What is the main merit of Ostrovsky. Artistic features of Dramaturgors A.N

All creative life A.N. Ostrovsky was inextricably linked with the Russian theater and the merit of him in front of the Russian scene truly immense. He had every reason to say at the end of his life: "... the Russian dramatic theater is alone only I am. I am: and the Academy, and the patron, and defense. In addition, ... I became at the head of the stage art."

Ostrovsky took an active part in the production of his plays, worked with actors, with many of them was friends, corresponded. He put a lot of strength, defending the act of actors, seeking to create a theater school in Russia, his own repertoire.

In 1865, Ostrovsky organized an artistic circle in Moscow, the purpose of which was to protect the interests of artists, especially provincial, promoting their enlightenment. In 1874, he created a society of dramatic writers and opera composers. He was reported by the Government on the Development of Stage Art (1881), he conducted directing activities in the Small Theater of Moscow and Alexandria - in St. Petersburg, resided as the head of the repertoire of Moscow theaters (1886), was the head of the theater school (1886). He "built" the whole "building of the Russian Theater", consisting of 47 original plays. "The literature you brought a whole library of artistic works," wrote Ostrovsky I. A. Goncharov, - for the scene created their own, special world. You alone completed the building, in the foundation of which the cornerstone of Fononvizin, Griboedov, Gogol, were put on the ground. But only after you We, Russians, can proudly say: we have our own Russian national theater. "

Ostrovsky's creativity was a whole era in the history of the Russian theater. Almost all his plays still have been put on the scene of the Small Theater, several generations of artists who grew up in the wonderful masters of the Russian scene were brought up. Ostrovsky's plays played such a significant role in the history of the Small Theater, which is proudly called the island house.

Usually the Ostrovsky himself put his plays. He knew the inner, hidden from the eye of the audience, the backstage of the theater. Knowledge of acting playwright brightly manifested in the Pieces "Forest" (1871), "Comedian XVII century" (1873), "Talents and fans" (1881), "without guilt guilt" (1883).

In these works, we have alive types of provincial actors of different amplua. These are tragics, comedians, "first lovers." But regardless of the role, the lives of actors are usually difficult. Depicting their fate in his plays, the Ostrovsky sought to show how difficult to live a person with a thin soul and talent in the unfair world of soulless and ignorance. At the same time, the actors in the image of the Ostrovsky could be almost poor, as unfortunately and lucky in the "Forest"; humiliated and losing their human appearance from drunkenness, like Robinson in the "Delpinion", like Shmagi in "no guilt guilt," like ERAST ROMOVOV in "talents and fans".

In the comedy "Forest" Ostrovsky revealed the talentedness of the actors of the Russian provincial theater and at the same time showed the humiliating position of them, doomed to vagabond and wandering in search of the bread of the urgent. The lucky and unfortunately, when they meet, there is not a penny of money, nor a chopping tobacco. In the homemade knaps of unfortunately, however, there is some clothes. He had even a fracture, but to play a role, he had to remove him in Chisinau "on the Hamlet's costume." The costume was very important for the actor, but in order to have the necessary wardrobe, we needed a lot of money ...

Ostrovsky shows that the provincial actor stands at the low stage of the social staircase. There is a prejudice in society towards the actor profession. Gurmyzskaya, having learned that her nephew of unhappiness and his comrade lucky - the actors, arrogantly declare: "Tomorrow it will not be here. I do not have a hotel, not a restaurant for such Lord." If the actor's behavior does not like to local authorities or he has no documents, he is pursued and even can be sent from the city. Arkady Shatsev three times "raised from the city ... Four versts of the Cossacks by Nagaiki challenged." Because of the insetting, the eternal wanders are drinking. A visit to the restaurants is their only way to escape from reality, at least for a while to forget about troubles. Happy lucky says: "... We are equal with him, both actors, he is unfortunately, I am lucky, and both of the drunkards", and then declares the Bravada: "We are a folly people, walking," Tractor we are more expensive. " But this is the jungle of Arcash Havetsev - only a mask hiding an unbearable pain from social indisions.

Despite the difficult life, adversity and insult, many miniments servants retain kindness and nobility in their soul. In the "Forest", Ostrovsky created the brightest image of a noble actor - the tragic of misfortune. He portrayed a "living" person, with severe destiny, with a sad life story. The actor drinks heavily, but during the play he changes, reveal the best features of his nature. Forcing the eighthibratova to return the Gurmyzhskaya money, unfortunately played the performance, it puts on a boutic order. At this point, he plays with such a force, with such a faith that evil can be punished, which is achieved by real, vital success: eight-grades gives money. Then, giving up his latest money Aksyusha, arranging her happiness, unhappiness no longer plays. His actions are not theatrical gesture, but a truly noble act. And when in the final of the play, he pronounces the famous monologue of Charles Mora from the "Robbers" F. Schiller, then the words of the Schlörian hero are becoming in essence, the continuation of his own angry speech. The meaning of the replica that unhappiness throws the Gurmajskaya and its entire company: "We are artists, noble artists, and comedians - you" is that in his presentation art and life are inextricably linked, and the actor is not a pretender, not a guide, his art Based on genuine feelings and experiences.

In the poetic comedy "Comedian XVII century", the playwright addressed the early pages of the history of the domestic scene. A talented comic of Yakov Kochetov is afraid to become an artist. Not only he, but his father is confident that this is a persecution that is a sin, a worse than whom can not be anything, because those were the Domostroevian ideas of people in Moscow of the XVII century. But the Ostressive opposite of fans and jeques of the theater in the Doparerovsk era. The playwright showed a special role of scenic representations in the development of Russian literature and formulated the appointment of the comedy in the fact that "... vicious and evil funny to say, giving a laundry. ... teach people, depicting morals."

