The history of the creation of a play "At the bottom" M. Gorky

The history of the creation and fate of the play "On the bottom"

The flourishing of the Russian drama XIX century. associated with the name of A. N. Ostrovsky. After his death, Criticism spoke about the decline of modern drama, but at the end of 90_h - early 1900_x. Dramatic art and his stage interpretation receive a new generally accepted takeoff. Dramaturgia Chekhov, creatively read by directors, founders of the Moscow Art Theater becomes the banner of the new theater. In essence, only from this time the director acquires great importance in the Russian theater.

The novelty of the director's interpretation of the play and the extraordinary for the old scene the actor's game brought a huge success and attracted the attention of young writers. M. Gorky wrote that not to love this theater "Impossible, not to work for him - a crime." Gorky's first plays were written for the Art Theater. The passion for work on the drama was so strong that the bitter for several years almost stopped writing prose. Theater for him is a tribune with which it may sound loudly a call for fighting with everything that leads to the enslavement of man; The writer treated the opportunity to use this tribune.

In his poetics, Gorky_dramaturg is close to Chekhov's poetics, but for his plays is characterized by other problems, other heroes, other perception of life - and his drama sounded in a new way. It is characteristic that the picky contemporaries almost did not pay attention to the typological relatives of the drama of the other writer. The first place was the individual Gorky principle.

The plays of Gorky is charged, challenge, protest. In contrast to Chekhov, which took place to disclose life conflicts with the help of halftones and subtext, the bitter resorted usually to nude pointedness, to the emphasized opposition of worldviews and public positions of heroes. These are plays_disis, plays of ideological confrontation.

One of these plays is "at the bottom." For the first time, she was printed by a separate book, under the title "At the bottom of life", the publishing house of Marchlevsky in Munich, without specifying the year, and under the title "At the bottom", the publisher of the "Knowledge" partnership, St. Petersburg. 1903. Munich edition went on sale at the end of December 1902, Petersburg - January 31, 1903. The demand for the book was unusually large: the entire circulation of the first Petersburg publication, in the amount of 40,000 copies, was divided within two weeks; By the end of 1903, more than 75,000 copies were sold - no literary work was used before that time.

The creative idea of \u200b\u200bthe play "At the bottom" refers to the very beginning of 1900. In the spring of this year, in Crimea, M. Gorky told K.S. Stanislavsky content of the conceived play. "In the first edition, the main role was the role of a lacquer from a good house, which most of all Berg's collar from a fraction shirt is the only thing that connected him with his previous life. At night, it was closely, the inhabitants swore her, the atmosphere was poisoned by hatred. The second act ended with a sudden bypass by the police. If you guide this, the entire anthill began to dig in, hurried to hide the loot; And in the third act, spring, the sun, nature came to life, the nightfit came with the windy atmosphere, went to clean air, for earthworks, they sang songs and under the sun, in the fresh air, forgot about hatred to each other, "recalled Stanislavsky.

In mid-October 1901, Gorky told K.P.Pyatnitsky, the founder and head of the "Knowledge" partnership, that they were conceived by the "Drama cycle" from four plays, each of which will be devoted to the image of a certain layer of Russian society. About the last one in the letter is said: "Another one: Bosyaki. Tatar, Jew, actor, hostess of a night house, thieves, detective, prostitutes. It will be scary. I already have ready-made plans, I see faces, figures, I hear the voices, speeches, the motives of actions are clear, everything is clear! .. ".

Writing "at the bottom" M. Gorky began at the end of 1901, in the Crimea. In the memoirs of L.N. Tolstom M. Gorky, it tells that he read in Crimea written parts of the play by L. Tolstoy.

In Arzamas, where M. Gorky arrived on May 5, 1902, he continued to work on the play. On June 15, the play was finished and the white manuscript was sent to St. Petersburg, K.P.Pyatnitsky. Having received supervisory copies from St. Petersburg, along with the manuscript, M.Gorky corrected the text of the play and a number of significant additions were made to it. On July 25, one copy of the play was again sent to St. Petersburg, to the Publishing House "Knowledge". Another instance of M. Gorky sent A.P.hehhov. After that, the drama never exposed to copyright.

Title in the process of work on the play changed several times. In the manuscript, she was called "without the Sun", "Overnight", "bottom", "at the bottom of life." The last title was preserved even in white-based machinery, a strained author, and in the printed Munich edition. The final title is "at the bottom" - for the first time appeared only at the posters of the Moscow Art Theater.

The layout of the play on the stage of Russian theaters met big obstacles on the part of theatrical censorship. First, the play was categorically prohibited. To destroy or at least weaken the revolutionary orientation of the play, the theatrical censorship made big bills in the play and some changes.

For the first time, the play was delivered on stage on July 18/3 of 1902 by the artistic theater in Moscow. The Art Theater has created a performance of a huge impressive strength, a performance that has the basis for numerous copies in the production of other theaters of both Russians and foreign ones. The play "At the bottom" was translated into many foreign languages \u200b\u200band, since 1903, the scenes of all major cities in the world went with great success. In Sofia, in 1903, the performance caused a stormy outdoor demonstration.

The Vyatki City Theater, Nizhny Novgorod Theater, St. Petersburg Theaters, Vasileostrovsky Theater, Rostov-on-Don theater, a new drama partnership in Kherson, and the actor actor - Meyerhold) were put on the play.

In the following years, the play was put on many provincial theaters and metropolitan theaters, among them: Ekaterinodar and Kharkov theaters (1910), a publicly available theater, Petrograd (1912), Moscow Military Theater (1918), People's Drama Theater in Petrozavodsk (1918), Kharkiv Rus . Drama (1936), Leningrad Drama Theater. Pushkin (1956).

In 1936, the play was shielded by French director J. Renohar (Baron - Zhuva, ash - Gaben).

Nowadays, the layout of the play "At the bottom" can be seen in many theaters: MCAT IMM. Gorky, Studio Studio Oleg Tabakov, Moscow Theater in the south-west, a small dramatic theater under the leadership of Lev Ehrenburg.

Piece "On the bottom" was written by M. Gorky in 1902. Gorky has always worried about the questions about a person, about love, about compassion. All these questions and make up the problem of humanism, which many of his works are permeated. One of the few writers, he showed all the poverty of life, her "bottom". In the play "At the bottom" he writes about those people who do not have the meaning of life. They do not live, but exist. The topic of Bosyakov is very close to bitter, as it was a time when he had to be watched with a kittombo behind his back. Gorky writes exactly a play, not a novel, not a poem, since it wants the meaning of this work to understand everything, including simple illiterate people. With his play, he wanted to draw people's attention to the low layers of society. The play "At the bottom" was written for the Moscow Art Theater. The censorship first banned the production of this play, but then, after processing, it was still allowed. She was confident in the full failure of the plays. But the play made a huge impression on the audience, caused a storm of ovations. On the viewer, with such force, it worked that for the first time on the scene, bosias are shown, they are shown with their mud, moral uncleanness. This play is deeply realistic. The uniqueness of the drama is that the most complex philosophical problems are discussed in it not masters of philosophical disputes, but "people of the street", uneducated or lowered, tone-speaking or not the "necessary" words. The conversation is conducted in the language of domestic communication, and sometimes - in the language of petty strokes, "kitchen" brahi, drunk whits.

According to the literary genre of the play "At the bottom" is a drama. The drama is characterized by the story and conflict of action. In my opinion, the work is clearly indicated two dramatic starts: Social and philosophical.

On the presence of social conflict Even her name - "on the bottom" says. Remarika placed at the beginning of the first action creates a dull picture of the night. "The basement similar to the cave. The ceiling is heavy, stone vaults, wrapped, with a collapsed plaster ... Everywhere in the wall. " The picture is not pleasant - dark, dirty, cold. Next, there are descriptions of residents of the leafy, more precisely, the descriptions of their occupations. What do they do? Nastya reads, Bubnov and ticks are busy with their work. It seems that they work reluctantly, from boredom, without enthusiasm. All of them are mild, miserable, the wretched creatures living in a dirty hole. Another type of people is present in the play: Kostylev, the maintenance of the night, his wife Vasilisa. In my opinion, the social conflict in the play is that the inhabitants of the night feel that they live "at the bottom" that they are tearing off from the world that they only exist. They all have a cherished goal (for example, the actor wants to return to the scene), there is a dream. They are looking for strength in themselves to withstand this ugly reality. And for Gorky, the desire for the better, to the beautiful - it is wonderful.

All these people are delivered to terrible conditions. They are sick, poorly dressed, often hungry. When they appear money, holidays are immediately arranged at the night. So they are trying to drown in themselves pain, forget, not remember their benchmarks of "former people."

I wonder how the author describes the classes of his heroes at the beginning of the play. Quashman continues to argued with a tick, the baron is habitually mocking on Nastya, Anna moans "Every God's Day ...". Everything continues, all this lasts not the first day. And people gradually cease to notice each other. By the way, the lack of a narrative principle is a distinctive feature of the drama. If you listen to the statements of these people, then it strikes what they all practically do not respond to the comments of others, they say everything at the same time. They are divided under one roof. The inhabitants of the night, in my opinion, are tired, tired of reality, which surrounds them. Bubnov no wonder says: "And the threads are rotten ...".

In such social conditions, these people are supplied, the essence of man is exposed. Bubnov notes: "Outside, neither paint yourself, all erased." Residents of the nights are becoming, as the author believes, "philosophers inevitable". Life makes them think over the universal concepts of conscience, labor, truth.

Two philosophies are most clearly opposed to the play.: Luke and Satina. Satin says: "What is true? .. The person is true! .. The truth is the God of a free man!" For a wanderer Luka such "truth" is unacceptable. He believes that a person must hear what it will be easier for him and calmer that it is possible for the good of a person. Interesting points of view and other inhabitants. For example, the tick believes: "... it is impossible to live ... here it is true! .. Be she is damned!"

Estimates onions and satin reality dramatically diverge. Luka makes a new spirit to the night - the spirit of hope. With his appearance, something comes to life - and people begin to talk more often about their dreams and plans. The actor lights up the idea to find a hospital and recover from alcoholism, Vaska ash is going to go to Siberia with Natasha. Luke is always ready to console and give hope. Wanderer believed that with reality it is necessary to reconcile and look at what is happening around calmly. Luka preaches the opportunity to "adapt" to life, not to notice her true difficulties and its own mistakes: "She, truth, - not always by fellow man ... not always the truth soul to cure ..."

Completely different philosophy of satin. He is ready to expose the vices of the surrounding reality. In his monologue, Satin says: "Man! It's great! It sounds ... proud! Human! We must respect a person! Do not regret ... not humiliate his pity ... I need to respect! " But respect, in my opinion, it is necessary for a person who works. And the inhabitants of the at night seem to feel that they have no chance of getting out of this poverty. Therefore, they are so drawn to the gentle bow. A wanderer is surprisingly exactly looking for something intimate in the consciousness of these people and deactivates these thoughts and hopes in bright, rainbow tones.

Unfortunately, in those conditions in which satin lives, ticks and other dwellers "bottom", such opposition to illusions and reality has a sad outcome. People awakens the question: how and what to live next? And at this point, Luka disappears ... He is not ready, and he does not want to answer this question.

Facing the truth fascinates the inhabitants of the night. Satin has the greatest maturity of judgments. Not a good "lies from pity", satin first rises to awareness of the need to improve the world.

Incompatibility of illusions and reality turns out to be very painful for these people. The actor ruins his life, Tatar refuses to pray to God ... Care from the life of the actor is a step of a person who failed to realize the true truth.

In the fourth action, the movement of the drama is determined: life awakens in the sleepy soul. People are capable of feeling, hearing each other, empathize.

Most likely, the collision of Satin and Luke views can not be called conflict. They go parallel. In my opinion, if you combine the implanting character of satin and pity for people Luke, then it would be that the most perfect person who can revive life at the night.

But there is no such person - and life remains at the night. Former externally. Inside there is some fracture - people begin to think more about the meaning and goal of life.

The play "At the bottom" as a dramatic product is inherent in conflicts, reflecting universal contradictions: contradictions in lifestyles in lifestyle.

The drama as a literary genre depicts a person in procureflict, but not hopeless situations. The conflicts of the plays are really not hopeless - after all (according to the author's plan) still defeats the active principle, attitude to the world.

M. Gorky, a writer who has an amazing talent, in the play "On the bottom" embodied the collision of various views on being and consciousness. Therefore, this play can be called the socio-philosophical drama.

In his works, M. Gorky often revealed not only the everyday life of people, but also occurring psychological processes in their consciousness. In the play "At the bottom", the writer showed that the neighborhood of people communicated to life in poverty with a preacher of the patient expectation of the "best person" necessarily leads to a fracture in the minds of people. In the nightnings M. Gorky captured the first, timid awakening of the human soul is the most beautiful for the writer.

The play "At the bottom" was manifested by the dramatic innovation of Maxim Gorky. Using the traditions of a classic drama inheritance, primarily Chekhovskaya, the writer creates a genre of socio-philosophical drama, producing his dramatic style with its pronounced characteristic features.

The specificity of the dramatic style of Gorky is associated with the preferential attention of the writer to the ideological side of a person's life. Every person's act, every word of his word reflects the features of his consciousness, which determines the aphoricity of the dialog characteristic for Gorky plays, always filled with philosophical meaning, and the originality of the general structure of his plays.

