What we learned from what we read about the wild. Practical tasks and independent work based on the play "Thunderstorm" by A. N. Ostrovsky. Documentary about Ostrovsky

Homework

1. After the appearance of the comedy “Own people - let's settle!” in the literary world, Ostrovsky became known as "Columbus Zamoskvorechye" or "Przhevalsky Inner Asia". Why?

2. Answer the questions:

Why does the comedy from the life of the merchants take on a universal sound?

Does the name of the comedy reflect the essence of its main conflict?

What moral issues are raised in comedy?

Does any of the characters in the comedy evoke sympathy?

Why is the play "Our people - let's settle!" was a resounding success?

4. Individual task: Creative history of "Thunderstorm". The meaning of the name.

Lesson 37 Ideological and artistic originality

The purpose of the lesson: to reveal the ideological and artistic originality of the play, the life positions of the characters, the emotional tragedy of Katerina.

Equipment: texts of the play, reproduction of the painting by I. I. Levitan “Evening. Golden reach”, audio recording of the phenomena of the play, illustrations.
During the classes

We listen to the answers to the questions of homework.
II. Lesson plan

1. Creative history of the drama "Thunderstorm".

2. Theme, idea, conflict of the play.

3. Composition of the play, genre.
III. Conversation on the first perception of the play and the word of the teacher

What impression did the play make on you? What do you remember most, why?

What is this piece about? What problems does Ostrovsky pose in it?

Which of the characters interested, who remained a mystery?

The play "Thunderstorm" was written by Ostrovsky during the summer and autumn of 1859, staged the same year, and was printed in 1860. This is a period of social upsurge, when the foundations of serfdom were cracking. The name "Thunderstorm" is not just a majestic natural phenomenon, but a social upheaval. The drama reflected the rise of the social movement, the moods in which the progressive people of the era of the 50s and 60s lived.
^ IV. Student's message "Creative history of the drama" Thunderstorm ". (see additional material)

What events, observations, experiences of the author were reflected in the content of the play?
^ V. Teacher's lecture and conversation about the genre and composition of the play

1. Lecture

What do you think this play is about, what is its theme? Idea?

What is the conflict?

Let's try to understand how literary critics answer these questions.

The Thunderstorm was allowed by the dramatic censorship to be presented in 1859, and published in January 1860. At the request of Ostrovsky's friends, the censor I. Nordstrem, who favored the playwright, presented The Thunderstorm as a play not socially accusatory, satirical, but love-domestic , without mentioning a word in his report either about Diky, or about Kuligin, or about Feklush.

In the most general formulation, the main theme of "Thunderstorm" can be defined as a clash between new trends and old traditions, between oppressed and oppressors, between people's desire for the free manifestation of their human rights, spiritual needs and the social and family-household orders that dominated pre-reform Russia.

The theme of "Thunderstorm" is organically linked to its conflicts. The conflict that forms the basis of the plot of the drama is the conflict between the old social and everyday principles and the new, progressive aspirations for equality, for the freedom of the human person. The main conflict - Katerina and Boris with their environment - unites all the others. It is joined by the conflicts of Kuligin with Wild and Kabanikha, Kudryash with Wild, Boris with Wild, Varvara with Kabanikha, Tikhon with Kabanikha. The play is a true reflection of social relations, interests and struggles of its time.

The general theme "Thunderstorms" entails a number of private topics:

a) Kuligin's stories, the remarks of Kudryash and Boris, the actions of Dikoy and Kabanikha, Ostrovsky gives a detailed description of the material and legal situation of all strata of society of that era;

c) drawing life, interests, hobbies and experiences actors"Thunderstorms", the author from different sides reproduces the social and family way of life of the merchants and bourgeoisie. This highlights the problem of social and family relations. The position of a woman in the philistine-merchant environment is clearly outlined;

d) the life background and problems of that time are displayed. The heroes talk about social phenomena important for their time: about the emergence of the first railways, about cholera epidemics, about the development of commercial and industrial activity in Moscow, etc.;

e) along with socio-economic and living conditions, the author masterfully drew and surrounding nature, different attitudes towards it by the actors.

So, in the words of Goncharov, in The Thunderstorm "a broad picture of national life and customs subsided." Pre-reform Russia is represented in it by its socio-economic, cultural and moral, and family and everyday appearance.
2. Conversation

What is the composition of the play?

(Exposition - pictures of the Volga expanse and the stuffiness of Kalinov's customs (d. I, yavl. 1-4).

The plot - Katerina replies with dignity and peace-lovingly to the nit-picking of her mother-in-law: “You are talking about me, mother, you are talking in vain. With people, that without people, I’m all alone, I don’t prove anything of myself. The first clash (d. I, yavl. 5).

Next comes the development of the conflict between the characters, in nature a thunderstorm gathers twice (case I, phenomenon 9). Katerina confesses to Varvara that she fell in love with Boris - and the prophecy of the old lady, a distant thunderclap; end of d. IV. A thundercloud creeps, like a living, half-mad old woman threatens Katerina with death in a pool and hell, and Katerina confesses her sin (the first climax), falls unconscious. But the storm never hit the city, only pre-storm tension.

The second culmination - Katerina utters the last monologue, when she says goodbye not to life, which is already unbearable, but with love: “My friend! My joy! Goodbye! (d. V, yavl. 4).

The denouement is the suicide of Katerina, the shock of the inhabitants of the city, Tikhon, who, being alive, envies his dead wife: Good for you, Katya! And why did I stay to live and suffer!.. ”(case V, yavl. 7).

What is the genre originality of the play "Thunderstorm"?

(By all the hallmarks of the genre, Groza's play is a tragedy, since the conflict between the characters leads to tragic consequences. There are also elements of comedy in the play (the tyrant Dika with his ridiculous, degrading demands, Feklusha's stories, the arguments of Kalinovites), which help to see the abyss, ready to devour Katerina and whom Kuligin unsuccessfully tries to illuminate with the light of reason, kindness and mercy.

^ Ostrovsky himself called the play a drama, thereby emphasizing the widespread conflict of the play, the everyday life of the events depicted in it.)
Homework

1. Lecture retelling.

2. Textbook. Retelling of the "Creative History of Thunderstorms".

3. Leading task. Learn by heart a choice of passages:

D I, yavl. 3 Kuligin: "Cruel morals, sir, ... I, he says, will spend money, and it will cost him a pretty penny."

D. I, yavl. 7. Katerina: “What a frisky I was! ... It’s like I’m starting to live again, or ... I don’t know.” (Without the words of Barbara).

D. III, yavl. 3. Kuligin: "That's what, sir, we have a little town ... Yes, here's a couple!"

5. Individual task: Message "The city of Kalinov and its inhabitants, a sharp satire on the merchant class."
^ Additional material for the lesson

The creative history of the play "Thunderstorm" 1

“On the instructions of His Imperial Highness, General-Admiral, Grand Duke Konstantin Nikolayevich, prominent Russian writers who already had travel experience and a taste for essay prose were sent around the country for new materials for the Marine Collection. They were supposed to study and describe folk crafts associated with the sea, lakes or rivers, the methods of local shipbuilding and navigation, the situation of domestic fisheries and the very state of Russia's waterways.

Ostrovsky got the Upper Volga from its source to Nizhny Novgorod. And he got down to business with passion.

“In the old dispute of the Volga cities about which of them, by the will of Ostrovsky, turned into Kalinov (the scene of the play “Thunderstorm”), arguments are most often heard in favor of Kineshma, Tver, Kostroma. The debaters seemed to forget about Rzhev, but meanwhile it was Rzhev who was clearly involved in the birth of the mysterious idea of ​​\u200b\u200bthe Thunderstorm!

Where the Thunderstorm was written - at a dacha near Moscow or in Zavolzhsky Shchelykovo - is not known for sure, but it was created with amazing speed, truly by inspiration, in a few months of 1859.

“The year 1859 is hidden from the biographer Ostrovsky by a dense veil. That year he did not keep a diary and, it seems, did not write letters at all ... But something can still be restored. The Thunderstorm was begun and written, as can be seen from the notes in the first act of the draft manuscript, on July 19, July 24, July 28, July 29 - in the midst of the summer of 1859. Ostrovsky still does not regularly travel to Shchelykovo and, according to some reports, spends a hot summer near Moscow - in Davydovka or Ivankovo, where actors of the Maly Theater and their literary friends settle in a whole colony in dachas.

Ostrovsky's friends often gathered at his house, and the talented, cheerful actress Kositskaya was always the soul of society. An excellent performer of Russian folk songs, the owner of a colorful speech, she attracted Ostrovsky not only as a charming woman, but also as a deep, perfect folk character. Kositskaya "drove" more than one Ostrovsky when she began to sing provocative or lyrical folk songs.

Listening to Kositskaya's stories about the early years of her life, the writer immediately drew attention to the poetic richness of her language, to the colorfulness and expressiveness of turns. In her "servile speech" (this is how Countess Rostopchina described Kositskaya's manner of speaking disdainfully), Ostrovsky felt a fresh source for his work.

The meeting with Ostrovsky inspired Kositskaya. The grandiose success of the first production of the play “Do not get into your sleigh”, chosen by Kositskaya for a benefit performance, opened a wide road for Ostrovsky's dramaturgy to the stage.

Of Ostrovsky's twenty-six original plays staged in Moscow during the period from 1853 to the year of Kositskaya's death (1868), that is, in fifteen years, she participated in nine.

The life path, personality, stories of Kositskaya gave Ostrovsky rich material for creating the character of Katerina.

In October 1859, at the apartment of L.P. Kositskaya, Ostrovsky read the play to the actors of the Maly Theater. The actors unanimously admired the composition, trying out roles for themselves. It was known that Katerina Ostrovsky had given Kositskaya in advance. They predicted Borozdin for Varvara, Sadovsky for Wild, Tikhon was supposed to play Sergey Vasiliev, Kabanikha - Rykalov.

But before rehearsing, the play must be censored. Ostrovsky himself went to Petersburg. Nordström read the drama as if he had before him not an artistic work, but a coded proclamation. And he suspected that the late sovereign Nikolai Pavlovich had been bred in Kabanikha. Ostrovsky dissuaded the frightened censor for a long time, saying that he could not give up the role of the Kabanikh in any way ...