In the drama "Talents and fans" island showed how heavy the fate of the actress, endowed with a huge scenic gift, which is passionately predicted the theater. The position of the actor in the theater, its success depends on whether he likes the rich spectators who hold the whole city in their hands. After all, the provincial theaters existed mainly on donations of local patrons that felt in the theater by the hosts and dictated their conditions to the actors. Alexander Negin from "Talents and Fans" refuses to participate in the backstage intrigues or respond to the whims of their rich fans: Prince Dellebova, Baku and Others official. NEGINA cannot and does not want to be content with the easy success of the unbearable Nina Relin, which willingly take the patronage of rich fans, turning into essence, into the content. Prince Dulebov, offended by the refusal of Nekina, decided to destroy her, breaking the benefit and literally survived the theater. To part with the theater, without which it does not think of its existence, for a nongin means content with a wretched life with a cute, but poor student Petya Muzuzov. She remains one way out: to keep on the maintenance to another fan, the rich landowner of the Vidnikov, who promises her role and noisy success in the theater belonging to him. He calls his attraction to the talent and soul of Alexandra, but essentially, this is a frank deal of a major predator with a helpless victim. What did not have to be implemented in the "Navdanian" Knurov, made Veli-Katov. Larisa Ogudallova managed to free himself from the golden chains of the death of death, Negin put on these chains, because it does not think of life without art.

Ostrovsky stakes this heroine, which has a mental dowry, it turned out less than Larisa. But at the same time, he told us about the dramatic fate of the actress, causing his participation and sympathy. No wonder, as I noticed by E. Kholodov, her name is the same as the island - Alexander Nikolaevna.

In the drama "Without guilt guilt", Ostrovsky again turns to the theater theater, although there is much more extensive problem: it refers to the fate of people disadvantaged by people. In the center of the drama - an outstanding actress Kruchinin, after which the theater literally "falls apart from the hands-ups." The image of it gives rise to think about what causes significance and greatness in art. First of all, the Ostrovsky believes, this is a huge life experience, a school of deprivation, torment and suffering that his heroine happened.

The whole life of the torn out of the scene is "grief and tears." This woman knew everything: the hard work of teacher, treason and care of the beloved, loss of a child, severe illness, loneliness. Secondly, this is a spiritual nobility, a responsive heart, faith in good and respect for man, and, thirdly, awareness of high tasks of art: Kruchinina carries the viewer with a high truth, ideas of justice and freedom. With his word from the scene, she seeks to "burn the hearts of people." And along with a rare natural talent and a common culture, all this makes it possible to become the one that the heroine of the play was, - by the Universal idol, whom "Glory rats". Kruchinin gives her audience happiness of contact with beautiful. And because the playwright itself in the final also gives her personal happiness: the acquisition of the lost son, the disadvantaged actor of the stamina.

The merit of A. N. Ostrovsky in front of the Russian scene is truly immense. In his plays about the theater and actors, exactly reflecting the circumstances of the Russian reality of the 70s and 1980s, there are thoughts on art, topical and today. These are thoughts about difficult, sometimes the tragic fate of talented people who, implementing on the stage, completely burn themselves; Thoughts about the happiness of creativity, complete dedication, about the high mission of art, approving good and humanity.

The playwright itself expressed himself, revealed his soul in the plays created by him, perhaps, especially frankly in the plays about the theater and actors, in which it was very convincing that in the depths of Russia, in the province you can meet people of talented, disinterested, capable of living with higher interests. . Much in these plays is consonant with what B. Pasternak wrote in his wonderful poem "Oh, I would know that it happens ...":

When a string dictates a feeling,

It is on the scene of the slave scene,

And here the art ends,

And the soil and fate breathes.

The life and creativity of Alexander Nikolayevich Ostrovsky (1823-1886) "I worry all my life ..." "My task is to serve Russian dramatic art ..." Childhood and youth was born on March 31, 1823 in the family of an official (lawyer). Motherland is the area of \u200b\u200bZamoskvorechye (where Moscow merchants lived mostly). Zamoskvorechye in the 19th century received a good home education, since childhood studying foreign languages. He subsequently knew Greek, French, German, and later - English, Italian, Spanish.  1840 - graduated from the Moscow gymnasium. Admission to Moscow University at the Faculty of Law. Strong passion theater  1843 - contributed from the university. Decided to deal with literature.  At the request of the Father serves in the Moscow Council Court (1843 - 1845), where things were dealing between relatives.  1845 - 1851 - Translation into the Moscow Commercial Court. All this is a unique opportunity to observe and analyze the actions of people from different social layers.  1849 - civil marriage (against the will of the Father) with Agafei Ivanovna, the girl from the boss. The beginning of 1950 (March) - in the magazine "Moskvatik" the first comedy "His people - to tear" ("bankrupt") was published. The author immediately became famous. "His people will consider!" The play was under arrest for 10 years, because in her, according to Dobrolyubov, "... was defeated in dust and brazenly damaged by self-made human dignity, freedom of personality, faith in love and happiness and shrine of honest labor." Theatrical activity  at the beginning of the 50s The annual repertoire of Russian theaters was soothe. The theater was needed by playwright ... Ostrovsky starts work on the play "Do not sit down in my sleeve".  In January 1853, the premiere took place. This is the beginning of the theatrical Glory of Ostrovsky.  In August - "Poor Bride". Collaboration with the Small Theater  1853 - 1856 - The Poverty "Poverty is not a vice", "not so live, as I want," "In someone else's hangover", "Profitable place" Heroes Ostrovsky  1856 - Cooperation with the magazine "Contemporary". "Literary Expedition "by Volga. The goal is to explore life and the morals of the Volga settlements.  1857, Summer is a continuation of the trip along the Volga.  1859 - Premiere of the drama" Thunderstorm "(as a result of" expeditions "). The drama" Thunderstorm "play" thunderstorm "reflects the period public lifting when collapsed The foundations of serfdom. The name of the drama is a social shock. Ostrovsky is one of the first Russian writers who revealed the tragic position of a woman in the family.  1861 - the comedy "What will go for, then you will find" ("Marriage Balzaminova")  1863 - elected by a corresponding member of the Academy of Sciences  1866 - taught in the new Moscow "artistic circle." This served as the basis for creating the Russian National Theater "Theater of Ostrovsky"  1867 - the death of his wife, Agafia Ivanovna  1869 - married Maria Bakhmetyeva (Vasilyeva), actress of the Small Theater. The wife and children of the writer 1870 - 1886 - the most fruitful period of life. Communion "Mad money", "Forest", "Wolves and Sheep". . Frames "Dustpannica", "Talents and fans", "without guilt to blame" a special place in the Heritage of Ostrovsky occupies the "Spring Fairy Tale" "Snow Maiden" (1873) - a look at the ancient, patriarchal, a fabulous world, in which material relations also dominate. June 2, 1886 - The death of the writer in his estate lynchoff (at the desk)  Total A.N. Ostrovsky wrote 47 pieces, 7 plays - in collaboration with other playwrights, translated more than 20 plays from Italian, Spanish, French, English and Latin languages.  from 1853 to 1872 g. His plays passed 766 times in metropolitan and provincial theaters, bringing the directorate of imperial theaters income more than 2 million rubles. The merit of A.N. Ostrovsky    A.N. Ostrovsky opened the world of a man of a new formation: a merchant-old supplement and merchant-capitalist riding abroad and its business. It is rightfully called the "Columbus Columbus" to A.N.ostrovsky Russian Theater history has numbered only a few names. The playwright made a huge contribution to the development of the Russian theater. Creativity A.N.ostrovsky, continuing the tradition of Fonvizin, Griboedov, Pushkin, Gogol, is distinguished by innovation in the image of heroes, in the language of characters and in the raised socio-moral issues. "Columbus Zamoskvorechye" "You alone completed the building, in the foundation of which the cornerstone of Fononovin, Griboedov and Gogol put. But only after you we, the Russians, we can proudly say: "We have our own Russian, the National Theater." He, according to justice, should be called "Ostrovsky Theater." I.A.Gongcharov

