entirety,” F.M. seems to continue the same thought. Dostoevsky, adding, “in reality, the typicality of faces is, as it were, diluted with water...” And at the same time, “the whole depth, the whole content of a work of art lies only in types and characters.” And here are two more judgments of A.N. Ostrovsky: “ Fiction gives individual types and characters with their national characteristics, she draws different kinds and classes of society... Works of fiction, with their truthful and powerfully presented characters, provide correct abstractions and generalizations.”

The concept is derived from the word “type” typing, meaning the process of creating a picture of the world or its individual fragments that will be unique and at the same time generalized. Recognizing typification as an internal need and a law of art, both writers and researchers argue that the typical in itself is rarely present in life in the form in which art needs it. Therefore, a writer requires observation and the ability to analyze and generalize. But the most important thing is that the artist is able not only to observe and generalize, he is able to create new world, recreate various situations in which the heroes act with all their features. Because of this, most of the heroes are fictional persons created by the creative imagination of the artist. Being similar to real persons, they more clearly demonstrate general and significant tendencies in their appearance and behavior. If, when creating a particular character, the writer is guided by some real person, then this person is called prototype. Let us recall the depiction of historical figures, in particular Kutuzov or Napoleon in “War and Peace” by L.N. Tolstoy.

By peering into the characters' characters and trying to understand them, we thereby enter the path of analyzing a literary work, that is, into the field of literary criticism. But this is only the first step in the research. Continuing and deepening the analysis, we will inevitably come to posing the question of the content and form of a work of art, their connection and correlation.

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Homework

on literature

    What is the most effective way to study drama? modern school? Why?

The modern way of studying drama at school seems to be this: first, familiarization with the play - watching a video recording of a performance or television performance (not a movie based on it!) - familiarization with the text and its analysis - watching a performance in the theater (the last element is desirable, but not required) - discussion.

Drama - the most complex type readings for schoolchildren. The difficulty of playing the piece ininsufficient development of both recreative and creative thinking.

In a modern school, the following ways of studying drama can be used:

Traditional way (reading - studying - watching). Experience at school shows that when the teacher reads vividly, most students listen to him with pleasure, become involved in the events taking place, and realize the main qualities of the characters and the relationships between them. You don’t have to read the play to the end if the teacher is sure that interest in the action is high, and there are difficulties in recognizing the characters and in orienting art world overcome, - then the children will be able to finish reading on their own.

You shouldn’t talk about what you read immediately after reading in class: you need to give the text the opportunity to reread and think about it. Therefore, it is more appropriate to invite students at home to reflect on a number of questions that will activate all areas of reader perception. The teacher chooses the form, oral or written, arbitrarily.

Specifics dramatic work lies in the fact that the conflict is not described, but depicted: the reader must reconstruct it, guess, understand its essence and causes only on the basis of the words of the characters and the author’s remarks. This is the most difficult thing in reading. Therefore, the teacher’s task is to help the children clarify the conflict and see its roots. The most convenient way to do this is to move from scene to scene, from action to action. During the lesson, the focus is on action as an integral element of the composition of a dramatic work. It is necessary to highlight its stages, when drawing up a plan, we also highlight the elements of the plot: exposition, plot, episodes of action development, climax and denouement. As a result, all our events will be correlated with the plot.

Then we highlight plot elements: everything that is not directly related to the action, but slows it down, pauses it. These are monologues and dialogues that one way or another reveal the hero’s inner world, reveal his past, indicate his relationships with other characters, etc.; descriptions contained in replicas (appearance, nature, premises), letters (their content). We pay attention to details, images-symbols (if any), motives, author's remarks that precede the action and data during the action. Thus, we get a certain portrait of each character.

And of course, a drama lesson cannot do without expressive reading of roles, dramatization of individual episodes, and creation of a play project.

In a “strong” class, where the level literary development students above should be appliedthe way of analysis is by actions.

We are designing a lesson system where we study each action in detail.

We begin the lesson by setting a learning task and, after creating a problem situation, we begin to solve it.Action analysis will be devoted to finding an answer to these questions.

The projects of the following lessons are created according to the same principles: from text analysis, from highlighting structural elements- to questions and tasks that will help students see these elements and understand their role, and therefore come closer to understanding the essence of the conflict and its causes and to understanding the images of the characters.

In many ways, designing the stage of studying the text of a dramatic work is similar to designing lessons on epic works. However, one should take into account when compiling a lesson on drama: this is the difficulty of perceiving a dramatic text, the need for visual concretization of images of characters that are created differently than in the epic, highlighting the event basis and consideration of the conflict in its development, features of the language of dramatic art (the importance of stage directions, overlapping lines , antithesis in mise-en-scène, the role of music, lighting, manners and gestures). Inclusion in the project latent analysis, creative activity students helps the children look at the world created by the author with different points vision, which means a deeper, more accurate understanding of the characters’ characters and their feelings.

2.What techniques are actively used in the study of drama? Why?

Methods and techniques for working on drama are varied. Let's look at some of them:

1. “Point of view from the audience”, installation on visual perception. Schoolchildren should imagine themselves mentally seeing the play; for this purpose, it is useful to use fragments of memories of performances.

2. It is important to encourage students to IMAGINE what is happening on stage for this purpose to suggest the situation: “Imagine, you are sitting on the stage.”

Another technique that encourages students to penetrate into the text of the play iscreating imaginary mise-en-scenes, those. Schoolchildren are asked to think about how they would position the characters at a certain moment of the action, to imagine their positions, gestures, and movements.

