Dramaturgome with duck hunt. "Features of dramaturgy a
The writing
The sixties of the XX century are more famous as poetry times. Many poems appear during this period of Russian literature. But the dramaturgy occupies an important place in this context. And the honorable place is given to the Alexander Valentinovich Vampilov. With his drama creativity, he continues the traditions of his predecessors. But much in his works are made as the trends of the era of the 60s and the personal observations of Vampilov himself. All this fully reflected in his famous "Duck Hunting" play.
So, K. Rudnitsky calls the Pieces of Vampilov centripetal: "We will certainly bring to the center, to the first plan of heroes - one, two, from the strength of three, around which the other characters are moving, whose fates are less significant ...". Such characters in the "duck hunt" can be called Zilova and the waiter. They, as if two satellites, complement each other.
"Waiter. What can I do? Nothing. He must think.
Zilov. That's right, Dima. You are a terrible guy, Dima, but I like you more. You at least do not break, like these ... give hand ...
The waiter and zilov humble hands ... ".
The attention of the drama of this period of Russian literature was aimed at the features of the "entry" of a person in the world around. And the main thing becomes the process of approval in this world. Perhaps this world for Zilova only hunting is: ".. Yes, I want to hunt ... Go away? .. Fine ... I am ready ... Yes, now I go out."
A conflict was also special in the play Vampilov. "The interests of dramaturgy were converted ... on the nature of the conflict, which falls into the framework of the drama, but not the processes occurring within the human person," said E. Gushanskaya. Interesting such conflict becomes in the play "Duck hunting". In fact, there is no such usual conflict collision of the main character with a medium or other characters. The background of the conflict in the play becomes the memories of Zilova. And by the end of the plays, even such a construction has no resolution;
In the play, Vampilova often occurs strange and unusual cases. For example, this ridiculous joke with a wreath. "(I look at the wreath, raises it, spreads black ribbon, reads the inscription on it out loud). "An unforgettable untouchable in the work of Zylov Victor Alexandrovich from unworthiest friends" ... (silent. Then she laughs, but not long and without much fun). "
However, E. Gushanskaya notes that the Irkutsk geologist told the story with a wreath of Vampilov. "This colleague-geologist of friends sent a wreath with the inscription" Dear Yuri Alexandrovich, burned at work "." This oddity goes to the content of the "duck hunt". The whole play the main character is going to hunt, makes the necessary preparations, but it does not fall there in the play itself. Only the final speaks of his regular fees: "Yes, now I go out."
Another feature of the play is its three-stage final. On each of the steps it would be possible to finish the work. But Vampilov does not stop at this. The first step can be designated when Zilov, inviting friends to commemorate, "the trigger groped with a thumb ...". No wonder at the end of this phrase costs a lot. There is a hint of suicide.
Viktor Zilov crossed some kind of threshold in his life, once decided on such a step. But the phone call does not give the hero to complete the work started. And the friends who came later returned him to real life, the situation with which he wanted to break only a couple of minutes ago. The next step is the new attempt to "attempt" Zilova to his life. "Sayapin disappears.
Waiter. Come on. (Grabs Kuzakova, pushes it out of the door.) So it will be better ... And now the lower guns.
Zilov. And you get out. (A moment they look at each other. The waiter retreats to the door). Vividly.
The waiter delayed the Kuzakov appeared in the doors and disappeared with him. "
In the third final, the plays of Zilov never comes to some particular answer to those questions that arise for him along the play. The only thing he is solved is to hunt. Perhaps this is also some kind of a kind of transition to solving your life problems.
Pieces of Vampilov Some critics were considered in the symbolic vein. Items or symbol situations are simply filled with "duck hunting". For example, a phone call that returns to Zilova's life can be said from the world. And the phone becomes a kind of conductor to communicate Zilov with the outside world, from which he tried to breathe out from everything (after all, almost all the action takes place in a com-nate, where no one except him). The same binding thread becomes a window. It is a kind of yield in moments of spiritual stress. For example, with an unusual gift of friends (funeral wreath). "For a while standing in front of the window, the melody dresses the mourning music. With a bottle and a glass it is suitable on the windowsill. " "The window is like a sign of another reality, nor present on the stage," E. Gushanskaya noticed, "the reality of the hunt given in the play."
A very interesting symbol becomes hunting and all that is connected with it, for example, a gun. It was bought for hunting for ducks. However, Zilov tries him to themselves. Yes, and the hunt itself becomes an ideal symbol for the main character.
Victor so strives to get another world, but he remains closed for him. And at the same time hunting - like a moral threshold. After all, it is essentially a legal murder. And it is "erected into the rank of entertainment." And this world becomes a dream for Zilov, a. The conductor in this world becomes an image of the waiter.
As a waiter worries about the trip: "Well, how? Do you think the day? How many are we left there? .. Motorcycle on my go. Order ... Vitya, and the boat should be squeezed. You would write chrome ... Vitya! " And in the end, the dream is simply turning into a utopia, which it seems to come true.
Vampilova E. Streltsova Theater calls the "Theater of the Word, in which the author who was incomprehensible, could be able to combine unsecast." The extraordination, and sometimes the comicness of some situations unites with the memories with close and expensive hearts.
Its dramaturgy included new images of characters, a kind of conflict, strange and unusual events. And according to symbolic subjects, you can recreate a separate picture, which will become more brighter to shade the actions and behavior of the main character. A peculiar open finale characteristic of his other places gives hope that Zilov can find its place not only in their memories within the room.
Alexander Valentinovich Vampilov (August 19, 1937, Kutulik, Irkutsk region - August 17, 1972, Port Baikal) - Soviet playwright.