I.E. Zaitseva

The formation of critical realism in the Russian Theater In the middle of the XIX century, researchers are associated with multiple shifts that took place at that time in Russia in all forms of public consciousness, including in art.

The main direction of artistic quest of the Epoch determined the knowledge of real reality in all its social contradictions. In the mid-40s, a school arose, asserting the faithfulness of the truth of life as the main criterion of the artistic work.

Love for the theater, the ministry was called by Alexander Nikolayevich Ostrovsky (1823-1886). The theatrical activity of the playwright begins during the period of a fierce reaction that followed the European revolutions of 1848. This "gloomy seven female" of the Nikolaev reign in the cultural sphere described himself a strictest censorship, the dominant of bureaucrats officers, who do not understand anything in art, strengthening the monopoly of the imperial theaters. Such a theatrical policy contributed to the prosperity on the scene of "empty" waterville (mainly translational), tearful meloders, loyal drams corresponding to the tastes of the "clusted" theaters yard. One of the most popular authors was N.V. The puppeteer, "a representative of the" false-magnificent school "raising the spectators with the admiration for the past and the current state of the state" (the history of Russian drama XVII is the first half of the XIX century. - L., 1982. - P. 24). Of course, the Golden Fund, the classical foundation of the Russian theater was the brilliant comedies of D.I. Fonvizina, A.S. Griboedova, N.V. Gogol, Piesen A.S. Pushkin. But they were too small, they could not provide a permanent repertoire.

The words of Gogol "For God's sake, give us Russian characters, give us our own, our swords, our cranks! On the scene, on the laughter you "contemporaries perceived as a program of Russian national drama. Ostrovsky tried to realize it in the "plays of life."

The playwright wrote forty-seven original works, translated from the Ukrainian language Piez G.F. Kvitka-basicoenko "Schire Love" ("Sincere love, or cute more than happiness"), and also transfers twenty-two dramatic works from English, French, Spanish and Italian.

The Ostrovsky brilliantly coped with a historically important artistic task - he tried the creation of Russian drama, "The Whole People's Theater". He was destined to appear precisely because by the end of the 40s the rapid development of capitalism led to the process of democratization of culture, to an increase in the cultural layer of society, and therefore there was a social order for a drama from Russian Drama (Polyakova E.I. Ostrovsky's epochs // Russian drama of the Ostrovsky era. - M., 1984. - P. 9). Success Ostrovsky-Debutant brought a new democratic viewer. The playwright believed that this new viewer, who only tries to join the art of the theater, makes his first steps in the direction of cultural and can be raised, to develop, form a need for a beautiful, highly artistic: "... You must wake good instincts in it - and This is a matter of art ... The theater's fresh soul captures the powerful hand and leads where he wants. Of course, the action of the theater is short, he does not go beyond the viewer for all his footsteps, but pretty and those three or four hours, when the Dick is under the charm of the All-industrialous art of the art, - already deep furrow of culture passed on his raw brain, already over the racing Cultural vaccination "(Ostrovsky A.N. Full. Cons. Op.: In 16 t. - M., 1951. - T. 10. - P. 137-138). In these words, Ostrovsky manifests itself as a democrat enlightener. Over time, the utopian nature of the educational hopes of the playwright is becoming more apparent: "Fresh" merchant viewer art failed to remake. As for the intelligentsia, it was waiting for the art of direct propaganda of advanced ideas, and therefore the Ostrovsky seemed not to her modern (E.I. Polyakova).

From the beginning of his creative activity, the playwright directly ranked itself towards the "authors of the new direction in our literature." Its innovation was manifested that he managed to open a new nature of drama, the essence of which is the real public contradictions of the time, inevitably generating a protest against the reality itself. Its based on his works lay conflicts pemppedized by the playwright in real life, which gave them the name of the "plays of life."

Researchers associate the appearance of "Piez Life" by A.N. Ostrovsky on stage with two phenomena: the triumph of the traditions of the Russian national comedy, laid down by Fonvizin, Krylov, Griboedov, Gogol, and the principles of "Natural School", theoretically sound critic V.G. Belinsky. The merit of Ostrovsky in front of the Russian theater cultural is a talented compound and further development in its work of these two phenomena.