The core of work on each act is consistent observation of the development of the action, the internal logic of this development in a given act. Students' observation of the development of action should be inseparable from insight into the characters of the characters. Questions help with this.

When analyzing drama, the subject of constant attention isspeechcharacter, its originality, since the character’s character, his social face, and state of mind are revealed by speech. The way speech sounds plays a big role in who it is addressed to. We must remember that the selection of words and their sound - intonation is directly related to SUBTEXT. To reveal the subtext means to reveal the essence of the play, the relationship between the reasons for the character’s actions and their external manifestation. If students are taught to understand subtext, then we are raising a good reader and viewer.

It should not be forgotten that when analyzing the play great importance has the speech of the characters, and the authors’ remarks, the poster and the remark to it (students often miss this when reading) For this purpose, the following tasks are important: give a remark for the actors, following the example of how Gogol does this in “The Inspector General” or “What He Says” remark in the second act of “The Thunderstorm” in the scene of Katerina’s farewell to her husband.”

Expressive reading is of great importance when working on a play. In this case, the student moves from the position of a spectator to the position of a performer.

The author and his attitude to what is happening is the main question facing the study of any work. In a dramatic work, the author's position is more hidden than in works of other types. For this purpose, the teacher has to: draw the attention of students to the comments made by the author for the actors and invite them to think about how the writer relates to his characters? Or he suggests answering the question: “How does Ostrovsky force the viewer watching act 3 to justify Katerina?”

In the process of analyzing the observations obtained, the teacher must generalize for this purpose important summative questions, such as: “What have we learned about life county town? How did the city officials appear before us? What is the nature of the measures taken in Gorodnichy? or “What do the characters of Dikoy and Kabanikha have in common, and what are their differences? Why is a conflict between Katerina and the world of Kabanova inevitable?”

On final lessons in a generalized form, the questions arise that the students were looking for answers to in the process of analyzing the drama.

The final lesson, in fact, begins with work on the last action of the play, when the conflict is resolved and the author-playwright, as it were, sums up. For this purpose, expressive reading by students is of particular importance: this is a test of the depth of their understanding of the characters of the characters.

Reading by role also shows the degree of students' understanding of a dramatic work. A teacher can approach the distribution of roles in different ways. Homework for such a lesson can be a written or oral description of the character whose role the student will play.

At the final classes there are competitions for reciters of individual scenes, stage history dramas, watching the film adaptation, discussing it.

In connection with the study of drama, the student must master a number of theoretical and literary concepts. A number of them should be included in the active vocabulary of schoolchildren: act, action, phenomenon, monologue, dialogue, list of characters, remarks. As students penetrate into drama, the vocabulary of schoolchildren is replenished: conflict, plot, exposition, plot, climax, denouement, genres: comedy, drama, tragedy.; play, performance. The performance is not an illustration in the play, but a new piece of art, created by the theater, interpreting the playwright’s plays in its own way.

3.How to “translate” literary analysis drama into student questions and assignments?

The method of conversation used in the study of epic and lyrical works, is also effective for dramatic purposes. Most methodologists recommend using it mainly when analyzing the development of an action, clarifying the conflict, issues and ideological meaning dramatic works. One cannot but agree with this, since the conversation makes it possible to widely use the text of the work, to use the facts obtained by students as a result independent work over the work.

When analyzing dramatic works, students’ independent work on the text of the work acquires particular importance. Analysis of the speech and actions of characters helps students understand the essence of their characters and create in their imagination a specific idea of ​​their appearance. In this case, the student's analysis of a particular phenomenon or scene dramatic work to some extent it will resemble the actor’s work on the role.

The experience of perceiving a dramatic genre, acquired by students in the process of studying literature, is the most important aid for the perception of a dramatic work. This refers to the student’s acquired certain knowledge of the specifics of the genre - its structure, elements, features of recreating characters, etc.

Another thing is the circle of historical and everyday realities, human relations, linguistic idioms.

So, merchant life, shown by Ostrovsky, or a certain “freedom” with which the wife and daughter of Gogol’s Gorodnichy perceive Khlestakov’s courtship will definitely require special commentary.

Sometimes, to activate the imagination of students, one should turn to historical and everyday commentary. This is done in cases where students who are far from the era depicted in the drama do not have the necessary ideas and knowledge and cannot recreate in their imagination the details of the external appearance of the character in the play, for example: the mayor’s uniform, Kabanikha’s clothes, etc. If students are not helped, then they will not have the appropriate ideas and will only learn the meaning of the word.

The action of the drama is manifested in the characters coming into conflict. This means that when analyzing drama, we must consider action development and the revelation of characters in organic unity. Also V.P. Ostrogorsky suggested that a teacher analyzing a dramatic work pose the following questions to students: Are people’s actions completely consistent with their characters? What motivates the hero to act? Does the idea or passion excite him? What obstacles does he encounter? Are they within him or outside of him?

“Some methodologists and practical teachers believe that the first stage of work is a commentary reading of each action, either in full or selectively. The selection of phenomena depends on the tasks that the teacher sets for himself.

From the point of view of other researchers and teachers, before moving on to work on actions, it is necessary to get an idea of ​​​​the play as a whole in the minds of students. Therefore, the first questions should fix the students’ attention on the entire play and help them comprehend it. The questions posed in this lesson should make students feel the main conflict and its emergence. This could be, for example, a question about the title of a play.