The play was received from censorship a week before the premiere. However, in those days, playing a play from five rehearsals did not seem like a curiosity to anyone.

The main director was Ostrovsky. Under his guidance, the actors looked for the right intonations, coordinated the pace and character of each scene. The premiere took place on November 16, 1859.

“The scientific world of Russia quite quickly confirmed the high merits of the play: on September 25, 1860, the reign Russian Academy Sciences awarded the play "Thunderstorm" with the Great Uvarov Prize (this prize was established by Count A.S. Uvarov, the founder of the Moscow Archaeological Society, to reward the most outstanding historical and dramatic works).

Lesson 38 D. I-IV

The purpose of the lesson: analyze the image of the city of Kalinov and its inhabitants created by the author.
During the classes

^ I. Checking homework
II. Conversation

Name the main characters of the play, their social position. In the drama "Thunderstorm" there are no random names and surnames. What principle is put by the author in the system of characters in the play?

Try to define the names and surnames of the characters in this drama: Savel Prokofich Wild, Marfa Ignatievna Kabanova (Kabanikha). Tikhon, Katerina, Kuligin and others.

Where and when do events unfold?
^IV. teacher's word

From the first pages of the play, we draw attention to the skill of Ostrovsky, the playwright. The first act takes place on a summer evening in a public garden on the banks of the Volga. Such a choice of place and time of action gave the playwright the opportunity to acquaint the reader and viewer with the main characters of the play, to introduce into the essence of its conflict in the first manifestations. The landscape background of the "Thunderstorm" also gives a certain emotional mood, which, by contrast, makes it possible to feel the stuffy atmosphere of the life of Kalinovites more sharply.

To imagine the Volga landscapes, consider Levitan's painting “Evening. Golden splash". This is what you would see if you were on the banks of the Volga, in those places where the action of the play took place: juicy, green bushes flooded with the rays of the setting sun, orange, golden colors of water and sky. Fog rises over the river. The opposite bank lies in a grayish-blue haze. Silence and peace.

Pay attention to the words of Kuligin: “Miracles! I can't look." Kuligin not only admires the charm of the Volga landscapes, but also seeks to show others "what beauty is spilled in nature." After all, in his opinion, the enjoyment of nature could soften the cruel morals of the inhabitants of Kalinov.
^ IV. Working with the text of the play

What do we learn from the dialogues of the characters about the Wild and Boar?

How do Kudryash, Shapkin, Kuligin treat merchants? What is the difference in their life positions?
Exercise.

Draw a portrait of Wild, tell about his relationship to the household and residents of the city, give his speech characteristics.

(Dikoy is a burly, portly merchant with a broad beard, he is in a coat, oiled boots, stands on his hips, speaks in a low, bass voice ... or Dikoy is a small, lean old man with a sparse beard and restlessly shifting eyes; this essentially pitiful person is capable of leading to the awe of others.)

What is the basis for the tyranny of people like Dikoy?

(On the power of money, material dependence and the traditional obedience of the Kalinovites. Dikoy frankly shortchanges the peasants. Dikoy is aware of strength - this is the power of a money bag. That is why he values ​​\u200b\u200bevery penny so much, that's why his meetings with Boris, who claims part of the inheritance, are so annoying. on Boris, and he is forced to endure insults: after all, he will receive an inheritance only if he is respectful. And Dikoi is well aware that Boris depends on him, and openly swaggers over him. Material dependence is the basis of the relationship between the heroes of the play.)

What is the life position of Kuligin?

(Kuligin speaks with pain about the “cruel morals of the city, but advises “somehow to please” petty tyrants. He is not a fighter, but a dreamer; his projects are not feasible. He spends his strength on inventing a perpetual motion machine. The peculiarities of his speech, emotional , but old-fashioned. He often uses Old Slavonic words and phraseological units, quotations from the "Holy Scripture" ("The urgency of bread", "little goodness", "there is no end to torment", etc.). Kuligin's artistic tastes are also archaic. Literature of the nineteenth century "Pushkin, Gogol, Lermontov," passed him by. He remained faithful to Lomonosov and Derzhavin.)

Where does action II (Javl. 1.) take place? Who are the actors, their role?

(A room in the Kabanovs' house. The windows are closed with shutters, twilight; flickering flows from the lamps hanging in front of the icons, chests with the master's goods stand on the walls. Feklusha's monologue sounds especially expressive in this gloomy room.)

Who is Feklusha? What is your first impression of her?

What does she tell Glasha about? What hero can she be compared to?

(In the course of development, the actions of Kuligin and Feklusha do not enter into an open struggle, but are depicted in the play as antipodes.)

What Feklusha tells about in d. II, yavl. one?

So, if Kuligin brings culture to society, then Feklusha brings darkness, ignorance. Her ridiculous stories create distorted ideas about the world among Kalinovites, instill fear in their souls.

How does Feklusha's speech reflect her character?

(The life position of Feklusha also predetermines the features of her speech. She seeks to win over those around her, therefore the tone of her speech is insinuating, flattering. She retains this habitual tone even when addressing the maid Glasha. Feklusha's obsequiousness is also emphasized by her saying "dear".)

Let's reread Feklusha's story about the "unrighteous lands", preserving the features of her speech.

D. III, yavl. 1. Kabanikhi's conversations with Feklusha. What new does this conversation give for the characterization of these heroes?

(They mourn the end of the good old times, condemn the new orders. The author shows how ignorant they are. The new powerfully enters life, undermines the foundations of the house-building orders. Feklusha’s words about the coming “ end times” and even “time began to come to belittlement.” Indeed, the patriarchal world of the Kabanovs and the wild is living out last days. A storm is gathering over them.)

D. III, yavl. 2. What new things do we learn about the character of the Wild?

(No one can please him, only Kabaniha can “talk”, because rudeness to rudeness (“You don’t open your throat very much ... but I’m dear to you ...”).)

D. III, yavl. 3. A warm summer evening, and again from the lips of Kuligin we hear a story about Kalinov's rights. Read the monologue, draw a conclusion.
Exercise.

Describe Marfa Ignatievna Kabanova

(A tall, overweight old woman, wears a dark, old-fashioned dress; holds herself straight, with dignity, walks slowly, sedately, speaks weightily, significantly.)

What is her mental state? Her character traits, relationships with other characters?

Who gives her the first characteristic? (Javl. 3). Is this characterization justified in yavl. 5?

What foundations, according to Kabanikhi, should family life be built on?

(Kabanikha sees the house-building laws of life consecrated by the old days as the basis of the family. Kabanikha is sincerely convinced that if these laws are not observed, there will be no order. She speaks on behalf of a whole generation, constantly using moralizing phrases: “They don’t really respect elders today,” After all, parents are strict with you because of love, and because of love they scold you ... ". All this gives Kabanikh's figure monumentality. Her image grows to a symbol of patriarchal antiquity.)

What are the features of Kabanikh's speech, how are they related to the life position and character of Kabanikh?

(Relying on the authority of antiquity, Kabanikha widely uses folk phraseology, proverbs in his speech (“Why are you pretending to be an orphan? repetitions of words, phrases (“... if I didn’t see with my own eyes and didn’t hear with my own ears”, “... that the mother is grumbling, that the mother doesn’t let go, she shrinks from the light ...”) give a monotonous character to Kabanikh’s speech.

How does Tikhon, Varvara, Katerina feel about Kabanikha and her teachings? What is their attitude?

(Households dependent on Kabanikha have a different attitude to her teachings. Tikhon thinks only about pleasing his mother, seeks to convince her of his obedience. The plural appeal, the repeated word “mother” give his speech a derogatory character, and only a remark to the side ("Oh, my God!") expresses his true attitude to maternal teachings. During the dialogue, Varvara did not say a single word aloud, but she sneers at her mother to herself, condemns her ("You won't respect you, how can you!" " I found a place for instruction to read"). Varvara is convinced that you cannot live here without pretense. And only Katerina openly declares her human dignity. ("Yes, even by the way, why are you offending me?" Nice!")

Thus, already in the first manifestations, sharp clashes of heroes are revealed before us, which add up to a single conflict of petty tyrants and their victims. Kuligin's monologue takes us beyond the personal relationships of the actors and gives this conflict a broad public sound.

D. IV yavl. 1.2. Again pictures of the wild ignorance of the dark kingdom.

(If earlier they were associated with the stories of Feklusha, now Ostrovsky shows a whole crowd of townspeople personifying the Kalinov philistinism. The townspeople’s conversations about Lithuania, which “fell on us from the sky”, and their superstitious fear of a thunderstorm, and a wary attitude towards words are also characteristic Kuligin, and the humility with which they carry out the orders of Dikoy.)

How do the townspeople express their attitude towards the Wild?

(During the conversation between Diky and Kuligin, the crowd clearly sympathizes with Diky, laughing angrily and stupidly at Kuligin.)

What is the relationship between Dikoy and Kuligin?

(Kuligin acts as an educator. He persuades Wild to benefit the city, asks him for money for a sundial and a lightning rod, but in response to Wild reminds Kuligin that he is a worm: “If I want it, I’ll have mercy, if I want it, I’ll crush it.” He likes to show his strength, likes to swagger over the defenseless.. Wild, like Kabanikha, tenaciously clings to the old order.)
Exercise.

Read this episode and draw a conclusion about the development and independence of thinking of the inhabitants of the city.

Yavl. 6. What is the relationship between Varvara, Tikhon and Katerina?

Yavl. 7. What scenes and episodes contain, in your opinion, the plot of the drama? What is its uniqueness?

What is the significance of Katerina's monologue at the beginning of yavl. 7?

What do we learn about Katerina's life in her parents' house?

How did the influence of folk poetry and church literature affect Katerina's speech?

What is the essence of Katherine? How is Katerina's inner struggle revealed in her dialogue with Varvara? How does the gradual increase in internal anxiety affect her speech?

Sections: Literature

Lesson type: learning new material.