During the literary work, A. Vampilov written about 70 stories, scenes, essays, articles and fechens. In 1962, A. Vampilov writes a single acting play "Twenty minutes with an angel." In 1963, a single-acting comedy "House windows in the field" is written. In 1964, the first big play was written during her studies - the comedy "Farewell in June" (the playwright returned to work repeatedly: four options are known). In 1965, A. Vampilov writes a comedy "Senior Son" (the first name "suburb"). In 1968, the playwright finishes the play "Duck Hunting". In early 1971, A. Vampilov completes the work on the drama "last summer in Chulimsk" (the first name "Valentina").
"The case, trifle, the coincidence is sometimes becoming the most dramatic moments in a person's life," - Vampilov developed this thought in his plays. A. Vampilova deeply worried moral problems. His works are written in life material. Awakening of conscience, upbringing of sense of justice, good and mercy - these are the main motiveshis plays.
Type of time hero -cranks, strange people, strange women carrying a holiday (Valentine in the play "Last summer in Chulimsk".
Sound. There are no music series - there is an interesting speech of the characters. The case is an accidental circumstance of episodes, the case is a test for heroes. The identity of the hero is manifested through the episodes dramatically and tragic.
During his studies, I wrote a comedy fair (dr. Title Farewell to June, 1964), which received a high assessment of A. Arbuzova's playwrights and V. Rasov. Vampilova's own theme is audible as an allegation. She has not yet gained strength, only teets through the plot of the "student comedy", then too intricate, then too simple, in the style of the faculty cabbage. There are still a lot of spectacular positions, they are sketched generously and inaudible. Upset wedding, failed duel, hero, serving fifteen days at compulsory work ... The author still does not quite believe that it can keep our attention with an essay nature. And the character is already presented, his topic is declared the fate of young wheels.
Golden seemingly a completely introductory comic face, but in the idea of \u200b\u200bthe play most important. Violating all laws of the genre, he pronounces a monologue for three pages. This monologue is about the misfortune of an old bribe who narrowed on an honest person. He can't believe in any way that she did not take that bribe, "everyone takes, it is important not to miss in the suggested price. Goldovyev is offended, indifferent to his showful honesty and, even the last period, is sure that it was caught in question: it means little given.
But what's the right of the Golden Pensioner, when we are interested in a bombing brave, honest and charming guy of spikes? In the wheel, the boiling forces of young, non-hazardous mischief, but actually it is excellent small and when it is embroodble from the institute, most of the guys on his side.
The trouble comes to the young hero from another sides: when you need to do the first serious life choice. There is no door to the alkalis, the case is serious: Institute or Love?
Mixing over the Goldovyev, the wheels himself does not notice how it goes into his faith: everything is sold and bought, the price and purpose is important. Throw a favorite girl how her father demands, and is hard and fell. But if the diploma is burning? If fate on the horse? The wheel was inherent in everything that is characteristic of a good, honest young man: next to enthusiasm and across it is a skeptical posture, next to the romance of the soul of distrust of the phrase, an educational naughty, moralifications, which eternally bored elders. Hence, probably, mischief, younger. Hence the demonstrative practicality, rational rationalism, a bit ridiculous and even innocent at a young age, but imperceptibly, like Kolovov, justifies the first transactions with conscience.
In the wheel, he shines the negative, which will be the essence of Victor in the "duck hunt". Turning the wheel - the wheel, gives a girl for the sake of a diploma, scientific work. Can ride there and there. Zilov in the "duck hunt" - ZIL truck, goes on destinies. Between these heroes of 20 years, the winner of the student became an egoist and scoundrel. 3 plots in the "farewell in June" - wheels and Tanya, a student wedding and mono drama - a man who measures everything for money.
In 1967, Vampilov wrote a play Senior Son and Duck HuntingIn which the tragic component of his dramaturgy fully embodied. In the comedy, the eldest son, as part of the masterfully written by intrigue (deception with two buddies, Busygin and Silva, the Sarafanov family), was discussed on the eternal values \u200b\u200bof being - the continuity of generations, the breakdown of spiritual ties, love and forgive each other's close people. In this play begins to sound the "Theme-Metaphor" Piez Vampilova: the topic of the house as a symbol of the universe. The playwright itself, who lost his father in early childhood, perceived the attitude of the father and the son especially painfully and sharply.
The first plan is not love stories, but the relationship between the Father and Son, although they are not blood relatives. Remembered the return of the prodigal son from the Bible . The topic go crazy or not to go - They all go crazy from feelings. All this develops into loving relationships.
Fabul Pieces "Senior Son" is easy. The name of the "Senior Son" play is the most successful, since her protagonist - Volodya Busygin - it was quite acquitted by the assumed role. He helped Nina and Vassenka to understand how much means a father for them, raising both without a mother who threw the family. In all, the soft character of the head of the Sarafan family is manifested. He all takes close to the heart: it is as happy before the children of his position, hides that he left the theater, recognizes the "Senior Son", tries to calm the Vassenka, to understand Nina. It is impossible to call him a loser, since the sundresses have surrendered into the most peak of the soul crisis, while others have broken. Unlike a neighbor, who who had abandoned Besygin and Silve, would give the guys, even if they did not invenate this story with the "eldest son." But the most important thing - Sarafanov values \u200b\u200bwith their children and loves them. Children in relation to the father of the worm.