On initial stage Studying a dramatic work at the same time as clarifying the main conflict should, as it were, be the first acquaintance of students with the characters, with the role they play in the struggle. One can raise the question of their grouping. For this purpose, in some cases the teacher dwells on the list of characters, especially in those plays in which the names hint at the character of the character and speak about the author’s attitude towards them (“Minor”, ​​“Woe from Wit”, “The Thunderstorm”, etc. .). The title of the play often helps clarify the main conflict (“Thunderstorm”, “Woe from Wit”, “ The Cherry Orchard" etc.). The path to clarifying the main conflict is also paved by establishing the boundaries of the play - where it began and how it ended.

The correlation of the beginning in a dramatic work and the end contributes to the emergence general view for the play.

It is important to draw the class's attention to the time covered by the play. What we see on stage always happens in the present. The time of the viewer and the time of action of the play seem to be combined, but days, weeks, and sometimes years pass between phenomena and actions.

The action of "Woe from Wit" covers the time from morning to evening, but in the theater it is compressed to several hours. Two weeks pass between acts III and IV of The Thunderstorm, but they directly determine the climax of the play.

The emergence of a conflict, its true causes, the foundations of existing relationships, the origins of characters are usually determined by life phenomena that occur outside the play. Thus, at the first stage, the questions that the students will think about next, the angle from which they will view the play, are outlined.

Preparing to analyze a single action, the teacher determines for himself central problem work on it.

To solve this problem, phenomena are selected and basic questions are posed. Of course, action work also includes explanation unclear words and historical and theatrical commentary, but all this is subordinated to the main task. Therefore, one must give oneself a clear understanding of what phenomena should be singled out for detailed analysis. The selection of phenomena for reading in class depends on the tasks that, according to the teacher, should be solved both when studying the entire play and when working on individual actions. This selection is determined in the process preliminary preparation teacher to study the entire play. It is then that the teacher outlines in which lesson and why it is necessary to turn to reading certain phenomena. In addition, during the preparation process, he must decide what is more appropriate to read himself, when to turn on the audio recording, what and for what purpose the students will read."Methods of teaching literature: Textbook for students of pedagogy. institute, specialty No. 2101 “Russian. language and literature” / Ed. Z.Ya. Res - M.: Education, 1977, p. 234-235..

But it is especially important to encourage the children to imagine what is happening on stage. One of methodological techniques, encouraging students to penetrate the text of the play is the creation of imaginary mise-en-scenes - in other words, in the process of analysis they are asked to think about how they would position the characters at a certain moment of the action, to imagine their positions, gestures, movements.

At the same time, the teacher makes sure that schoolchildren, working on a separate act, perceive it as part of a whole that occupies a certain place in the development of the action, in its forward movement towards the finale of the play; so that they understand how the main elements of the plot are implemented and how they are prepared in individual acts: exposition, plot, climax, denouement.

Children's observation of the development of action should be inseparable from a deep penetration into the characters of the characters.

By observing the behavior, actions, and experiences of the character in all changing situations, schoolchildren gradually clarify the essence of the character of the various characters.

The character of the character, his social face, and state of mind are revealed by speech. Therefore, when analyzing a drama, the subject of constant attention should be the character’s speech and its originality.

Prostakova's ignorance and rudeness are manifested in her every remark. The uncertainty of Khlestakov’s thoughts affects the construction of his monologue (act III of the comedy).

When analyzing a play, it is of great importance to clarify the subtext of the characters’ remarks. Work on clarifying the subtext of the characters’ speech can be done already in the 8th grade when studying “Woe from Wit” (act. 1, phenomenon 7, - Chatsky’s meeting with Sophia).

In the process of analysis, the observations of schoolchildren are generalized. For this Z.Ya. Rez suggests posing so-called summative questions after individual, particularly significant phenomena and the end of the action: “For example, after reading the I and II phenomena of The Inspector General, you can ask the questions: what have we learned about the life of the county town? How did the city officials appear before us? What is the nature of the measures taken by the mayor?

After Act I of “The Thunderstorm,” one can ask: what do the characters of the Wild and Kabanikha have in common and what are their differences? How is Katerina different from all the Kabanovs? Why is conflict inevitable between Katerina and the world of the Kabanovs? To establish connections between actions, so-called perspective questions are of great importance, asking students to imagine themselves as spectators who do not know how the action will unfold next. Do you think further fate Katerina (after the end of Act II)? - the teacher will ask. Is it possible to predict who will be the winner in the world of the Famusovs - Chatsky or Molchalin (after Act I “Woe from Wit”)? - the teacher asks a question to the class.”

Form: combined lesson on summarizing what has been learned.

The purpose of the lesson: to show students the dependence of a correct understanding of the idea of ​​an episode and a dramatic work as a whole on the ability to analyze its key episodes.

  1. Continue familiarizing students with the features of analyzing an episode of a dramatic work using the example of analyzing scene 21 of Act III Comedy A.S. Griboyedov “Woe from Wit”; give an idea of ​​the features of the stylistic techniques gradation and grotesque; repeat the elements of the composition: beginning, denouement, development of action, exposition and climax.
  2. To develop in students the skill of analyzing an episode of a dramatic work, characteristics of characters; develop students’ speech by introducing literary terms and theatrical vocabulary into active use.
  3. To instill in students honesty and integrity, an uncompromising attitude towards lies, hypocrisy and unscrupulousness, goodwill towards others, persistent cognitive interest to the study of both dramatic works and literature in general.