Gorky created a dramatic work of a new type. The feature of the play is that the driving force of dramatic action is the struggle of ideas. External plays events are determined by the attitude of the characters to the main issue of a person, the question around which is the dispute, the clash of the position. Therefore, the center of action in the play does not remain constant, it shifts all the time. There was a so-called "warmer" composition of the drama. The play is a cycle of small drams, which are interconnected by a single guide line of struggle - attitude to the idea of \u200b\u200bcomfort. In their plexus, these private dramas deploying in front of the viewer create exceptional voltage. The structural feature of the Gorky drama is to transfer an accent from the events of external action to comprehend the internal content of ideological struggle. Therefore, the plot is not at the last, fourth, act, and in the third. From the last act, the writer takes many persons, including onions, although it is with him the main line in the development of the plot. The last act was devoid of external events. But it was he who became the most significant content, not inferior to the first three in tension, for the results of the main philosophical dispute were made here.

Dramatic conflict play "On the bottom"

Most critics considered "at the bottom" as a static play as a series of sketches of life, internally not related scenes, as a naturalistic play, deprived of actions, the development of dramatic conflicts. In fact, in the play "At the bottom", deep inner dynamics, development ... The grip of replicas, actions, scenes is determined not by household or head motivations, but by deploying the socio-philosophical issues, the movement of them by the struggle. That subtext, then the underwater flow, which V. Meirirovich-Danchenko and K. Stanislavsky found in the plays of Chekhov, at Gorky in "at the bottom" acquires crucial meaning. " "Gorky depicts the consciousness of the people" bottom ". The plot unfolds not so much in external action as in the dialogues of the heroes. It is the conversations of the nightnamies that determine the development of a dramagic conflict

Amazing business: the more the nightnings want to hide from themselves the real state of affairs, the facts of others begin to catch with their own pleasure. They are given a special pleasure to torment their comrades in misfortune, trying to take away their last thing that they have, - illusion

What do we see? It turns out there is no one truth. And there are at least two truths - the truth of the "bottom" and the truth is the best in man. What truth is defeated in the play of Gorky? At first glance, the truth "bottom". No one from the night entrances there is no exit from this "impasse of being". No one from the characters of the play does not get better - only worse. Anna dies, the tick finally "descends" and leaves hope to break out of the night, Tatarar loses his hand, which means it also becomes unemployed, Natasha dies morally, and maybe physically, Vaska ash enters the prison, even the addition of Medvedev becomes one of the bedrooms . The surrounding house takes everyone and does not produce anyone, except for one person - a wanderer Luke, who has naught the unfortunate fairy tales and disappeared. The culmination of universal disappointment is the death of the actor, to which it was Luca who inspired a vain hope for recovery and normal life

"The comforters of this row are the smartest, knowledgeable and eloquent. They are why the most malicious. It was this comforter that there should be a bow in the play "On the bottom", but I, apparently, failed to make it like that. "At the bottom" - the play is outdated and, perhaps, even harmful in our days "(bitter, the 30s).

Images satin, Baron, Bubnova in the play "On the bottom"

The play of Gorky "on the bottom" was written in 1902 for the troupe of the Moscow Art Public Theater. Gorky for a long time could not pick up the exact name of the play. Initially, it was called "Overnight", then "without the sun" and, finally, "at the bottom." In the title already laid a lot of meaning. People who hit the bottom, will never rise to light, to a new life. The theme of humiliated and offended not Nova in Russian literature. Let us remember the heroes of Dostoevsky, who, too, have nowhere to go anymore. " Many similar features can be found from the heroes of Dostoevsky and Gorky: this is the same world of drunks, thieves, prostitutes and pimps. Only it is even more scary and realistic shown by bitter. In the play of Gorky, the audience for the first time they saw the world unfamiliar to them. Such severe, merciless truth about the life of social bases, did not know world dramaturgy about their irreversible participation. Under the arches of the Kostylevskaya, people were the people of different character and social status. Each of them is endowed with its individual features. Here and the working tick that dreams of honest labor, and ashes, thirsting to the right life, and the actor, all absorbed by the memories of his former glory, and Nastya, passionately to the big, real love. All of them are worthy of the best fate. The more tragic position is now. People living in this basement, similar to the cave, - the infirm victims of ugly and cruel orders, at which a person ceases to be a person and is doomed to carry a miserable existence. Gorky does not give a detailed presentation of the biographies of the heroes of the play, but also those few features that he reproduces, perfectly reveal the idea of \u200b\u200bthe author. In a few words, the tragedy of the vital fate of Anna is drawn. "I do not remember when I was fed," she says. "It was shaking over every piece of bread ... All my life was trembling ... I was tormented ... no matter how much more other than the other one ... all my life went to the bumps ... All my unfortunate life ... "The worker tick speaks of a hopeless one:" There is no work ... There is no strength ... That's the truth! Ribbons, there are no shelter! I need to frown ... That's true! " The inhabitants of the "bottom" have thrown out of life by virtue of the conditions reigning in society. The person is granted to himself. If he stumbled, embraced from the rut, he threatens the "bottom", inevitable moral, and often physical death. Anna dies, the actor cums with him, and the rest are exhausted, is worn up with life to the last degree. And even here, in this terrible world of rejected, wolf laws "bottom" continue to act. It causes a disgust of the figure of the Kostyleva attorney, one of the "owners of life", which is ready even from his unfortunate and disadvantaged guests to squeeze the last penny. It is equally disgusting and his wife Vasilisa his immorality. The terrible fate of the inhabitants of the night is becoming especially obvious if you compare it with what a person is called. Under the dark and sullen arches of a night house, among the miserable and crippled, unfortunate and homeless, the words about a person, about his vocation, about his strength and his beauty: "Man is true! Everything is in man, everything for a person! There is only a person, yet the rest is his hands and his brain! Man! This is great! It sounds proud! " Proud words about what a person should be and what could be, still sharply draw the same picture of the actual position of the person who draws a writer. And this contrast acquires a special meaning ... The Satina's slam monologue about a person sounds somewhat unnaturally in the atmosphere of the impenetrable darkness, especially after Luke gone, the actor hanged himself, was planted to jail Vaska ash. It felt the writer himself and explained it by the fact that there should be a resonant in the play (an expressant of the author's thoughts), but the heroes, whom Gorky portrayed, it is difficult to call the expressants of someone's ideas at all. Therefore, it puts his thoughts bitter in the mouth of Satina, the most freedom-loving and fair character.

The author began writing a play in Nizhny Novgorod, where, by observing the Gorky contemporary, Roshov, there was a better and more convenient place for a coating of any female people ... This explains the realism of the characters, their complete resemblance to the originals. Alexey Maksimovich Gorky explores the soul and the characters of Bosyakov from different positions, in various life situations, trying to understand who they have led so different people to the bottom of life. The author is trying to prove that the nightfits are ordinary people they dream of happiness, they know how to love, compassion, and most importantly think.

By the genre of the play on the bottom can be attributed to the philosophical, because of the mouth of the heroes we hear interesting conclusions, sometimes whole social theories. For example, the baron is comforted by the fact that there is nothing to wait ... I'm not waiting for anything! All already ... was! It's over! .. Or Bubnov I drank and glad!

But true talent for philosophizing is manifested in Satina, a former telegraph serving. He talks about good and evil, about conscience, about the purpose of man. Sometimes we feel that he is the author's mouthpiece, more in the play no one is so folding and cleverly to say. His phrase man sounds proudly! became a winged.

But Satin justifies these arguments. He is a peculiar ideologist, justifying its existence. Satin preachs contempt for moral values \u200b\u200bAnd where are the honor, the existence of the legs, instead of the boots do not wear any honor or conscience ... the audience is striking the gambler and Shuler, which argues about the truth, about the justice, the imperfection of the world, in which himself is an outrave.

But all these philosophical search for the hero is only a verbal duel with his antipode in the worldview, with Luka. Sober, sometimes the cruel realism of satin faces the soft and fitted speeches of the wanderer. Luka fills with dreams with dreams, calls them to patience. In this regard, he is a truly Russian man ready for compassion and humility. This type deeply loves bitter. Onion does not receive any benefit from what gives people hope, there is no self-causing. This is the need for his soul. The researcher of Maxim Gorky I. Novich so spoke about Luke ... he consotes not from love for this life and faith in the fact that she is good, but from the surrender before evil, reconciliation with him. For example, Luka assures Anna that a woman should tolerate her husband to be patient! All, honey, suffer.

Suddenly, appearing, just as suddenly, the bow and disappears, the opening of his opportunity in every residents. Heroes wondered about life, injustice, their hopeless fate.

Only Bubnov and Satin reconciled with their position of the night. Bubnov differs from Satina by what he thinks a man with a worthless creature, and therefore, a worthy of dirty life, people all live ... how sipping on the river floats ... build a house ... sinters away ...

Gorky shows that only people who stand firmly standing alive can be alive in augable and cruel world, who are aware of their positions that do not bear anything. The defenseless Baron, living last nights, living last, Nastya, replacing the life of fantasies, is dying in this world. Anna dies, superimposes the actor. He suddenly realizes the intact of his dreams, the unreality of its implementation. Vaska ash, dreaming of light life, is in prison.

Onion, regardless of his will, becomes the culprit of the death of these not bad people in the inhabitants of the night need not the promise, but. Specific steps that are not capable of onions. He disappears, rather runs, proving this inconsistency of his theory, sinners disappear over the dream of the dream of the righteous!

But satin, like Luke, is a million degree culprit the death of the actor. After all, breaking the dream of a hospital for alcoholics, satin tears the last thread of the hope of actor, connecting him with life.

Gorky wants to show that, relying only on his strength, a person can get out of the bottom of a person everything can ... if only she wanted. But such strong characters seeking to the will in the play are not.

In the work we see the tragedy of individuals, their physical and spiritual death. At the bottom, people lose their human dignity along with the names and names. Many spectrums have Crowch Curve, Tatar, an actor.

How does the bitter-humanist approaches the main problem, he recognizes all the insignificance of man, its lowland is interested, the author believes in people not only strong, but also honest, hardworking, diligent. Such a person in the play is the locksmith tick. He is the only inhabitant of the bottom, having a real chance of revival. Being by his workshop, the tick despises the rest of the night. But gradually, under the influence of Satina's speeches about the worthlessness of labor, he deprivates confidence, lowering his hands before fate. In this case, there is no dear onion, and the satin-tempter gave hope in man. It turns out that, having different views on life positions, satin and onions equally pushing people to death.

Creating realistic characters, bitter emphasizes household details, speaking in a brilliant artist. The sullen, coarse and primitive existence fills the play with something sinister, gone, strengthening the feeling of the irreality of what is happening. The surrounding house, which is lower than the level of land, devoid of sunlight, is like a spectator of hell, in which people die.

Horror causes the scene when the dying Anna talks to Luka. This last conversation is like confession. But the conversation interrupts the cries of drunk gamblers, sullen prison song. It becomes strange awareness of the strugnure of human life, neglecting it, because even in the death hour Anna does not give rest.

Copyright remarks help us fully present the heroes of the play. Brief and clear, they contain a description of the heroes, help us to discover some sides of their characters. In addition, a new, hidden meaning is guessing in the adjacent narrative of the narrative. Rows and I want to be in the will, yes, Eh! .. I can't break the chain ... show that the bottom chain keeps his inhabitants, and the nightnails can not break out of his hugs, no matter how hard they tried.

The play is over, but the main questions in what the truth of life and what a person should seek, bitter does not give an unequivocal answer, giving it to us. The final phrase of Satina Eh ... spoiled the song ... Fool is meaningful and makes you think. Who is a dust-seeking actor or Baron, who brought this time to this time, people change, but, unfortunately, the bottom of the bottom remains relevant and now. Because of the economic and political shocks, more and more people go to the bottom of life. Every day the rows are replenished. Do not think that these are losers. No, there are many smart, decent, honest people on the bottom. They seek to quickly leave this kingdom of darkness, act to live a full-fledged life again. But poverty dictates their conditions. And gradually a person loses all its best moral qualities, preferring to surrender to the will of the case.

The bitter play on the bottom wanted to prove that only in the struggle the essence of life. When a person loses hope, ceases to dream, he loses faith in the future.

Similar information.

The comedy "his people - to tear up" has its own well-defined composition. At the beginning of the comedy, we do not see the exposition: the author does not tell us a brief background of what will be discussed in the work.

Composition of comedy

The immediate start of the comedy is the tie: the reader sees a young girl with a sticky, who wishes insanely to become a married woman, and not without protest agrees to the candidacy proposed by his father - Clauser Podkhaluzin. In each comedy there is a so-called driving force, it is often the main character, which often covers the contaposition to most acting persons, or its active participation, contributes to the acute development of the storyline.

In the play "His people - to think" such status has a merchant of Bolshev, who, with the support of his relatives, came up with a financial adventure and implemented it into action. The most important part of the composition is the culmination in the comedy - the part of the work, where the actors experience the maximum radiation of emotions.

In this play, the culmination serves an episode in which the stickochka openly takes the side of her husband and says the Father that they will not pay a penny for his loans. The culmination follows the disconnement - the logical outcome of the events. In the junction, the authors summarize the entire comedy, expose all its essence.

The interchange "His people is to think" is the attempt of Podhaluzin to bargain with the lenders of the father of his wife. Some writers in order to achieve the maximum dramatic moment are promptly introduced into the comedy, a dumb final scene, which finally closes the action.

But Alexander Ostrovsky uses another reception - Podhaluzin remains faithful to its principles about the latter, promising instead of the creditor discount, not to determine it in the future of its own store.

Scenic fate play

Everyone knows that the plays, unlike other genres of literature, are transformed into another, no less important type of art - theater. However, not all plays have a scenic fate. There are many factors that contribute or impede the layout of the plays on theater frames. The main criterion that determines the viability of the play in the future is its relevance of topics covered by the author.

The play "His people - Holly" was created in 1849. However, for long eleven years, the royal censorship did not give permission to put it in the theater. For the first time, "his people - to think" was put by actors of the Voronezh Theater in 1860. In 1961, state censorship made his changes to the play and allowed its production at the theaters of the Empire in the edited version.