Silva, like Volodya, in essence, too, the orphan: with living parents he was brought up in the boarding school. Apparently, the dislike of the father affected his character. Silva told Volodya about how his father "rushed" him: "On, he says, you have the last twenty rubles, go to the Kabak, drove, drive a row, but such a makeup so that I don't see you a year or two." Vampilov did not accidentally make the origins of the fate of heroes like. By this he wanted to emphasize how his own choice of man, independent of the circumstances, is important. Unlike the Syarota of Volodya, Sirota Silva - cheerful, resourceful, but cynical. Genuine his face opens when he "exposes" by Volodya, saying that he is not a son and not brother, but a recidivist. Nina's bridegroom - Mikhail Kudimov - impenetrable man. Such people are found in life, but they will not immediately understand. "Smiling. He further smiles a lot. Good-natured, "says Vampil about him. In fact, it is more expensive to him the whole word that he gave himself for all occasions. It is indifferent to people. This character takes a slight place in the play, however, it is a pronounced type of "right" people who create a suffocating atmosphere around themselves. Natasha Makarskaya involved in family intrigue is shown by decent, but unfortunate and lonely person. Vampilov deeply reveals the theme of loneliness, which can bring a person to despair. In the image of Sarafanov's neighbor, the type of cautious man, the average man, which is only afraid ("looks at them with caution, suspected," "is removed silently and fearful") and nothing interferes. Problems and the main idea of \u200b\u200bthe play are declared in the very name of a dramatic work.. The author did not accidentally replace the title name "suburb" on the "Senior Son". The main thing is not where events occur, but who participates in them. To be able to think, understand each other, maintain in difficult moments, to show mercy - here is the main idea of \u200b\u200bthe play of Alexander Vampilov. The author does not define the genre of the play. Along with comic in the play, a lot of dramatic moments, especially in the subtext, Sarafanov's statements, Silva, Makarskaya.
Piece "Duck Hunting" Written Vampilov in 1968. Researchers note that "duck hunting" is the same bitter, the most irreparable play of Vampilov. " As critics indicate, Alexander Vampilov "managed to fell sensitively and pass the loss on the everyday bustle of the feeling of kindness, confidence, mutual understanding, spiritual kinship." "It is necessary to write about what is not sleeping at night," said Vampilov. "Duck hunting" - personally experienced, felt, exhausted. The action of the "Duck Hunting" play occurs in the late 60s. Before the eyes of the reader - the city apartment of the main acting person, Zilova. Through the play, the memories of the hero paint us separate episodes of his life. Zylov "About thirty years old, as noted in the remark the author. Despite the young age of the hero, feel his spiritual decline, the lack of moral and heartfelt forces. Vampilov indicates that "and in gait, and in gestures, and in a conversation, he has some uncertainty and boredom, the origin of which is impossible to determine at first glance." In the course of the play, the reader learns that the external well-being and physical health of Zilova is visibility. The hero destroys something from the inside. Some force that took over the top. This force is the life itself from which Zilov does not want to fight. He does not live - I am out of myself. At some point, fate absorbed Zilov, the ordinary and routine of life became the norm, moreover, the habit, the second nature. The topic of "breaking yourself", the spiritual decline of the leitmotif passes through all the action of the play. Mourning music, funeral wreath, phrase "life, in essence, lost" - characteristic details accompanying the development of action. The worst thing is that Zilov has long been completed with his fall. "Throw, an old man," he says Sayapina, "nothing will be different ... However, I could still do something. But I do not want. I have no desire. " This phrase is "desires do not have" - \u200b\u200bthe personification of the entire inner and external life of the hero: his relationship with his wife, women, friends, colleagues, himself. Zilov voluntarily surrendered. It enters the vicious circle, where the only action is escaping from himself. Zilova is surrounded by people with whom he can communicate without any effort is a heart-minded, mental. Probably, the hero came to such existence after a terrible shock. Researchers noted that "... by the shoulders Zilova<…> Undoubted disappointment, spiritual layer, as a result of which he is ready to stop believing in good, decency, vocation, work, love, conscience. He turns into a cynic, having survived the inner catastrophe. The suffering is opposed to indifference and denial. "Cynicism from suffering? ... Have you ever thought about it?" . However, it is cynicism that allows Zilov to conscious, mean, to determine. Still, he does not live in the world of illusions. As the contemporary of Alexander Vampilova, the writer Sergey Dovlatov, "Zinizism assumes the presence of common ideals." Of course, the ideals of Zilova were. But they could not stand the coarse touch of reality when "a stormy life turned into a mischievous prose." Self the image of the desired duck hunt Decided by romantic, idyllic painting. For Zilova, duck hunting is non-existence, silence on the hunt - "Silence of eternal oblivion, a little of almost otherworldly": "You know what silence is it? You are not there, do you understand? Not. You have not born yet. And nothing. And it was not. And there will be no. " To break out of the gloomy circle you need an action. Not scenery, not preparation for action, but - action. In the spiritual despair of Zilov tries to commit suicide. But this one act is a game with himself, a gloomy irony, Identka: "Speaking at the chair, the gun put on the floor, snapped into the trunks. Trimmed to the smoke one hand, tried another. He put the chair, sat down, the gun arranged so that it was the trunks in his chest, butt on the table. He grazed the gun, pulled his boot with his right leg, took off his sock, again arranged a gun between the breast and the table. Pretty her legs groped the trigger ... ". In our opinion, pieces of "Duck Hunting" You can determine the words of one of the contemporaries of Alexander Vampilov - Writer Valentina Rasputin: "The main question that is constantly will be vampilov: Do you have a person, a person? Will you be able to overcome all the false and unkind ... ". "Duck hunting" - the tragic culmination of the main theme of the theater of Alexander Vampilova: "Will a live soul will overcome the routine of life?" . And maybe, Zilova is not still lost. Maybe the hero will open the second breathing and he will see that "the rain outside the window passed, the strip of the sky will light up, and the roof of the neighboring house is lit by the inappropriate bold sun." Maybe Zilova's words "I am ready. Yes, now I go out "- the present action, the beginning of a new life. Without a doubt, Alexander Vampilov had a rare gift - the gift of a dramatic writer. His creativity is alive; The sense of measure, talent, considerable share of genius - distinctive signs of Vampil's drama. In the play "Duck Hunting" there is no place to be wrong. That is why it reads freely and at the same time draws the thought in the depths of human being. The author managed to turn the dialogical speech of the actors in the "sparkling, assertive stream." The truthfulness and gift of human sensitivity is that it ensures the work of Alexander Vampilov with nothing with anything that is not comparable.
