Examination: Mozart and Salieri.

Lesson of the teacher of the Russian language and literature MOU Gymnasium No. 77 of the Tematsova Tatyana Aleksandrovna

Objectives lesson:

• acquaintance with the cycle A.S. Pushkin "Little Tragedies", the main images of the Mozart and Salieri tragedies and affected problems in it: the relation to A.S. Pushkin to the question of genius and villain;

• development of the skills of analyzing the poetic dramatic work;

• education of interest in poetic works, solving ideological problems.

Equipment lesson:

• portrait of A.S. Pushkin, illustrations to tragedy;

• the feature film "Little Tragedies";

• the magneticket record of the works of V.-A. Motzart (for example, "Turkish Rondo", "Little Serenads", "Requiem");

• definitions of the literary concept of "tragedy", lexical values The words "Requiem", "Craftsman".

Board design:

Epigraph: Genius and Harvesting - Two inconstant things. (A.S. Pushkin. "Mozart and Salieri")

Lesson plan:

1) Artistic features Little tragedies cycle.

2) Problems and main images of the work.

3) How is the problem of genius and evils decide in the tragedy?

DURING THE CLASSES:

I. Organizational moment:

• greeting students;

• checking absent in the class;

• writing in the topic notebook and lesson epigraph.

II. The introductory part. Preparation of students for the perception of new material.

The history of the creation and features of the "Little Tragedy" cycle. One of the students prepared a message in advance on this topic.

Task class: Listening to the message, write in the notebook the features of the cycle A.S. Pushkin. Approximate entry in notebook:

Artistic features of the cycle "Little tragedies":

1) Small volume, small number of scenes and characters.

2) rapid development, acute dramatic conflict.

3) the depth of penetration into the psychology of the heroes covered by a strong passion.

4) Recreation of the lives of other peoples in different historical era.

From the history of the creation of "small tragedies".

In 1830, four plays wrote in Boldino Pushkin: " Surround knight"," Mozart and Salieri "," Stone Guest", "Feast in Time of Plague". In a letter P.A. Pushkin's Plentnev reported that he brought "a few dramatic scenes, or small tragedies."

The plays began to call "small tragedies." They are really not large in volume, have a small number of scenes and characters. "Dramatic scenes", "dramatic essays", "dramatic learning" - such names wanted to give their plays by A.S. Pushkin, emphasizing their difference from traditional.

For "small tragedies", the rapid development of the action, acute dramatic conflict, the depth of penetration into the psychology of the heroes, covered by strong passion, the truthful image of characters that differ in versatile, individual and typical features is characterized.

In "little tragedies" recreated the lives of other peoples in different historical epochs. In the "Supil Knight" reflected the Middle Ages Western Europe, life and morals of the knightly castle, showing the power of gold over the soul of man. In "Mozart and Salieri" revealed dead power envy (the action takes place in the XVIII century). The old Spanish legend of Don Juan has been developed in the Stone Guest, the old Spanish legend of Don Juan, which lives only for himself, not considered with moral norms; courage, dexterity, wit - all these qualities he sent to the satisfaction of his desires in pursuit of pleasures.

"Feast in Time of Plague" - philosophical reflection About human behavior before the danger of death.

All this indicates that "small tragedies" are realistic works. "The truth of passions, the likelihood of feelings in the proposed circumstances - this is what our mind requires from the dramatic writer," said Pushkin.

III. Studying a new material.

1. Features of the cycle in the tragedy "Mozart and Salieri". Children in class work in groups of 4 people. Everyone has a notebook on literature, a sheet for draft entries, a pen, a pencil.

The task is given by groups. Each of the groups briefly characterizes one of the features (teacher distributes): "How this feature manifests itself in the tragedy "Mozart and Salieri" and which artistic meaning carries? "

Possible answer: 1) The tragedy consists of only two scenes in which there are only three characters (Mozart, Salieri, blind violinist). At the same time, we appear the whole life of the main acting personsSince the author's view is chained only to them and transmits all the shades of mood, the peculiarities of the behavior of each of the characters. (Students may also celebrate two incoming character - Mozart and Israel's wife, Salier's beloved, who complement their images and also serve only the means of characteristics of the main actors).

Working with terminology. A poster is hanging on the board with a definition that students analyze, detecting keywords, and write down in the notebook: Tragedy - A dramatic work, which is based on a particularly acute irreconcilable conflict, ending most often by the death of the hero. (Definition write to the notebook).