Such a revision has been preserved until the end of 1881. It should be noted that when the famous director A. Fedotov in 1872 allowed himself to be keen and put a play in the initial form in his folk theater, this theater was almost closed in a few days by decree of the emperor.

Baranova Lyudmila Nikolaevna, Russian language and literature teacher Moa "Secondary School No. 6 novotroitsky Orenburg Region "
Name of the subject:	literature
	Russian literature 20th century, grade 11, edited by V.P. Zhuravleva, 2005
	"At the bottom" as a socially - philosophical drama. The meaning of the name of the play. The innovation of Gorky - playwright. Scenic fate of the play.
	Give an initial idea of \u200b\u200bthe socio-philosophical drama as a genre of drama; introduce the meaning of the name of the play "At the bottom", with the stage fate of the play; reveal the innovation of bitter - playwright; develop the skill analysis of a dramatic work, improving the monologue speech of students; Skill of independent work and work in groups; Relieve respect for man.
	Identify the philosophical meaning of the name of the play of Gorky "at the bottom"; Find out the copyright of the transfer of the atmosphere of spiritual disagreement of people, disclosing the problem of imaginary and real overcoming the humiliating position, sleep and the awakening of the soul.
Lesson technical support:	PC, multimedia projector

Study! Melci! But be that

who should you be: a man!

Romain Rolland

Organizing time

Working with the epigraph to the lesson. Detection of lesson tasks (students themselves formulate lesson tasks).

The introductory word of the teacher was surprisingly increased by the thrust for the works of Maxim Gorky, and, above all, to his play "at the bottom." Life depicted in the play largely reminds today's, when a country as a negligent student is engaged in the "repetition of" past, the correction of errors made over many years of totalitarian regime. That is why the dispute about man and his place in life in the play "At the bottom" is relevant and in today's days. The play was set, was shielded in Russia and abroad many times, dozens of critical, scientific works are devoted to her, but it is hardly anyone will risk saying that even today, everything is known about this work.

Message of the student "Scenic fate of the play" On the bottom ". This is interesting.

The MCATA archive stores an album containing over forty photos made by the artist M.Dmitriyev in Nizhny Novgorod at night. They served as a visual material for actors, grimens and costumes when laying a play in MHT Stanislavsky.

In the photos of Gorky's hand it is written that many of the characters "on the bottom" had real prototypes in the Nizhny Novgorod Union environment. All this suggests that the author, and the director, to achieve the maximum stage effect, they sought, above all, to life reliability.

Premiere "At the bottom", which took place on December 18, 1902, had a phenomenal success. The roles in the play were performed: satin - Stanislavsky, Luka - Moskvin, Baron - Kachalov, Natasha - Andreeva, Nastya - Bookper.

Glory "At the bottom" in itself is a kind of cultural and public phenomenon of the beginning of the 20th century and does not have equal in the entire history of the world theater.

"The first representation of this play was a solid triumph," wrote M.F. Andreeva. - The public was rampant. Called the author the uncountable number. He rested, did not want to go out, it was literally pushed out onto the scene. "

On December 21, Gorky wrote Pyatnitsky: "The success of the play is an exceptional, I did not expect anything like this ..." "" at the bottom "appreciated A. Chekhov, who wrote to the author:" She's new and undoubtedly good. The second act is very good, it is the strongest And when I read it, especially the end, I almost jumped from pleasure "

"At the bottom" - the first work of M. Gorky, which brought the author of world glory. In January 1903 The premiere of the play took place in Berlin in the theater of Max Reanardt in the formulation of director Richard Valletina, who performed the role of Satin. In Berlin, the play was withstanding 300 performances in a row, and in the spring of 1905. It was noted 500 - e performance.

Many of the contemporaries celebrated the characteristic feature of the early Gorky - coarseness.

Some called her lack of disadvantage, others saw in the manifestation of a non-realty whole person who came from folk bases and as it were, "blowing" traditional ideas about the Russian writer. The play had a huge success. Proof of this set of newspaper publications. Here is one of them: "Ovation adopted unprecedented sizes. Gorky was caused more than 15 times. Something not amenable to description." The writer himself was extremely surprised: "The Success of the Plays is exceptional, I did not expect anything like this."

The play was repeatedly raised abroad: Berlin (1903, called "Overnight"), Finnish National Theater, Helsingfors, Krakow Theater, Paris 1905, 1922 - Artist of Baron J. Pitoev), Tokyo (1924,1925) New York (1956 ), London (1961), Tunisian troupe (1962) and MN. Dr.

VII. Who are these people who have fallen at the Kostylev surcharge?

Dialogue Communication: "Find out the hero ..."

Declares that he, "it seems there is no character"? (Baron)

Does not want to reconcile with life on the "bottom" and says: "Smart workers and from the small years I have been working ... I will get out ... Sadman's skin, and get out"? (Mite.)

Dreamed of such a life, "so that you can respect yourself"? (Ash.)

Lives dreams about big, real human love? (Nastya)

Believes that in that light she will be better, and even so much wants to live a little more in this world? (Anna)

... "lay among the street, playing harmonica and yell:" I don't want anything, I wish nothing "? (Supozhnik Aleshka)

Says a man who offered her to marry him: "... married a woman to go out - it's anyway as in the winter in a hard"? (Quad)

Having hiding behind the service of God, robs people "... and I will fly half to you, I'll buy a lamp in the lamp ... and it will be in front of the holy icon of my sacrifice ..." (Kostylev)

It is indignant: "And why are there for people when they fight? Let them beat each other freely ... would be able to fight less, because they would remember longer ..."? (Police Medvedev)

I found himself in a bargain because he left his wife, fearing to kill her, jealous to another? (Bubnov)

Everyone consoled a beautiful lie, and in a difficult moment "disappeared from the police ... I can smoke from the fire ..."? (Wanderer Luka)

Beaten, covered with boiling water, asks for her to be taken to prison? (Natasha)

Claimed: "Lies - Religion of slaves and owners ... True - God's free man!"? (Satin)

VIII. What circumstances, led each of them to the night?

(Messages of students)

Mikhail Ivanovich Kostylev - 54 years old, maintenance

Vasilisa Karpovna - his wife, 26 years old

Natasha - her sister, 20 years

Medvedev - their uncle, policeman, 50 years old

Vaska Sidel - Thief, 28 years old. Born in prison. It dreams to marry Natasha, leave - under the authorities of Vasilisa (owner's widers), which brings his husband's murder.

Tick, Andrei Mitrich - Locksmith, 40 years old. I got to the night, having lost the job. The only one of the inhabitants of the night, who did not accept their fate. He separates himself from the others: "What are they people? Rabbar, Golden Rota ... People! I am a working person ... I look at them ashamed ... I look at them ashamed ... I have been working on them .. . Do you think I don't get out of here? I will get out ... Skin Sadra, and get out ... here, wait ... Wife will die ... "

Anna - his wife, 30 years old

Nastya - Maiden, 24 years old. Dreams of great, clean love.

Quashnya - Pelmeni merchant, under 40 years

Bubnov - Cartuznik, 45 years old. I left the house to the night "from sin away," after the wife found another. It admits that lazy drunkard.

Baron - 33 years, ruined nobleman

Satin, actor - Characters of about the same age: Under 40 years. Satin - Shuler, in his youth was a telegraphist. He fell on the "bottom", after four years and seven months served in prison for the murder (came to the honor of the sister). The actor - once played on the scene under the pseudonym of crickets - Zavolzhsky, and now sparkle. Lives with memories of beautiful. From all the inhabitants of the nightly, it is distinguished by a subtle mental organization. It admits that he lost its name.

Luke is a wanderer, 60 years old. About himself onions almost nothing reports. He speaks only: "Mills are a lot, because of the soft ..."

Aleshka - shoemaker, 20 years

Curve goiter, Tatar - Hooks

several bosias without names and speeches

These people are forced to live in the same room, that only they are: they are not ready at least to help each other.

In separate replicas, words having a symbolic sound are allocated. The words of Bubnova "And threads - that rotten" hints on the absence of connections between the bedrooms. Bubnov notes about the position of Nastya: "You are unnecessary everywhere." This once again indicates that the Kostylev residents with difficulty "suffer" each other.

Many generally accepted truths reject the society. It is worth it, for example, to say that the nightnits live without honor and conscience, as Bubnov answer him: "What is the conscience? I am not rich," and Vaska Satina will lead the words satina: "Everyone wants his conscience to be his conscience, yes You see no one, it is not profitable to have it. "

IX. Teacher:

The words of the German philosopher Arthur Schopenhauer can serve as the words of the German philosopher Arthur Schopenhauer: "The circumstances do not create a person, they just reveal it to themselves."

We write in the notebook and use when writing works on the play.

The name of the play "On the bottom" is not only a "cave", in which Gorky heroes turned out to be, this is the atmosphere itself indifference and moral deformity, reigning at the night. The name of the play is deeply symbolic, it reveals the meaning of the whole work.

What is the subject of the image in the play? (The subject of the image in the drama "on the bottom" is the consciousness of people thrown as a result of deep social processes, on the "bottom" of life).

Xi. - What is the conflict of drama?

(Social conflict has several levels in the play. Social poles are clearly indicated: on one - the Kostlev's attendant and supporting his power Police Medvedev, on the other - essentially dysfunctional at night. Thus, the conflict between the authorities and the rights deprived of the rights is obvious. This conflict is almost It does not develop, therefore deprived of the rights of people. This conflict is almost not evolving, because Kostilevs and Medvedev are not so far from the inhabitants of the night. Each of the nightnails survived its social conflict, as a result of which it turned out to be in a humiliating position.)

The conflict in which all the characters are involved - another kind. Gorky depicts the consciousness of the people "bottom". The plot unfolds not so much in external action - in everyday life, as in the dialogues of heroes. It is the conversations of the nightnamies that determine the development of a dramatic conflict. The action is translated into outside the event series. This is characteristic of the genre of philosophical drama. So, the genre of the play can be defined as a socio-philosophical drama.

In the play "At the bottom", the author was not limited to the image of the characteristic socio-household sides of Russian reality. These are not household, but socially - philosophical play, which is based on a dispute about man, his position in society and the attitude towards him. And in the dispute (in one way or another) almost all the inhabitants of the night.

XII. Work in groups, work with text.

The play "At the bottom" makes argue, think about the truth and lies, about the meaning of human existence, about compassion, about responsibility for your personal destiny.

Work on the fourth act of play. We must figure out its value for the play as a whole.

The nightnails are asked by the latest philosophical questions about a person - the truth is freedom.

1 group. True, the philosophy of the truth of Luke in relation to man.

2 group. Bubnov and his truth about a person's life.

3 group. What is the position of satin in a play?

4 group. What is the meaning of the Final Plays "on the bottom".

XIII. Speeches of students, reflection.

XIV. Homework:

The thesis plan on the topic "NOVATORY OF GORTY - DRAGETING" with the attraction of the text of the play and quotes towards theses.

An individual task: a reasonable message on the statement of Spinoza: "The truth of a person is what makes the earliele.

Current page: 3 (just 5 pages)

II.

"The state of the Gorky repertoire in our theaters inspires serious anxiety. It would seem that such performances like "Egor Boylchov" at Vakhtangov, "enemies" in MCAT and many other productions, long ago denied the legend of the surceitivity of Gorky's Pieces. Meanwhile, recently, the voices have begun to break out that the audience, they say, Gorky does not look like the interest in his dramaturgy disappeared. The number of new productions has decreased, the plays quickly come from the repertoire. "

So the letter of S. Burman, B. Babocha, P. Vasilyeva and other theatrical figures in the editorial office of Soviet Culture, published by the newspaper on January 3, 1957, began.

Gorky, noted in the letter, "often included in the repertoire" on the scroll ", because" so necessary ", without trusting to him as an artist, without enthusiastic. And now there has been a whole series of performances, deprived of creative searches that are repeating with those or other variations classic theatrical samples created by a quarter of a century, and even half a century ago. The lack of psychological depth of images, flat, unintended character solutions, the weakening of the conflict tensions make many performances with gray and weeks. "

During the long years, Gorky's cooperation with the theater happened. But never, perhaps, the question of the scenic fate of Gorky Plays was not so acute and sharply. For this there were more than good reasons. Suffice it to say that for the military and some seven-eight first post-war years the number of prime ministers made by the works of Gorky Russian theaters decreased five to six times.

Theatrical criticism of the sixties also complains for the presence of a large number of stage stamps when setting Gorky plays. The mandatory affiliation of the "merchant" or "meshchansky" performs, it has become a massive iconostasis, samovar, heavy furniture in carefully misfortune interiors, fake to Volzhsky speech in the speech of heroes, characteristics, general slowed down rhythm, etc. Equally stencil-heavy, inanimate. "In different cities and different theaters, we read in one of the articles," began to appear performances that do not claim any idea of \u200b\u200bthought, so to speak, reproducing "classic samples", while remaining pale, simplified copies of originals " 26
Balatova E. In the world of Gorky. - Theater, 1964, №8, p. 25.

As examples, "Egor Boylchov" was given in Omsk, Kazan, Orel ... The performance "At the bottom" in the Tula Theater was "sluggish blind with Mkhatovskaya production".