In drama Last summer in Chulimsk (1972) Vampilov created his best female image-young workers of provincial tea valentines. This woman sought to preserve the "soul I live" with the same perseverance, with what throughout the play I was trying to preserve the parisade, which and the case was pulled out indifferent people.
Almost all heroes Vampilov Young and careless. They are easy to go through life, making their wonderful nonsense. But the day comes when it becomes clear that carelessness is just a game, a shield covering the vane core of the soul. The day comes when they have to show their true "I", to make a choice from which their further fate will depend largely. It is said that we all live for some major lifestyle, when you have to pour out your life bag all that we put in it to choose something most important thing - what will help us in a difficult situation do not break but become stronger. However, for the author, the hero is not the one who does not stumble, but the one who finds the strength to rise and go on.
In general, the peculiarity of Vampilova's Pieces is that he does not endure his heroes of the last sentence. The author prefers to put a lot. We see such a finale in the last play of the author "last summer in Chulimsk". This play is rightly called the "Chekhov" play of the author, from which it is impossible to remove even the comma. The symbol of this play is the fence of the palication - is for the heroes of the play by the indicator on humanity. Most of them continuously destroy the gate, sincerely not understanding, why Valentine persistently continues to repair it ("the people walk across and will walk").
Alexander Vampilova has the fate of the usual Soviet man, and thoughts, actions and creativity seems to be from another era. Friends called him a "rope". All his life, he balancing on the verge of ordinary and risky, looking for his special way and never pretended. Today it is called the latest Russian world-class playwright. We know this writer as the author of famous plays and stories, although he never managed to write their main work. An unexpected tragedy did not allow this talented person in life to know well-deserved success and recognition.
Biography
The future writer Alexander Vampilov was born on August 19, 1937 in the Irkutsk region. His family consisted of representatives of different peoples: Mom - Russian, Dad - Buryat, very intelligent and educated person, graduated with honors from the university, knew several languages, and later he was appointed director of school in the village of Kutulik, he also worked as a teacher and his wife. . Little Sasha has become a fourth child for them.
However, harsh reality soon intervened, a few months after the birth of the Son, Senior Vampilov accused almost the state treason. The sentence in such cases is one - execution. And now the big family had to live only on the small salary of the mother.
Father rehabilitated after 19 years, but for a long time children had to live under the oblique glances of others, because they were relatives of the enemy of the people. Perhaps it is these heavy events of childhood who hardered a young man, helped him clearly see the goal in life.
After graduating from school, Alexander Vampilov is trying to enter the University of Irkutsk at the Faculty of Historical and Philology. It is obtained only for the second year. It is here that he starts his way as a playwright and writer.
The beginning of literary activities
The atmosphere of the university has facilitated to creativity, Valentin Rasputin studied for the course of older. Vampilov did not become an excellent party, and, in general, never was distinguished by learning, preferring to do only what he was wondering, that is, writing.
Very soon, natural charm and a living mind helped rally around the same young and hot guys wishing to compose. Sometimes their fantasy did not know the limit, so in one of the trips to the collective farm they invented portray the actions with famous paintings and shoot it on the camera, these photos are available now.
Friends celebrated his excellent musical hearing, but in the third year Vampilov Alexander Valentinovich understands his true passion - writing. At first, the desire to write was irreparable, he did not stop working even at lectures and at night.
In 1958, the young author decides to publish his first satirical story "Costed Circumstation" (after three years, his only lifetime book will also be called) in the student journal Irkutsk University, Soviet youth and Leninsky Covenants. Vampilov did not subscribe to his real name, and invented the pseudonym - A. Sanin.
Work in the journal
Student in the fifth year, he becomes an employee of the "Soviet youth" newspaper popular in Irkutsk. To get there, and even a student, it was very difficult, but the management of the publication was already familiar with the work of a young writer, because he took him as a correspondent.
Working in the newspaper, Alexander Vampilov was able to learn a lot, learn how to ride people, experiment with some journalistic genres. He was entrusted to cover important regional events, such as: the construction of cities or brotherly hydroelectric power plants. From the very beginning of its article, they differed apart from other publications. He preferably chose a fellow or essay genre, which allowed Vampil to avoid beaten phrases and installed structures. Everyone his report was already a full story, only with real, and not fictional heroes.
Readers of "Soviet youth" are quickly noticing and allocate a talented young man among other correspondents. Understand the value of the employee and editors, because after receiving a diploma of the Irkutsk University in 1960, Alexander Valentinovich remains to work in the newspaper.
"Creative union of young"
The team of the publisher establishes a special creative atmosphere, the creator of which Vampils can not be considered as a latter. Beginners often gathered, discussed books, shared their impressions, under the auspices of the Writers' Union, they create Tom (creative union of young). Successful meetings with readers and students, for Alexander Valentinovich work in the "Soviet youth" became an excellent school of life.