Lesson Objectives:

Tutorial:

• arouse interest in the life and work of the playwright;
• to acquaint with the main stages of the creative path of Ostrovsky;
• tell students about the features of the drama genre, about the creative history of the play "Thunderstorm";
• find out what is the essence of the main conflict;
• get to know the characters, determine the meaning of their names and surnames.

Educational:

• to promote the education of a patriotic attitude to Russian literature;
• educate the moral reading position of students.

Developing: Contribute to the development of the following competencies:

• linguistic competence: to promote the development of students' imagination, mastering the skills of introspection; development of skills to compare, contrast, generalize);
• communicative competence: contribute to the enrichment of vocabulary);
• language competence: to develop in students the ability to use words, their forms, syntactic structures in accordance with the norms of the literary language).

Methodological goal: the use of methods of activation of cognitive activity in the lessons of literature.

Equipment: A multimedia screen (presentations of Ostrovsky's biography and the history of the creation of "Thunderstorm"), fragments of a documentary film, lists of achievements, a dictionary of the writer's language, a table, a diagram of genres.

During the classes

I. Motivation, goal setting.

I want to start our lesson with a parable.

One day, old people came to the sage from a distant village.
- Wise man, we heard that you give wise advice to everyone, point out the right path, reveal the truth. Help us too! The younger generation in our village has ceased to understand us, and it is very difficult for us to live with this. What should we do?
The sage looked at them and asked:
- What language do you speak?
- All the older generation speaks gibberish.
What about the young residents?
The old people thought and confessed:
We didn't ask them.
- That is why you can only listen to them, but not hear them!

- The topic of our lesson will be the conflict between the older and younger generations, which was voiced by the famous playwright of the 19th century Alexander Nikolayevich Ostrovsky in his work "Thunderstorm". The problem is as old as the world, but nevertheless it is still relevant for us.

- So, the topic of our lesson: The life and work of the playwright Alexander Nikolayevich Ostrovsky. The creative history of the play "Thunderstorm". The main conflict and the arrangement of the characters in The Thunderstorm. (Learners write down the topic).

The main goal of our lesson is to get acquainted with the main stages of the life and work of Alexander Nikolayevich Ostrovsky, as well as start working on reading and analyzing his work "Thunderstorm". At the end of the lesson, you will be required to write and then verbally answer the following question:

II. Learning new material.

1) Message from the teacher about the main stages of the life and work of Alexander Nikolayevich Ostrovsky.

Written on the board epigraph:

Why are they lying that Ostrovsky is "outdated"?
For whom? For a huge number of Ostrovsky is still quite new - moreover, it is quite modern, but for those who are refined, looking for everything new and complicated, Ostrovsky is beautiful, like a refreshing spring, from which you get drunk, from which you wash, from which you rest - and set off again. on the road.
Alexander Rafailovich Kugel(theatrical critic )

Teacher's story + presentation of Ostrovsky's biography

Alexander Nikolayevich Ostrovsky was born on March 31, 1823 in Moscow. His father, Nikolai Fedorovich, worked most of his life in the judicial department. Mother, Lyubov Ivanovna, died when Alexander was eight years old. The environment in which A.N. Ostrovsky, contributed to his acquaintance with the life and customs of the "third estate": his father's clients, neighbors in Zamoskvorechye, friends were mostly merchants and bourgeois. On Slide you see the Shchelykovo estate, where Alexander Nikolaevich spent every summer. Here he wrote nineteen plays. The main house, built in the 18th century, has never been rebuilt. It houses the memorial museum of A.N. Ostrovsky.

On the slide is the House-Museum of A. N. Ostrovsky in Zamoskvorechye (Malaya Ordynka, 9). The great playwright was born in this house, where the Ostrovskys rented an apartment from the deacon of the Church of the Intercession in Goliki.

Studies

In 1835, Alexander entered the Moscow Provincial Gymnasium. During his studies, he showed particular interest in literature: his father had a rich library. An important event in his life was the appearance in the house of his stepmother, Baroness Emilia Andreevna von Tessin. She paid great attention teaching children music foreign languages, secular manners.

After graduating from high school in 1840 A.N. Ostrovsky entered the law faculty of Moscow University, however, he studied here for only three years: his passion for theater and literary creativity prevented him.

Service

In 1843 A.N. Ostrovsky entered the service of a scribe in the Constituent Court, which dealt with criminal offenses and civil suits on complaints parents to children and children to parents. In 1845 he was transferred to the Commercial Court.

Family life

In the 1840s, A.N. Ostrovsky became interested in the simple bourgeois Agafya Ivanovna and in 1849 brought her into the house as his wife. Despite the difference in upbringing and education, Agafya Ivanovna brought order and comfort into his life. However, Father A.N. Ostrovsky was against it - he broke off relations with his son and refused him financial assistance. Unfortunately, all the children born in this marriage died, and in 1867 Agafya Ivanovna herself died.

With his second wife, Marya Vasilievna, A.N. Ostrovsky lived happily until his death. They had five children: Alexander, Sergey, Lyubov, Maria and Mikhail.

Cooperation with magazines

In the early 1850s, A.N. Ostrovsky joined the "young editors" of the magazine "Moskvityanin". Its members (the poet and critic A.A. Grigoriev, the writer A.F. Pisemsky, the performer of folk songs G.I. Filippov, the artist P.M. Sadovsky and others) advocated the preservation of the originality and nationality of art.

In the late 1850s, frequent trips from Moscow to St. Petersburg, in connection with productions at the Alexandrinsky Theater, brought A.N. Ostrovsky to a new literary circle - the salon of I.I. Panaev. Here he met L.N. Tolstoy, I.S. Turgenev, F.M. Dostoevsky and became one of the authors of the journal "Contemporary". For many years A.N. Ostrovsky collaborated with him, and after its closure in 1866 he began to publish his plays in the magazine "Domestic Notes"(the editor-in-chief of both journals was N.A. Nekrasov).

Social activity

November 14, 1865 A.N. Ostrovsky, together with the composer N.G. Rubinstein, playwright and translator K.A. Tarnovsky and writer V.F. Odoevsky opened in Moscow Artistic circle. Musical and literary evenings were held here, plays were performed, works were read, costumed balls were held. An amateur orchestra was formed at the circle, and then an amateur choir, a library was opened.

In 1863, A.N. Ostrovsky published in the newspaper "Northern Bee" an article "Circumstances hindering the development of dramatic art in Russia" about the excessive severity of censorship and the lack of rights of authors. In order to solve these problems under his leadership in The Society of Dramatic Writers and Opera Composers was founded in 1874..

Creation of a folk theater

In 1882 A.N. Ostrovsky sent a “Note on the situation of dramatic art in Russia at the present time” to a special Commission, where he expressed his opinion on the need to create a Russian folk theater in Moscow: “ We have a Russian school of painting, we have Russian music, it is permissible for us to wish for a Russian school of dramatic art... The national theater is a sign of the coming of age of a nation.”

The petition was granted, and A.N. Ostrovsky started the project. However, it was not possible to complete it. In 1885 A.N. Ostrovsky was appointed head of the repertoire of the Moscow theaters and head of the theater school of the Imperial Moscow Theatres, and 2 June 1886 he died at work in his office at the Shchelykovo estate.

Periodization of creativity

In the work of A.N. Ostrovsky can be divided into several periods:

creativity (late 1840s - early 1850s)

1847–1851– A.N. Ostrovsky is looking for his way in literature, writing both prose and dramatic works. After the Comedy "Bankrupt"(“Own people - we will count”) N.V. Gogol recognizes in him a "decisive talent."

1852–1855– A.N. Ostrovsky actively cooperates with the "young editors" of the magazine "Moskvityanin". At this time he creates comedies “Do not sit in your sleigh”, “Poverty is not a vice”, “Do not live as you want.”

Creativity (late 50s - early 1880s)

1856–1860- the worldview is finally formed and the creative principles of A.N. Ostrovsky the playwright. Highest Achievement - Drama "Thunderstorm".

1861–1886- there is an expansion of the themes and problems of the works of A.N. Ostrovsky, artistic techniques become more complicated. At this time, plays appear: a historical chronicle "Dmitry the Pretender and Vasily Shuisky", satirical comedy "Forest", psychological drama "Dowry".

Documentary about Ostrovsky.

Questions for him:

• The role of Ostrovsky in the development of the Russian theater.
• What role did the biographical circumstance - life in Zamoskvorechye - play in the creative fate of Ostrovsky? (written on the board).

- Everything that we have now learned about the life and work of Ostrovsky was undoubtedly reflected in his works. In addition, Alexander Nikolayevich is an innovator in the development of the traditional genre - drama, to which the work "Thunderstorm" belongs.

Therefore, to begin with, let's still analyze the features of the drama in order to understand the features of The Thunderstorm.

Drama- this is a difficult kind of literature, not only for the writer, but also for the reader. Figurative thinking is necessary to present the hero in a given situation. The real reader does the work of understanding the character of the character that the actor does in the process of working on the role.

Everyone has a handout on the table, let's turn to the diagram in which the drama is analyzed (Scheme of genera and types of literature). Read the features of the drama.

– So what is the difficulty in the perception of a dramatic work?

Drama is characterized by spectacle and acting. Also, the text is divided into actions and phenomena, we learn about the events from the replicas of the characters, there is no author's speech in the play. This is where the difficulty will lie in reading The Thunderstorm.

Creative history of "Thunderstorm"(message and presentation of the student).

- In fact, each work has its own creative history of creation, and "Thunderstorm" is no exception. To understand what moments and details from Ostrovsky's life influenced the writing of The Thunderstorm, let's now listen to the history of the creation of this work.

The creation of the "Thunderstorm" was preceded by Ostrovsky's trip along the Upper Volga, undertaken on the instructions of the Naval Ministry. The result of this trip was Ostrovsky's diary, which reveals a lot in his perception of the life of the provincial Upper Volga region.

“Merya begins from Pereyaslavl,” he writes in his diary, “a land abundant in mountains and waters, and people and tall, and beautiful, and smart, and frank, and obligatory, and a free mind, and a wide open soul.