In the very moat of the play "At the bottom", played on October 8, 1966 in the 1530th time, it turned out to be although not sluggish, but still a cast with a glorified statement of 1902. Kostyleva, Vasilis, Natasha, ash, tick, actor, Tatar, Aleshka - V. Shilovsky, L. Skudatina, L. Zadrovsky, V. Peshkin, S. Desnitsky, N. Penkov, V. Petrov. Luka still played mushrooms. Their game of Borisov responded so:

"A wonderful performance created young people - very hot, sincere, rich, talented. Refreed the paints of the performance, and he sounded, rebuilt ... " 27
Theatrical life, 1966, №2, p. one

Another reviewer - Yu. Velkov - was discreeting on praise and closer to the actual situation. He did not deny the professional mastery of young actors, noted that they mastered the characterity found by their predecessors, added some of their details, were organic and temperamental. "But, a strange thing, he was perplexed," the emotions that generously spent on stage did not fly through the ramp. The performance did not heal a new life, there was no good sense in it ... "According to him, young actors fought not for their own youth performance, not for the modern interpretation of the classic play, but" for the right to copy the found sixty years ago " 28
Velkov Y. What do you live? - Theater, 1967, №3, p. 17.

Maschat's youth spectrum laid. It is hardly the most important thing - creative, independently reading the play.

In the critical literature of those years, another rather common drawback was noted in the production of Gorky's plays - this is an exceptional orientation for the past. So, V. Sechin criticized the Sverdlovsky Drama Theater for the fact that in the play "Messenger" the boss was interpreted "above all, and almost exclusively - as a social phenomenon of the historical past." The author of the article is convinced that today the traded is interesting "not only as a representative of a certain layer in a class society, but also as a moral category, a carrier of certain human morality and life philosophy. Not all the yrenism threads are torn off by a revolution, some - very significant - stretched out of the house of interest-handed and in our small-sized and large-sized apartments " 29
Sechin V. Gorky "Old". - Theater, 1968, №5, p. 17.

In the same sin, he vinit and Gorky (Nizhny Novgorod) dramatic theater for the formulation of "fake coins". E. Balatova, touching this issue, in the article "In the Gorky World" emphasized: "In many productions, the accusatory power of Gorky dramaturgy was stubbornly sent into the last century. In the "breasts hated", "dacnis", "barbarians" was seen only the image of the abominations of the past - no more. Gorky performance increasingly turned into an illustration for the history textbook " 30
Theater, 1964, №8, p. 25

On the orientation for the past when the Gorky plays was stated before. D. Zolotsky, for example, in the article "Modern for contemporaries" noted that the directors and critics "with a rare unanimity regarding them were regarded by the Gorky plays as works Ò past, about the very far and irrevocably past" cursed past. " A book about the bitter-playwood was even released, where two hundred photographs were injected with signatures: "The conservative of the beginning of the 20th century", "Liberal of the beginning of the XX century ..." 31
Theater, 1957, №4, p. 73.

. (This is obviously about the book M. Grigoriev "Gorky - playwright and critic." M., 1946.)

The focus on the past, as we have seen, was characteristic and teaching at school.

Thus, by the beginning of the sixties, theatrical public clearly realized the need for a new reading of Gorky. The scenic history of Gorky works in our theater for the last quarter of a century is the history of searching, mistakes, delusions, joys and chagrins on the way to modern times.

The scenic story of the play "At the bottom" is especially instructed. There are special causes.

By the annals, compiled by S. S. Danilov, it can be concluded that before the revolution, almost every theatrical season brought two or three premieres of the play "At the bottom" in the provincial theaters of Russia 32
Danilov S. S. Materials for the chronicles of producing works of Gorky on stage. - In the book: Danilov S. S. Gorky on stage. L.; M., 1958, p. 189-252. S. S. Danilova continued by E. G. Balatov. Her "materials" was brought to 1962. See: Balatova E. G. Materials for the chronicles of Gorky performances (1957-1962). - Gorky readings, 1961-1963. M., 1964.

Sustainable interest in the play is preserved during the civil war and in the first decade after October. So, in 1917 there were performances in the Riga Theater "Comedy" and in the Petrograd theater of the Union of Dramatic Theaters. On November 8, 1918, the play was on the scene of the Alexandria theater. In 1920, produced in Kazan, in the Belarusian National Scene, in the Kiev Academic Ukrainian Theater. Later, there are places in Baku, in the Leningrad Theater "Comedy" with the participation of Moskvin (1927).

As for the Moscow theaters, in them, if you believe the data provided by Mogilev, Philipp and Rodionov 33
Mogilevsky A. I., Philippov Vl., Rodionov A. M. Theaters of Moscow. 1917-g927. M., 1928.

The play "At the bottom" for 7 post-flight theatrical seasons withstood 222 performances and in terms of the number of spectators ranked fourth - 188425 people. This is a rather high indicator. For comparison, we indicate that the "princess of Turandot", which beat the record by the number of productions - 407, viewed 172,483 viewers. The "Blue Bird" was set 288 times, "Auditor" - 218, "Twelfth Night" - 151, "Woe from Wit" - 106.

In addition to the Art Theater, the play "At the bottom", Rogozhskoy-Simonovsky ("District") Theater, where she in the years of the civil war went more often than other plays.

In short, in the twenties, the play "At the bottom" was greatly popular and in Moscow and on the periphery. However, in the next decade, attention to it significantly weakens. Starting from 1928 to 1939, S. S. Danilov did not note any. Premieres. The number of productions and in Mkat itself has decreased. The famous performance revolves again only in 1937, after the 35-year-old anniversary of his stay on stage. It cannot be said that this play is completely from the scene. It was put, for example, in the Sverdlovsk Drama Theater, in the Nizhny Novgorod - Gorky Drama Theater and some others. But still, it should be recognized that for "at the bottom" it was the deaf time.

At the end of the thirties, interest in the play will rise again, but not long. It could be seen on the scenes of Ryazan, Ulyanovsk, Stalingrad, Odessa, Tomsk, Chelyabinsk, Barnaul and some other cities 34
See about it: Levin M. B. Scenic path "At the bottom". - In the book: "At the bottom." Materials and research. M., 1947.

By the same time, the formulation of F. N. Kaverin in the Moscow Dramatic Theater on B. Ordyanka. It is curious to note that in most productions of this time, Luka was "underestimated." He interpreted most often flat and semipplanovo: a leisher, a cheerful. To discredit onions, F. N. Caverin, for example, introduces a number of scenes in its performance, not written by Gorky: collecting money for the funeral of Anna, theft of this money onions 35
A detailed description of the formulation "At the bottom" of F.N. Kaverin gives L. D. Snezhnitsky in the article "Director's quest for F. N. Kaverin". - In the book: Kaverin F. N. Memories and theatrical stories. M., 1964.

Reviewers and critics of those years pushed theaters in this direction, demanded from the artists who fulfill the role of Luke, the exposure of the hero, more cunning, prudentity, bungling and so on.

Discredited, "reduced" onions and purely comedy techniques. Thus, in the Crimean StateTeerate of Luke was shown by a fussy, awkward old man, and in the Chelyabinsk Drama Theater - comical and funny. In the same way, the Tomsk Drama Theater introduced Luka. The exposure trend towards Luke, consecrated by the authority of the most bitter and praised the criticism of those years, began to be considered hardly not the only correct and had a well-known influence on some performers in the art theater, for example, at M. M. Tarkhanov.

The performances with the exposed onion were long lasted on the scenes of theaters. After two or three years in the scenic history of the Gorky play, a pause, which lasted almost fifteen years old (this is, of course, does not apply to the Art Theater).

In the first half of the fifties, interest in the play comes to life again. She put in Kirovograd, Minsk, Kazan, Yaroslavl, Riga, Tashkent and some other cities. In the next five-six theatrical seasons, the premier of this performance was hardly more than preceding two ten years. L. Vivien and V. Erenberg in 1956 create a new stage of play "At the bottom" in the Leningrad State Academic Drama Theater. A. S. Pushkin, who was an event in the artistic life of those years. In 1957, the play was put by Voronezh, Georgian, Kalinin theaters and the Komi ASSR Theater. Later, new productions are carried out in Pskov, Ufa, Maykop and other cities.

In the 60s, on the eve of the old anniversary of the writer, the number of Gorky plays in the country's theaters has increased significantly. Increased interest in the play "At the bottom". In this regard, the question arose about how to play this famous play, especially the role of Luke. It should be noted that by this time, the production of Stanislavsky and Nemirovich-Danchenko in the Moscow Art Theater for some theatrical figures has already ceased to seem an indisputable model. They began to think about finding a new, more modern approach to the play.

At the anniversary theater conference, held at the homeland of the writer, in Gorky, the famous theatrical critic N. A. Abalkin said that if he was going to meet the bitter, then "it is necessary to strengthen in the form of Luke, what was conceived by the author - the impact of harmfulness of comfort" 36
Theater, 1969, №9, p. 10.

N. A. Abalkin clearly formulated a traditional exposure concept. However, not all artists, directors and theatrical critics followed this path. They did not want to copy and the classic Mkatov play.

The judgments of L. P. Varpakhovsky are not indisputable, but the desire of the new stage incarnation of the play is undoubtedly justified. It was partially implemented by him in its formulation of the play "At the bottom" in the Kiev theater named after Lesia Ukrainka. In his performance, he tried to escape from the traditional historical and domestic decision of the topic and the decoration itself gave a more generalized character. Instead of the hostels of the artistic attributes, acquaintances of the world on the stage of the artistic theater, tiers of NARs were brought to the audience to the audience, a huge crate with many cells appeared in front of the viewer. In cells, like in dead hundreds, people. They crumpled by life, thrown out of it, but still alive and hoped for something. Luke is very unusual - V. Bathetov, powerful, broadly, heavy, decisive ... From the usual softness of Luke there is no trace. He came to the night not comfortable, but to excite people. He does not look like a "meakish for toothless." The restless and active onion - bathrobes seem to move from the spot this bulky wooden crate, expand the dark narrow passages of the night.

Criticism, in general, was benevolently reacted to an attempt to read the play of Gorky in a new way, but Satin was unhappy with the way. E. Balatova wrote:

"This performance could be an example of a true new reading of the play if it had not been the absence of one essential link. All the course of events brings us to the Satinsky "hymn man," but, obviously, wearing a frank patimate of this monologue, the director "kept maintained" him so much that it turns out to be no less visible moment of performance. Yes, and in general the figure of Satina is moving into the background. The failure is quite significant, turns us to the question that the heroic of the Gorky Theater, erased by many years of textbook stamps, also need to look for today, a new, fresh solution " 38
Theater, 1964, №8, p. 34.

Critic remark is quite fair and timely.

The play of Kiev can be called experimental. But in this respect, Kievans were not alone. Long before them, an interesting search work was conducted by the Leningrad Drama Theater named after A. S. Pushkin, when she prepared the above-mentioned production "at the bottom".

Unusually modestly, silently, without broad-speaking posters, without advertising newspaper interviews entered the repertoire of the Leningrad Academic Drama Theater. A. S. Pushkin In the theater season of 1956-57, the play "At the bottom" in the formulation of L. Vivienne and V. Erenberg. He walked not often, but was noticed. The then spectators and critics struck first of all the pronounced humanistic subtext of the performance, the desire to convey to the people of the favorite Gorky thought that "everything in man, everything for a person." The performance, unfortunately, was not smooth, but thanks to the beautiful game Simonov (satin), Tolubeeva (Bubnov), Skorobogatova (Luke) The idea that, no matter how humbled, the person would not be humbled in And he will take the top how it broke through in the play in the monologues of Satin, in the dance of Bubnova, in the haughty mischievous Aleshka ...

Romantically raised, the optimistic sound of the performance contributed to its design. Before the start of each action in the light of the filled, the flickering lights of the visual hall, wide, free Russian songs were distributed, as if spreading theatrical scenes, the thoughts of the Volga expanses, about some other life, rather than the life of Nikudushnikov. Yes, and the scene itself did not create the impression of a stone bag closed on all sides of the space. From heavy brick arch versions of crutch at night familiar to everyone according to the famous decorations of the artistic theater, only a riser remained and a small part of the basement arch. The ceiling itself disappeared, as if dissolved in the Siza Mraka. The rising riser is a rough boarding staircase takes up, air.

The director and artists sought to show not only the horrors of the "bottom", but also how in these almost inhuman conditions slowly, but steadily ripen, the feeling of protest accumulates. N. Simonov, according to the testimony of reviewers, played thinking and sharply sensing satin. He was largely able to convey the birth of thought at the hero about dignity, strength, pride of man.

Bubnov in the performance of Tolubeeva, as they wrote then, nothing to do with those gloomy, embittered, cynical commentator of what is happening, which often portrayed this character in other performances. Some it seemed that it was awakened by a certain unsalted Aleshka. " An unusual interpretation of Luke K. Skorobogatov.

K. Skorobogatov - longtime and resistant fan of the Talent of the Gorky-playwright. Even before the war, he played both Boylchov and reached in a large dramatic theater, and antipa ("Zykov") in the Academic Drama Theater named after A. S. Pushkin. He also played onions, but in the statement of 1956 he considered this role of the final. No wonder in one of the articles of slowness, it was recognized: "Perhaps no other image could give such a noble material for philosophical generalizations like this" 39
Skins K. My bitter. - Neva, 1968, №11, p. 197.

Luka K. Skorobogatova is unpretentious, delivered, bold, unlawful and humane. In its attitude to people there is no debris. He is convinced that life is organized abnormally, and sincerely, sincerely wants to help people. The performer of the word Hero: "Well, at least I have a litter here," allegorically interpreted: "Well, at least I reveal your souls." Spearkers and used to be very far from the external exposure of the "Degaving Elder", and now his bow, read in. One of the reviews, deceives and consists inspired, as a poet, who believes in his fiction and infectiously impact on ordinary, inefficious, physical listeners.

The initiative of Leningradians was infectious. In the sixties, except Kievan, new ways to the play are looking for in Arkhangelsk, Gorky, Smolensk, Kirov, Vladivostok and other cities. By the same time applies and. Staging "at the bottom" in the Moscow "contemporary". Without exaggeration, we can say that the play has never been in our theaters, this play has not been so wide experimentation as at that time. Another question is, how much this experimentation was conscious and theoretically sound character, but the desire to move away from the hostels of the Mchattsev was clearly visible in many productions.