Because of the special atmosphere of a friendship, youthful zador and talent, the regional newspaper was very popular among the population of the Irkutsk region.
He perfectly showed himself as a leader and mentor, despite frequent business trips, always found time to help his comrades. Already after two years of work, Alexander Vampilov was aimed at the highest training courses for journalists to Moscow, where he studied for several months. It is at this time that he tries himself to writing plays.
Care and journalism
Alexander Vampilov - Dramaturgome did not appear immediately. Until 1964, in addition to working in the newspaper, it was mostly occupied by stories, satirical essays. Later, criticism will be ashamed in his fate, the repetition of the Great A. P. Chekhov, that one also started with prose.
His colleagues had already understood that sooner or later Vampilov will leave journalism, he was already closely in Irkutsk. Much has changed in the early 60s, when the writer begins to actively participate in the seminars of authors - single-acting. The first works in this genre were the "Vorona Grove" and "One hundred rubles with new money."
Alexander Vampilov, whose plays and are now put in many Russian theaters, did not immediately decide on the final gap with journalism. According to his own words, sometimes talent is not important, it is important to make a decision to change the life, and have the courage to fulfill it to the end.
It succeeds in 1964, then his play "House windows in the field" was first published in the journal. But the path to theaters was still closed, because without special connections to put on stage their work in Moscow almost impossible.
The first performances in the theater deserved success
Everything has changed in 1965, when Alexander Valentinovich in the All-Union Writer Seminar in Chita was adopted in the Union of Writers, he was chosen from thirteen candidates.
Membership in the most influential cultural organization of Soviet Russia allowed Vampilov to make new useful dating, especially since he was now recognized as one of the best authors in the country.
In the same year, he closely converges with Alexey Arbuzov, influential Moscow's playwright. It is with his help Vampilov for the first time to show his creativity on stage. True, it was not possible to make a production in the capital, the premiere of the play "Farewell in June" with great success was held in Lithuania, the Drama Theater of Klaipeda.
Other famous plays, such as the "Senior Son" and "Duck Hunting" were excellent. The viewer immediately loved simple, some folk heroes. However, all this success accompanied the playwright only in the province, Moscow directors still did not want to put his plays, because of what Vampil was very worried, because he knew the price to his talent.
Only in 1970, the premiere of the "Elder Son" took place in Leningrad, the deculations of the other works on the scenes of the well-known Soviet theaters did not see. About Alexandra Vampilov in full voice spoke only after his death, - a familiar story for Russian talents.
Features of creativity
The first years of their literary activity, the future playwright wrote prose. For him, it was a stage of maturation as a talented author of the play, a peculiar pen test. In total, they were written about sixty ones, humorous, fechens, essays, most during his work in the Irkutsk University newspaper.
Alexander Vampilov, whose stories did not receive the same fame as the plays, in the initial stage studied to understand reality, transform her to words and ideas. In these stories, the naiveness of the views, an impermanent choice of topics, etc., is still visible. But here it is already formed by its special style, an unusual satire, smart, with subtext. Some famous characters appear, such as Jacob Andreevich Black, the hero of the play "last summer in Chulimsk". Alexander Vampilov will write it in 1972.
During work, the author is formed by its special manner of transmission of the idea of \u200b\u200bthe work. In essays and fechens, he writes about ordinary people, ordinary situations, but when reading together with household problems, the eternal issues of humanity are inconspicuously. It will be especially noticeable in another work that Alexander Vampilov wrote. "Senior Son", in addition to foreign history about young chalks, who deceived a simple old musician, contains an idea about the problems of the relationship of fathers and children.
Features of drama
Critics, studying the work of Vampilov, noted that his plays are more about the comedy genre, somewhat even waterville. It's amazing that both funny, and sadly presented by the author unobtrusively, easily, and the endings of the productions never preach any morality. Vampilov always tried to avoid it, preferring to leave the viewer to decide who is good or bad.
Of the five of his famous plays, many and sowing the day are in theaters, some are fused. Already at the time of creative maturity, they were written "Duck hunting". Alexander Vampilov here already feels a full-fledged artist, it has reflected all his achievements as a word masters and as a person, much realized in this world. Action, the plot and even the story, the basis of the play - everything is connected with the native Irkutsk edge. But at the same time, the author could show well-known life realities.
"Last summer in Chulimsk" Alexander Vampilov wrote from 1970 to 1971. In fact, she became the last major creation. It was a difficult period, he is already a well-known playwright on which they press as external circumstances, these are negotiations with theaters, disputes with directors. Vampilova made in the inner struggle, which arose after "duck hunting", the playwright considered it too incomprehensible, and even called his creative defeat.
Therefore, he tried a new play to make usual and intelligible, much in the ideas of the "last summer in Chulimsk" opposes the previous work. If there was some kind of mystery of characters in the first one, the viewer himself was thinking the image itself, then in the latter the problem of the main character is due to social conflicts.
Unusual personality
A year later, a two-sterlene film "Senior Son" appears on the plays of the same name Vampilov. The movie became unusually popular in the country and quickly divided quotes.
Last work on television based on his work "Duck hunting" was the drama of Alexander Pekhin "Paradise Kushchi". The director was able to convey all the pain and nerve of Vampilov's ideas in modern reality.
Memory
After death, the writer received deserved glory and recognition. In the theaters of the Native Irkutsk, who never put his plays during the lifetime of the playwright, now walked premieres for the premieres. Since 1987, festivals dedicated to the writer are held annually. And Irkutsky Tyuza was named in his honor.
On the shore of Baikal, not far from the place of death, a monument to Alexander Vampilov was installed, and a steamer named the famous playwright. In 2012, a cultural center was opened in the same Irkutsk administration, in which anyone can familiarize themselves with the books and personal beliefs of the writer.