Decor boards.

  1. Number.
  2. Lesson topic.
  3. Epigraphs for the lesson.

Texts... even the most clear and pliable ones speak only when you know how to ask them. Mark Bock

    But everyone in the living room is occupied
    Such incoherent, vulgar nonsense,
    Everything about them is so pale, indifferent,
    They slander even boringly. A.S. Pushkin

    ...Comedy is immortal because its conflict is immortal - the conflict between Chatsky and Molchalin, talent and mediocrity, intelligence and common sense. I.S. Gracheva

  1. Literary terms:
  • gradation, grotesque;
  • plot, exposition, development of action, denouement.
  • Homework: analyze Chatsky’s final monologue in your notebook and prepare his expressive reading by heart.

    • During the classes

    1. Organizing students for the lesson. Communicate to students the topic and objectives of the lesson. (Slide 1). Presentation

    - Hello guys! How many of you can say that you have read and understood the comedy “Woe from Wit” by A.S. Griboedova? I would like to start our lesson with an excerpt from a version of the poem “Retribution” by A. Blok.

    Whoever you are, among dinners,
    Or keeping the ardor of office,
    You may have completely forgotten
    That the official Griboedov lived,
    That duty did not interfere with service
    He should see in an alarming dream
    Chatsky's delirium about the impossible,
    And Famusov's noisy ball,
    And Lisa's plump lips
    And - the end of all miracles -
    You, Sophia... Messenger of heaven
    Or a little imp in a skirt?..
    I hear an indignant cry:
    “Who doesn’t know Griboyedov?”
    - You, you! - Enough. Goes silent
    My satirical language, –
    Have you read “ A million torments”,
    We watched “Woe from Wit.”
    In the minds everything is a dream of half-consciousness.
    In the hearts there is still the same twilight.

    – Today in the lesson we will try to dispel this “half-darkness” in the hearts and the “dream of half-consciousness”, and to analyze an episode of a dramatic work, you will become acquainted with a new literary term, repeat the compositional features of a dramatic work using the example of A.S.’s comedy. Griboyedov “Woe from Wit”. You will have to understand what the features of the analysis of an episode of a dramatic work are, consolidate the skills of characterizing the characters and their language, and find out the significance of the analysis of the episode for understanding the idea of ​​the work. I suggest you choose an epigraph for the lesson from among the following statements... (Slide 2). Which one is suitable as an epigraph will be discussed at the end of the lesson.

    2. Clarification of the features of dramatic works and their composition (frontal conversation).

    – What work is called dramatic and what can be considered as its episode?

    (A dramatic work is intended to be staged, therefore a feature of its composition is its division into actions, which, in turn, consist of scenes (or phenomena). They should be considered as episodes of a dramatic work). (Slide 3)

    – Whatever the work you are analyzing, it will definitely contain the elements of composition that are written on the board. Arrange them in the order they appear in the work. Are any compositional elements missing? (Slide 4)

    (Exposition, beginning of the action, development of the action, climax, denouement. The climax was missed - the moment of highest tension in the action of the work).

    2. Determining the criteria for analyzing the episode (drawing up a plan).

    – What does it mean to analyze an episode (scene)? Formulate the questions that need to be answered.

    (To analyze a scene means to determine the relationships between the characters, to understand what this scene provides for understanding the characters of the characters, their state of mind, show with the help of what techniques the characters are revealed in this scene and what the role of this scene is in the development of the action and conflict of the play.

      1. What place does the episode occupy in the composition of the work?
      2. What characters are involved in the action in this episode?
      3. What means did the author use to depict the characters?
      4. How does this episode help understand the idea of ​​the work?).

    – Your questions resonate with the plan for analyzing the episode that we will work on today. ( Students are provided with printed materials).

    3. Analysis of scene 21 from Act III of the comedy.

    – Who might need an analysis of a dramatic work and why? (This is necessary for the director of the play to select the right actors, to choose the appropriate scenery; for actors to best perform the role of a particular character; for theater workers taking part in the production of the play; for the audience so that they correctly understand the essence of what is happening on stage; for critics who must give a correct assessment of both the literary work and the theatrical production).

    Determining the place and role of phenomenon 21 in the work, its connection with the issues.

    – He will act as a director who will introduce us to his vision of the composition of the comedy and the place of 21 scenes in it... If you do not agree with the director’s interpretation, you can express your critical comments after the performance. (A student who has prepared in advance talks about the place of the episode in the composition of the work).

    – The comedy begins with exposition, then in Act I the action begins. Moreover, first the actions of a love conflict - Chatsky’s arrival at Famusov’s house and his conversation with Sofia - and almost immediately a social conflict - Chatsky’s conversation with Famusov, in which the opposition of their views on the social structure and life principles. Throughout Acts II and III, these conflicts continue to develop. Chatsky, in love with Sofia, realizes that he is unloved and is looking for a happy rival. The confrontation between Chatsky and Famusov, Chatsky and Molchalin, Chatsky and everything is also intensifying Famusov society. It turns out that Chatsky is alien to everyone, differs from others in his views on all social issues. In scene 21, this social conflict reaches its climax: everyone unanimously calls Chatsky crazy. Highest point anger, hatred and fear of those present towards Chatsky reach. High voltage in the next 22nd scene, Chatsky’s feelings (“a million torments”) and his loneliness reach. Scenes 21 and 22 can be called the culmination of the social (public) conflict. In Act IV, the love conflict also reaches its climax. There we find their denouement, and the denouement of the social conflict is not only delayed from the climax, but also somehow erased and uncertain.