2. Analysis of the tragedy. Scene I.

1) Demonstrated Video Fragment (excerpt from artistic film "Little tragedies") - the first monologue of Salieri: "Everyone says: no truth on earth ..." During viewing, students should write down quotes, answering the question: what stages of their life will distinguish salrai?

Records in notebook:

"I listened and heard ..."

"I got an artisan ..."

".. I now became envious."

2) Wordwork. A poster is hanging on the board with the definition of the word "artisan":

Craftsman - 1. A person who owns professional craft. 2. A person who does according to the template without a creative initiative.

The task is given by groups. Discuss in groups and briefly record the answer to the question: "Why exactly does Salieri call himself?" When the groups discussed and respond, the rest add to their records what it seems interesting.

Possible answer: "To the creativity of Salieri, as it is characterized in a monologue, both definitions of words are suitable. He took possession musical letterAs craft, but at the same time it has lost its creative initiative, individuality, talent brightness. Pushkin notes the absence of what he distinguishes the genius from the artisan - the gift of God. "

Conclusion: So, the first monologue of Salieri is the lattice of the tragedy, but he is also the culmination of the torment salier, who have long been tormented by his soul.

3) But there is a second monologue of Salieriwhich is essentially justifying the murder plan. Expressive reading one of the students' monologue "I am elected to stop it ..."

Question to the text of the monologue:

What makes Mozart, from the point of view of Salieri, so that it should be stopped? (Salierie knows: He himself will never be able to learn what Mozart owns - creation, inspired creating. The first reason for the desire to "stop" is named - envy, the impossibility of it to achieve his vertices independently, nor learn from him. But there is both the second! Salieri is not May be reconciled with the behavior of Mozart, his attitude to art: "You, Mozart, not clear yourself").

3. Comparative analysis Images of Mozart and Salieri.

The word of the teacher. So why does Salieri kill Mozart (it was Mozart, although next to him, as he says, is a glitch, helln, piccchini on the top of glory)?

The task is given by groups. During the analysis of the text of the work, fill in the table:

1) Analysis of the scene with a blind musician.

The film video is demonstrated with this scene. Question to students:

How does Mozart and Salieri characterize their attitude towards a simple game of the blind violinist?

2) The ratio of Mozart to their creations and to themselves.

Why does Salieri call Mozart "madness, walking idle"? (Lightness, harness, the depth of Mozart's creation seems to him not the result of intense spiritual work, but a fever given over).

But is Salieri right? He hears that Mozart calls a vertex written by him, but he does not hear that he says about the time when it was written: "Insomnia my me tomila...»

In which case can you call the insomnia? (If it is a constant companion).

What else does the word emphasize the tragity of inspiration? - tomila.

3) How is Mozart manifest in relation to people? (The violinist gave money. Wife warned that he would not have dinner at home.)

Conclusion: He loves and understands people, cares about them.

And Salieri? What do we know about his relationship with people?

(The violinist was driven. Beloved Israis gave him poison.)

When students filled the tables, respond, the others add to their records what it seems interesting.

4. Analysis of the tragedy. Scene II.

1) Frontal survey:

What is the main difference between Mozart and Salieri?

What are the views of Mozart Salieri so much that does not accept that even ready to murder? (Attitude to art).

The word of the teacher. Over eternal questions: "What is art? What role does it play in a person's life? What tasks in front of them are artists? " conceived at all times and great thinkers, and ordinary people. I liked the definitions that you gave, answering questionnaire questions.

Preliminary work. Students were given in advance creative task In the form of an account in which phrases needed to continue:

The person appeals to the works of art when ...

Art helps a person (do, decide, think about it, etc.) ...

The main goal of the artist is ...

The teacher reads some students' responses (you can not call the authors of the statements) or students themselves can read their questionnaires.

2) the attitude of heroes to art and its goals.

Task by groups. And now let's try working in groups, formulate the attitude to the art and its goals of two heroes of the tragedy A.S. Pushkin. Groups make their records in notebooks, then follow their reading and discussion, students complement their records. (Students note that the art of salieri for chosen, it is designed to exalted his creator, to become an example for others; the art of Mozart has been drawn to people, it is designed to give joy, hope, to heal the soul, etc.)

3) Analysis of passages from the works of Mozart.

The task. Listen to Mozart music (2-minded). Make conclusions about the mood.

Option of the episode lesson. Students listening to music, first write their impressions of the first passages - several words and phrases (for example, solar, cheerful, ringing, joy, hope, light, happiness, etc.), then - from "Requiem". After a comparison, draw conclusions.

Why Mozart took an order to write music, complete reminders of death?