The contribution of it to Russian literature is invaluable. All researchers unanimously converge in the opinion that over time, an excellent novel could come out from under his pen. But like many Russian genius, Alexander Vampilov died very early, leaving the descendants only five plays.
dramaticria of Vampilov Genre Piece
For the "duck hunt" (1967), from the very beginning, the reputation of the most mysterious and complex play A.V. Vampilova, including at the level of determining the genre of the work. In numerous research works dedicated to the "duck hunt", there are quite a variety of interpretations of its genre basics: farce, phantasmagoria, tragicomedia, psychological drama.
In the preceding "duck hunt", the Pieces of Vampilov appeared before the reading and theatrical public, first of all, a comedy author, somewhere in a water-walked cheerful and ironic, somewhere truly witty and mocking, somewhere lyrical and soft. "In the" duck hunt ", the tonality of the story and in general the sound of the play becomes serious." Duck hunting "is built as a chain of Zilova's memories", ї rightly considers M.B. Bychkov.
Consistently supplied, but scattered memorable episodes from the last life of the hero represent not only the reader and the viewer, but also the story itself the story of his moral fall. Thanks to this, from the very first episode, the play in front of us unfolds a real drama of human life built on deception. Zilova's life drama is gradually moving into a tragedy of loneliness: indifference or feigned participation of buddies, the loss of feelings of sons of attachment, the shower of the sincere feeling of the girls in love with his wife, wife's care ... Obviously the signs of tragicomedia in the play (Zilov's conversation with Galina at the time of her departure; Friends; preparation of Zilova to suicide). However, the leading techniques for the construction of a play that create the genre focus of the work are techniques of psychological drama. For example, there is a fact that the hero A.V. Vampilova is shown at the time of an acute spiritual crisis, shown from the inside, with all his experiences and problems, almost ruthlessly turned inside out, psychologically naked. The focus of the playwright is the content of the moral world of his contemporary, while there is no determination of the hero as a bad or good, it is internally complicated, ambiguous. Complicated, according to E. Gushanskaya, "Morning" final "duck hunt": a play could be over the main finals twice: when Zilov put a rifle to his chest or divided the property with Sayapin (then it would be more suitable for the canons of tragicomedy). The main finale of the play is open and resolved in the traditions of the psychological drama.
Piez A.V. Vampilova "Duck hunt" is customary to be considered as a socio-psychological drama (less often as tragicomed with elements of the production conflict, farce and melodramatic inserts), in which the playwright will revise the problematic of its early works.
In the first two multi-acting plays ("Farewell in June", the "eldest son") of the playwright was interested in the alignment of the forces when identifying a hidden under the social mask of the person's subjectivity in a situation generated by unique manifestations of omnipotent life. "Under them was understood by the intention of the circumstances, which is an echo of the multiserity and diversity of life, and a happy or unlucky case as the form of its single willing."
According to E.V. Tymoshchuk, "The problems of the plays were born at the intersection of the relative constancy, internal orderliness, the regularity of reproduction of household conditions, shown not from the real, and the social and effective side, the subjectivity of a person, seeking self-determination and reality, and existence as a kind of good God, which is capable of bringing Life in motion. "
Such dramaturgical tasks were convenient to solve within the framework of the comedy genre: for this, it was practically not required to retreat from its canonical structure. However, even with a small displacement of the accent from the outcome of the situation on the process of self-knowledge of the individual, a change in genre forms was required, which led to the revision of the disposition in the Vampilian Triad, a man - life (people) - being.
On the one hand, for the playwright, the infinity of the acts of self-knowledge act and the impossibility of its completion became obvious, on the other hand, social life in reality showed the limitations of its proposals to a person and was not able to satisfy his increasing need to find a general substantial meaning from which the sense of the individual would be detected .
"The favorable existence of the comedies was, in fact, not a reality of life, but the reality of literature - in this playwright was convinced of a personal example, trying to make his way to the reader and encounter constant resistance on his way." Life retreated from a person, offering him himself, risking everyone, to show activity, fight, without having objective reasons, effective methods and faith in the positive outcome of the struggle.
The complication of the painting of the world, an inexperienced actualization and self-confidence of the models of Being, applying to the explanation of the true causes of its existence and vector of development, the loneliness of a person in the world who lost interest to him, pushed Vampilov to the transition from the comedy elements to tragicomic, from the canonical diameters to her novelization ( Term M.M. Bakhtina).
It was expressed not only in the intentional incompleteness of the fate of the protagonist, immersed in the eternal present without the possibility of implementing any future, but also in the complex plot-composite structure of the play, previously uncharacteristic for Vampilov poetics.
"Duck hunting fabric" breaks into three reservoirs: the past Zilova, which is a chain of episodes, in a minor degree related to the plot and one to reveal as many aspects of the manifestation of his personality, the present hero in which he is deprived of the opportunity to act, and The ideas of the hero, tied to the moment of present and showing its capabilities as an interpreter. "
Vampilov freely connects parts of the text using the logic of memories generated by mental twisting the phone book. After the party in the cafe "Nozzility" (the name is symbolic: the inability to forget the past) Zilov receives a mourning wreath from friends.
The first episode of the idea of \u200b\u200bthe hero, scenicly labeled with music and dimming, shows which he sees the surroundings reaction to his own death, if she really happened: Solyapina's doubts in the truthfulness of rumors ("yes no, he joked, as usual"), confidence Kuzakov in the implementation The pessimistic version of the events ("Alas, this time everything is serious. More seriously has no way"), the ironic epitaph of faith ("He was Alik from Alikov"), the Kushaka's Hangestick ("Do not lead such behavior"), united in the mountain of Galina and Irina ("We will be friends with you") and the ominous role of the waiter who collects money on a wreath, making the fact of death socially irrefutable.