    – Why is there no resolution of the social (public) conflict in scene 22, as usually happens after the climax?

    -The denouement involves a reduction in tension, a successful resolution of the conflict, or an open confrontation between the heroes. None of this happens either in comedy or in the life that comedy reflects.

    – Why don’t representatives of Famus society go into open conflict with Chatsky?

    - They are afraid of him, he seems dangerous to them, not because they declared him “crazy”, but because in an open fight with him they can lose, give in, remain a fool, and common sense tells them: it is better to stay away from Chatsky , don't contact him.

    - Which idioms Could scenes 21 and 22 serve as titles for these episodes?

    – Scene 21 – “Mad About Everything”; Scene 22 – “A Million Torments.”

    – What do you think the comedy would be called if it didn’t have these two scenes?

    (Students give their own options, for example: “Woe from love”).

    Main characters. (Slides 5, 6, 7)

    – I would like to continue our conversation with another quote from the comedy: “Well, the ball!” Well Famusov! He knew how to name guests!” Let's get to know Famusov's guests better. What's the best way to do this? It would be nice if they told about themselves or if someone “introduced” them. K.S. Before staging the comedy “Woe from Wit” in the theater, Stanislavsky distributed a special questionnaire to the actors playing the roles of guests, which allowed the actors to better understand the character, habits, views of their characters and get used to the character. Our “actors” received in advance a small “questionnaire” based on Stanislavsky’s questions. Now they will talk about themselves, or more precisely, about Famusov’s guests, based on these questions. (Students talk about Famusov’s guests in the 1st or 3rd person).

    - I Khlestova Anfisa Nilovna. A 65-year-old woman, I live on Pokrovka in my house, large and majestic, but somewhat dilapidated. The furnishings are old, already a little worn and dusty. I'm rich.

    During the day I managed to see my sister Praskovya, discuss what kind of blackamoors Zagoretsky had brought us, and gossip about Moscow balls, aces, etc.

    I treat Famusov well, but as a sister-in-law, I argue with him and command everyone.

    Famusov himself invited her to the ball. I met other guests before at Famusov’s and in other places, and hosted many of them. I completely agree life position Famusova. And Chatsky, although he outrages me with his irreverence, evokes sympathy. However, this will not stop me from telling Sister Praskovya about his madness tomorrow.

    - I Princess Tugoukhovskaya. I am very proud of my title, which I received with my marriage. I live with my family in a large Moscow mansion, but there is no great wealth left: I have to give balls to find a worthy match for six daughters, and spend money on a dowry. Rich grooms are needed, which means you can’t invite just anyone to the balls.

    During the day I prepared for the ball, gathered my daughters, and commanded the servants. I know many of Famusov’s guests. I consider Famusov himself to be an intelligent and respectable person. What Chatsky says is not at all interesting to me. My daughters and I are interested in clothes and men. Tomorrow, and especially on Thursday evening, I will tell everyone I know about Famusov’s ball. Of course, I will also mention Chatsky’s madness.

    - Let me introduce you Platon Mikhailovich Gorich. A former military man, now retired, recently married. Lives in his wife's small house in Moscow. There is an estate with serfs, but my wife likes to live in Moscow. There are few rooms in the house and the furnishings are modest, so the Gorichs themselves often do not give balls, but rather like to go to others.

    Today, during the day, Platon Mikhailovich Gorich managed to complete many small tasks for his wife. He doesn't know everyone at the ball. He is next to his wife all the time. Famusov generally approves of his thoughts. He got married because it was time to do it, and his wife was found with a small fortune. He does not believe in Chatsky’s madness, but does not argue with the other guests, especially with his wife. Chatsky’s views a year ago may have been close to him.

    – Natalya Dmitrievna Gorich, a young lady who recently married a retired military man, a man who is not very rich, but has a village with peasants. In Moscow she lives with her husband in her house, since the prospect of moving to the village does not appeal to her. Fortunately, she managed to get her husband in her hands so much that he never even thought about arguing with her.

    During the day, Natalya Dmitrievna prepared for the ball at Famusov’s, sending her husband to the fashion store for hairpins and ribbons. Famusova respects and is proud to have met him and received an invitation to the ball. Everyone knows Famusov’s guests, since this is not the first time at such a ball. The next day she will discuss with her husband, and if possible, with her friends, Chatsky’s madness and her success at the ball.

    – Countess granddaughter lives in his grandmother's house, after her death he will receive both a house and a fortune. She is not married, so she travels with her grandmother so as not to cause misunderstandings. The house is large and rich, but the grandmother has not updated either the furniture or decoration for a long time, so the Khryumins give balls extremely rarely. That’s why the Countess really likes to visit others.

    During the day, the Countess prepared for the ball and convinced her grandmother to go. Famusov knows guests, but has a very low opinion of many. I didn’t meet any worthy dance partners at the ball, so I was disappointed with the ball. The only entertainment for her is the rumor about Chatsky’s madness, the spread of which the Countess’s granddaughter herself contributed greatly to. The dream is to get married profitably. We already have wealth and a title, all that remains is to find a husband among the people of our circle.

    Tomorrow she will have to explain to her grandmother what kind of rumor spread at the ball, and will also tell everyone she knows about it.