Wordwork. A poster is hanging on the board with a definition:

Requiem - 1. Catholics: worship for the deceased. 2. Four musical work.

Conclusions. Mozart wants to earn. Mozart himself - "elected, lucky man idiot" - I knew very well what a need is. Thus, for Mozart, as for Pushkin, art is not only high enjoyment, but also a means of existence.

The teacher reads the lines from Pushkin's letter to Pushkin: "Money, money ... take a wife without a condition - I'm able to go into debts for her rags - I am not able to. There is nothing to do: you have to print my story. I will move to you in the second week, and to the holy and insens ... "

5. Analysis of the scene of poisoning. Frontal conversation.

Why Salieri throws poison to a glass of Mozart after his words about genius and evil?

Comment on the replica of Mozart, drinking poison, and Salieri: "You drank! .. Without me?"

What double meaning Do you acquire the words of Mozart "My Requiem"? (worked with Mozart and on Him).

Why at the end of the tragedy are three stories of villains: the history of Boualersche and Michelangelo (legendary, imaginary) and the murder of Mozart Salieri committed in the play?

Why does the tragedy ends with the words of Salieri about the allegedly atrocity Michelangelo?

VIII. Work on problem issue Lesson:

How is the issue of genius and evils solve in the tragedy?

Students express their opinions, lead evidence.

IV. Conclusion.

The teacher reads the words F.M. Dostoevsky: "Pushkin died in full bloom and, undoubtedly, he blamed with him great mystery. And now we are doing this secret now without it ... "(F.M. Dostoevsky).

In the conclusion of the lesson, the teacher commented on the work of students and exposes evaluation.

V. Homework. Written reasoning for one of the topics (1-1.5 pages):

1. "Genius and villainism - two incompatible things"? (no more "4" points)

2. Why does Salieri beyond the play never playing the piano?

3. Why did Pushkin recorded the same words about the genius and villain that pronounce the heroes? (for the evidence of no less "4" points).

Test on the Literature of Mozart and Salieri (A.S. Pushkin) for students of grade 9. The test consists of two options, in each embodiment 5 tasks with a brief response and 3 common tasks with a detailed answer.

Salieri
Waiting for you; See
Not! I can not oppose the share
My fate: I have chosen to
Stop - not that we all died
We are all, priests, servants of music,
Not me alone with my deaf glory ...


Does he raise the art? Not;
It will fall again, as it will disappear:
Heir will not leave us.
What is the benefit in it? As a certain cherub


In us, children of dust, after fly away!
So fly away! The sooner, the better.
Here is the poison, the last gift of my isor.
Amazmen I wear it with my own
And often life seemed to me since
Unknown wound, and I sat often
With the enemy careless after one meal,
And never on the whisper of the temptation
I did not bow, although I'm not a coward,
Although I feel deeply offended,
Although little life love. I all slowed.
How thirst for death tormented me
What to die? I imagine: perhaps life
I will bring sudden gifts;
Perhaps will visit me delight
And creative night and inspiration;
Perhaps the new hand will create
Great - and enjoy it ...
Now - it's time! The cherished gift of love
Go today in the cup of friendship.

(Special Room in Tractor; Piano.)
Mozart and Salieri at the table.

Salieri
What are you overcast today?

Mozart.
I? Not!

Salieri
Are you true, Mozart, is something upset?
Lunch is good, glorious wine,
And you are silent and frown.

Mozart.
Admit,
My Requiem worries me.

Salieri
BUT!
Do you compose Requiem? How long have it been?

Mozart.
For a long time, three weeks. But a strange case ...
I did not tell you?

Salieri
Not

Mozart.
So listen.
Week three, I came late
Home. Told me what came
For me someone. Why - I do not know
I thought all night: who would it be?
And what is in me? Tomorrow is the same
I went and did not find me again.
On the third day I played on the floor
With my boy. I clicked me;
I went out. Man dressed in black
Participating bowing, ordered
I need Requiem and disappeared. I sat down
And began to write - and since that time
Did not come my black man;
And I am glad: I was sorry to part
With my work, at least quite ready
OR REQUIEM. But meanwhile I ...

Salieri
What?

Mozart.
I refer to me ...

Salieri
What?

Mozart.


How shadow he chases. So now
It seems to me that he is with us-thirds
Is sitting.

1 option

Jobs with a brief answer

1. As a A.S. Pushkin determined the genre of his work?

2. What is the name of the expanded replica of the hero in the dramatic work that this scene begins?

3. What are the questions specified in order to attract the attention of the interlocutor?
What use if mozzart will be alive
And the new height will reaches?
Does he raise the art?
What is the benefit in it?