By 1847, the playwright began and partially published "Notes of the Zamoskvoretsky Resident". The world of Zamoskvorechye, where the childhood and adolescence of Alexander Nikolayevich, the Moscow commercial court, where he served jurors in the verbal table, gave a rich material, truly life plots, special popular flavor.

Taking off the cover of the unknownness with the Zamoskvoretsky life, the playwright became the pioneer on the mysterious Zamoskvoretsky country, who first discovered the public, life, traditions, morals, the language of its inhabitants. He showed the Russian viewer a special world of Zamoskvorechye, who critic Dobrolyubov identified as the "Dark Kingdom", where Domostroevsky laws, ridiculous prejudices, philistine rutin, degrading human customs. Thanks to the talent of the playwright, living people came to the scene, as if they were written off from nature, and spoke in a living language - simple, ordinary, who had never sounded on theatrical stage.

February 14, 1847 in the House of Professor of Moscow University S.P. Shevyreva Ostrovsky read his first play - "Picture of family happiness." Contemporary of the playwright, actress of the Small Theater V.N. Ryzhova, who listened to repeatedly his author's performance of his own works, recalled: "Read A.N. Ostrovsky is surprisingly simple, without any theatricality or affecting, but so penetrating and touching: that ... Hearts trembled from sympathy, indignation, joy. Alexander Nikolayevich female roles were especially successful, and although he didn't change his voices at all, in replicas heroin felt that purely female longing, then maternal love, then the immense Babian devotion ... And it seemed to me that when people find themselves in the fate of the heroes of Ostrovsky, when Artists will tell about them like this, as the great playwright reads, people will be ashamed to cause evil and resenting each other, destroy human happiness "(Ryzhov about Ryzhova. - M., 1983. - P. 83).

One-act comedy, telling about the life of the merchant Puzatov, struck all those present by the knowledge of the life and merchant class, brilliantly demonstrated by the author. It was a genuine sketching from the world of Zamoskvorechye. However, the censor desired in the play offensive for merchants, banned her production (the premiere took place only in 1855).

In 1849, Ostrovsky finished work on the comedy "bankrupt" ("His people will find"), which was also banned. Despite the despicable negative assessment of the work of censorship, a novice playwright has not surrendered. Together with his other young actor of the Small Theater, Sadovsky, he performed comedy in various Moscow homes. She had a deafening success, became an artistic sensation. I.S. Turgenev spoke of Debutant: "He began unusually", A.F. Pisemist wrote the playwright: "Your" bankrupt "is a merchant" grief from the mind ", or. More precisely, the merchant "dead souls"; A.Y. Herzen called the comedy "cry of anger and hatred against Russian morals."

The play in 1850 printed the magazine "Moskvatik", but the censorship committee again banned its production, and King Nicholas I personally drawn: "It is quite fair, in vain printed, to prohibit ..." The author came to the number of unreliable, the case was And the supervision was established, he was "dismissed from the service" in the commercial court.

In 1850, Ostrovsky becomes an employee of the "Young Editor" of the magazine "Moskvatian". He edits, writes articles, creates five more plays, but everyone was waiting for the fate of the previous ones.

The first play, resolved in the production, became a melodrama "Do not sit down in our sleeves", the premiere of which was held on January 14, 1853 on the scene of the Small Theater in the Benevity Actress L. P. Nikulina-Kositskaya, striking the audience to the penetration of his game. This day is the point of reference of the scenic history of the Pieces of Ostrovsky. The contemporary of the playwright, one of the members of the "young editorial board" "Moskvatian", the artist I. F. Gorbunov, who visited the first presentation of the comedy, argued that with her on the Moscow stage a new era begins: "... the curtain silenced, and he was heard from the scene New words, a new language, before that did not hear from the scene, there were living people ... "(Gorbunov I.V. Excerpts from memories // A. N. Ostrovsky in memories of contemporaries. - M., 1966. - P. 49 ). The performance provided by an excellent executive ensemble passed with a triumphal success.

Ostrovsky from the very beginning of his creative activity, contemporaries attributed to domestic playwrights. The artist himself understood life as an order, peace, consecrated by the tradition, protected by the power of habit. It was the Ostrovsky for the first time who touched such topics, images, "household layers that were considered unworthy of an artistic image. The talent of the master allowed him in this tradition, in this order to see inevitable contradictions, tangling and destroying their inviolability, and disclose household contradictions as social. He deeply realized all the power of cosiness, the numbness of life: "I didn't call this power to Zamoskvoretsky without reason: there for Moscow-River, her kingdom, her throne there. She triggers a man in a stone house and locks the iron gate behind him; She dresses a man with a dressing gown, she puts a cross from an evil spirit on the gate, and from evil people let dogs in the yard. ... She is a cheater, she always prevents family happiness, and an inexperienced person will not soon recognize her, and, perhaps, envies her. She is a traitor: it is a hoite, a holy of a person, but suddenly it will be so confronts that he does not have time to cross "(Ostrovsky A. N. Full. Sob. Op.: In 16 t. - M., 1952. - T. 13 . - P. 43).

Following the principle of being the right truth of life, he wakes the castles and drones, swinging the shutters and windows of the "Dark Kingdom" in order to show their heroes in home everyday, in the family where they are natural, where they most fully reveal themselves: "That's where That is recognized! "

The next play of the playwright "Poverty is not a vice" (1854), unexpectedly putting forward to the first plan of the main character - the drunkard loved by Torotov, having endured him with humanity and nobility, caused a stormy controversy and in the theater environment, and on the press pages. In the memoirs of the contemporary, who saw this performance, read:

"- Willow the road - love the ends come! - exclaimed at the end of the play sitting with us the teacher of Russian literature, putting on the coat.

What do you want to say? - asked the student. - I do not see the ideal in love. Drunkenness - not ideal.

I see the truth! - answered a sharp teacher. - Yes, s, truth. Wider road! True on the scene goes. Love the ends - True! This is the end of the scenic landscapes, the end of the puppeteer: the embodied truth performed on stage "(Gorbunov I.V. Excerpts from the memories of A. N. Ostrovsky in the memories of contemporaries. - M .. 1966. - P. 55 - 56).

