It is preferable to begin the analysis of a drama with the analysis of a small fragment, episode (phenomenon, scene, etc.). The analysis of an episode of a dramatic work is carried out practically according to the same scheme as the analysis of an episode of an epic work, with the only difference that the reasoning should be supplemented with the point of analysis of the dynamic and dialogic compositions of the episode.
So,
ANALYSIS OF AN EPISODE OF A DRAMATIC WORK
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.
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?)
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)?
Reveal the features of the beginning and ending of the episode.
Formulate the question, the problem that is in the spotlight:
Identify and characterize the theme and contradiction (in other words, mini-conflict) underlying the episode.
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;
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.
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).
Describe the dialogic composition of the episode: what principle is used to cover the topic?
Analyze the plot, figurative and ideological connections of this episode with other episodes of the drama.
Now let's move on to comprehensive analysis dramatic work. The success of this work is only possible if you understand the theory dramatic kind literature (see topic No. 15).
So,
Time of creation of the work, history of the concept, a brief description of era.
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
Type and genre dramatic work: tragedy, comedy (of manners, characters, positions, cloak and sword; satirical, everyday, lyrical, slapstick, etc.), drama (social, everyday, philosophical, etc.), vaudeville, farce, etc. Meaning Check these terms in the reference literature.
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”).
Playbill ( characters). Features of names (for example, “speaking” names). Main, secondary and off-stage characters.
Peculiarities dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.
Features of dramatic action: external - internal; “on stage” - “behind the stage”, dynamic (actively developing) - static, etc.
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.
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).
Theme of the play. Leading topics. Key episodes (scenes, phenomena) that help reveal the theme of the work.
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.
actions of characters (acting);
stage environment, costumes and scenery;
the mood and idea of a scene or phenomenon.
The meaning of the title of the play.
1. This point is revealed if such features are clearly expressed in the work (for example, in the classicist comedies of D. Fonvizin or in the comedy “Woe from Wit” by A. Griboedov, which combined the features of three directions at once: classicism, romanticism and realism).
When analyzing a dramatic work, you will need the skills that you acquired while completing tasks to analyze an episode of the work.
Be careful and strictly adhere to the analysis plan.
Topics 15 and 16 are closely related to each other, so successful completion of the work is possible only if detailed study theoretical materials on these topics.
A.S. Griboyedov. Comedy "Woe from Wit"
N. Gogol. Comedy "The Inspector General"
A.N. Ostrovsky. Comedy "Our people - we will be numbered!"; dramas "The Thunderstorm", "Dowry"
A.P. Chekhov. Play "The Cherry Orchard"
M. Gorky. The play "At the Bottom"
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 the era.
2. The connection of the play with any literary movement 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. Features of 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. (A brief analysis of the dialogic 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.
Fundamentals of literary criticism. Analysis 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 the 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 what 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 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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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.
- 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, ending, action development, exposition and climax.
- 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.
- 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.
- Number.
- Lesson topic.
- Epigraphs for the lesson.
Texts... even the most clear and pliable ones speak only when you know how to ask them. Mark Bock
- Gracheva
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.
- Literary terms:
- gradation, grotesque;
Homework: analyze Chatsky’s final monologue in your notebook and prepare an expressive reading of it by heart.
During the classes
- 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.
- What place does the episode occupy in the composition of the work?
- Who are the characters in action in this episode?
- What means did the author use to depict the characters?
- 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 of scenes 21 and 22 could 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 errands 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. Didn't meet you at the ball worthy partners in dance, 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 in 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 enviable groom 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)
(Annotated reading of scene 21. Speech characteristics).
– The gossip about Chatsky’s madness found live support from all 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 – an 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 is 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
- Leonov S.A. Literature. Integrated lessons. 8-9 grades. Teacher's manual. [Text] - M.: Iris-press, 2003.
- Leifman I.M. Cards for differentiated control of knowledge in literature. [Text] 9th grade. – M.: Continent-Alpha, 2003.
- 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.
- Let's read. We think. We bet... Didactic materials on literature: 9th grade. / Author-compiler V.Ya. Korovin and others [Text] - M.: Education, 2004. Let's read. We think. I bet... A book for independent work literature students: 9th grade. / Author-compiler G.I. Belenky et al. Ed. G.I. Belenky. [Text] – M.: Enlightenment.. 1996.
Educational literature
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).
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
-
Who you are? First name, patronymic, last name. The composition of your family, social status. Where do you live?
- What did you do today? Who did you meet?
- How is Famusov related to you? How do you feel about him? How did you find out about the ball at his house? Do you know the other guests? Where?
- How do you feel about the thoughts expressed by Famusov?
- Chatsky?
Who and what will you tell tomorrow about how the ball went?