“We are standing on the steepest mountain, under our feet is the Volga, and ships go back and forth along it, either on sails or barge haulers, and one charming song haunts us irresistibly ... And there is no end to this song ...

Impressions from the Volga cities and villages, from the most beautiful nature, meetings with interesting people from the people accumulated in the soul of the playwright and poet for a long time before such a masterpiece of his work as “Thunderstorm” was born.

For a long time it was believed that Ostrovsky took the plot of the drama “Thunderstorm” from the life of the Kostroma merchants, and the sensational case of the Klykovs was put at the heart of the work.

Until the beginning of the 20th century, many Kostroma residents pointed with sorrow to the place of Katerina's suicide - a gazebo at the end of a small boulevard, which in those years literally hung over the Volga. They pointed to the house where she lived.

A.P. Klykova was given away at the age of sixteen to a gloomy merchant family, consisting of old parents, a son and a daughter. The mistress of the house, a stern Old Believer, forced the young daughter-in-law to do any menial work, refused her requests to see her relatives.

At the time of the drama, Klykova was 19 years old. In the past, she was brought up by her beloved grandmother, she was a cheerful, lively, cheerful girl. Her young husband, Klykov, a carefree, apathetic man, could not protect his wife from the nit-picking of his mother-in-law and treated them indifferently. The Klykovs had no children.

And then another person stood in the way of Klykova, Maryin, an employee of the post office. Began suspicions, scenes of jealousy. It ended with the fact that on November 10, 1859, the body of A.P. Klykova was found in the Volga. There was a noisy trial, which received wide publicity.

Many years passed before the researchers of Ostrovsky's work established for sure that "Thunderstorm" was written before the Kostroma merchant Klykova rushed into the Volga. But the very fact of such a coincidence speaks of the playwright’s genius foresight, who deeply felt the dramatic conflict between the old and the new that was growing in the merchant life of the Upper Volga, a conflict in which Dobrolyubov saw “something refreshing and encouraging” for a reason.

Ostrovsky began to write "Thunderstorm" in June - July 1859 and finished on October 9 of the same year. The play was first published in the Library for Reading magazine in the January 1860 issue. The first performance of "Thunderstorm" on the stage took place on November 16, 1859 at the Maly Theater for the benefit of S.V. Vasiliev with L.P. Nikulina-Kositsina as Katerina

- In the end, we can say that it was the journey along the Volga that Ostrovsky left an undoubted mark on his work, since it is precisely the beauty of these places that he describes in Thunderstorm. And how do you like the story about Klykova? Here Ostrovsky is already acting as a clairvoyant.

III. vocabulary work.

- And now we proceed to selective reading and analysis of the work. But before that, let's get acquainted with the dictionary of the writer's language. When you read a work, then, of course, you came across words whose meaning you do not know or do not have a complete understanding of, since many of them are already outdated. Before you lie sheets, the so-called Writer's language dictionaries(Appendix 2), let's read the meaning of some words. Today we will get acquainted with only two words that we will meet when reading 1 action ( Perpetu - mobile, hypocrite, Jesuit, tradesman, clerk).

IV. Reading and analysis of the actions of the "Thunderstorm". Characteristics of the actors.

- Let's call the actors "Thunderstorms" ( On the desk). What do their names and surnames mean?

- Surnames in Ostrovsky's plays "speak" not only about the character of the hero, but actually give information about him. Ostrovsky's careful attitude to the names of the characters is one of the reasons for their realism. Here, such a rare quality as the reader's intuition is manifested. ( Annex 3).

Questions and tasks for the analysis of 1 action of the play (1-4 phenomena)

- Now we will read in roles from 1 to 4 the phenomenon 1 of the “Thunderstorm” action.

Questions:

- Where does the action take place? (the city of Kalinov, which is located on the Volga River).

- What picture appears before the viewer when the curtain opens? Why does the author draw this picturesque picture before us? (The beauty of nature emphasizes the ugliness, the tragedy of what is happening in the world of people).

- The meaning of the first 4 phenomena of 1 action? (From them we learn about the order prevailing in the city of Kalinov, about its most influential inhabitants, about Boris's love for Katerina).

- What did we learn from what we read about Dikoy, Boris, Kuligin, Kudryash?

- What characteristic does Kuligin give to the life of the city?

Questions and tasks for the analysis of 1 action of the play (5-6 phenomena)

In the fifth phenomenon, the main characters of the play, Katerina and Kabanikha, are introduced.

– What conclusion about these two heroines can be drawn from this dialogue?

Why does Kabanova hate Katerina so much?

- What does the word “order” mean in the mouth of a boar?

V. Filling in the table

What is the conflict in the play?

- So, we can already divide all the characters in the play into two camps: "masters of life" and "victims of these masters." You have already read this play at home, so let's try to characterize each character by filling out the table, you have sheets with empty tables in which you will enter the characteristic ( Appendix 4).

- At home, you did a great job, namely, you wrote out quotes, dialogues that characterize the characters. Therefore, we work as follows. First you read, then we give general characteristics and enter in the table Appendix 5).

"Masters of Life"

"Victims"

wild- a wild, tough-hearted, domineering person. The power of money is the basis of tyranny. Rudeness, ignorance, abuse, swearing are habitual for the Wild. Kabanova- the embodiment of despotism, covered with hypocrisy. She constantly and subtly sharpens her household. Kabanikha is the defender of the customs and orders of patriarchal antiquity. "Domostroy". Feklusha - stranger, illiterate. Merchants decorate with empty virtues.

Tikhon- weak-willed, calm, exhausted by the reproaches of his mother. But he loves Catherine. Boris- he really understands Katerina, but he is unable to help her; indecisive, unable to fight for his happiness. Boris chooses the path of humility. Kuligin- a talented person from the people. He does not enter into a decisive struggle with petty tyrants, he persuades them more, convinces them to do something for the common good. barbarian- understands the senselessness of the protest, she lives by the principle: everything is possible, but make sure that no one knows about it. For Barbara, lying is the norm. Curly- desperate, boastful, but at the same time capable of sincere feelings. He worries about Katerina, is not afraid of his master.

- Now I want to make a little emphasis on the following. When we characterized Kabanova, we said that she was the defender of the customs and orders of patriarchal antiquity. Yes, indeed, there were laws of behavior and customs for each family, besides, these orders were fixed in writing. The written “document” of the patriarchal order was Domostroy, an anonymous monument of Russian literature of the 16th century, which is a collection of rules, advice and instructions in all areas of human and family life, including social, family, economic and religious issues. It is best known in the mid-16th century edition in Old Church Slavonic, attributed to Archpriest Sylvester. Written in a living language, with frequent use of proverbs and sayings.

At home, you worked with this book on electronic media and had to choose the rules that characterize relationships in the family, relationships between parents and children, wives and husbands. (Reading texts).

- Of course, the orders were strict, but correct and necessary. Why do you think? (I want you to understand everything correctly, in principle, there is nothing wrong with these laws, since they helped save the family, improve relationships between family members, adapt to each other. It’s just that the essence of a Russian person has a peculiarity - to bring everything to the point of absurdity, to the extreme, for example, as in Kabanikha, not just to honor parents, but to bow before them, even in the truest sense of the word (Tikhon's farewell to his mother).

VI. Summarizing

- Our lesson is coming to an end, but in the next lesson we will continue to work on the Thunderstorm, to analyze the conflict that we just started talking about today.

In conclusion, let's answer the question that was posed at the beginning of the lesson: What is the significance of Ostrovsky's dramaturgy for the culture of the Russian people?(note to the epigraph)

- And lastly, you have sheets of achievements in front of you ( Attachment 1), which will help you navigate the following: have we achieved our goals in the lesson. These small tables will help me formulate new correct learning goals, and they will give you an impetus to new discoveries. (Students turn in achievement sheets.)

– Student assessment.

VII. Homework.

1. Read Dobrolyubov's article "A ray of light in a dark kingdom";
2. Answer the problematic question: Can we condemn Kabanikha for her attitude towards her daughter-in-law, if, in the end, the mother-in-law turned out to be right in her fears, because Katerina cheated on her husband.

Literature:

1. A. "Thunderstorm" Ostrovsky. –M., 1975.
2. Astafiev Ashukin N.S., Ozhegov S.I., Filippov V.A. Dictionary for Ostrovsky's plays. - M., 1983.
3. Ostrovsky's drama "Thunderstorm" in Russian criticism. - L., 1990.
4. Dudyshkin S.S. Two folk dramas // Drama by A.N. Ostrovsky "Thunderstorm" in Russian criticism. - L., 1990.
5. Zhuravleva A.I., Nekrasov V.N. Ostrovsky Theatre. - M., 1986.
6. Zhuravleva A.I. Ostrovsky is a comedian. - M., 1981.
7. Kutuzov A.G., Romanicheva E.S. etc. In the world of literature. 10th grade. Textbook for general educational institutions. - M, 2000.
8. Lakshin V.Ya. Alexander Nikolaevich Ostrovsky. - M., 1982.
9. Lebedev Yu.V. Russian literature of the 19th century. Grade 10. Tutorial for educational institutions. - M., 2000. Part 2.
10. Lotman L.M. Dramaturgy Ostrovsky// History of Russian dramaturgy. - L., 1987.

THE MEANING OF THE TITLE OF THE WORK

The title of the play contains the word thunderstorm - a natural phenomenon which often inspires fear in people. From the very beginning of the play, a thunderstorm becomes a harbinger of some kind of misfortune that should happen in the calm city of Kalinovo. The first time a thunderstorm rumbles in the first act after the words of the half-mad lady who prophesied Katerina tragic fate. In the fourth act, the townspeople hear thunder again. Katerina also hears him, who, after meeting with Boris, cannot suppress the pangs of conscience in herself. The storm is coming, it's starting to rain.

In the peals of thunder, Katerina sees God's wrath. She is afraid to stand before God with sin in her soul. In the same action of the play, Katerina confesses everything to her husband. Thunderstorm characters perceive differently. For Katerina, this is a symbol of retribution for sins and a symbol of mental suffering. For the Wild, this is God's punishment. For Kuligin, a thunderstorm is a natural phenomenon, from which you can protect yourself with a lightning rod. The storm personifies the storm in Katerina's soul. Fear keeps order in the city of Kalinov.