Famous critic. Grigoriev enthusiastically declared "about the new word" in the theater - about the nationality, accepted by the article, which was called: "Willow, the road is loved by the ends!". The opponents of the play sharply objected criticism. So a new and old theater aesthetics collided into disputes and discussions.

Ostrovsky continues to drag his style, mixing genres and their borders. Inheruring the traditions of the great predecessors, he enriches the drama comedy episodes, and in the comedy introduces dramatic scenes, filling them with life reliability using all the beauty and colorful manifold of the national Russian language.

In 1856, in the comedy "In someone else's a hangover", the Ostrovsky first uses the concept of "Samodor", explaining its essence of the mouth of one of the characters: "Samodor - this is called, if the person does not listen to anyone, you at least a number on the head of the Tehi, and he All your own. Heat foot will say: who am I? There is already all his homework in his legs should, so lie down, and then trouble ... " In this play drawn the features of the samotor as a social phenomenon. But this phenomenon with a life run gradually broke himself. The theme of self-jamming, corrosive consciousness of people, is traced in many of his plays.

Unprecedented success fell to the share of the "Thunderstorm" play, striking on social severity and patos of the chick of Samodor. She took her premiere in two theaters - in small in Moscow and Alexandrinsky in St. Petersburg.

For the first time, the viewer saw the viewer on November 16, 1859 in the benefit of the actor of the Small Theater S. V. Vasilyeva. Theater historians believe that the emergence and triumph of the play are associated with the name of L. P. Nikulina-Kositsky, for which the role of Katerina was written. Creating this image, the Ostrosky emanated from the individuality of a talented actress (formerly serf), admired his knowledge of popular speech, life, traditions. The penetration of execution, the deep understanding of the female soul, the tragedy of the play allowed the executiver to rise to the vertices of the acting stage art. Her Katerina, a strong, passionate, clean and poetic, rebuilding against violence over a living human soul, became a genuine "Light Light" for contemporaries.

The playwright conceived a "thunderstorm" as a comedy, then called her drama. Dobrolyubov saw in this play that "the mutual relationship of self-affairs and frauds was brought to the most tragic consequences" (Dobrolyubov N. A. Light of Light in the dark kingdom // Selected literary and critical articles. - K., 1976. - P. 178 ). Modern literary criticism refers it to the genre to the socio-household tragedy. Art historian B.V. Alperse considers the product of the romantic tragedy of the Russian National Theater, speaking of the social and moral cleansing, about Tomattsis, who, as a genuine tragedy, "Thunderstorm" carries in the auditorium (Alperse B. V. Theatrical essays. M., 1981. - T . 1. - pp. 505).

In this hopelessness, in this "sclepet of life" wild and kabanum there is a living, nonetable - the spiritual wealth of Katerina. Its aesthetic nature is peculiar to religiosity, poetic perception of nature, the feeling of the beautiful.

As accurately noticed researcher V. V. Basin, in prayer, in service, in the perception of the beauty of the world around the world, she is looking for an application with its spiritual forces. And love becomes the highest point of this application. All Katerina appears in love. She reins against the Samodogo, armed with only one - the consciousness of the right to love. Having discovered love, putting his will, freedom, she wants to live. Live for it - it means to be yourself. But in the Kalinovsky kingdom it is impossible. Output one - death. In it - freedom.

This nature has not yet known the Russian scene. Art historians explain this huge public resonance of the drama and its first productions in small and Alexandrinsky theaters.

After the premiere of "thunderstorms", the discussion unfolded around it. The author was reproached in immorality, argued that his play was not drama, but satire. But highly appreciated the "thunderstorm" advanced Russian writers: N. A. Dobrolyubov called it "the most resolute work of Ostrovsky", I. A. Goncharov argued that "there was no such work ... There was no" in our literature ", I. S. Turgenev It believed that this was undoubtedly the "amazing, the most magnificent work of the Russian mighty, quite mastered the talent."

For the play "Thunderstorm" Ostrovsky was awarded an academic premium. In 1863, he became the first playwright in the history of Russian literature, elected corresponding member of the Academy of Sciences.

A lot of unforgettable pages devoted to the scenic interpretation of the images of "thunderstorm" in the performance of outstanding actors are inscribed in the history of Russian theatrical art. One of the cornea of \u200b\u200bthe small theater actress G. N. Fedotov, performing in the role of Katerina in 1863, played it for thirty years, turning this image at the top of his work. The actress gradually comprehended the multidimensional nature of his heroine, selected special means of artistic expressiveness - household details, gestures, gait, saying. Her Katerina hit the "music" of Russian speech. Rare accuracy of character gave birth to the knowledge of a peculiar old-circuit etiquette. With temperament and passion, Fedotov passed its confusion and despair. The interpretation of the role was determined by pity for the victim of the "Dark Kingdom". In the performance of this actress, the protest theme was absent.

New features in solving the tragedy image of Katerina were further incarnation performed by M. N. Yermolova (1873), which advanced the active protest of Katerina to the fore. Playing the tragedy, Yermolov endowed his heroine "unsinkable will, courage and spiritual maximalism" (B.V. Alpers). For her passionate and freedom-loving nature, love for Boris was the knowledge of complete freedom. Lose this freedom - meant to die. The creative apotheosis of the performance was the last two acts in which the game of Yermolova shocked by the tragic potassium. Unlikely, uncompressed this Katerina remained in the consciousness of contemporaries.

In a completely different interpretation, the image of Katerina, created by the actress of sophisticated-broken drama E. Roshchina-Insarov in the Meyerhold Spectacle of 1916 in Alexandrinsky Theater, appeared in front of the audience. B. V. Alpears called her Katerina "the end of the century", which "no longer had no strength, no desire for the struggle." In how she looked at Boris, she lived "not love, not passion ... but the last farewell to life." The critic comes to the conviction that the image of Katerina Roshchina is inseparable from the prejudgement atmosphere, in which the old world lived in front of the 1916 frontiers. Katerina Roshchina - his brew and the victim - was doomed to death with him.