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 Griboedova 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
The time of creation of the work, the history of the concept, a brief description of the era.
The connection of the play with any literary movement 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
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. Check the meaning of these terms in the reference literature.
Specifics of the organization of drama action: division into actions, scenes, acts, phenomena, etc.
Features of dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.
Features of dramatic action: external - internal; “on stage” - “behind the stage”, dynamic (actively developing) - static, etc.
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.
Specifics of creating dialogue in a play. Features of the sound of each character’s theme in dialogues and monologues. (A brief analysis of the dialogic composition of one episode of your choice).
Theme of the play. Leading topics. Key episodes (scenes, phenomena) that help reveal the theme of the work.
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.
actions of characters (acting);
stage environment, costumes and scenery;
the mood and idea of a scene or phenomenon.
The meaning of the play's title.
1. Artistic image. Types of imagery.
2. Types and genres of literature. Artistic image –
there is a concrete - sensual form of reproduction of the transformation of reality. A category of aesthetics that characterizes the result of a creator’s (artist’s) comprehension of a phenomenon or process in ways characteristic of a particular type of art, objectified in the form of a process as a whole or its department. fragments.
From the point of view of the theory of knowledge, a concept is also an image. However, there is a difference between thin and thin. image and concept: A concept identifies common, essential features in an object; it is not individual. Hood. the image reproduces the object in its integrity, the image is individual.
There are sensory-figurative and conceptual-logical forms of mastering the world. A distinction is made between figurative representations as a phenomenon of consciousness and one’s own images as the sensory embodiment of representations (visual and auditory).
1) St. thin. image.. Contains a generalization. Even if the image is sketchy and unspoken, it carries integrity. Own the names of the heroes become popular names. because of the general meaning of thin. image. Creative typification is the selection of certain aspects of life phenomena and their emphasis, hyperbolization into fiction. image. Gogol “The Nose”, S-Shch. Two description options: a) a writer can describe, creating the illusion of verisimilitude b) secondary convention - deliberate destruction of verisimilitude, grotesque and fantasy.
2) Expressiveness(expressiveness): The image usually surpasses reasoning in terms of emotional strength. air estimates. Ideological and emotional. author's assessment -> dividing the characters into positive, negative, contradictory. (conditionally). Forms expressions auto. assessments: a) explicit (Pushkin - Tatyana). b) implicit (Pushkin - Onegin). Evaluation help express
trails, st. figures. Creation of own objective world.
3) Self-sufficiency, the image is alive in itself. Being the embodiment of the general, essential in the individual, thin. an image can give rise to different meanings and interpretations.
Polysemy of thin. image.
The imagery of the art creates objective preconditions for disputes about the meaning of the art, for its various interpretations, and sometimes for polemical author’s concepts. Authors often do not want to define the idea of their work -> controversy. Turgenev "O and D". Internal images.
– bear, window Internal form of a word
- increase in meaning.
For the image you need to have a key, a literary code. Image
– appearance, type, method (means) by which literature carries out its mission (see previous lecture).
As part of psychology and philology, images are specific representations, that is, the reflection by human consciousness of individual objects, facts, events, in their sensory perceived form.
They [images] are opposed to abstract concepts that capture the general permanent properties of reality and ignore individual traits.
RESULT: there are sensory-figurative and political-logical forms of mastering reality.
There are:
figurative representations as a phenomenon of consciousness;
actually “images”, as the sensory embodiment of ideas.
There are images:;
scientific and illustrative;
factual information and journalistic
, which inform about the facts that actually took place; artistic , are created with the active participation of the imagination: they do not simply reproduce isolated facts, but condense and concentrate those that are significant for the author aspects of life
The artist’s imagination is not only a psychological stimulus for his work, but also a certain antiquity.
In the imagination there is a fictitious objectivity that does not have a complete correspondence in reality.
In modern science there is the concept of iconicity.
Sign - a material object that acts as a representative, substitute for another object or property.
Definition of an artistic image - there are more than 70 of them!
One point of view:
Artistic image – a concrete sensory form of reproduction and transformation of reality.
According to the nature of their generality, artistic images are divided into:
individual(originality, uniqueness. Found among romantics and science fiction writers);
characteristic(is generalizing. It contains general traits of characters and morals inherent in that time);
typical(the highest level of a characteristic image. This is the most probable, exemplary for a certain era. The image of typical images was one of the main goals, achievements of the goals of realistic literature. Sometimes socio-historical objects of the era, as well as general ones, can be captured in an artistic image human traits human character - eternal images);
image-motives(goes beyond individual images heroes), (this is a steadily recurring theme in the writer’s work, expressed through different aspects, through variation);
topaz(place, area, general place), (denote general and typical images created in the literature of an entire era, nation, and not in the work of an individual writer);
archetypes (beginning, image)(early 19th century, German romantics. Jung - understood ARCHETYPE as a general human image, unconsciously passed on from generation to generation. Most often, mythological images. Universal symbols: fire, sky, house, road, garden, etc.).