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COMPOSITION

The play consists of five acts and begins with a scene in which Kuligin, Kudryash, Dikoy and Boris meet on the banks of the Volga. This is a kind of exposition, from which the reader learns about the place and time of the action, understands the future conflict of the work. The events unfold in a provincial town on the Volga in a bourgeois environment, and the plot of the action lies in the fact that Boris is in love with a married woman. The climax of the play is the scene of Katerina's confession to her husband. It is backed up not only by the emotional intensity associated with the experiences of the main character, but also by a thunderstorm that breaks out, the image of which symbolizes the suffering of Katerina. The climax of events is unusual in that it does not occur at the very end of the play, the climax and denouement are separated by a whole action.

The denouement of the play is the death of the main character, who, due to her proud disposition and sincerity of nature, did not find another way out of the conflict situation in which she found herself. The action of the play ends where it began, on the banks of the Volga. Thus, Ostrovsky uses the technique of ring composition. Nevertheless, the author departs from the classical canons of the construction of a dramatic work.

Ostrovsky introduces romantic descriptions of nature, contrasting them with the cruel customs of the city of Kalinov. With the help of this, he “expands” the framework of the work, emphasizing the social and everyday nature of the play. Ostrovsky violates the classical rule of three unities, characteristic of drama. The action of the play spans several days, and the events take place on the streets of the city of Kalinov, and in the gazebo in the garden, and in the Kabanikh's house, and on the banks of the Volga. There are two love lines in the play: Katerina - Boris (main) and Varvara - Kudryash (secondary).

These lines reflect different perceptions of a seemingly similar situation. If Barbara easily pretends, adapts, deceives and hides her adventures, and then generally runs away from home, then Katerina cannot bear the pangs of conscience, and death becomes for her deliverance from unbearable suffering. In addition, there are many minor characters in the play, which help the author to more vividly and fully convey the cruel customs of the merchant's "dark kingdom".

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CONFLICT

The main conflict of the play is outlined at its very beginning. It is associated with the cruel customs of the city of Kalinov and the image of the main character, who cannot exist in an atmosphere of inertia, ruthlessness and obscurantism. This is a conflict of the soul, which does not tolerate bondage and rudeness, and the surrounding society in which the main character is forced to live. Katerina is not able to adapt to the lifestyle of the Kabanov family, where, in order to survive, one must lie, pretend, flatter, hide one's feelings and thoughts.

At first glance, it seems that only Kabanikha opposes Katerina, poisons her life, finds fault and reproaches everything. Indeed, Kabanikha is the head of the family. Everyone in the house listens to her. She manages not only affairs, but also the personal life of the household. Kabanikha, like Katerina, has a strong character and will. She can't help but command respect. After all, this woman protects the way of life that she considers the best, but which after a while will be irretrievably lost. If it were not for the Kabanikh, Katerina would have lived much more freely, because her husband is not cruel and harmless.

The conflict is also brewing in the soul of the main character, who is tormented by remorse. Inside her, love for Boris and a sense of duty towards her husband cannot coexist. This conflict becomes destructive and becomes fatal for Katerina. However, the conflict of the play is not private, but public. The boar personifies the entire merchant class, along with Wild, the crazy lady and other adherents of the provincial way of life. The play raises the problem of an internally free and sincere person who faced the inert environment of the merchants of those times.

This is a clash of the individual with the way of life of an entire social group. The disputes between Wild and Kuligin are also a reflection of the social conflict. On the one hand, a narrow-minded, but rich and influential merchant-tyrant appears, and on the other, an intelligent, talented, but poor tradesman. And none of Kuligin's arguments can affect Diky. The Thunderstorm is not a classic tragedy, but a social drama. Without adapting, a sensitive and kind person will not be able to survive in a world dominated by people like Dikoi and Boar.

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KATERINA

Katerina is the wife of Tikhon, the daughter-in-law of Kabanikhi, the main character of the work. She is opposed to other characters in the play. Katerina is young and attractive. Sincerely trying to adapt to the way of life that fell to her lot. She tries to respect her mother-in-law, who reproaches her endlessly. Her speech is full of dignity, the girl is well brought up. Katerina has a poetic soul, which is burdened by everyday life and strives for freedom. Her famous monologue Why do people don't fly like birds? reveals the inner world of the main character. She strives for harmony in the soul, for peace and freedom.

Katerina's character was formed in the atmosphere of peace and tranquility of her father's house, where there was no rudeness and abuse. Katerina is devout, she sincerely believes in God, loves to go to church because she feels the need for it, and not because it is customary. Katerina is alien to pretense and flattery. In the church, Katerina's soul found peace and beauty. She loved to listen to the lives of the saints, to pray, to talk with wanderers.

In her faith, Katerina is unusually sincere. Katerina is opposed by Varvara Kabanova, another female character in the play. The position of Barbara is similar to that of Katerina. They are approximately the same in age and social status. Both live in Kabanova's house under her strict supervision, in an atmosphere of constant prohibitions, nit-picking and strict control. Only Varvara, unlike Katerina, perfectly managed to adapt to the surrounding conditions. In order to see Kudryash, Varvara stole the key to the gate from her mother and invited Katerina to spend the night in the gazebo so as not to arouse suspicion.

A love affair with Curly is devoid of a deep feeling. For Varvara, this is just a way to pass the time and not languish from boredom in her mother's house. Having deceived her husband, Katerina experiences pangs of conscience, first of all, in front of herself. Her soul cannot live in a lie. She is not afraid of God's punishment, like Wild or Boar, she herself cannot live with sin in her soul. Suicide, which is also considered a sin, scares Katerina less than being forced to return to her mother-in-law's house. The inability to live with a bad conscience in an atmosphere of lies and cruelty forces the heroine to rush into the Volga.

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BOAR

Kabanikha - Marfa Ignatievna Kabanova, a rich merchant's wife who keeps her whole family in fear. She has a strong and domineering personality. The boar is grumpy, rude, cruel, selfish. At the same time, she constantly hides behind piety and faith in God. Kabanikha follows the old patriarchal traditions, regulating the life of her adult children. She believes that the husband should teach and instruct his wife, even has the right to beat her, and the wife should lament and cry, showing love for her husband. Kuligin says about her: "The hypocrite ... She clothes the poor, but completely ate the household." Even the son only dreams of how to leave home and escape from the power of his mother. The life of Kabanikh's daughter-in-law makes her especially unbearable. Fear is what family life should be based on.

The boar teaches her son how he should treat his wife: “Why be afraid! Why be afraid! .. You will not be afraid, and even more so me. What kind of order will this be in the house? According to Kabanikha, her adult children are not able to "live by their own will", and she, instructing them, does them good deeds. The scene of Tikhon's departure is indicative, when his mother gives him instructions.

She is not interested in her son's upcoming business trip, but she wants to demonstrate her own importance in the house. The boar tells Tikhon to teach his wife: “Tell me not to be rude to your mother-in-law ... So that you don’t sit idly by like a lady! .. So that she doesn’t stare at the windows! .. So that I don’t look at young guys without you!” Tikhon resignedly repeats the words of his mother, not understanding why he should teach his wife and what she is to blame for. It seems that Kabanikha does not miss a single opportunity to show who is the boss in the house. She seems to be afraid that her time will soon come to an end.

After all, young people - a daughter and a son - openly or secretly try to live their own way. The age of the Boar and the Wild is passing. At the end of the work, Kabanikha hears the already undisguised protest of his son when he blames his mother for the death of his wife. She threatens Tikhon, who no longer hears her. Kabanikha is a symbol of the Russian patriarchal merchant class, who profess traditional spiritual values, but in this they have reached the point of rudeness and cruelty.

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TIKHON AND BORIS

Tikhon Ivanych Kabanov is the son of Kabanikhi. He is in complete submission to his own mother, who humiliates him in every possible way. Tikhon does not dare to openly say a single word across, although he internally disagrees with his mother and is tired of her dictates. In public, he is the very humility and obsequiousness. By nature, he is kind, gentle and accommodating. He does not want to be rude to his wife. He needs his wife to love him, and not be afraid (although his mother makes him bully his wife). He does not want to be cruel and ruthless, he does not want to beat his wife, which is considered normal in merchant families.

When the mother tells Tikhon to instruct his wife on how she should behave in his absence, he does not understand what Katerina is to blame for, and even tries to defend her. Upon learning of his wife's infidelity, Tikhon was forced, by order of his mother, to punish her, which he himself later regretted, and therefore experienced pangs of conscience. Tikhon is weak in character. He cannot resist a strong-willed and power-hungry mother. However, at the end of the play, even Tikhon protests. He dares to blame Kabanikha in front of everyone for the death of his wife, without fear of consequences. Boris is the nephew of the merchant Diky.

He grew up in Moscow, apparently in a loving family, received a good education. Boris is the only one of the heroes who is dressed in a European dress. He speaks correctly and beautifully. From the work we learn why Boris was in a dependent position from his uncle. The lack of means of independent existence makes the hero endure rudeness and humiliation, although they cause him suffering.

Boris chooses a wait-and-see position, not trying to somehow change this situation. It turns out to be easier for him to wait for a possible inheritance, enduring the injustice and arbitrariness of his uncle. At first glance, Boris and Tikhon are opposed to each other. The main character falls in love with Boris. It seems to her that he is not like the other inhabitants of the city of Kalinov. However, Boris and Tikhon have much in common. They are weak in character, weak-willed and unable to protect Katerina.

The scene of farewell of Katerina and Boris before his departure to Siberia is indicative. He leaves Katerina in this city, knowing full well what her life will turn into. At the same time, he says that she is married, and he is free. Boris is unable to save Katerina.

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"DARK KINGDOM"

The city of Kalinov, where the action of the play "Thunderstorm" takes place, is located in a picturesque place - on the banks of the Volga. At the beginning of the play, Kuligin admires the view of the river from the high bank. Kalinov is a provincial town in which life goes slowly, unhurriedly. Peace and boredom reign everywhere. However, the silence of the provincial town hides the cruel and rude petty-bourgeois customs. Rich tyrants rule the city, while the poor are powerless and invisible.