So, in the Vladivostok Drama Theater, the play "At the bottom" was played as a fight of the truth and lies. The director of the performance of V. Golikov The whole course of action and the design itself submitted to the well-known statement of A. M. Gorky about the ideological content of the play: "... the main question that I wanted to put is - what is better: truth or compassion? What more? " These words sounded because of the curtain before the start of the play of a kind of epigraph to the entire production. They were accompanied by a small, but meaningful pause and ended with a tremendous human cry. On the stage instead of Nar - covered with a harsh cloth of cubes of different magnitude. From the middle of the scene, a staircase rushed almost to the most graters. She served as if a sign, a symbol of the depth of that "bottom," where heroes were. Household accessories are minimized. Signs of the night poverty are subject to conditionally: the leaky gloves at Barona, a dirty couch on the neck of the actor, in the rest in the costumes - purity. In the play, everything is events, heroes, scenery - is considered as an argument in the dispute.

Luke performed by N. Krylov - not a hypocrite and not an egoist. There is nothing such that "grounds" would have this image. According to F. Chernova, reviewed this performance, Luka N. Krylova - a blazent, with a snow-white seedy and in a clean shirty an old man. He sincerely wanted to help people, but, wise life, knows that it is impossible, and distracts them with a sleeping dream of all the painful, sore, dirty. "The lie of such a bows, not burdened by any personal vices of its carrier, appears as it were in its pure form, in the" blatant "version. That is why the conclusion about the fraud of the lie, arising from the play, concludes a reviewer, - acquires the importance of the truth of the incruise " 40
Chernova F. Fight of Truth and Lie. - Theatrical life, 1966, №5, p. sixteen.

However, an interesting conceived performance was a big danger. The fact is that the producers and artists were not so much looking for the truth, how many demonstrated the thesis about the harmfulness of comfort and lies. The heroes of the "bottom" in this performance were doomed in advance. They are torn off, isolated from the world. The giant staircase though climbed highly, but did not take anyone from the inhabitants of the "bottom". She only emphasized the depth of crutuminous slums and the futility of satin attempts, ash and others get out of the basement. There was an explicit and, in essence, an intractable contradiction between the freedom of thought and a given doomed and helplessness of a person who had in the day of life. By the way, we saw the stairs on the scene of the Leningrad Theater, but there she strengthened the optimistic sound of the play. In general, this attribute used Richard Valentin at the design of the famous Ringardt performance "at the bottom".

The specified idea was also based on L. Shcheglov in the Smolensk Drama Theater. L. Schokelov The world of Gorkovsky obverseans was introduced as the world of alienation. Here everyone lives in itself, alone. People are separated. The apostle of alienation protrudes Luke, for he sincerely convinced that everyone should fight only for himself. Luke (S. Charities) - according to the evidence of the author of the review of O. Roots - a huge height, a hefty old man, with a red, weathered and laid sun face. It is included in the night there is not a barrel, not quiet and unnoticed, but noisy, loud, a wide step. He is not a comforter, but ... the premiere, the tamer of human rebel, any impulse, anxiety. He persistently, even manually tells Anna about the rest, which allegedly waiting for her after death, and when Anna in his own way interprets the words of the old man and gives a desire to suffer here, on earth, Luke, writes a reviewer, "just orders her to die" 41
Theater life, 1967, №10, p. 24.

Satin, on the contrary, seeks to unite these miserable people. "Gradually, before our eyes, we read in the reviews," in detached, abandoned by the will of the circumstances of human beings begins to wake up a feeling of a partnership, the desire to understand each other, the consciousness of the need to live together. "

The idea of \u200b\u200bovercoming the alienation, an interesting in itself, did not find a fairly reasonable expression in the performance. Throughout the action, she never managed to plunge the impression from the cold, impassive knock of the metronome, which sounded in the darkness of the auditorium and the countdown of a second, minutes and hours of human life existing alone. I did not contribute to the manifestation of the plan and some conditional techniques for the design of the performance, calculated rather on the effect of perception than the development of the basic idea of \u200b\u200bthe performance. Performers of roles are unusually young. Their modern costumes are completely different to the picturesque bumps of Gorky Bosia, and jeans on satine and stylish pants on Baron puzzled even the most free from the prejudices of the reviewers and the audience, especially since some of the characters (Bubnov, ticks) appeared in the case of master of the time, and Vasilisa appeared in the outfits of the Kustodievskaya checkpire.

The Arkhangelsk Theater named after M. V. Lomonosov (director V. Terentyev) as the basis of his production took the favorite Gorky thought about attentive attitudes towards each individual individuals of human. The "bottom" people in the interpretation of the Arkhangelsk artists cares about their external position of the vagrants and "Nikudyshnikov". " The main features are indestructible desire for freedom. According to E. Balatova, who reviewed this performance, "Not Tesne, I do not rush to make a disassemble life at this survival. Something from the inside dispelves each, it turns out in the coronal, torn, inept words " 42
Theater life, 1966, №14, p. eleven.

The tick is torn (N. Tendititis), Nastya (O. Ukolova) rushes heavy, the ashes (E. Pavlovsky) is, here is about the ready run to Siberia ... Luka and Satin - not antipodes, they are united by sharp and genuine curiosity to people. However, they were not enemies and in performances of other theaters. Luke (B. Gorshenin) looks around for the nightnails, notes E. Balatov in his review, condescendingly, willingly, and sometimes the smoking "feeding" their everyday experience. Satin (S. Carpenters) easily passes from the annoying irritation to attempts to awaken something humane in the casual souls of their comrades. Attentive attitude towards living human destiny, and not distracted ideas, concludes a reviewer, a spectral "special freshness", and from this "hot flux of humanity is born with a swirl, rapid, deeply emotional rhythm of the whole performance."

In some respects, the performance of the Kirov DramaTheater was curious .. there was a very commendable article in the magazine "Theater" 43
See: Romanovich I. Ordinary misfortune. "At the bottom". M. Gorky. Staging V. Lansky. Drama Theater named after S. M. Kirov. Kirov, 1968. - Theater, 1968, №9, p. 33-38.

The performance was shown at the All-Union Gorky Theater Festival in the spring of 1968 in Nizhny Novgorod (then the city of Gorky) and received a more restrained and objective assessment 44
See: 1968 - year of Gorky. - Theater, 1968, №9, p. fourteen.

In the presence of undoubted finds, it was breathing in the eyes of an overly controvered, turning inside out the content of the play by the directorial intent. If the basic idea of \u200b\u200bthe play can be expressed by the words "it is impossible to live", then the director wanted to say something about the opposite: it is possible to live, because there is no limit to adapt the person to unhappiness. Each of the actors to his sample confirmed this initial thesis. Baron (A. Starochkin) demonstrated his pimp quality, showed his power over Nastya; Natasha (T. Klovova) - suspicion, incredulusity; Bubnov (R. Ayupov) - Powdle and cynical dislike for yourself and other people, and all together are dismissed, indifference to their own and to someone's troubles.

In this silent, the gloomy world breaks on Luka I. Tomkevich, obsessed, evil, active. If you believe I. Romanovich, he "brings with him the mighty breath of Russia, her awakening people." But satin completely blocked and turned into the most small figure figure of the performance. Such an unexpected interpretation that makes out of Luke almost a petrel, but from Satin - just a ordinary cheeler, not justifying the plays itself. I did not receive support in criticism and attempt to add Gorky, "expand" the texts of the author's remarks (beating the old girl gymnasics girls, fights, chase the rogues, etc.) 45
Alekseeva A.N. Modern problems of the scenic interpretation of drama A. M. Gorky. - In the book: Gorky readings. 1976. Conference materials "A. M. Gorky and theater. " Gorky, 1977, p. 24.

The most remarkable these years were two productions - at the artist's homeland, in Nizhny Novgorod, and in Moscow, in the theater "Contemporary".

The performance "At the bottom" in the Gorky Academic Drama Theater named after A. M. Gorky, marked by the USSR State Prize and recognized as one of the best at the Theater Festival in 1968, was indeed in many ways interesting and instructive. At one time he caused controversy in theatrical circles and on the print pages. Some theatrical critics and reviewers in the desire of the theater read the play in a new way seen dignity, others, on the contrary, disadvantage. I. Vishnevskaya welcomed the donkens of Nizhny Novgorod, and N. Barcukov opposed the fiene of the play.

In assessing this setting (director B. Voronov, artist V. Gerasimenko) I. Vishnevskaya proceeded from the general humanistic idea. Today, when good human relations become the criterion of true progress, she wrote, whether the Gorky Luke is not to be with us, it's not worth a re-listening to him, separating the fairy tale from the truth, a lie from kindness? In her opinion, Luka came to people with good, with a request not to offend a person. It was such a Luka that she saw in the performance of N. Levkoyev. His game she tied up with the traditions of the Great Moskvin; The goodness of Luke attributed a beneficial effect on the souls of the nights. "And the most interesting thing in this performance," she concluded, - the proximity of Satina and Luke, or rather even the birth of that Satina, whom we love and know, it is after meeting with Luka " 46
Vishnevskaya I. began as usual. - Theater life, 1967, №24, p. eleven.

N. Barsukov told for the historical approach to the play and appreciated in the performance first of all what makes in the auditorium feel the "century past". He admits that Levkoevsky Luka is "a simple, hearty and smiling old man" that he "causes a desire to be alone with him, listen to his stories about life, about human strength and truth." But he is against taking a humanistic interpretation of the image of Luke on a scene from Moskvin for the standard. According to his deep conviction, no matter how cordial is neither Luka, good, which he preaches is unfoundless and harmful. Against it and in order to see between satin and the Luko "some harmony", because between them - conflict. He does not agree with the statement of Vishnevskaya that allegedly suicide actor is not weakness, but "Act, moral cleansing." Luke himself, "relying on abstract humanity, it turns out to be defenseless and forced to leave those about the commander" 47
Barsukov N. Pravda - for Gorky. - Theater life, 1967, №24, p. 12.

In the argument of critics, the editorial office took the direction of N. Barsukov, believing that his view on the problem "Classic and Modernity" is more faithful. However, this dispute did not end. The performance was the focus on the mentioned festival in Gorky. New articles appeared about him in the "Literary Gazeta", in the magazine "Theater" and other publications. Artists joined the controversy.

N. A. Levkoev, People's Artist of the RSFSR, the executor of the role of Luke, said:

"I consider Luka primarily by a philanthropic.

He has an organic need to do good, he loves a man, suffering, seeing him crushed social injustice, and seeks to help him than only can.

... In each of us there are separate liquefy characters, without which we just have no right to live. Luka claims - who believes, will find. Remember the words of our song, thundered to the whole world: "Who is looking for, he will always find." Luka says who wants a hard one that will always achieve it. Here it is where, modernity " 48
Theater, 1968, №3, p. 14-15.

Describing the production "At the bottom" in the Gorky Drama Theater, VL. Pimenov stressed: "This performance is good because we are in a new way perceive the content of the play, the psychology of people" bottom ". Of course, you can intelled to interpret Luke's life program, but I like Luke Levkoyev, whom he played correctly, penetrating, not rejecting, however, a completely the concept that now exists as recognized as the hosteltomy. Yes, Gorky wrote that there is no kind on Luke, he is only a deceiver. However, it seems that the writer would never forbate the search for new solutions in the characters of the heroes of his plays " 49
In the same place, p. sixteen.

"At the bottom" M. Gorky

The fate of the play in life, on stage and criticism

Ivan Kuzmichev

© Ivan Kuzmichyev, 2017

ISBN 978-5-4485-2786-9

Created in the Intellectual Publishing System Ridero

The first edition of this book was published in the summer of 1981 in the city of Gorky, in the Volga-Vyatsky book publishing house 10,000 copies and the autumn of the same year through the book network of the region was sold out.

Previously, A. N. Alekseeva, the famous Nizhny Novgorod critic and teacher, published on its appearance, published in the Gorky Pravda dated 28.02.1982. Article "New Thoughts about the Old Play". "In the book," writes Ariadna Nikolaevna, "the author's wide erudition is visible, the hardness of beliefs. The courage of his lively is some fresh, healthy air in the book, and breathe easily and freely. She has no academism, "theoretical" coxedness, speculation: facts and their very simple, natural and smart interpretation. " "The author of the book," the reviewer will noted, "does not see, contrary to many critics, no hopelessness in the IV act of the play. The play is bright, and the monolog of Satina is only a confirmation of the Gorky morality: "Rising support!" And in conclusion adds: "This is not humility at all, but resistance!" 2

The Book and Youth Nizhny Novgorod newspaper "Lenin's shift" will respond (A. Pavlov, 03/27/1983): "This book has been published for more than a year ago, but it is written with such a polemical burdens, so fresh and convincingly disclosed the topic of study that is exciting, in Generally, a wide range of readers, which is destined to her, obviously, more close attention to itself. " The article will end in the following words:

"The book, which we speak, disappeared from the bookshelves instantly, and its circulation is small - 10,000 copies. The Volga-Vyatsky book publisher has already had a case when a scientist study of V. Grebneva about Pushkin lyrics was reissued. I think, and the book I. K. Kuzmichyova deserves a re-edition "3.

Maybe everything was so ever and it was, but on December 16, 2010, the Unitary Enterprise "Volgo-Vyatka Book Publishing" ceased to exist. Publisher, able to produce several million copies of books per year, was eliminated. Nizhny Novgorod urban and provincial authorities had no desire, no ability to correct the situation. However, let us return to the bibliography.