Image structure:
sounding, rhythmic surface of speech;
artistic speech (sequence of words and their relationships);
plot - the purpose of the movement of people and things;
plot – a system of main goals;
interacting images;
comprehension of the life meaning of the image.
Artistic image is a popular term that is used in various sciences. The most common definition is a subjective reflection of the objective world. An artistic image has a super task - it is always a certain thought embodied in art form. This is not just a description. Example: Pinocchio. The image is always concrete and figurative. But this concreteness always expresses something general, some thought. The image is plastic, emotional, it expresses the state of the hero, everything in him is in unity. What in reality can be an antithesis converges in the image. Example: drawing a heart for lovers in response to an abstract feeling. Potebnya: “If we are given poetic image, then we ask ourselves what is the circle of ideas, observations, thoughts, remarks, perceptions from which this image arose? It could arise from direct observations, it could arise from tradition, that is, with the help of other images.” Abstract, philosophical ideas are depicted through objective realities, most often from nature. Example: Venevitinov’s poem “Branch”. Observation of nature is a source of artistic images. Turgenev has many prototypes: Rudin - Bakunin, Bazarov - Dobrolyubov. But the image, even if it is copied from life, is not literal, it is always autonomous, self-sufficient, it lives its own life.
Classification of images.
There are conventional and life-like images. Life-like is a reality that is mirror-like to life. Conditional are violations, deformations, they have two levels - the depicted and the implied. Life-like - character and type, conventional - symbol, allegory, grotesque.
Subject classification.
1st stage. Details from one-word details to detailed descriptions (interior, landscape, exterior, etc.). They are static and fragmented.
2nd stage. Fable structure: events, actions, moods, aspirations of a person. This is dynamism and evolution.
3rd stage. Subjective structure: characters, characters, image of the author, narrator, chorus.
4th stage. Image of the world.
Nature – Man – Society
Landscape portrait family
Interior system environment
Exterior of the characters people
Generalized semantic: motive, topos, archetype.
A motif is a word or a set of words that are repeated (in the work of a writer, a group of writers, or an era).
Topos is a designation of a place, repeated within a culture or nation (St. Petersburg. Forest, steppe).
Archetype (According to K. G. Jung) is the oldest mythological symbol generated by archaic collective consciousness. Example: the image of the prodigal son, Cain and Abel, Ahasfer, Faust.
Internal image structure:
1) internal form of the word. Example: ink.
2) comparison: A=B
3) co and opposition: A is not equal or equal to B.
Everything is figurative - the word, the people, and the action.
- Small forms of imagery.
From the point of view of many researchers, only what is created with the help of words is figurative. The possibilities and features of the word are a topic of discussion, and this is how futurism arises. A word in a work of art behaves differently than in ordinary speech - the word begins to realize an aesthetic function in addition to the nominative (nominative) and communicative. The purpose of ordinary speech is communication, discourse, transmission of information. The aesthetic function is different, it does not just convey information, but creates a certain mood, conveys spiritual information, a certain super-meaning, an idea. The word itself manifests itself differently. Context, compatibility, rhythmic beginning (especially in poetry) are important. Bunin: “Punctuation marks are musical notes.” Rhythm and meaning are combined. A word in a work of art does not have a specific meaning as in everyday speech. Example: crystal vase and crystal time by Tyutchev. The word does not appear in its meaning. The same flow of associations with the author. Crystal time - description of sounds in autumn. A word in an artistic context gives rise to individual associations. If the author’s and yours coincide, everything is remembered, if not, no. Any artistic trope is a deviation from the rules. Y. Tynyanov “The meaning of the poetic word.” “The word is a chameleon, in which each time not only different shades appear, but also different colors.” Emotional coloring of the word. A word is an abstraction; the complex of meanings is individual.
All methods of changing the basic meaning of a word are tropes. The word has not only a direct but also a figurative meaning. The definition usually given in textbooks is not entirely complete. Tomashevsky "Poetics of Speech". Example: the title of Shmelev’s story “The Man from the Restaurant.” First, a person means a waiter, and the word is used as the client usually calls him. Then the action develops, the hero reflects that the elite of society is vicious. He has his own temptations: money that he returns. The waiter cannot live with sin; the main word becomes “man” as the crown of nature, a spiritual being. Pushkin’s metaphor “The East is burning with a new dawn” - both the beginning of a new day and the emergence of a new powerful state in the east.