Kuligin himself, a talented and intelligent person, admits that the only way to survive in this city is to pretend and hide your thoughts under the mask of humility. He bitterly says: “Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and bare poverty. And we, sir, will never break out of this bark! Greed and deceit reign in Kalinov. An honest person can't get through here. And those who have money do whatever they want with poor people. Even in business relations, merchants do not disdain deceit. “They undermine each other’s trade, and not so much out of self-interest, but out of envy.” Wild - a merchant, the "owner" of the city of Kalinov. He is rich and prominent. His opinion is listened to, he is feared.

Wild feels his power, which is expressed in a sense of impunity (he does not hesitate to scold his nephew in front of the whole city, while Kabanikha hides his true face under the mask of piety). Shapkin respectfully and not without fear says about Dikoy: "... Savel Prokofich ... He will cut off a person for nothing." And Kudryash adds: “Shrill man!” Wild is merciless not only to strangers, but especially to relatives.

Boris, Dikiy's nephew, is forced to endure his bullying in order to receive the inheritance legally due to him: “He will first break over us, scold us in every possible way, as his heart desires, but still end up giving nothing or so, some little ". Dikoy himself does not seem to understand why he treats people so rudely and cruelly. For no reason, he scolded the peasant who came for the money he had earned: “I sinned: I scolded, so scolded that it was impossible to demand better, I almost beat him. Here it is, what a heart.

Kuligin exclaims that outwardly the city of Kalinov and its inhabitants are quite positive. However, cruelty, arbitrariness, violence and drunkenness reign in families: “No, sir! And they don’t lock themselves up against thieves, but so that people don’t see how they eat their household and tyrannize their families ... And what, sir, behind these locks is the debauchery of dark and drunkenness! And everything is sewn and covered ... ”Dikoy, together with Kabanikha, personifies the old, patriarchal way of life, characteristic of the merchant class of Russia in the 19th century. They are still strong and have power over those who are weaker and poorer, but they also feel that their time is running out.

Another life is breaking through, young, still timid and imperceptible. The new generation of residents of Kalinov is trying in different ways to resist the power of Dikoy and Boar. Kuligin, although he is afraid of Wild and tries to be inconspicuous, nevertheless sets out to him his progressive proposals, such as arranging a city clock or a lightning rod. Varvara and Kudryash are not at all afraid of either the Boar or the Wild. They try to live in their own way and break out from under the authority of the elders. Tikhon finds a way out in drunkenness as soon as he is out of the house. For Katerina, suicide becomes such a way out.

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LANGUAGE OF THE PLAY

"Thunderstorm" in many ways became an innovative work for its time. This can also be said about artistic means used by the author. Each hero is characterized by his own style, language, remarks. This is the language of the Russian people, mainly the merchants, alive and unadorned. Wild is ignorant, his speech is replete with vernacular (confused, palmed off) and swear words (fool, robber, worm, damned).

The boar, a hypocrite and a hypocrite, uses religious words in her speech (Lord, sin, sin), teaches households, using proverbs (another soul is dark, distant wires are extra tears) and colloquial vocabulary (to whine, nurse dismissed). Boris, an educated person, speaks correctly, he has a delivered speech. Tikhon constantly commemorates his mother, bowing before her will. Katerina is emotional, in her speech there are many exclamatory sentences (Ah! Ruined, ruined, ruined!) And poetic words (children, angel, cornflower in the wind).

Kuligin, an enlightened person, a scientist, uses scientific terms (thunder rods, electricity), is emotional at the same time, quotes both Derzhavin and works of folk art. Ostrovsky uses such a technique as speaking names and surnames. The meaning of the surname Wild is transparent, which indicates the unbridled disposition of the tyrant merchant. It was not for nothing that the merchant's wife Kabanova was nicknamed Kabanikha.

This nickname indicates the cruelty and ferocity of its owner. It sounds unpleasant and repulsive. The name Tikhon is consonant with the word quiet, which emphasizes the character of this character. He speaks quietly, and also rebels against his mother when he is out of the house. His sister's name is Varvara, which is translated from Greek means someone else's, the name speaks of the unbridledness and rebelliousness of her nature. And indeed, in the end, Varvara leaves home.

At the same time, we must not forget that they are both Kabanovs, that is, they are also characterized by features characteristic of the whole family. The surname Kuligin is consonant with the surname of the famous inventor Kulibin and with the name of the bird kulik. Kuligin, like a bird, is timid and quiet. The name of the protagonist characterizes her especially accurately. Katerina in Greek means pure. She is the only sincere and pure soul in the city of Kalinov.

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"GROZA" IN RUSSIAN CRITICISM

The play "Thunderstorm" became a work that caused fierce debate among critics of the 19th century. The most famous publicists of that time expressed critical remarks about Ostrovsky's drama: D. I. Pisarev in the article "Motives of Russian Drama", A. A. Grigoriev in the article "After the Thunderstorm" by Ostrovsky "and many others. The most famous article by N. A. Dobrolyubov “A Ray of Light in the Dark Kingdom”, written in 1860.

At the beginning of the article, Dobrolyubov talks about the ambiguous perception of Ostrovsky's work by other critics. The author himself notes that the playwright "possesses a deep understanding of Russian life and a great ability to depict sharply and vividly its most essential aspects." The play "Thunderstorm" is the best proof of these words. Central theme article becomes the image of Katerina, who, according to Dobrolyubov, is a "beam of light" in the realm of tyranny and ignorance. Katerina's character is something new in a string of positive female images Russian literature.

This is a "resolute, integral Russian character." It is the most cruel merchant environment depicted by Ostrovsky that caused the emergence of such a strong female character. Tyranny "has gone to the extreme, to the denial of all common sense; more than ever, it is hostile to the natural requirements of mankind and more fiercely than ever tries to stop their development, because in their triumph it sees the approach of its inevitable death.

Along with this, Dikoy and Boar are no longer so confident in themselves, they have lost their firmness in actions, have lost some of their strength and no longer cause general fear. Therefore, those heroes whose life has not yet become unbearable endure and do not want to fight. Katerina is deprived of any hope for the best.

However, having felt freedom, the soul of the heroine “strives for a new life, even if she had to die in this impulse. What is death to her? It doesn't matter - she does not consider life and the vegetative life that fell to her lot in the Kabanov family. This is how Dobrolyubov explains the finale of the play, when the heroine commits suicide. The critic notes the integrity and naturalness of Katerina's nature.

In her character there is no “external, alien, but everything comes out somehow from within him; every impression is processed in it and then fuses with it organically. Katerina is sensitive and poetic, with her, “as a direct, lively person, everything is done according to the inclination of nature, without a distinct consciousness ...”. Dobrolyubov sympathizes with Katerina, especially when he compares her life before marriage and existence in the Kabanikh family. Here "everything is gloomy, scary around her, everything breathes cold and some irresistible threat ...". Death becomes a release for Katerina. The critic sees the strength of her character in the fact that the heroine was able to decide on this terrible step. Boris cannot save Katerina. He is weak, the heroine fell in love with him "in the wilderness." Boris is similar to Tikhon, only he is "educated".

Such heroes are dependent on the "dark kingdom". Dobrolyubov notes that in the play "Thunderstorm" there is "a height to which our folk life reaches in its development, but to which very few in our literature were able to rise, and no one knew how to hold on to it as well as Ostrovsky." The skill of the playwright consisted in the fact that he was able to "create such a person who serves as a representative of the great national idea."

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Act one

The events depicted take place in the summer in the city of Kalinov, which stands on the banks of the Volga. The self-taught watchmaker Kuligin and the clerk Vanya meet in the public garden.
Curly and tradesman Shapkin. Kuligin, a man with a poetic soul and a subtle sense of beauty, sits on a bench, admiring the beauty of the Volga.

The heroes see how, in the distance, the merchant Savel Prokofievich Dikoi scolds his nephew Boris. “He got Boris Grigoryevich as a sacrifice, so he rides on it.” Shapkin says that there is no one to appease Wild. To this Kudryash replies that he is not afraid of either the formidable merchant or his abuse.

Dikoy and Boris Grigoryevich, a young educated man, appear. Wild scolds Boris, accusing him of idleness and idleness. Then Wild leaves.

The rest of the characters ask Boris why he tolerates such treatment. It turns out that Boris is financially dependent on Wild. The fact is that, according to the will of Boris's grandmother and his sister, Dikoy is obliged to pay them an inheritance if they are respectful with him. Boris talks about his life.

Boris's family lived in Moscow. Parents raised their son and daughter well, they spared nothing for them. Boris was educated at the Commercial Academy, and his sister was in a boarding school. But the parents suddenly died of cholera, and the children were left orphans. Now, having no means of subsistence, Boris is forced to live with Wild and obey him in everything, hoping that he will someday fulfill his promise and give him part of the inheritance.

Dikoi wanted Boris's sister to live with him, but her mother's relatives would not let her go. Kuligin and Boris are left alone. Boris complains that he is not used to such a life: he is lonely, everything here is alien to him, he does not know the local customs, does not understand the way of life.

Boris exclaims in despair: “Everyone looks at me somehow wildly, as if I were superfluous here, as if I were disturbing them.” Kuligin replies that Boris will never be able to get used to the rough bourgeois mores of the local society. "Cruel morals" reign in the city, even merchants do business dishonestly among themselves, trying to deceive each other not so much for profit, but out of malice.

Kuligin, it turns out, writes poetry, but is afraid to bring them to the public: “They will eat them, they will swallow them alive.

AT privacy people are no better off. We are talking about the Kabanov family, where the old merchant's wife holds both affairs and all the household in her hands, while pretending to be pious and merciful.

Left alone, Boris regrets his ruined youth, that he fell in love with a married woman who comes with her husband and mother-in-law. Boris leaves.
Marfa Ignatievna Kabanova appears, a rich merchant's wife, a widow, nicknamed Kabanikha. With her son Tikhon Ivanovich, daughter-in-law Katerina and daughter Varvara.