On the unconventional director's interpretation of the play Art historian K.L. Rudnitsky wrote: "Avoiding household reliability, refusing the direct image of the" Dark Kingdom ", turning the prosaic and wild kalins into a fabulous town of Kuit, Meyerhold pulled the entire dramatic situation of" thunderstorms "from the specific historical circumstances of Russian life of the middle of the XIX century. But at the same time, thereby discovered the relevance of this situation for the beginning of the XX century. Opoetized, she gained importance to universality. Instead of a specific merchant dark kingdom and dark life, the power of dark spiritual forces was performed "(Rudnitsky K. L. Director Meyerhold. - M., 1969. - P. 191).

In this unexpected director's plan, the image of Katerina sounded in a new way. "Katerina was in itself ... no one can open to the end, with anyone who is not necessary for anyone, no one needs. In full and frozen loneliness, she moved through the play. " Rudnitsky compared Katerina Roshchina with a blocking woman, "What came to Alexandrin scene," so indifferent and light, as if the angel of Padena gave freely hand. " In the deprivation, in the dorability, her enviable freedom was ready for death "(ibid. - P. 192).

Artist of the Small Theater S.V. Vasilyev, the first executor of the role of Tikhon, created the tragic image of the "impersonal" person, destroyed by the "Dark Kingdom". "It was terrible to look at him," the contemporary wrote, "when he, surviving mortal flour, broke out of his mother's hands. Not so much with the words how many gestures, he fought with his mother, and begged her to let him go. The last cry of him: "Mama! You wanted her! " - was terrible; He shook and then pursued the viewer for a long time "(annual of the imperial theaters. Season 1895/1986. Admission, kN. 3. - pp. 8).

A lot of memories of the execution of the role of Tikhon actor Alexandrinsky Theater A. E. Martynov left contemporaries, considering this role of the top of the creativity of an outstanding actor, talentedly embodied the aesthetics of the playwright in the St. Petersburg scene. The actor's celebration was the last act he did not play, but lived piercingly, sincerely. Having learned that Katerina left home, he rushed in search of his wife and cried quietly, returned with anything, disarming the audience with depth of love and pity for Katerina. The last words of Tikhon forced the audience to see the birth of a new person who could defend their dignity.

An amazing accusatory force in the performance was struck by the audience an actor P. M. Sadovsky, the executor of the role of wild, having endungered it with an unbridled temper and human wildness, brought with despotic force over all Kalinov. It was a bright and significant contribution to the scenic gallery of the images of merchant samotor. During the life of the actor, the playwright created thirty-two plays, and many images were written specifically for Sadovsky Prov. It should be noted that being a close friend of playwright, a companion, like-minded person and a promoter of his innovative drama, the actor has created more than thirty dying roles in the Pieces of A. N. Ostrovsky, the impressive contemporaries of the "new truth of harsh simplicity".

Pupils A. N. Ostrovsky O. O. Sadovskaya, who debuted on the advice of the playwright in the Small Theater, played forty roles in the plays of the beloved author. In the "thunderstorm" actress performed the role of Barbara, Feklushi and Kabani. As for the playwright itself, and for the Sadovsky, the main expressive means in the performance was the word, which she, as well as the scenic pause, was perfect. According to critics, the combination of silence (pauses) and speech, a unique mimic expressiveness gave rise to the development of the image.

It is known that working on the plays, the island wrote roles specifically for the artists of the Small Theater. Thus, he wrote the role of Barbara in the "thunderstorm" for the actress Barbar Farozdina, calling this heroine her name, because he belonged to the young actress "not just friendly, with a deep human sympathy, and very much appreciated her talent, he was upset that in the then The repertoire of the Small Theater was not quite interesting for her roles "(Ryzhov about Ryzhova. - M., 1983. - P. 18). This fact speaks about Ostrovsky as a sensitive, a not indifferent person and an artist who is experienced by the fate of talented actors and theater.

According to the director, the scenic form "Thunderstorm" V.I. Nemirovich-Danchenko: "The performance should not be ambitious, but simple, like a song. The Russian song carries always a deep and simple feeling ... To climb the play, you need to be extremely deep and simple "(annual MCAT. - M .. 1045. - P. 276 - 278).

But to the end to solve the mystery of this play, there was no one director. In the compositional decision "thunderstorms", the playwright combined the tragic and comic, epic and lyrical. The play is so multidimensional, multifaceted that finding the desired tonality in it is incredibly difficult. So far, the key to the "nature of the feelings" (in A. Tovstonogov) was not found in this play. Apparently, this is explained by the fact that in the history of the domestic theater has not yet appeared "harmoniously integral" play on the play of the playwright, which would have become a genuine artistic event.

But how frankly relevant, as the Ostrovsky can sound safe today. It is enough to recall the performances "On all sages of pretty simplicity" in Lenkom in the formulation of M. A. Zakharov or "Wolves and Sheep" G.A. Tovstonogov, in BDT them. M. Gorky. It remains to hope that the director will appear, which "will give the greatest service to the Russian theater, solving the secret of" thunderstorms ".

After the brilliant success of "thunderstorms", Ostrovsky wrote five new plays. In 1861, the censored ban is finally removed from his ingenious brainchild - comedy "their people will find." Only in Moscow and St. Petersburg in 1561 there were eighty-five performances on the play of playwright. The last recent decades the writer worked very intensively.

The creative palette of the playwright is diverse the object of his attention becomes: the impact of the identity of the "Dark Kingdom" as a social phenomenon; Spiritual impoverishment of the noble environment, the debunk of the bureaucratic apparatus: the emergence of new social forces; The fate of a woman in the conditions of an existing system; An emerging type of Delta - the "new owner of life"; Talent and society and much more.