The described scene gives an idea of \u200b\u200bZylov as a psychologist and an interpreter of human nature: his assumptions about the possible behavior of the environment are accurate and plausible - this is confirmed by the future of the play.
In addition, in this fragment, the specifics of building a figurative play system (its concentration around the image of Zilova) and the dual definition of the subjectivity of the characters - through the identification of their relationship to Zylov (acceptance / rejection) and the characteristic of their positioning strategy, involving the following methods: Declarative applications: " Claws. Who knows ... If you figure it out, life, in essence, lost ... ".
According to M.B. Bychkova, in this case replication of a stable Chekhovsky motive "disappeared life".
In favor of this, the frequency of the appearance of the phrase in the text is also indicated, and its contextual environment (the nefple is said, not on time), and lexical design.
Vampilova, we are dealing with a passive design, in which the grammatical subject is distinguished, expressed lexically, and a logical subject, hidden, but easily restored by the context - the life of [We] (accusing modus). For the heroes of "duck hunt", a partial awareness of his own role in the formation of fate, begun, but not communicated to the end, and therefore incomplete recognition of responsibility for life.
Complexes of statements and actions aimed at creating and maintaining a socially approved image: "Kushak.<…>I am not a KHANZHA, but I must tell you that he behaved very ... mm ... imprudent. "The image of the cut is more degree than all other, satirious. The comic mask of influential, but burded to the face is presented here in almost all Your basic qualities.
There is no tragic acid displacement of emphasis (hyperbolization of vice, laying monstrual traits), no dramatic complication of subjectivity.
In criticism of the 70-90s. There was a tendency to interpret the "duck hunt" first of all as a drama of losses, because the value ranks are consistently exposed in the play: the hero is aware of - or makes visible to awareness - what could be solid support in his life, but no longer has become. And yet the "duck hunt" is first of all the tragicomedy of the existence and self-valid awareness: its conflict is born there, where reality, taking the shape of a merciless objective mirror, provides a hero with the opportunity to look at himself from the part.
The vision of subjectivity as invariably stable, long and correctly understood essence, giving a hero confidence in its own forces, conflict in contradiction in the way that appears before him when it does not appear as a participant in the events, but as an eyewitness.
Not expressed verbel in the play Question "Is it really me?", Catastrophic discrepancy I am to myself and I-in fact, the unwillingness to be the existential conflict, which involves two ways to resolve: the destruction of an undesirable "I" by physical elimination (suicide) or by transformation. "
Zilov successively tries both. Open Final Plays does not leave us opportunities for an unequivocal statement about the Transfiguration of Zilova: Vampilov did not want categorical certainty. The consciousness of the hero, burdened by the cargo of dramatic guilt, which involved the ability to reflect the reflection, turned into a life, similar to the consciousness of the reader and the author. Subjectivity is not the limit, it is capable of changes.
Speaking about the play and about Zylov: "I understand this?" - Vampilov, apparently, wanted not only to indicate the limitations of the vulgar sociological interpretations of the play, but also to declare her as a drama of self-sufficiency, in which the hero, the reader and the author are equal.
The Vampilova Theater is an open, unfinished system, in which three dramatic nodes are distinctly distinguished: plays dedicated to the problem of existence, in the center of which is standing by the individuality of the individuality ("Farewell to June", "duck hunting"); The plays in which the object of the image is the either collapsed utopia ("Senior Son", "Last Summer in Chulimsk"); Pieces, drawing deformed, "Inverted" world ("provincial anecdotes", this line was, in all evidence, continue to continue with the "incomparable tips", the work on which was interrupted by the death of the playwright).
In the creative system A. Vampilov there is a dialogical tension between comedies, on the one hand, tragicomedia and drama, on the other: the first are positive arguments in favor of the opportunities of building the ideal strategy of existence in the world, and the second is negative.
Elements of other genres are included in the total comedy logic of the first first multi-acting plates as factors of expansion of the interpretational field: "Farewell in June" detects thematic proximity to the tragicomedy "Duck Hunt", "Senior Son" has waterville and melodramatic features that determine the latitude of the plan, its incorrectness Total schemes for building dramatic works.
Alexander Valentinovich Vampilov (August 19, 1937, Irkutsk Region, RSFSR, USSR - August 17, 1972, near Pos. Irkutsk Region, RSFSR, USSR) - Dramaturgome and Prose.
Encyclopedic certificate
Born in the teacher's family. Father, a rural teacher, in 1937 was insignificantly repressed and died, the mother continued to work, raising three children. Parents of the future writer lived in the district center Kutulik. Although often the place of birth A.V. The district center of Kutulik is called, in fact he was born in the hospital neighboring city of Cheremkhovo.
Since childhood, he was fond of music, played in the drama, engaged in sports. After graduating from school (1955), he entered the historical and philological faculty. The first stories, which were then the book "Circumstation" (1961), were published on the pages of the newspaper "" and Irkutsk University ". In 1960 he defended the diploma, his first book was published in 1964, in 1964 - the first one-acting play "House by windows in the field".
Already the first "full-length" play of Vampilova "Farewell to June" paid attention. She was still in the manuscript when she served as a reason for receiving Vampilov in the members of the Writers of the USSR, and a year later, published in the journal "Theater" (1966. No. 8), began its procession on the country's theatrical teams, was delivered in many European theaters. His play "", completed in 1965, during the life of Vampilov bypassed the whole world. The only city where the entrance was banned, the capital of our Motherland, Moscow. Three times the Theater named after Yermolova in different years passed the "older son" of the official commission, and three times the performance was not accepted (only six months after the death of Vampilov, the same commission allowed the "Senior Son" to formulation).