    – Zagoretsky Anton Antonovich. Let me be called: “ A swindler, a cheat and a sycophant...” It doesn't bother me. I live in a small, poorly furnished apartment. I don’t host parties at my place because I barely have enough money to look decent. Yes, you can’t invite anyone to such a small apartment with mismatched furniture.

    During the day I managed to go to Khlestova and her sister - I brought them a blackamoor, which I bought inexpensively for the occasion (at the sale of the serfs of some bankrupt nobleman). Khlestov named the price much higher, so today he has money.

    Famusov is my idol, like, in fact, any wealthy person. To become such a Moscow gentleman is my dream. In the meantime, I will fuss and grovel, provide services and spread rumors around Moscow. Chatsky's thoughts are alien to me. Tomorrow I will travel all over Moscow to talk about Chatsky’s madness. Perhaps I will be fed, or perhaps some lucky chance will present itself to serve the powers that be.

    – Sergey Sergeevich Skalozub. Colonel, a famous and respectable man. I have many awards. Very rich and unmarried. I am an enviable groom for any young lady from high society. I live in my own mansion, the furnishings in the house are rich, but there is no time to give balls: it’s work, and I also need to have time to go to see my friends. Once I get married, then my wife will take care of the balls.

    This morning I already visited my potential father-in-law. Having learned about the ball, I managed to go home to change clothes. Such an eligible bachelor like me can be late. I already met the rest of the guests at the balls. I had seen Gorich somewhere before, but I don’t remember where. It seems he fought, and I served in the Jaeger regiment.

    I look at life the same way as Famusov. I fully support and respect him. In addition, they give a good dowry for Sofia. And wealth, as we know, leads to wealth.

    Tomorrow there will be something to tell the regiment. A funny incident with Chatsky’s madness will probably make everyone laugh.

    - Yes, of course it is different people, but they have a lot in common. What? Describe them. Find among the notes on the board a statement in which they have already been characterized. Would you agree with her?

    “They all live by the same laws, they have a common ideal, they all eagerly pick up gossip about Chatsky’s madness and spread it.” These are vulgar, indifferent and calculating people. Their slander is not boring, but terrible.

    • The birth of a rumor about Chatsky's madness.
      •

    – How did it all start? How did the rumor about Chatsky's madness come about?

    Act III, scene 1

    Sofia (to herself): I reluctantly drove you crazy!

    Phenomenon 14

    Sofia: He's out of his mind.

    G.N.: Have you gone crazy?

    Sofia (after a pause): Not that at all...

    G.N.: However, are there any signs?

    Sofia (looks at him intently): It seems to me.

    Phenomenon 15

    G.N.: Did you hear?

    G.N.: About Chatsky?

    G.D.: What is it?

    G.N.: Crazy!

    G.D.: Empty.

    G.N.: I didn’t say it, others said it...

    G.D.: And you’re glad to glorify it.

    Phenomenon 16

    G.D.: Do you know about Chatsky?

    Zagoretsky: Well?

    G.D.: Crazy..!

    Zagoretsky: Ah! I know, I remember, I heard...

    Phenomenon 17

    Countess granddaughter:... I spoke to him.

    Zagoretsky: So I congratulate you.
    He's crazy...

    Countess granddaughter: What?

    Zagoretsky: Yes, he went crazy.

    Phenomenon 19

    Zagoretsky: In the mountains my forehead was wounded, I went crazy from the wound.

    Phenomenon 20

    Countess grandmother: Prince, did you hear?

    Prince: And - hmm?

    Countess Grandma: He doesn't hear anything!

    At least, maybe they saw that the police chief was here?

    Prince: Eh – hmm?

    Countess Grandmother: Who took Chatsky to prison, Prince?

    Phenomenon 21

    Zagoretsky: Crazy in everything!

    Thus was born the gossip about Chatsky’s madness. And he owes the birth of this gossip to his beloved Sofia. (Slide 8)

    • Visual means of language.

    (Annotated reading of scene 21. Speech characteristics).

    – The gossip about Chatsky’s madness found live support from all of Famusov’s guests. Or is it not for everyone? Which of the guests does not agree with the wattle fence and why does not object to its spread?

    –This is Platon Mikhailovich Gorich, who previously served with Chatsky in the same regiment and was considered his friend. He does not refute the gossip for several reasons: firstly, his wife says so, and it is better not to argue with her; secondly, this is what the Moscow aces Famusov and Skalozub say. How can you argue with them? Just look, you too will be recognized as crazy! It's better to remain silent.

    – What do Famusov’s guests and the owner himself see as a manifestation of Chatsky’s madness?

    - He scolded the authorities, condemned meanness, laughed “inappropriately,” advised one to live in the village, another not to serve in the archives...

    - By the way, which of those present lied when accusing Chatsky?

    – Molchalin, to whom Chatsky did not advise anything like this, really wants to be on an equal footing with everyone here, in the birth of gossip.

    – Do you think Chatsky is crazy?

    - No. He's smart. He has a critical mind, a serious education and high moral qualities that do not allow him to put up with the shortcomings of society that he encounters in Famusov’s Moscow.

    – What does the word “mind” mean to Chatsky? What about Famusov and his guests?

    – For Chatsky, intelligence is the ability to think, high intellectual abilities. For Famusov, intelligence is the ability to maintain one’s own benefit, get along with rich people, earn high ranks, i.e. prudence, ability to adapt.