The boar reproaches Tikhon for being out of obedience, he justifies himself. She teaches her son how to treat his wife, complains that Tikhon's wife has now become sweeter than her mother and she does not see her former love from him.

Tikhon openly cannot object to Kabanikha, but in fact he is burdened by her moralizing. Kabanova leaves. Tikhon reproaches his wife, teaches how to answer her mother so that she is satisfied. But Katerina does not know how to pretend. Barbara protects her. Tikhon leaves. The girls stay. Tikhon's sister takes pity on Katerina. Katerina dreams of breaking out
out of this life, become free like a bird. With longing, she recalls her life before marriage.

In her father's house, Katerina was not captive, she lived the way she wanted, in peace and quiet. She got up early, went to the key, watered the flowers. Then she went to church with her mother. The heroine recalls: “Before my death, I loved to go to church! Precisely, it happened, I will enter paradise ... ".

In the house they always had pilgrims and wanderers who told where they were and what they saw. Then Katerina was happy. To Varvara’s words that they live in the same way in the house of the Kabanikhs, Katerina replies that here “everything seems to be from under captivity.”

Katerina suddenly says that she will die soon. She is overcome by bad forebodings: “... something bad is happening to me, some kind of miracle! This has never happened to me. There is something so extraordinary about me. It’s like I’m starting to live again, or ... I don’t know.” Katerina says that she has a sin in her soul - because she loves another and therefore suffers. Varvara does not understand why she is tormenting herself like this: “What a desire to dry up! Even if you die of longing, they will pity you! .. So what a bondage to torture yourself!”

When her husband leaves, Katerina will have the opportunity to meet her lover without interference. But the heroine is afraid that after meeting him she will no longer be able to return home. Varvara calmly replies that it will be seen later.

A lady passing by, a half-mad old woman of about seventy, threatens Katerina and Varvara, saying that beauty and youth lead to death; while she points towards the Volga. These words scare Katerina even more. She is overcome by unkind forebodings about her tragic fate.

Varvara mimics the lady, calling her an old fool: “It's all nonsense. You really need to listen to what she is talking about. She prophesies to everyone. I have sinned all my life since I was young. Ask what they say about her!

That's why he's afraid to die. What she is afraid of, that scares others. Barbara does not understand Katerina's fears. Suddenly Katerina hears thunder. She is afraid of God’s wrath and what can appear before God with sin in her soul: “It’s not that scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all evil thoughts. I’m not afraid to die, but when I think that suddenly I will appear before God the way I am here with you, after this conversation, that’s what’s scary.

Katerina hurries home, not intending to wait for Tikhon. Varvara says that she cannot show herself at home without her husband. Finally Tikhon arrives, and everyone rushes home.

Action two

The action opens with a dialogue between the wanderer Feklusha and Glasha, a maid in the Kabanovs' house. Glasha collects the owner's things for the journey. Feklusha tells the girl unprecedented stories about overseas countries. Moreover, she herself has not been to these countries, but she has heard a lot. Her stories are like fiction. Glasha is surprised at what she hears and exclaims: “What other lands are there! There are no miracles in the world! And we're sitting here, we don't know anything."

Varvara and Katerina are gathering Tikhon for a trip. Varvara calls the name of Katerina's beloved. This is Boris. Varvara warns Katerina about caution and the need to pretend and hide her feelings. But pretense is alien to Katerina. She says she will love her husband. She is again overcome by gloomy forebodings.

Katerina talks about her character, that she is able to endure up to a certain point, but if she is greatly offended, she may leave home, that no forces will keep her. She recalls how, as a child, she sailed away on a boat, offended by her relatives, Varvara invites Katerina to spend the night in the gazebo, otherwise her mother alone will not let go.

And he adds that Tikhon only dreams of leaving in order to escape from the power of Kabanikha for a while. Marfa Ignatievna orders Tikhon to give instructions to his wife before leaving.

She dictates instructions, and the son repeats. He tells Katerina not to be rude to her mother, not to argue, to honor her as her own mother.

Alone, Tikhon asks his wife for forgiveness. Katerina begs her husband not to leave or take her with him. She anticipates trouble and wants Tikhon to demand some kind of oath from her. But he does not understand Katerina's condition. He wants only one thing - to leave his parental home as soon as possible and be free.

Tikhon leaves. Kabanikha reproaches Katerina that she does not love her husband and does not lament after his departure, as a good wife should do.

Left alone, Katerina thinks about death and regrets that she does not have children. She is going to do household chores before her husband arrives in order to distract from sad thoughts.

Varvara took out the key to the gate in the garden and gave it to Katerina. It seems to her that the key is burning her hands. Katerina is in thought: throw away the key or hide it. Finally, she decides to leave the key and see Boris.

Act Three

The boar and the wanderer Feklusha are sitting on a bench. Feklusha praises the city of Kalinov, saying that it is calm and good here, there is no fuss, everything is “decent”.

Wild appears. He says that his greatest pleasure is to scold someone. The boar and Dikoy go into the house.

Boris appears. He is looking for his uncle, but he is thinking how to see Katerina. Following Boris appears Kuligin. He says that in the city, behind the mask of well-being and peace, rudeness and drunkenness are hidden. They notice Varvara and Kudryash kissing. Boris approaches them. Varvara invites him to the gate to her garden.

At night, Kudryash and Boris meet at the gate. Boris confesses to him that he fell in love with a married woman. Curly says that if a woman is married, then you need to leave her, otherwise she will die, people's rumor will destroy her. Then he guesses that Boris's beloved is Katerina Kabanova. Curly tells Boris that, apparently, it was she who invited him on a date. Boris is happy.

Barbara appears. She takes Curly away, telling Boris to wait here. Boris is excited. Catherine arrives. Boris confesses his love to Katerina. She is very excited. First, she chases Boris, then it turns out that she loves him too. Boris is happy that Katerina's husband left for a long time and it will be possible to meet with her without interference. Katerina does not leave thoughts of death. She suffers because she considers herself a sinner.

Kudryash and Varvara appear. They rejoice at how well everything worked out with the gate and dates. The lovers say goodbye.

act four

Citizens walk along the shore overlooking the Volga. A storm is gathering. Dikoy and Kuligin appear. Kuligin asks the merchant to install a clock on the street so that everyone walking around can see what time it is. In addition, the clock will serve as a decoration of the city. Kuligin turned to Wild as an influential person who might want to do something for the benefit of the townspeople. In response, Wild only scolds the inventor.

Kuligin suggests installing lightning rods and tries to explain to the merchant what it is. Wild does not understand what is at stake, and speaks of a thunderstorm as a punishment from heaven. The conversation between him and the inventor did not lead to anything.

Varvara and Boris meet. Varvara reports that Tikhon returned ahead of time. Katerina herself is not herself, she cries, she is afraid to look her husband in the eye. The boar suspects something. Boris is scared. He is afraid that Katerina will tell her husband about everything, he asks Varvara to talk to Katerina.

A storm is coming. It starts to rain. Katerina, Kabanikha, Varvara and Tikhon walk along the boulevard. Katerina is very afraid of thunderstorms. Seeing Boris, she is completely frightened. Kuligin reassures her, trying to explain that the storm does not attack, but "grace" for nature. Boris leaves with the words: “It’s scarier here!”

People in the crowd say that the storm will kill someone. Catherine is in a panic. She claims that the storm will kill her. The crazy lady appears. Her words about beauty and sin become the last straw for Katerina: it seems to her that she is dying, she sees fiery hell ... Katerina falls on her knees in front of her husband and admits that ten
nights walked with Boris. Tikhon is trying to calm his wife, he does not want a scandal in public.

Barbara denies everything. There is a rumble of thunder. Katerina collapses. The boar gloats.

Act Five

Tikhon and Kuligin meet. When Kabanov went to Moscow, instead of doing business, he drank all ten days. Kuligin had already heard what happened in the Kabanov family. Tikhon says that he is sorry for his wife, and he beat her quite a bit, as his mother ordered. The boar said that Katerina should be buried alive in the ground.

But Tikhon is not cruel to his wife, he worries about her. Katerina, on the other hand, “weeps and melts like wax.” Kuligin says that it is time for Tikhon to stop doing as his mother orders. Kabanov replies that he cannot and does not want to live by his own mind: “No, they say, his own mind. And, therefore, live as a stranger. I’ll take the last one, what I have, I’ll drink it: let
mamma then with me, as with a fool, and nurses.

The boar and Varvara were told that she had run away with Kudryash, and no one knew where she was. Dikoy is going to send Boris to work for three years with a familiar merchant, away from Kalinov. Glasha appears. She says that Katerina has gone somewhere. Tikhon is worried, he believes that it is necessary to find her immediately. He is afraid that Katerina will do something to herself.

Katerina alone. She thinks about Boris, worries that she has dishonored him. The heroine doesn't care about herself. She dreams of death as a deliverance from unbearable suffering, she is tormented by the fact that she has ruined her soul. Katerina dreams of seeing Boris at least once more.

Boris appears. Katerina rushes to him. The hero says that he is leaving very far. Katerina complains to him about her mother-in-law and her husband. In the Kabanovs' house, she became completely unbearable. Boris is worried that they would not be caught together. Katerina is glad that she was able to see her beloved again. She orders him on the way to give to all the beggars, so that they
prayed for her.

Boris is in a hurry to leave. Suddenly, he begins to fear that Katerina is planning to do something bad to herself. But she comforts him. Boris is tormented by the suffering of Katerina and his own, but he cannot do anything. “Oh, if only these people knew what it feels like to say goodbye to you! My God! Oh, if only there was strength!

Boris even has thoughts about the death of Katerina so that she does not suffer anymore: “Only one thing you need to ask God for her to die as soon as possible, so that she does not suffer for a long time!” The heroes say goodbye. Boris, sobbing, leaves.

Katerina alone. She doesn't know what to do or where to go. “Yes, what is home, what is in the grave! that in the grave! It's better in the grave... There's a little grave under the tree... how nice! So quiet, so good! I feel better!”

Katerina does not want to live, people are disgusting to her. She dreams of death. She can't run away because she's going home. And then Katerina decides to rush into the Volga. Kabanikha, Tikhon and Kuligin appear. They are on the river bank. Tikhon is afraid for his wife. The boar reproaches him. Nobody saw Katherine.