Satyrian line of creativity A. N. Ostrovsky ("On all sages of pretty simplicity", "hot heart", "Wolves and Aries", etc.) Rodinitis his plays with Satiir M. E. Saltykov-Shchedrina and A. V. Sukhovo-Koblin. The socio-psychological line ("Last Sacrifice", "Dustpannica", "Talents and Fans", "without guilt," etc.) - Browsing the Tregenev's theater, anticipates Chekhov Theater. The interest in domestic history is poured into the cycle of historical chronicles, and the passion of Slavic mythology is in the poetic "spring fairy tale" - "Snow Maiden", which has become the source of inspiration for N. A. Rimsky-Korsakov and P. I. Tchaikovsky.

A very important artistic stylist feature of the playwright was the desire to create generalized images, combining social and typical and individual. Because of the novice writer, the Ostrovsky spoke about his comedy "His people will find": "I wanted the name of Pokaluzin, the public branding the vice in the same way as she is the name of Garpogon, Tartuf, Lady, Klezlekova and others" (Ostrovsky A.N . Full. Cathed. Op.: In 16 T. - M., 1953. - T. 14. - P. 16). The dream has become a reality: Not one image has become a nominal one.

In the 80s, the last period of creativity of the playwright, criticism writes about grinding his talent. The true meaning of the creativity of Ostrovsky summed up I. A. Goncharov, who on the day of the 35th anniversary of his literary activities wrote: "You alone completed the building, in the foundation of which the cornerstone of Fononvizin, Griboedov, Gogol laid. But only after you, the Russians, we can proudly say: we have our own Russian national theater. He should be called the Ostrovsky Theater "(Goncharov I. A. Coll. Op.: In 8 tons. - M., 1955. - T. 8. - P. 491 - 492).

However, in the history of Russian culture, Ostrovsky appears not only as the creator of the Russian National Theater, but also the art historian theorist who has named the new ways of the development of Russian theater aesthetics.

In 1865, the Ostrovsky became one of the initiators of the organization "Artistic Mug" with the participation of the writer V.F. Odoevsky, musician N. G. Rubinstein, associate and friend, actor P. M. Sadovsky. It was the first creative association of Russian theatrical figures, replacing theatrical school.

An open writer a new type of drama caused the need for a realistic acting acting school that would correspond to the principles of "plays of life." "For the viewer to remain satisfied, he wrote," you need to be not a play in front of him, and the life, so that there is a complete illusion, so that he forget that he is in the theater. Therefore, it is necessary that the actors, representing the play, could be able to represent more and life to be able to live on stage "(Ostrovsky A. N. Full. Coll. Op.: In 16 t. - M .. 1952. - T. 12. - P. 151).

Unfinished authority for actors, the playwright believes that the director's director must be a teacher working with the actor over the role. Without taking the "premiership", he talks about the creation of an "ensemble", which is impossible without directing will, artistic discipline, traditions that contribute to uniformity of stage performance.

Speaking with reading a play, taughting acting skills, Ostrovsky puts forward the problem of the participation of the author's play in the director's creative work. The author helps the actors understand the essence of the play and its images, find the desired tone.

Fighting with stamps in scenic art, he negatively refers to "amateur": for an amateur theater is not a serious thing, but only fun.

The soul of the play, the master of "true stage art" for the playwright there was always an actor. Having gave proper importance to the acting school, where professional foundations are laid, the island dominant role in the process of further professional development assigns the theatrical scene, on which both ... Real, full artists are formed.

In 1874, with the participation of theatrical criticism and translator V. I. Ryslavsky, Ostrovsky creates a society of Russian dramatic writers. Being repeatedly abroad, Ostrovsky was interested in the development of theatrical case in European countries. The accumulated impressions, the analysis of foreign experience was useful when evaluating the playwright of the domestic theater sphere. It works on a number of notes and articles in which it gives a comprehensive characteristic of the then state of Russian drama and theatrical case, concluding that the metropolitan imperial theater cannot fulfill the high mission of the Russian National Theater. He sees the exit in the creation of a new stage culture, publicly available and democratic.

Shortly before the death of Ostrovsky headed the repertoire of the Moscow Imperial theaters. Elderly playwright is warmly taken for business, but he managed to work for a short time - he did not work after six months.

Ostrovsky Theater, on the definition of criticism, - "Ethical Theater", whose moral charge gives faith in life. Art of it is truly, major, and therefore - it is necessary.

To confirm the existing link between the art of Ostrovsky and modernity, in conclusion, I would like to recall one of the brightest stage interpretations of the Comedy "Wolves and Sheep" in the formulation of the outstanding director of the 20th century Georgy Alexandrovich Tovstonogov on the stage of the Leningrad Great Drama Theater. M. Gorky, implemented in the 80s.

The performance of G. A. Tovstonogov became the victory when the theater succeeds in combining both school, and a holiday, and a spectacle, and entertainment. The director was interested in psychology of non-interference, connivance. "Where do the" wolves "come from, which contributes to their activation? Indifference flames. The playwright saw how the scale of predation is growing from generation to generation, "the director wrote. The theater was necessary to do so "so that today's scale of the phenomenon itself, so that the naive intrigue of" wolves "of century ago forced to think about mafiosis distributed in today's world" (Tovstonogov G. A. Mirror scene. KN. 2. - L. , 1984. - P. 72). This is the relevance of the topic.

In a breathtaking pink vest, with a "charming" round belly, stunning bundle barenbards and efforts, a barred, intense, congestive, lazy, celebrating "Cat" - Mikhail Borisych Lynyaev performed by O. V. Basilashvili forced the hall to cry from laughter. The auditorium, watching the exciting process of the birth of Lynyaevskaya thought, as it were, anticipate the direction of her movement. And the main problem, around which Lynyaevskaya thought was intensely worked, it was reduced to one thing: how to suck there or other. Such Lynyaev was a central figure in this play about the connivance. Tovstonogov gave the "wolves and sheep" the purity of the genre - on the stage there was a comedy, satire, a laughter reigned on the scene. After all, in many professionally, "good" performances on this play is the island laughter was a rare guest. The performance of BDT "treated" laughter, consistency, made people, remaining a "feast" joy for the eyes and soul.