4.
As a certain cherub
He somewhat brought us songs of the paradise ...

5.
And never on whispering temples
I did not bow, even though I'm not a coward ...

Tasks with a detailed answer

6.

7.

8.

Option 2

Jobs with a brief answer

1. What is the name of the cycle, which includes the work of A.S. Pushkin "Mozart and Salieri"?

2. In the consciousness of Salieri there is a struggle of thoughts, beliefs, passions. What is the sharp clash of feelings, views, life principles underlying the dramatic work?

3. What is the name of an exclamation offer, reinforcing the emotional impact of the statement on the interlocutor?
Not!
So fly away!
Now - it's time!

4. Specify the name of the means of allegorical expressiveness:
He somewhat brought us Paradish songs,
So that, outbreak, loony
In us cada dust After fly away!

5. Specify the name of the visual means:
I do not give day and night
My black man. For me everywhere
Like a shadow He chases.

Tasks with a detailed answer

6. How does Salieri destination art understand?

7. What is the role of a black person in this fragment?

8. Match fragments of works A.S. Pushkin "Mozart and Salieri" and N.V. Gogol "Taras Bulba". What are the vital principles of the heroes who committed the murder?

Fragment of the work of N.V. Gogol "Taras Bulba"

How Andriya threw! How the young blood stuck up on all veils! Having hit the horse with sharp spurs, in the whole spirit he flew behind Kozaki, without looking back, not seeing that behind just twenty people had time to sleep after him. And the kozaki flew in all the horses to the horses and directly touched the forest. Overwhelmed at Kon Andriy and almost no longer overtook the holocrophive, as suddenly someone's a strong hand grabbed his horse's occasion. Andiri looked around: before him Taras! He shook his whole body and suddenly became pale ...
So a schoolboy, carelessly reversal of his comrade and received for him from him the gift of a line in his forehead, flashes, like fire, mad pops out of the shop and chases his frightened companion to his, ready to break it into parts, and suddenly comes out for a teacher who belongs to the classroom: There is a rabid rush, and falls the powerless rage. Like him one moment disappeared, no matter how much, Andri's wrath. And he saw in front of a terrible father alone.
- Well, what will we do now? - Taras said, looking directly to him in the eyes. But I could not say anything to say anything and stood, blewing in the earth.
- What, son, help you your lyhas?
Andry was irresponsible.
- So sell? Sell \u200b\u200bfaith? Sell \u200b\u200byour? Be the same, get off the horse!
Poor, like a child, he tears from his horse and stopped nor alive, neither dead before Taras.
- Stop and did not move! I gave birth to you, I'll kill you! Said Taras and, retreating a step back, took off the gun from the shoulder. Pale, as a canvas, was Andri; It was seen how quietly moved his mouth and how he uttered someone's name; But it was not the name of the debris, or the mother, or the brothers it was the name of the beautiful Pole. Taras shot.
As a grain spacing, cropped with a sickle, like young lambs, who revealed a deadly iron under his heart, he woed his head and fell on the grass, did not affect any word.

Answers to the test on the literature Mozart and Salieri (A.S. Pushkin)
1 option
1. Tragedy
2. Monologue
3. Rhetorical
4. Comparison
5. Metaphor // Watching
Option 2
1. Little tragedy
2. Conflict
3. Rhetorical exclamation
4. Metaphor
5. Comparison

With a l e r and

Everyone says: no truth on earth.

But the truth is not - above. For me

So it is clear as a simple gamma.

I was born with love for art;

As a child, when high

Sounded organ in our old church,

I listened and heard - tears

Unwitting and sweet flowed.

I rejected me early idle fun;

Science, alien music, were

Posted me; Stubborn and arrogant

From them, I dismissed

One music. It is difficult for the first step

And the first way is bored. Overcome

I am early adversity. Craft

I put fit art;

I got an artisan: fingers

Gave obedient, dry fluency

And loyalty to the ear. Sounds killing

I humbled music like a corpse. Believed

I am algebra harmony. Then

Already daring, in science silent,

Night of the mind of a creative dream.

I began to create; But in silence, but in secret,

Not dare to think about fame.

Often, seemingly in silent cell

Two, three days, forgetting and sleep and food,

Looking delight and tears inspiration

I felt my work and looked coldly,

As my thought and sounds, I was born,

Dusty, with a slight smoke disappeared.