    – Who do you agree with and why? Whose side is the author on?

    (Students express their opinions, including how the author understands the word “mind.” In Griboyedov’s comedy “25 fools for one smart person,” in his own words). (Slide 9)

    – As we found out, there are no crazy people in comedy, the characters just understand the word “mind” differently. Illustrate your point with one of the critics' statements. What do the guests see as the reasons for Chatsky’s madness?

    – In the abuse of alcoholic beverages, in studying, in books.

    – You wrote out the definition of gradation. Read it and show, using scene 21 as an example, how and why the author uses this stylistic device.

    – Gradation– arrangement of words and expressions in ascending or descending order of importance. (Students give an example of gradation from scene 21). (Slide 10)

    – What other linguistic means does the author use in this scene?

    – The grotesque is used – exaggeration taken to the point of absurdity. (For example, a proposal to close schools and lyceums or burn all books in order to rid society of the danger of madness). Many characters use colloquial, rude expressions or simply colloquial vocabulary in their speech: “crazy jumped off", "champagne glasses pulled”, “fables would leaned in”, “tea, drank beyond his years", "will require to cutting", "All they lie calendars”, etc. Others use cliches (“stop evil”, “I humbly ask”, etc.), foreign words, the meaning of which is not understood (“lankartochny” - a distorted word “lancastrian”) or simply military terminology (“They will only teach in our way: one, two...”). These and other linguistic means help to characterize the characters, their interests, and life philosophy. We understand from this distorted, illiterate, sometimes incoherent speech how uneducated they are.

    – Zagoretsky pronounces his lie about Chatsky’s drunkenness “with fervor.” This means he enjoys lying and gossiping. Famusov talks to Chatsky “cautiously”, that is, carefully, because he does not want to enter into conflict, just in case he avoids an open quarrel. And everyone else wants to distance themselves from Chatsky, so they “back away from him in the opposite direction.”

    4. Ideological role episode. (Slide 11)

    (Determining the importance of the episode for understanding the idea of ​​the work).

    – So, scene 21 is the culmination of the conflict between Chatsky and Famusov’s Moscow, whose representatives started a rumor about his madness. There was no resolution. Who is the winner and who is the loser in this confrontation and is Chatsky alone in his struggle?

    - Chatsky is not alone, since non-stage characters appear in the work every now and then, causing discontent among Famusov’s society: this is Skalozub’s cousin, who left the service, and Prince Fyodor, who, having received an education, leaves for the village, and “professors” who practice split Surely there will be more. And even if there is no resolution, and Chatsky leaves with a broken heart, slandered and lonely, the Famusovs’ time is already running out. New people have appeared who do not allow Famus society to live in peace. The future is undoubtedly theirs.

    5. Summing up the lesson. (Slide 12)

    – We talked today about an episode of the comedy “Woe from Wit.” So what have we learned? Draw conclusions from your work in class.

    – Those who oppose Famus society cannot immediately win, they are considered strange, they are declared crazy. They are still in the minority, but the future is theirs, and Chatsky is one of them.

    – A correct understanding of each episode helps to correctly understand the main idea of ​​the entire work, its idea.

    – Our work is coming to an end, and we still haven’t found an epigraph for the lesson. Which of the statements written on the board do you think would be more suitable as an epigraph? (Slide 13)

    – This could be a statement by A.S. Pushkin, the meaning of which coincides with our assessment of Famus society in scene 21, as, indeed, in this comedy. The words of I.S. could also become an epigraph. Gracheva, who talks about the essence of Chatsky’s opposition to the entire Famus society, about different understandings of the meaning of the word “mind”. But it was thanks to the analysis of 21 scenes that we were able to better understand what this conflict is.

    But it was the analysis of the episode of the dramatic work that we performed today that helped us better understand the idea of ​​comedy and the nature of its characters. We have learned to “question texts” better, which means that Mark Bock’s statement more accurately reflects the content and results of our work in the lesson. This means that this very statement can serve as an epigraph to the lesson.

    – Today in class you were attentive to the words, active and interested, so you learned a lot. I think there is no “half-darkness” left in your hearts, and “the sleep of half-consciousness” in your minds.

    6. Comments on homework. (Slide 14)

    – At home, analyze in writing one of Chatsky’s monologues and memorize it.

    Literature

    1. Leonov S.A. Literature. Integrated lessons. 8-9 grades. Teacher's manual. [Text] - M.: Iris-press, 2003.
    2. Leifman I.M. Cards for differentiated control of knowledge in literature. [Text] 9th grade. – M.: Continent-Alpha, 2003.
    3. Semenov A.N. Russian literature in questions and tasks. XII-XIX centuries: 9-10 grades. Teacher's manual. [Text] – M.: Vlados Humanitarian Publishing Center, 2000.
    4. Let's read. We think. We bet... Didactic materials on literature: 9th grade. / Author-compiler V.Ya. Korovin and others [Text] - M.: Education, 2004.
    5. Let's read. We think. We bet... A book for students’ independent work on literature: 9th grade. / Author-compiler G.I. Belenky et al. Ed. G.I. Belenky. [Text] – M.: Enlightenment. Educational literature. 1996.

    Annex 1

    Episode Analysis Plan

    1. The place and role of this episode in the work, its connection with the issues. (The significance of the episode for the further development of events, connection with the previous ones).

    2. The main characters, visual means of language. What new does observing these characters in this episode give us to understand their views on life, characters, and actions.