After Articles A. Alekseeva and A. Pavlova, "RJ" (abstract magazine) - Series 7. Literary criticism in which the article V. N. Sechenovich about the book and the Volga magazine, which has a meaningful review "Combat or Fighting results? " The promising and talented philologist from the University of Cheboksary V. A. Zlobin, unfortunately, early deceased. It should be especially said about Pan Selitsky, Russist from Poland. He repeatedly wrote about the author of these lines in the Polish press and on the appearance of a book about the play "At the bottom", an article was answered, in which her strengths and weaknesses showed.

Does not lose interest in the book and later. Many, including A. I. Ovcharenko5, S. I. Sukhih, G. S. Zaitseva, O. S. Sukhikh, T. V. Savinkova, M. P. Shustov, N. I. Khomenko , D. A. Blagov, A. B. Udodov, V.I. Samokhvalova, V. A. Khanov, T. D. Belova, I. F. Yerömin, N. N. Primochkin, M. I. Gromova. The list of reviews and responses has more than 25 items6.

F. V. Ledgerev will include a fragment from our book to his project studying the play "at the bottom" without any comments7.

L. A. Spiridonova (Evstigneeva), which, after the tragic death of A. I. Ovcharenko (July 20, 1988), will take on many obligations of the deceased, including the inspired role of the main Gorkhovied, and the curator of Gorky readings on the Motherland of the writer, Find you need to include our book about the play "At the bottom" to the elite list of 5-6 titles to its book "M. Gorky in life and creativity: a training manual for schools, gymnasiums and colleges "8.

The development of the play "At the bottom" M. Gorky is difficult, but an interesting and fertile occupation is not only in the middle, but also in the highest school. We hope that familiarity with the book dedicated to the analysis of the play "At the bottom" will help develop interest in the work of Maxim of Gorky Students of Youth and all who are not indifferent to Russian literature.

The proposed reader Internet edition identically released in 1981. The book includes illustrations provided by the Literary Museum of A. M. Gorky. Photographic materials do not fully correspond to those contained in the first edition of the book, since not all photos used in the 1981 edition managed to find in an acceptable quality.

I. K. Kuzmichyv

Nizhny Novgorod, March 2017

Introduction Is the bitter?

About thirty and forty years ago, the question is - modern is Gorky? - It could seem at least strange, blasphemous. The attitude towards the bitter was superstitially. They looked at him as a literary God, unquestioned his advice followed him, imitated him, studied from him. And today it is already a problem that we openly and frankly discussed9.

Literary critics also refer to the problem. However, it is seriously disturbing, others, on the contrary, do not see any particular reasons for concern. In their opinion, Gorky is a phenomenon of historical, and attention even to the greatest writer - the value is not constant, but the variable. Third tend to muffle the sharpness of the issue and even remove it. "In recent years, we read in one of the works - some critics abroad and we have created a legend that interest in the work of Gorky has shouted sharply that it is read little - due to the fact that it is" outdated " . However, the facts talk about a friend - the author says and in confirmation gives the number of subscribers to the academic publication of the artistic works of the writer, which translated over three hundred ...

Of course, Gorky was and continues to be one of the popular and favorite artists. With his name, a whole era is connected in our world literature. She began on the eve of the first Russian revolution and reached a heyday before World War II. Difficult and disturbing pre-war, military and the first post-war year went. Gorky is no longer alive, but its influence not only does not weaken, but even enhances what the works of such Gorkoviedov, as V. A. Desnitsky, I. A. Gruzdev, N. K. Piccanov, S. D. Bulkhai. Capital studies of S. V. Kastorsky, B. V. Mikhailovsky, A. S. Myasnikova, A. A. Volkov, K. D. Muratova, B. A. Bialik, A. I. Ovcharenko and others are created. In their various aspects, the creativity of the Great Artist is investigated and his blood and versatile relationship with the people, with a revolution, is revealed. The Institute of World Literature of the USSR Academy of Sciences Creatures a multi-volume "chronicle" of the life and activities of the writer and, together with the State Publishing House of Artistic Literature in 1949-1956, produces a thirty-natal assembly of its writings.

It would be highly unfair to underestimate the results of the development of the bitter thought of the 40s - 50s, which had a beneficial effect not only to propaganda the creative heritage of Gorky, but also on the overall rise of aesthetic culture. Gorkhoves do not lose their heights and now, although, perhaps, do not play the role that they played in the old days. On the level of their current studies, it is possible to make an idea of \u200b\u200bthe academic publication of the full collection of Works M. Gorky in 25 volumes taken by the Institute of World Literature named after A. M. Gorky and the publishing house "Science".

However, given due to the current bitterness, it is impossible not to emphasize the other, namely: the presence of some unwanted discrepancy between the word about the bitter and living perception of the word of Gorky today's viewer, a listener or reader, especially young. It often happens, and it is often that the word about bitter, uttered from the university department, in the school class or published in the press, without knowing itself, becomes between the writer and the reader (or the listener) and not only brings closer, but it happens, and gives their friend from friend.

Be that as it may, but in relations between us and Gorky over the past decades something has shifted. In everyday literary * concerns, we have become less likely to mention his name, refer to it. The plays of this greatest playwright go on the scenes of our theaters, but with limited success and without a former scope. If at the end of the thirties the premiere of Gorky plays, it happened, it was almost two hundred performances per year, then in the fifties in the theaters of the Russian Federation were calculated by units. In 1968, which is usually called the "Year of Gorky", 139 performances were delivered according to his works, but 1974 was revealed for the playwright again nervous. Especially disturbing the situation with the study of Gorky at school.

Each playwright dreams of creating such a play that would like not only to contemporaries, but also to future generations. Over the course of many decades can remain relevant for many decades, which carries some sense in herself, teaches something, reveals the unlocking sides of the Company, decides precisely such works by the play "at the bottom".

History of writing drama

The work of Maxim Gorky "At the bottom" saw the light in 1902. It was written specifically for the troupe of the Moscow Art Public Activation Theater. This play has a very difficult fate: she survived prohibitions and censorship, throughout so many years disputes about its ideological content, artistic peculiarities. The drama was praised and criticized, but no one was indifferent to her. The creation of the play "At the bottom" was time consuming, the writer began working on it in 1900, and finished only two years later.

Gorky drew attention to the playwright at the beginning of the twentieth century. It was then that he shared with Stanislavsky his idea to create a Boszyatsky play, in which there would be about two dozen acting persons. The author himself did not know what he would come out of this, he did not count on a loud success, characterized his work as a failed, with a weak plot, outdated.

The main heroes of Drama

The history of the creation of a play "At the bottom" is quite prosaic. Maxim Gorky wanted to talk about his observations over the world of the grounds. The writer belonged not only to the inhabitants of the surgeon, proletarians and wanderers, but also of representatives of the intelligentsia, disappointed in life, failed. There were both the real prototypes of the main characters.

Thus, the history of the creation of the play "At the bottom" tells that the image of Bubnova writer created, uniting the characters of the familiar Bosyaka and its intelled teacher. He wrote off from the artist of Kolosovsky Sokolovsky, and the image of Nastya was borrowed from the stories of Claudia Gross.

Fighting censorship

A lot of time had to spend on obtaining a permit for the staging of the play. The author defended every replica of heroes, every line of his creation. In the end, permission was given, but only for the artistic theater. The history of the creation of the play "At the bottom" was difficult, Himself bitter did not believe in his success, and the authorities allowed the stage, hoping for a loud failure. But everything turned out exactly the opposite: the play had a deafening success, she was dedicated to her a huge number of publications in the newspapers, the author was repeatedly called on the stage, applauding him standing.

The history of creating a play "At the bottom" is notable for the fact that the bitter did not immediately determine its name. The drama was already written, but how to call, the author did not decide. Among the well-known options appeared as follows: "WITHOUT SOL", "IN THE OUTTRIBLE HOUSE", "ON THE DOP of LIFE", "Overnight", "bottom". Only in the 90s of the twentieth century in one of the Moscow theaters was made of a plays called "at the bottom". Whatever it was, but the drama was well adopted by the viewer not only in Russia, but also abroad. In 1903, the premiere of the play took place in Berlin. The drama was played 300 times in a row, and this testifies to the unprecedented success.

16. Maxim Gorky. "At the bottom". An innovation of bitter playground. Scenic fate of the play. Theory of literature. Socio-philosophical drama as a genre of drama (initial ideas). "New Realism." Heroic concept of personality.

TKR number 2. Literature of the beginning of the 20th century. Writers-realists of the beginning of the 20th century.

Plan

A) innovation of bitter playground

The dramatic innovation of Gorky is associated with the concept of personality in his work. Creating a new type of socio-philosophical drama, where the conflict is not expressed in an outer and complex intrigue, but in the inner movement of the play, in the collision of ideas. The author pays the main attention to the self-consciousness of the heroes, identifying their social and philosophical views. As a rule, a person is shown through the prism of other people's perceptions. The writer's hero is an active creative personality that implements itself in a public field (Danko is one of the first heroes of this type). The hero is the carrier of the author's ideals - must overcome and defeat the power of the society to which he belongs.

The concept of socioly and spiritually active personality flowed out of the Gorky views system, from his world view. The writer was convinced of the omnipotence of the human mind, in the strength of the knowledge, experience of life.

Measuring his experience in drama, Gorky wrote: "The play-drama, the comedy is the most difficult form of literature, difficult because it requires that each unit acting in it is characterized by a word and a word, without suggestions from the author."

In the play "Dachniki" writer denounces the philistine intelligentsia - calm and contented, alien to concerns about the good of the people.

The play was the accusatory act of those who came out of the simple people to people, those "thousands who changed their oaths", who forgot their holy debt to serve people, rolled in the sortier, became hypocritical, indifferent, prone to posterity by people.

With the ultimate cynical frankness of the belief of "dacnis" expresses at the end of the play engineer Suslov: "We have done and unsubscribed in youth; Naturally, in a mature age, we want a lot and delicious, drink, I want to relax ... In general, award yourself with an excess of restless, hungry life of young days ... We want to eat and relax in adulthood - here is our psychology ... I'm a man in the street - and more nothing - with! .. I like to be an average ... "

At the same time, the Dachniks show the split of the intelligentsia, the allocation of those who do not want to be "daccags", those who understand: how to live, as they live now, "not good." "Intelligentsia is not us! We are something else ... We are summer houses in our country ... some visiting people. "We fuse, we are looking for convenient places in the life ... We do nothing and disgusting a lot ..." - says thoughtful, serious, strict Varvara Mikhailovna, which "suffocates from vulgarity." Marya Lvovna, Vlas, Sonya, Varvara Mikhailovna understand how hard to live among people who are "all just moan, everyone screams about themselves, satisfy the life of complaints and nothing, nothing else contributes to it ..."

At the premiere of "Dachnikov" on November 10, 1904, the auxiliary bourgeois public, supported by disguise, tried to arrange a scandal, raised the noise and whistle, but the main one - a democratic part of the audience welcomed the bitter ovation that came to the scene and forced the scandalists to leave the hall. The best day of your life called the day of the premiere of Dachnikov, the writer: "Huge, the hot joy was burning in me ... They gley, when I was not, and no one was bold to bow when I came - the pants and slaves they!"

B) innovation of bitter playground in the play "On the bottom"

The drama opens with an exposure in which the main characters are already represented, the main topics are formulated, many problems are set. The appearance at night Luke is a stronger play. From this point on, the test of various vital philosophy and aspirations begins. Luke stories about the "righteous land" Culmination, and the beginning of the junction - the murder of Kostyleva. The composition of the play is strictly subordinate to its ideological and thematic content. The basis of the story movement is to verify the life practice of the philosophy of comfort, exposing its illusion and harm. " This sculpts at the basis of the composition of the play "On the bottom". The dramatic skill of Gorky is distinguished by a great originality. The author's attention is focused on the show of social types and phenomena, and the very image of reality is distinguished by a deep generalization. In the play, several ideological and thematic plans, which are more or less related to the main idea. The important feature of the Drama of Gorky The absence of a central hero and the division of the characters ya positive and negative. The author pays the main attention to the self-consciousness of the heroes, identifying their social and philosophical views. People themselves are peculiar and the principles of the image of a person in the play. As a rule, a person is shown through the prism of the perception of other people. So, for example, it is presented in the plays of Luke: in the eyes of the crutuminous, it is a harmful embarrass, for Anna and Nastya - a good comforter, for Baron and Bubnova - Lyudan and Charlatan. The completeness and completion of this image give a changing attitude towards a actor, ashes, tick. In the play "At the bottom", monologues occupy a slight place. The leading principle of disclosure of the self-consciousness of the heroes and their characters is a dialogue. An important means of achieving typical and individualization of images is the speech characteristic of the characters. Prove this on the example of the images of Luke, actor, Baron. Expand the ideological feature of the quotation from Beranta, the parables of righteous land and the song that the costs singing. The play "On the bottom" had a huge socio-political significance. Exposing a false philosophy of comfort, bitter thereby fought against the reactionary ideology, for which representatives of the dominant classes willingly relied. In the period beginning of the political lift, the comfort, called for humility and passivity, was deeply hostile to the revolutionary working class, rising for a decisive struggle. In this setting, the play played a large revolutionary role. She showed that Gorky with an advanced position solved the problem of kingdom. If in the early works of his works, the writer did not touch the reasons that created this phenomenon, then in the play "At the bottom", a stern sentence was called to the public system, which was wondering in the suffering of people. All its contents called for a revolutionary transformation of reality.

C) "Scenic fate of the play of Gorky" at the bottom. "

The MCATA archive stores an album containing over forty photographs made by the artist M. Dmitriev in Nizhny Novgorod at night. They served as a visual material for actors, fashionships and costumes when laying a play in the MHT Stanislavsky.

In some photos, Gorky's hand made comments from which it follows that many of the characters "at the bottom" had real prototypes in the Nizhny Novgorod Africanism environment. All this suggests that the author, and the director, to achieve the maximum stage effect, they sought, above all, to life reliability.