Kuligin pulled the dead Katerina out of the water and brought her body: “Here is your Katerina. Do with her what you want! Her body is here, take it; and the soul is not yours now; she is now before a judge who is more merciful than you!” Tikhon rushes to his wife and reproaches his mother that she is to blame for the death of Katerina: “Mother, you ruined her! You, you, you…”

It seems that he is no longer afraid of Kabanikhi. The hero exclaims in despair: “It’s good for you, Katya! Why am I left to live in the world and suffer!”

5 / 5. 7

Ostrovsky Alexander Nikolaevich - Control questions for the drama of A. N. Ostrovsky "Thunderstorm"

Control questions with selective answers to the drama by A. N. Ostrovsky "Thunderstorm"

kontrolnye-voprosy-k-drame-a.-n.-ostrovskogo-grozacontrol questions with selective answers to the drama a. n. Ostrovsky "thunderstorm"
Where and when does the action of the drama "Thunderstorm" take place? What phenomena of Russian life are reflected in it?

Name the main characters in the play. Who is opposed to whom? It's about about the struggle of generations of "fathers" and "children" or about the opposition of psychology, views, beliefs?

The main characters of the play are contrasted to some extent as people of different generations, "fathers" (Dikoy, Kabanikha) and "children" (Katerina, Varvara, Boris, Tikhon). But the main thing is different: the attitude to life, the psychology of the guardians of antiquity, who are afraid of everything new that threatens their power, and the desire for individual freedom, liberation from the oppression of traditions and family oppression, from despotism in all its manifestations of younger people are opposed. But Kuligin, for example, is not very young, but with all his heart is on the side of Katerina, Tikhon is a victim of despotism, but also his support, Boris is spineless and cannot dare to take decisive actions, Varvara is freedom-loving, but is not able to fight honestly, openly, everything she has a "sewn-covered". That is why Katerina is alone in the "dark realm" of despotism and lies.

What is common in relation to Wild and Boar to life and people? What are the differences and what causes them?

Both Wild and Boar embody the "dark kingdom" of heartlessness, the cruelty of conservatism, despotism, and arbitrariness. But Wild, like a man, acts openly, impudently; he, a despot, a miser, feels himself the master of the situation, he is not afraid of anyone. The boar (even she!) sees the unequal position of women in society. Hence her hypocrisy and family arbitrariness: with strangers she is even unctuous and affectionate, “clothes the poor”, and her family, especially her unrequited son (Tikhon - quiet), “got completely stuck”. She is the keeper of the Domostroy traditions and most of all she is afraid of any disobedience, any novelty.

What do we learn about Katerina during her first appearance on stage?

How are relations developing in the Kabanov family? Why can Katerina never be her own in this family? Do you think her clash with Kabanikha is inevitable? Why?

What place do Varvara, Tikhon and Boris occupy in the drama? Are they all or any of them to blame for Katerina's tragedy? Why do you think so?

What was the strength of Katerina's character, her love of freedom? Why could she neither justify nor hide her love for Boris?

In Katerina, we see both the strength and the weakness of the Russian female national character. Its strength is in honesty, integrity of nature, fidelity to one's "I". Weakness - in religious prejudices, excessive gullibility, ardor.

Why do you think Dobrolyubov called Katerina "a ray of light in a dark kingdom"? Do you agree with him?

Do you consider Katerina's suicide a protest or weakness? Do you share the point of view of Dobrolyubov?

Explain the meaning of the title of the drama "Thunderstorm". What is the role of pictures of nature in it? What brings "Groza" closer to the traditions of folklore?

№ 1

Topic: Analysis of the play by A.N. Ostrovsky

Purpose of the lesson: learn to analyze plays.

Lesson progress:

I

Plan for the analysis of a dramatic work.

1. Time of creation and publication of the play.

2. The place occupied in the work of the playwright.

3. The theme of the play and the reflection of certain life material in it.

4. Actors and their grouping.

5. The conflict of a dramatic work, its originality, the degree of novelty and sharpness, its deepening.

6. Development of dramatic action and its phases. Exposition, plot, ups and downs, climax, denouement.

7. Composition of the play. The role and significance of each act.

8. Dramatic characters and their connection with action.

9. Speech characteristics of the characters. Relationship between character and word. The role of dialogues and monologues in the play.

11. Genre and visible originality of the play. Correspondence of the genre to the author's predilections and preferences.

II.General task for groups 1 and 2.

1. Read the text carefully.

2. Answer the questions of the plan.

1. What is the theme of the play?

2. What is the conflict of a dramatic work?

3. What is the composition of the play?

4. What is the connection between character and word?

Practical work based on the play by A.N. Ostrovsky "Thunderstorm" № 2.

Topic: The conflict of a romantic personality with a way of life devoid of folk moral foundations.

Lesson objectives: 1) learn to analyze text andidentify the main conflict of the play;

2) determine the main idea of ​​the text, the position of the author;

3) formulate the problem posed by the author.

Lesson progress:

I.Assignment for 1 and 2 groups

Where is the action taking place? (the city of Kalinov, which is located on the Volga River).

– What picture appears before the viewer when the curtain opens? Why does the author draw this picturesque picture before us? (The beauty of nature emphasizes the ugliness, the tragedy of what is happening in the world of people).

ExerciseII. Group 1.

– The meaning of the first 4 phenomena of 1 action? (From them we learn about the order prevailing in the city of Kalinov, about its most influential inhabitants, about Boris's love for Katerina).

– What did we learn from what we read about Dikoy, Boris, Kuligin, Kudryash?

– What characteristic does Kuligin give to the life of the city?

In the fifth phenomenon, the main characters of the play, Katerina and Kabanikha, are introduced.

ExerciseII. Group 2

– What conclusion about these two heroines can be drawn from this dialogue?

– Why Kabanova hates Katerina so much.

– What does the word "order" mean in the mouth of Kabanikhi?

– What is the conflict in the play?

Independent work.

Topic 2.2. A.N. Ostrovsky

Lesson objectives: 1) to systematize knowledge on the studied drama, to develop the ability to select material corresponding to the chosen topic, to use the text of the work and critical literature;

2) reasoned and competently express their thoughts, improve speech culture, observe spelling, punctuation and language norms.

Exercise: write an essay based on the drama by A.N. Ostrovsky "Thunderstorm".

The content of the work:

Choose the topic of the essay, determine the main idea of ​​\u200b\u200bthe work.

Make an essay plan.

Select material relevant to the chosen topic, using quotes from the text of the work, statements by critics and your own thoughts.

Write an essay on the chosen topic.

Suggested essay topics:

The image of Katerina in the drama of A.N. Ostrovsky "Thunderstorm".

Life and customs of the city of Kalinov in the drama of A.N. Ostrovsky "Thunderstorm".

The last times of the "dark kingdom" in the drama of A.N. Ostrovsky "Thunderstorm".

Katerina's conflict with the "dark kingdom" (based on the drama by A.N. Ostrovsky "Thunderstorm").

5. Katerina's suicide - strength or weakness of character? (According to the drama by A.N. Ostrovsky "Thunderstorm")

Report Form : essay.

Practical work based on the novel by I.A Goncharov "Oblomov" No. 1

Topic: Analysis of the episode of the novel "Oblomov"

Purpose of the lesson: learn to analyze the episode, determine its role in the text,through the episode to see the idea, and the theme, and the idea, and the position of the author, his life concept.

Lesson progress

Episode (Greek, incoming, outsider) - one or another, to a certain extent, completed and independent part of a literary work, which depicts a completed event or an important moment in the fate of a character.

Episode - a part (excerpt, fragment) of a work of art, which has a relative completeness and represents a separate moment in the development of the topic.

The role of the episode in the text

1. Characterological.

The episode reveals the character of the hero, his worldview.

2.Psychological.

The episode reveals the state of mind of the character.

3. Swivel.

The episode shows a new twist in the relationship of the characters.

4 .Estimated.

The episode is part of the story.

The episode is part of a plot element.

tie

Development of action

climax

fall action

denouement

Epilogue

An episode can be an off-plot element.

1. Description:

landscape

portrait

interior

3. Insert episodes.

I . General task for groups 1 and 2. Answer the questions.

1. What is an episode?

2. Name synonyms for the word "episode"

3. What features of the episode can be in the text?

ExerciseII. Group 1.

1. Determine the boundaries of the analyzed episode. Sometimes this definition is already determined by the structure of the work (for example, a chapter in a prose work, a phenomenon in a dramatic work). But more often it is necessary to delimit the episode, using information about the place, time of action and the participation of the characters in the work. Title the episode.

2. Describe the event that constitutes the "basis" of the episode. Find out what place it occupies in the compositional scheme of the work (exposition, plot, development of the action, climax, denouement).

3. name the characters of the work participating in the episode. Explain who they are, what place they occupy in the system of images (main, capital, secondary, extra-plot). Find within the episode quotation material related to the portrait and speech characteristics of the characters, expressing the author's assessment of the characters and their actions. Tell us about your personal relationship with the characters.

4. Formulate the problem posed by the author in the episode. To do this, first determine the theme of the fragment (what?), And then the conflict (between the characters, the internal conflict of one character). Follow how the relations of the participants in this conflict are developing, what goal they are pursuing and what they are doing to achieve them. Pay attention to whether the result of their actions is present in the episode and what it consists of.

ExerciseII. Group 2

1. Consider the compositional structure of the episode: the beginning, the development of the action, the finale. Determine how the end of the episode relates to the next piece of text. Find out if the tension between the characters is growing in the episode or the emotional background remains even, unchanged.

2. Formulate the main idea of ​​the episode. Determine the author's position in relation to the stated event and to the problem of the episode. To do this, find evaluative words that express it.

3. Analyze the language tools used by the author to depict characters and express the author's position.

4. Determine the role of auxiliary artistic techniques: lyrical digressions, descriptions of nature, figurative parallelism, etc.

5. Analyze the plot, figurative and ideological connection of the episode with other scenes, determine its place in the context of the work.