  • What means does the author use to reveal inner world heroes, the meaning of their actions:

    • A) methods of creating images;

    B) artistic features language, their meaning.

    3. How important is the episode for understanding the meaning of the entire work, its main idea.

      Appendix 2

    Questionnaire for Famusov’s guests, compiled
    Based on the “questionnaire for actors” by K.S. Stanislavsky

    1. Who you are? First name, patronymic, last name. The composition of your family, social status. Where do you live?
    2. What did you do today? Who did you meet?
    3. How do you relate to Famusov? How do you feel about him? How did you find out about the ball at his house? Do you know the other guests? Where?
    4. How do you feel about the thoughts expressed by Famusov? Chatsky?
    5. Who and what will you tell tomorrow about how the ball went?

      6. Appendix 3

    Critics' statements

      Chatsky... is nothing more than a madman who is in the company of people who are not at all stupid, but uneducated, and who plays smart in front of them because he considers himself smarter.

      M.A. Dmitriev

      Chatsky Griboyedova is the only truly heroic face of our literature..., an honest and active nature, and also the nature of a fighter.

      A.P. Grigoriev

      The comedy [“Woe from Wit”] is an accurate, completely accurate self-report of how an intelligent person lives, or rather dies, how an intelligent person dies in Rus'.

      A.V. Lunacharsky

      Optimism is the main mood of “Woe from Wit”. Whatever the outcome, the internal powerlessness of Famus society and the strength of Chatsky are obvious to the reader and viewer.

      N.K. Piksanov

      Appendix 4

      Texts of scenes 21 and 22 from Act III of the comedy

    ANALYSIS OF AN EPISODE OF A DRAMATIC WORK

    1. The boundaries of the episode are already determined by the very structure of the drama (the phenomenon is separated from other components of the drama); give the episode a title.

    2. Characterize the event underlying the episode: what place does it occupy in the development of the action? (Is this an exposition, a climax, a denouement, an episode in the development of the action of the entire work?)

    3. Name the main (or only) participants in the episode and briefly explain:

    · Who are they?

    · what is their place in the system of characters (main, title, secondary, off-stage)?

    4. Reveal the features of the beginning and ending of the episode.

    5. Formulate the question, the problem that is in the spotlight:

    · author; characters.

    6. Identify and characterize the theme and contradiction (in other words, mini-conflict) underlying the episode.

    7. Describe the characters participating in the episode:

    · their attitude to the event;

    · to the question (problem);

    · to each other;

    · briefly analyze the speech of the participants in the dialogue;

    · analyze the author's remarks (explanations for speech, gestures, facial expressions, poses of the characters);

    · identify the characteristics of the characters’ behavior, the motivation for their actions (the author’s or the reader’s);

    · determine the balance of forces, grouping or regrouping of heroes depending on the course of events in the episode.

    8. Characterize the dynamic composition of the episode (its exposition, plot, climax, denouement; in other words, according to what pattern the emotional tension develops in the episode).

    9. Describe the dialogic composition of the episode: what principle is used to cover the topic?

    10. Understand author's attitude to the event; correlate it with the culmination and idea of ​​the entire work as a whole; determine the author’s attitude to the problem.

    11. Formulate the main idea (author's idea) of the episode.

    12. Analyze the plot, figurative and ideological connections of this episode with other episodes of the drama.

    COMPREHENSIVE ANALYSIS OF A DRAMATIC WORK

    1. The time of creation of the work, the history of the concept, a brief description of era.

    2. The connection between the play and any literary direction or cultural era (antiquity, Renaissance, classicism, Enlightenment, sentimentalism, romanticism, critical realism, symbolism, etc.).How did the features of this direction appear in the work? 1

    3. Type and genre of dramatic work: tragedy, comedy (of manners, characters, positions, cloak and sword; satirical, everyday, lyrical, slapstick, etc.), drama (social, everyday, philosophical, etc.), vaudeville, farce, etc.Please refer to the reference literature for the meaning of these terms.

    4. Specifics of the organization of drama action: division into actions, scenes, acts, phenomena, etc. The author's original components of the drama (for example, “dreams” instead of acts or actions in M. Bulgakov’s drama “Run”).

    5. Playbill (characters). Features of names (for example, “speaking” names). Main, minor and off-stage characters.

    6. Peculiarities dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.

    7. Features of dramatic action: external - internal; “on stage” - “behind the stage”, dynamic (actively developing) - static, etc.

    8. Features of the composition of the play. The presence and specificity of the main elements: exposition, increasing emotional tension, conflict and its resolution, a new increase in emotional tension, climaxes, etc. How are all the “sharp points” (especially emotional scenes) of the work related to each other? What is the composition of the individual components of the play (acts, actions, phenomena)? Here we need to name specific episodes that are these “sharp points” of action.

    9. Specifics of creating dialogue in a play. Features of the sound of each character’s theme in dialogues and monologues. ( Brief Analysis dialogical composition of one episode of your choice).

    10. Theme of the play. Leading topics. Key episodes (scenes, phenomena) that help reveal the theme of the work.

    11. Problems of the work. Leading problems and key episodes (scenes, phenomena) in which the problems are especially acute. The author's vision of solving the problems posed.

    12. Specifics of the author's remarks explaining:

    · actions of characters (acting);

    · stage environment, costumes and scenery;

    · the mood and idea of ​​a scene or phenomenon.

    · Specifics author's position, expressed through remarks.