The premiere "At the bottom", which took place on December 18, 1902, had a phenomenal success. The roles in the play were performed: satin - Stanislavsky, Luka - Moskvin, Baron - Kachalov, Natasha - Andreeva, Nastya - Bookper.

Such a compliance of famous actors plus the originality of the copyright and directorial decision was given by anyone not expected result. Glory "At the bottom" itself is a peculiar cultural and public phenomenon of the beginning of the 20th century and does not have equal in the entire history of the world theater.

"The first submission of this play was a solid triumph," wrote M. F. Andreeva. - The audience raised. Caused the author the uncountal number of times. He rested, did not want to go out, literally pushed him on the stage. "

On December 21, Gorky wrote Pyatnitsky: "The success of the play is an exceptional, I did not expect anything like this ..." Pyatnitsky himself wrote L. Andreev: "Drama Maximich - delight! He, how fools is enough for her forehead of all those who interpreted about the decline of his talent. " "At the bottom", he highly appreciated A. Chekhov, who wrote to the author: "She's Nova is undoubtedly good. The second act is very good, it is the best, the strongest, and when I read it, especially the end, I almost jumped from pleasure. "

"At the bottom" - the first work of M. Gorky, which brought the author of world glory. In January 1903, the premiere of the play took place in Berlin at the Max Reanardt Theater in the formulation of director Richard Valletina, who performed the role of Satin. In Berlin, the play withstood 300 performances in a row, and in the spring of 1905, it was noted the 500th presentation.

Many of the contemporaries celebrated the characteristic feature of the early Gorky - coarseness.

Some called it disadvantage. For example, A. Volynsky after the play "At the bottom" wrote Stanislavsky: "Gorky has no tender, noble heart, singing and crying, like Chekhov. It is rustic, as if not enough to mystically, not immersed in some grace. "

Others saw in the manifestation of the non-realty whole person who came from the folk bottoms and as it were, "blowing" traditional ideas about the Russian writer.

"At the bottom" - a program for Gorky Piece: who created at the dawn that the twentieth century, she expressed many of his doubts and hopes in connection with the prospects for man and humanity to change themselves, transform the life and open the necessary sources of creative forces.

This is stated in the symbolic time of the play of the play, in the remarks of the first act: "The beginning of spring. Morning". On the same direction of the thinking of Gorky eloquently testifies its correspondence.

On the eve of Easter, 1898 Gorky welcomed Chekhov promisingly: "Christ is resurrected!", And soon I wrote I. E. Repin: "I don't know anything better, more difficult, more interesting than a person. He is all. He created even God ... I am sure that a person is able to endlessly cultivate, and all his activities - along with him will also develop ... from century to century. I believe in infinity of life, and life understand how the movement towards the perfection of the Spirit. "

A year later, in a letter to L. N. Tolstoy, he almost literally repeated this principal for himself for himself in connection with the literature: "Even the Great Book is only a dead, black shadow of the word and a hint of the truth, and the person is a composite of God of Living. I understand God as an indomitable desire for improvement, to truth and justice. And therefore - and a bad person is better than a good book. "

D) the concept of man in the early work of M. Gorky

The gap between the heroic past and miserable, a colorless life in the present, between "due" and "existing", between the great "dream" and the "gray epoch" was the soil on which the romanticism of the early bitter was born.

Early Gorky stories are revolutionary and romantic. In these stories, gray ordinary life is opposed to bright, exotic, heroic. The contrast is associated with the confrontation of a particular person to the crowd - life as a feat and life as an arbitrary.

For a bitter person - proud and free Lord of the Earth. "In life there is always a place for a feat," says the bitter mouth of the heroine of the romantic story "Old woman Izergil."

Its early romantic works with bright, passionate, winsted heroes, Gorky sought to wake up the "souls of the living dead." He contrasts the real world of selfless romantic heroes: Danko, Gypsy Volnitsa, proud natures of freedom-loving people who prefer death to be subject to even his beloved person. The removed Loyko and the beauty of Radd are dying, refusing to love, happiness, if for this it is necessary to sacrifice freedom, and the other is approved by his death - higher - happiness: the invaluable benefit of freedom. Gorky expressed this thought by the mouth of Makara miracles, which his story about Loyko and Radda preders the following words: "Well, Falcon, you want, I will say one job? And you remember her and, how to remember, your eyelid will be a free bird. "

Among these proud and freedom-loving Gorky heroes, the old Izergil's life is convinced of the thoughts of Gorky about responsibility for themselves, their actions and actions. Throughout his life, I was carried by the Iergile sense of human dignity; He could not break either the infancy of fate, nor the danger of death, nor the fear of losing a beloved person, lose love. The history of her life is apotheosis of freedom, beauty, high moral values \u200b\u200bof man. Therefore, it is so convincing her story about the selfless, the heroic feat of Danko, as if this is not a poetic legend, but a real story, whose witness she was.

By approving the beauty and greatness of the feat in the name of people, Izergil confronts people who have lost their ideals. And who, for the sake of which Altruist Danko sacrificed his life, whom he brought out of the darkness of the forest and a ramp, swamps for light and freedom, illuminated by their burning hearts? "There were funny, strong and bold people," but they came to "hard time" and they got into the struggle, because they believed that their former experience in fighting only to death and destroy, but "they could not die," because together They would disappear from life and "Covenants".

Saving people, Danko gives the most expensive and the only thing that has - his heart is "the torch of great love for people." The feat in the name of human life, freedom will form the basis of the story. To self-sacrifice in the name of people and called bitter. The main thought traced in the story: a man, strong, beautiful, capable of feat, is a real person.

The old woman isergile, in addition to the transfer of the author's opinion, is also a link. The history of her life is placed in the middle of the story. She lived among people, but for themselves. The first from Ispergil we hear the legend about the pride, freedom-loving Larre, the son of a woman and an eagle, who lived for himself, and the last - about Danko, who lived among people and for people.

In the song about falcon, which is similar in shape - a story in the story - into two previous works, there is also a problem of the meaning of life. Gorky builds a story on the contrast - People-Falcon and People. The author paints two specific types of people: one, similar to proud, free birds, others - with a horn, doomed all life "crawl". Gorky, speaking of the latter: "Born crawling - can not fly," - praises people like falcon: "We sing brave!" The main natural symbol, both in the "song about falol" and in other works of Gorky - this is the sea. Sea, transmitting the condition of the dying bird, - "Waves with a sad roar of a stone beat ..."; "The song about proud bird thundered in their lion's roar, trembling the rocks from their blows, trembling the sky from the Grozny song"; "The madness of brave - this is the wisdom of life!" The main theme of the autobiographical story "The Birth of a Man" can be determined by the very name - the emergence of a new person. Gorky, the birth of a child is a continuation of life. And with no circumstances a man came to this, another unknown world, it is necessary to do everything possible to continue his life.

The child, appearing on the light, declares a violent cry. With his birth, the mother smiles, "amazingly flourished, her bottomless eyes burn with blue fire." And, reading these lines, you forget the terrible, inhuman face, with wild, pouring eyes, what a woman had during childbirth. A long-awaited child appeared on the light in inhuman flour, which means that the great feat that a woman is capable of.

And even nature, feeling the mood of others, transmits the state of a happy woman: "Somewhere far rushing the stream - exactly the girl tells his friend about his beloved." "It splashed and blocked the sea, all in white lace chips; The bushes whispered, the sun shone. "

The specified idea was also based on L. Shcheglov in the Smolensk Drama Theater. L. Schokelov The world of Gorkovsky obverseans was introduced as the world of alienation. Here everyone lives in itself, alone. People are separated. The apostle of alienation protrudes Luke, for he sincerely convinced that everyone should fight only for himself. Luke (S. Charities) - according to the evidence of the author of the review of O. Roots - a huge height, a hefty old man, with a red, weathered and laid sun face. It is included in the night there is not a barrel, not quiet and unnoticed, but noisy, loud, a wide step. He is not a comforter, but ... the premiere, the tamer of human rebel, any impulse, anxiety. He persistently, even manually tells Anna about the rest, which allegedly waiting for her after death, and when Anna in his own way interprets the words of the old man and gives a desire to suffer here, on earth, Luke, writes a reviewer, "just orders her to die" 41
Theater life, 1967, №10, p. 24.

Satin, on the contrary, seeks to unite these miserable people. "Gradually, before our eyes, we read in the reviews," in detached, abandoned by the will of the circumstances of human beings begins to wake up a feeling of a partnership, the desire to understand each other, the consciousness of the need to live together. "

The idea of \u200b\u200bovercoming the alienation, an interesting in itself, did not find a fairly reasonable expression in the performance. Throughout the action, she never managed to plunge the impression from the cold, impassive knock of the metronome, which sounded in the darkness of the auditorium and the countdown of a second, minutes and hours of human life existing alone. I did not contribute to the manifestation of the plan and some conditional techniques for the design of the performance, calculated rather on the effect of perception than the development of the basic idea of \u200b\u200bthe performance. Performers of roles are unusually young. Their modern costumes are completely different to the picturesque bumps of Gorky Bosia, and jeans on satine and stylish pants on Baron puzzled even the most free from the prejudices of the reviewers and the audience, especially since some of the characters (Bubnov, ticks) appeared in the case of master of the time, and Vasilisa appeared in the outfits of the Kustodievskaya checkpire.

The Arkhangelsk Theater named after M. V. Lomonosov (director V. Terentyev) as the basis of his production took the favorite Gorky thought about attentive attitudes towards each individual individuals of human. The "bottom" people in the interpretation of the Arkhangelsk artists cares about their external position of the vagrants and "Nikudyshnikov". " The main features are indestructible desire for freedom. According to E. Balatova, who reviewed this performance, "Not Tesne, I do not rush to make a disassemble life at this survival. Something from the inside dispelves each, it turns out in the coronal, torn, inept words " 42
Theater life, 1966, №14, p. eleven.

The tick is torn (N. Tendititis), Nastya (O. Ukolova) rushes heavy, the ashes (E. Pavlovsky) is, here is about the ready run to Siberia ... Luka and Satin - not antipodes, they are united by sharp and genuine curiosity to people. However, they were not enemies and in performances of other theaters. Luke (B. Gorshenin) looks around for the nightnails, notes E. Balatov in his review, condescendingly, willingly, and sometimes the smoking "feeding" their everyday experience. Satin (S. Carpenters) easily passes from the annoying irritation to attempts to awaken something humane in the casual souls of their comrades. Attentive attitude towards living human destiny, and not distracted ideas, concludes a reviewer, a spectral "special freshness", and from this "hot flux of humanity is born with a swirl, rapid, deeply emotional rhythm of the whole performance."

In some respects, the performance of the Kirov DramaTheater was curious .. there was a very commendable article in the magazine "Theater" 43
See: Romanovich I. Ordinary misfortune. "At the bottom". M. Gorky. Staging V. Lansky. Drama Theater named after S. M. Kirov. Kirov, 1968. - Theater, 1968, №9, p. 33-38.

The performance was shown at the All-Union Gorky Theater Festival in the spring of 1968 in Nizhny Novgorod (then the city of Gorky) and received a more restrained and objective assessment 44
See: 1968 - year of Gorky. - Theater, 1968, №9, p. fourteen.

In the presence of undoubted finds, it was breathing in the eyes of an overly controvered, turning inside out the content of the play by the directorial intent. If the basic idea of \u200b\u200bthe play can be expressed by the words "it is impossible to live", then the director wanted to say something about the opposite: it is possible to live, because there is no limit to adapt the person to unhappiness. Each of the actors to his sample confirmed this initial thesis. Baron (A. Starochkin) demonstrated his pimp quality, showed his power over Nastya; Natasha (T. Klovova) - suspicion, incredulusity; Bubnov (R. Ayupov) - Powdle and cynical dislike for yourself and other people, and all together are dismissed, indifference to their own and to someone's troubles.

In this silent, the gloomy world breaks on Luka I. Tomkevich, obsessed, evil, active. If you believe I. Romanovich, he "brings with him the mighty breath of Russia, her awakening people." But satin completely blocked and turned into the most small figure figure of the performance. Such an unexpected interpretation that makes out of Luke almost a petrel, but from Satin - just a ordinary cheeler, not justifying the plays itself. I did not receive support in criticism and attempt to add Gorky, "expand" the texts of the author's remarks (beating the old girl gymnasics girls, fights, chase the rogues, etc.) 45
Alekseeva A.N. Modern problems of the scenic interpretation of drama A. M. Gorky. - In the book: Gorky readings. 1976. Conference materials "A. M. Gorky and theater. " Gorky, 1977, p. 24.

The most remarkable these years were two productions - at the artist's homeland, in Nizhny Novgorod, and in Moscow, in the theater "Contemporary".

The performance "At the bottom" in the Gorky Academic Drama Theater named after A. M. Gorky, marked by the USSR State Prize and recognized as one of the best at the Theater Festival in 1968, was indeed in many ways interesting and instructive. At one time he caused controversy in theatrical circles and on the print pages. Some theatrical critics and reviewers in the desire of the theater read the play in a new way seen dignity, others, on the contrary, disadvantage. I. Vishnevskaya welcomed the donkens of Nizhny Novgorod, and N. Barcukov opposed the fiene of the play.

In assessing this setting (director B. Voronov, artist V. Gerasimenko) I. Vishnevskaya proceeded from the general humanistic idea. Today, when good human relations become the criterion of true progress, she wrote, whether the Gorky Luke is not to be with us, it's not worth a re-listening to him, separating the fairy tale from the truth, a lie from kindness? In her opinion, Luka came to people with good, with a request not to offend a person. It was such a Luka that she saw in the performance of N. Levkoyev. His game she tied up with the traditions of the Great Moskvin; The goodness of Luke attributed a beneficial effect on the souls of the nights. "And the most interesting thing in this performance," she concluded, - the proximity of Satina and Luke, or rather even the birth of that Satina, whom we love and know, it is after meeting with Luka " 46
Vishnevskaya I. began as usual. - Theater life, 1967, №24, p. eleven.