On stage it was all about what island dreamed: the truth of life, a brilliant partnership, a superbly coherent group; In the unique acting ensemble, everyone was a star, each had its own melody, but all this was subordinate to the overall plan - the chinaeeeev's chinae, lawlessness as a dangerous social phenomenon of the 20th century.

Today, already from the century XXI, with the confidence of mono to say: Ostrovsky is our contemporary.

L-ra: Russian literature in schools of Ukraine. - 2002. - № 5. - P. 40-45.

Keywords: Alexander Ostrovsky, characteristic of the creativity of Alexander Ostrovsky, Criticism for the work of Alexander Ostrovsky, Critica, download criticism, free, essay, Russian literature 19th century, dramatics of the 19th century

On April 12, the birthday of the Great Russian Writer and the playwright of Alexander Ostrovsky, whose work has made an invaluable contribution to the development of the National Theater of Russia.

Alexander Ostrovsky is one of the creators in the literature of the image of a simple Russian person - it was in this that he saw one of his main merit to the domestic culture. For a rich creative life - almost forty years of work - they were created by one sources of 49 plays, on others - 54 plays. In his works, Alexander Nikolaevich is bright, vitally, truthfully showed those parties to Russian life that did not solve others. Colorful, truly popular language of his plays so corresponded to the speech of the Moscow merchants, that Pushkin himself advised Russian writers to learn from the island.

Figures and facts

• 47 original plays;
• 7 plays in collaboration with other playwrights;
• 22 plays he translated from Italian, Spanish, French, Latin. He owns numerous translations from Cervantes, Shakespeare, Goldoni;
• In the plays of Ostrovsky 728 characters, not counting the characters "without speech".

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The same simplicity and realism distinguishes Alexander theater

Nikolayevich. Repeatedly playwright wrote "projects" and "notes" on the need for reforms of the Russian theater in various government agencies. In 1885, he was appointed head of the repertoire of Moscow theaters and the head of theatrical school. Ostrovsky spoke that on stage should be shown not only in extreme situations, but also ordinary people in ordinary life, their psychological experiences and dramas. It is from the Ostrovsky Theater that the Russian theater is made in his modern sense.

The main ideas of Alexander Ostrovsky, offered for the reform of the theater:

1. the theater should be built on conventions (there are 4th wall, separating viewers from actors);
2. the invariability of the relationship to the language: the skill of speech characteristics expressing almost everything about heroes;
3. the rate is not one actor;
4. "People walk to watch the game, not the play, you can read it."

Yarm opponent of the proposed innovations was one of the founders of the Russian acting school Mikhail Shpkin. Ostrovsky's drama demanded from the actor of the renewal from his personality, which the artist did not. Once, Mikhail Semenovich even left the general rehearsal of "thunderstorms", being very displeased by the author of the play. Nevertheless, the theater of Ostrovsky received its development, later his ideas were brought to the logical end of Konstantin Stanislavsky and Mikhail Bulgakov.

Alexander Nikolayevich's plays are not going with the scenes of theaters of the whole world.

Many of his works served as the basis for the creation of cinema and telechangeries and were fully shielded, for example, the popular comedy Konstantin Witrova "Marriage Balzaminov" with Georgy Vicin in the lead role or "Cruel Romance", filmed by Alexander Nikolayevich's play "Nikolayev".

The Irkutsk Drama Theater appeals to the plays of Alexander Nikolayevich since 1857: it was here for the first time in Russia, a comedy was played by Alexander Ostrovsky "His people - to tear!" In the original version. The play was written in 1850, but immediately was forbidden to represent the scene: censorship did not allow to talk about this work of Ostrovsky and in print. Therefore, immediately after the premiere of the Irkutsk Governor-General sent a request to the Ministry of the Interior, in response to which the strictest prohibition was followed. The next time in Russia, "his people" were set up in 1861, with the converted end. Since 1864, the "profitable place", "thunderstorm", "poverty is not a vice" is the "poverty" on the Irkutsk scene. The Irkutsk Theater belongs to the honor for the first time in the country, putting the play "Handsome Male", written by Ostrovsky in 1883.

Creativity Alexander Ostrovsky briefly describe hardly possible, since this man left a great contribution to the development of literature.

He wrote about many, but most of all in the history of literature he was remembered as a good playwright.

Popularity and features of creativity

Popularity A.N. Ostrovsky brought the work "His people - to tear." After it was published, his work appreciated many writers of that time.

It gave confidence and inspiration to Alexander Nikolayevich himself.

After such a successful debut, they were written a lot of works that played a considerable role in his work. These include the following:

• "Forest"
• "Talents and fans"
• "Dustpannica".

All his plays can be called psychological dramas, as to understand what the writer wrote about, you need to deepen deeply into his work. The characters of his plays were versatile personalities who were not understood not to everyone. In his works, Ostrovsky considered how the values \u200b\u200bof the country rushes.

Each of his plays has a realistic final, the author did not try to finish everything with a positive final, as many writers, it was more important for him to show real, and not a fictional life. In his works, Ostrovsky tried to display the lives of Russian peoples, and, moreover, he did not whine her at all - but he wrote what he saw around him.

Children's memories served to his works. A distinctive feature of his work can be called the fact that his works were not quite censored, but despite this, they remained popular. Perhaps the reason for his popularity was that the playwright was trying to submit Russia to Russia as it is. Nature and realism are the main criteria that Ostrovsky adhered to when writing their works.

Work in recent years

A.N. Ostrovsky specially engaged in creativity in the last years of his life, it was then that he wrote the most significant drama and comedy for his work. All of them were written for no accident, mainly his works describe the tragic fate of women who have to fight their problems alone. Ostrovsky was a playwright from God, he would seem to have been able to write very easily, thoughts themselves came to his head. But they were written and such works where they had to work.

In the last works, the playwright developed new techniques for filing text and expressiveness - which became distinctive in his work. His writing style of works is very appreciated by Chekhov, which for Alexander Nikolayevich is above all silence. He tried in his work to show the inner struggle of heroes.