“This, from the very beginning, was made by a creative feature of A. Vampilov as a playwright - to take a person who apparently, at first glance, either ridiculous, unlucky, or frivolous, carefree, or almost sung out, having mastered her hand, and show how much human resources are actually He possesses"," Notes Literary critic A. Ovcharenko.
Talking about how two young people, late for the last train, are looking for overnight stays, Vampilov introduces their heroes to the house of the awaited musician Sarafanov.
“...According to the properties of his soul of sundresses, it cannot only dramatize the existence through everyday life, - wrote literary critic V. Lakshin. - He will certainly need to live a dream, at least a home myth, as if he works in Philharmonic or, and like a speaker, which will glorify it. Thanks to Busygin, Sarafanov begins to watch the truth in his eyes, realizes that without having configured a cherished dream, it is not necessary that the game on the clarinet is also needed by people. " And let the naive and slightly rid of Sarafanov, but he causes a sympathy that "does not want to cry out, to be covered with mold, dissolve in bustle”.
The earliest recordings of Vampilov, belonging to the play "Senior Son", date back to 1964: Name - "Peace in the House of Sarafanova", future characters: Sarafanov Alexey Nikolaevich - Colonel in retired, Emma - His daughter, Vasya - His Son, Nine-grader, Brojnin - Student on vacation, Kemerovo - typist, cleaning engineer.
Earlier, in the notebooks, Vampilov mentioned the names and characteristics of future characters other than the final version: Nikolay Zabrodin is a student on vacation, physicist (22), a bammer and fatalist (chobbed). Alexey Nikolaevich Sarafanov - Adjuster (50), Dobryak, Lovely, I understood everything and I have forgiven, a soft man. Loves work. Olenka Sarafanova - a girl who makes his scene. The sober, cold, but Mila, etc. Greta Komarovskaya is a woman who is waiting for the case. Topist engine. Vassenka Sarafanov is an infant, a beginner of Zabuldig, behind the first two courses. Yuri Chistyakov is an engineer, a man with Moscow registration, the groom Olenki.
The first version of the play was created in 1965 and published by passages called the "Groom" on May 20, 1965 in the newspaper "Soviet youth". In 1967, the play is called the "suburb" and in 1968 is printed in the Almana "Angara".
In 1970, Vampilov graduates with a play for the "Art" publishing house, where the "eldest son" came out with a separate publication.
The playwright Alexei Simusov retained a letter to Vampilov, in which he explains the actions of Busgin:
"... at the very beginning ... (when it seems to him that Sarafanov went to adultery) he (Busygin) and does not think about meeting him, he shies away from this meeting, and having met, he does not deceive Sarafanov just like that, of evil hooliganism, but rather , enters as a moralist in some way. Why not suffer about this (Father) (Father Busgin)? First, by deceiving Sarafanov, he all the time he is in this deception, and not only because - Nina, but also in front of Sarafanov, he is always remorse. Subsequently, when the position of the imaginary son is replaced by the position of his beloved brother - the central situation of the play, the deception of Busygin turns against him, he acquires a new meaning and, in my opinion, looks very harmless. "
Duck hunting (1967)
"Duck hunting" (1967) - the same bitter, the most irretrievable play of Vampilova, the most stunned in his work.
In the eyes of the main hero, the play Zilova - boredom and indifference to everything: to work, wife, friends, to life. As if, he immediately entered the old age of the soul, by passing maturity. It is not only wines, and his trouble is because he lost its meaning, justification of life. I would have lived, without thinking about anything like many others, but Zilov can not. And not finding for what to live, he loses himself, becomes a duty consumer. The energy of his soul as a result is spent on self-destruction.
“Vampilova blood occupied why people who entered into the lives of young, healthy, morally strong, far from those who have reached their fate are broken and dying. How to defeat the process of moral degradation, how to keep in beliefs honest and strong? Vampilov's answer turns us to themselves, to those inexhaustible reserves of the human soul, which is in every person - if only he would not stop believing, which can and should live decent"," V. Lakshin notes.
Last summer in Chulimsk (1972)
In 1972 A.V. Vampilov finishes work on the play "Last summer in Chulimsk".
“Together with Vampilov, sincerity and kindness came to the theater- wrote V. Urasputin. - Valentine's scene ("last summer in Chulimsk"), and involuntarily retreated everything in front of it all low and dirty ... Weak, unprotected and not able to defend themselves People, but see what persistent, what a complete inner conviction they have in The main and holy laws of human existence ...”.
The play was written in early 1971. The first option was created specifically for Moscow Academic Theater. Vl. MayakovskyHowever, it was not raised on the scene. One of the options of the play ended with Valentina's suicide.
Originally Vampilov called the "Valentine's" play, but the name had to be changed, because while the play was approved by censorship, the play was widely known by the Piece M. Roshchina " Valentin and Valentina", Written later. The name has been changed to the "Summer Red - June, July, August ..." in your first one-room A.V. Vampilov turned on the play under the working title "last summer in Chulimsk" - and after the death of the author it became final.
Opinion expert
Literary critic A. Ovcharenko:
"This was from the very beginning. A creative feature of A. Vampilova as a playwright- Take a person who apparent, at first glance, either ridiculous, unfortunate, or frivolous, carefree, or almost sung out, who fell on his hand, and show what human resources in fact he possesses. "