N. Barsukov told for the historical approach to the play and appreciated in the performance first of all what makes in the auditorium feel the "century past". He admits that Levkoevsky Luka is "a simple, hearty and smiling old man" that he "causes a desire to be alone with him, listen to his stories about life, about human strength and truth." But he is against taking a humanistic interpretation of the image of Luke on a scene from Moskvin for the standard. According to his deep conviction, no matter how cordial is neither Luka, good, which he preaches is unfoundless and harmful. Against it and in order to see between satin and the Luko "some harmony", because between them - conflict. He does not agree with the statement of Vishnevskaya that allegedly suicide actor is not weakness, but "Act, moral cleansing." Luke himself, "relying on abstract humanity, it turns out to be defenseless and forced to leave those about the commander" 47
Barsukov N. Pravda - for Gorky. - Theater life, 1967, №24, p. 12.

In the argument of critics, the editorial office took the direction of N. Barsukov, believing that his view on the problem "Classic and Modernity" is more faithful. However, this dispute did not end. The performance was the focus on the mentioned festival in Gorky. New articles appeared about him in the "Literary Gazeta", in the magazine "Theater" and other publications. Artists joined the controversy.

N. A. Levkoev, People's Artist of the RSFSR, the executor of the role of Luke, said:

"I consider Luka primarily by a philanthropic.

He has an organic need to do good, he loves a man, suffering, seeing him crushed social injustice, and seeks to help him than only can.

... In each of us there are separate liquefy characters, without which we just have no right to live. Luka claims - who believes, will find. Remember the words of our song, thundered to the whole world: "Who is looking for, he will always find." Luka says who wants a hard one that will always achieve it. Here it is where, modernity " 48
Theater, 1968, №3, p. 14-15.

Describing the production "At the bottom" in the Gorky Drama Theater, VL. Pimenov stressed: "This performance is good because we are in a new way perceive the content of the play, the psychology of people" bottom ". Of course, you can intelled to interpret Luke's life program, but I like Luke Levkoyev, whom he played correctly, penetrating, not rejecting, however, a completely the concept that now exists as recognized as the hosteltomy. Yes, Gorky wrote that there is no kind on Luke, he is only a deceiver. However, it seems that the writer would never forbate the search for new solutions in the characters of the heroes of his plays " 49
In the same place, p. sixteen.

By the way, in his article about the play, published in the "literary newspaper", Vl. Pimenov touched the game and the other performer of the role of Luke at Gorkovchan - V. Nadoraksky. According to him, Nerladsky "depicts Luka as if a professional preacher. He is land, stricter, he just takes and folds in his soul other sins and troubles ... ".

Highly appreciated the critic The image of satin created by V. Samoilov. He is "not a speaker, solemnly broadcasting loud truths, this satin at Samoilova - a person with a concrete fate, living passions, close and understandable to people of the night ... Looking at Satina - Samoilova, you understand that it is in this Gorky play who has laid many starts of intellectual drama modernity " 50
Pimenov in l. Traditional and new. "On the bottom" in the Gorky Drama Theater. - Literary newspaper, 1968, March 20.

The actor (N. Voloshin), Bubnov (N. Khlibko), tick (E. Novikov) - Satina. These are people "with not yet pretty to the end of human dignity."

In the May issue of the theater magazine, for the same 1968, there was a thorough and in many ways an interesting article V. Sechin "Gorky" old ". Employed the Sverdlovsky Drama Theater for the fact that he interprets the boss "First of all, almost exclusively - as a social phenomenon of the historical past," he focuses on the Nizhny Novgorod production "at the bottom" and in the spore of Barsukov and Vishnevskaya takes mostly the right side of the last .

In his opinion, Levkoevsky Luke, whom he highly appreciates, no "malicious preacher" and not religious. The favorite word onions is not "God", whom he almost does not call, but "man", and "what was considered to be the prerogative of satin, in fact the entity of the Luke's image" 51
Theater, 1968, №5, p. 22.

According to the critic, during the performance "Luka does not lie to anyone and does not introduce anyone to deception." "It is considered," the author notes,. - What, because of the advice of Luke, everything ends tragically and the life of the night cars not only does not change for the better, but it becomes even worse. But none of them arrives according to Luke's advice! " 52
In the same place, p. 24.

Satin in the performance, and essentially, some opposite of Luke. Luke warns ashes, and satin incites. Satin Samoilova defiantly defiantly.

It has a "Mephistophela vulnence, he could not forgive the world, which is doomed to be a destroyer, not a creator" 53
Theater, 1968, №5, p. 25

A significant event in the scenic history "at the bottom" was the production in the Moscow "Contemporary". Director - Volchek, artist - P. Kirillov.

The general nature of the performance was quite accurately determined by I. Solovyov and V. Shitov: People - as people, ordinary, and every person is worth it; And life here is like life, one of the options for Russian life; And the nightnails - "not a human self-turning garbage, not a pipe, not Luzga, but the people are broken, crumpled, but not erased, - with their chaskan, even distinguishable on each" 54
Soloviev I., Shitova V. People of the new play, - Theater, 1969, №3, p. 7.

They are unusually young, in their own way decent, not in a nightly neglected, do not shake with their rags, do not injure horrors. And the basement does not look like a cave, neither on the sew channel, nor the bottomless well. This is just a temporary refuge, where they were due to circumstances, but are not going to linger. They take a little care about to resemble the inheritant in the Khitrovian market or inhabitants of the Nizhny Novgorod millionth. It takes their any more important thought, the idea that everyone is people, that the main thing is not in the situation, but in real relationship between people, in the inner freight of the spirit, which can be found even on the "bottom". The artists of the "contemporary" seek to create on stage are not types, but images of people who are finely feeling, thinking, easily vulnerable and without "fatty-mordaste". Baron performed by A. Software is least similar to the traditional pimp. In its attitude to Nastya, hidden human warmth appears. Bubnov (P. Shcherbakov) hides under cynicism, too, in essence, very kind, and Vaska Sidel (O. Dahl) really conscience to offend Baron, although, perhaps, he deserved it. Luka Igor Kvashi does not play kindness, he is really kind if not by nature, then on the deepest conviction. His faith in the inexhaustible spiritual powers of a person is indestructible, and he himself, according to the right remark of the reviewers, "will bend, will experience the whole pain, keeps the degrading memory about it - and straightened." He will give way, but will not retreat. Satin (E. Evstigneyev) will go far in skepticism, but he will move itself at the right moment on the usual phrase and will reappear for himself and others that they do not regret, and respect the person needs. The deeply humanistic concept of the performance closely brings both performers and viewers to the main thing - to overcoming the idea of \u200b\u200bthe "bottom", to comprehend the actual freedom of the spirit, without which the real life is impossible.

The performance, unfortunately, stops on this and does not disclose potential opportunities fully in the play. The tendentiousness of the play, as not to be said by A. Exodinova, one of the first reviewers of the performance, wider, deeper, philosophically more significant than the tendence of its stage interpretation. "The atmosphere of the responsible and complex philosophical dispute is not sufficiently felt in the performance ... The surplus of sensitivity prevents sometimes thinking about some important thoughts. Not always clearly placed power in the discussion ... " 55
Soviet culture, 1968, 28 dec.

A. Exodinova, highly appreciating the performance as a whole, was not entirely pleased with the disclosure of philosophical, intellectual content of the play. Staying physically at the bottom of life, Gorky heroes are already rising from the bottom of life. They comprehend the freedom of responsibility ("a man for everything pays himself"), the freedom of purpose ("a person is born for the best"), close to liberation from anarchic perception and interpretation of freedom, but all this, according to Criticism, "did not meet" in the performance. Especially in this sense, the final failed.

Final did not work, at V. Schina, and in the performance of the Gorky Dramaater.

"But there is no bows. Outdoor petitions drink. And the theater creates heavy, full of drama, the atmosphere of drunk bortage. There is no genuine sensation of the prejudice explosion, but it seems that the task of future producers "at the bottom" will be to put the nightnamons in the fourth action on the line of readiness to the most active actions: it is also unclear that each of them can commit But one thing is clear - so it is impossible to live further, something must be done. And then the song "The Sun is climbing and coming" will not be unnecessary and peaceful, as in this performance, but, on the contrary, a sign of readiness for action " 56
Sechin V. Gorky "Old". - Theater, 1968, №5, p. 26.

The production "At the bottom" in the Moscow "contemporary" did not cause special differences in the theatrical criticism and disputes like disputes around the Gorky production. Explained, apparently, this is the fact that the performance of Muscovites was more definite and finished both in the details and in the overall drawing than their provincial colleagues. The latter were as if halfway to a new play play, and they were not so decisive. Much has a spontaneous, thanks to the bright individualities of the performers. This applies primarily to the main figures of the performance of Samoilov - Satina and Levkoev - Luke. The final was clearly disharmoned with those gusts to humanity, which constituted the essence of the performance. In the interpretation of Gorkovsk, the final turned out to be even more traditionally not the most traditional solutions, as it almost tightly covered all the exits for the inhabitants of the night.

At the same time, the performance of Gorkovchan turned out to be in those years, perhaps the only one, in which it was not, or rather, was not felt by the directorial presenter. Stripping from the traditional experience in the image of the "DNA" people, inspired by the famous stage of Stanislavsky and accumulated by its theater, from the scene of which the famous play did not go for many years and earlier, B. Voronov and his troupe found a new way, naturally, without a predefined target. Arriving critics were easily found in the performance desired.

Often, the same phenomenon they assessed in the opposite way. So, in the opinion of some, the tick performed by E. Novikova "acquires freedom for a common table at the night", and others, looking at the same game, objected that he, tick, still "does not merge at the next room, not immersed in Her muddy stream. "

Thus, the sixties are an important stage in the scenic history of the play "At the bottom". They confirmed the vitality of the work, its modernity and the inexhaustible stage capabilities of Gorky drama. Staging the Leningrad Drama Theater named after A. S. Pushkin, the Gorky Drama Theater named after A. M. Gorky, the Moscow Theater "Contemporanik" revealed the humanistic content of the play "at the bottom." Interesting were also attempts to read the famous play in Kiev in their own way, Vladivostok, Smolensk, Arkhangelsk and some other cities. After many years of inattention, our theaters to this play of the Gorky sixties were triumphal for it. Unfortunately, the successes achieved then on the stage did not find development in the next decade. As soon as the anniversary Gorky days, the performances began to "align", "stupid", grow old, and even go to the scene at all - instead of going ahead, towards the current day.

What is the reason?

In anywhere, only not in the loss of interest in the play by the viewer.

For example, the performance "At the bottom" in the Gorky Drama Theater was given eleven years and all these years enjoyed the sustainable attention of the public. This can be seen from the following statistical table.

This should be stopped.

One of the reasons was the unexpectedness and hasty, which jubilee performances were preparing. With all its external simplicity and non-digestion of the play "At the bottom", multidimensional, multifaceted and fulfilled the deepest philosophical meaning. Our director these years have been very safely experiments in these years, but did not always properly justified their experiments. Critics either immensely extolled theatrical undertakings, as it was, for example, with a production in the Kirov Drama Theater, or was subjected to them unreasonable condemnation and in attempts to theaters in a new way, Gorky did not see anything other than the "tread", which is supposedly "is in direct Contradicts with the development of our literature and all of our art. "

The play "At the bottom" was not too lucky with criticism.

The first and, perhaps, the most obsess and harsh critic was to be Maxim Gorky himself.

Describing the brilliant success of the play in the art theater, he wrote to K. Pyatnitsky: "Nevertheless, neither the public nor the review of the play is not painted. Praise - praise, and not want to understand. I now understand - who is to blame? Talent Moskvina - Luke or the author's inability? And I'm not very fun. " 57
Gorky M. Cathed. op. In 30 t. M., 1949-1956, vol. 28, p. 279. In the future, references to this publication will be given in the text indicating the volume and pages.

In a conversation with an employee of the "St. Petersburg statements", the bitter will repeat and strengthen the said.

"Gorky completely openly recognized his dramatic brainchild of a failed job, alien in the idea of \u200b\u200bboth Gorky Mirosoznia and his former literary sentiments. The texture of the play completely does not correspond to its final building. According to the main idea of \u200b\u200bthe author of Luka, for example, it was supposed to appear negative type. In contrast, he was supposed to give a type of positive - satin, a true hero of the play, Alter Ego Gorky. In fact, it turned out on the contrary: Luka, with his philosophizing, turned into a positive type, and satin, unexpectedly for himself, found himself in the role of new 58
Domestic news (Moscow). - S.-Petersburg Vedomosti, 1903, 14 Apr.

It will take some more time, and another copyright will appear in the Petersburg newspaper:

"Is it true that you yourself are unhappy with your work?" - Yes, the play is written poorly. There is no oppression of what Luke says; The main question I am. I wanted to put it, this is what is better, truth or compassion? What you need? It is necessary to bring compassion before using a lie like a bow. This is not a subjective question, but the general philosophical, Luka is a representative of compassion and even lies as the means of salvation, and meanwhile opposition to the preachion of Luke, representatives of the truth in the play. Tick, Baron, ash are the facts of life, and it is necessary to distinguish the facts from the truth. This is not the same thing. Bubnov comes against lies. " And further, that "the author's sympathies" at the bottom "is not on the side of the preachers of lies and compassion, but, on the contrary, on the side of those who seek the truth" 59
Nemanov L. Conversation on a steamer with M. Gorky, - Petersburg newspaper, 1903, 15 Nunny.