What is saying? When the great glitch

Came and opened us new secrets

(Deep, captivating secrets),

I did not give up everything that I knew

That he loved so much so hot

And did not go bearing after him

Badly like a one who was mistaken

And the oncoming sent towards another?

Effective, intense constancy

I finally in the art is limitless

Achieved a high degree. Glory

I smiled; I'm in the hearts of people

Found conceiving with its creation.

I was happy: I enjoyed peacefully

By their work, success, glory; also

Works and success of friends

My comrades in the art of the divine.

Not! I never envy

Oh, never! - Below when piccchini

Related kneeling wild Parisians,

Lower when he heard for the first time

I infiden the sounds.

Who will say that Salieri proud was

Someday the envious contempt

Snake, crowded people, giving

Sand and dust ricking powerless?

Nobody! .. And now - I myself say - I now

Envious. I envy; deep,

Muriously envy. - About the sky!

Where is the right thing when the sacred gift,

When the immortal genius is not as a reward

Love burning, selflessness,

Labor, diligence, messenger sent -

And illuminates the head of the madness,

Futs idle? O Mozart, Mozart!

There is a m about c and r t.

M about c and r t

Yeah! I saw you! And I wanted

You have an unexpected joke to treat you.

With a l e r and

Are you here! - How long?

M about c and r t

Now. I walked to you

I have something to show you;

But passing in front of the restaurant, suddenly

I heard a hidden ... no, my friend Salieri!

Funny outgrow you nothing

I did not hear ... blind hidden in the restaurant

Waving VOI Che Sapete. Miracle!

I didn't suffer, I led hidden,

To treat you with his art.

It is included with the l and k with a hidden.

From Mozart to us something!

With T and R and K plays Aria from Don Juan;

Mozart laughs.

With a l e r and

And you can laugh?

M about c and r t

Ah, Salieri!

You yourself and you yourself are not laughing:

With a l e r and

I'm not ridiculous when the painter is unsuitable

I am dirty Madonna Rafael,

I'm not funny when the phonologist is despicable

The parody is dishonoring Aligiery.

Gone, old man.

M about c and r t.

Wait: here's you

Pey for my health.

S t a r and to go away.

You, Salieri,

Not in the spirit now. I will come to you

At another time.

With a l e r and

What did you bring me?

M about c and r t

No - so; Belligent. Jedn at night

Insomnia my Tomil me,

And I came to mind two, three thoughts.

Today I sketched them. I wanted

Your opinion I hear my opinion; but now

You are not up to me.

With a l e r and

Ah, Mozart, Mozart!

When should I not up to you? Sit down;

I'm listening to.

M about c and r t

(for piano)

Imagine ... Who would?

Well, at least me - a little is a little;

In love - not too, and slightly -

With a beauty, or with a friend - even with you,

I am merry ... suddenly: the victim of the coffin,

Immediate gloom il something like that ...

Well, listen.

With a l e r and

You walked to me

And could stop at the restaurant

And listen to hidden blind! - God!

You, Mozart, not fit yourself.

M about c and r t

Well, well?

With a l e r and

What a depth!

What courage and what kind of harmony!

You, Mozart, God, and do not know;

I know I.

M about c and r t

Ba! right? may be…

But my deity was hungry.

With a l e r and

Listen: We will teach together

In the restaurant of the Golden Lion.

M about c and r t

I am glad. But let me go home to say

Wife for me to dinner

Did not wait.

With a l e r and

Waiting for you; See

Not! I can not oppose the share

My fate: I have chosen to

Stop - not that we all died

We are all, priests, servants of music,

Not me alone with my deaf glory ...

What use if mozzart will be alive

And the new height will reaches?

Does he raise the art? Not;

It will fall again, as it will disappear:

Heir will not leave us.

What is the benefit in it? As a certain cherub

He somewhat brought us Paradish songs,

So that, outbreak, loony

In us, children of dust, after fly away!

So fly away! The sooner, the better.

Here is the poison, the last gift of my isor.

Amazmen I wear it with my own

And often life seemed to me since

Unknown wound, and I sat often

With the enemy careless after one meal,

And never on the whisper of the temptation

I did not bow, although I'm not a coward,

Although I feel deeply offended,

Although little life love. I all slowed.

How thirst for death tormented me

What to die? I imagine: perhaps life

I will bring impected gifts;

Can visit me delight

And creative night, and inspiration;

Perhaps the new hand will create

Great - and enjoy it ...

How I drank with the guest hated,

Perhaps I mnil, the worst enemy

I will find; Perhaps the worst offense

In me with the arrogant height -

Then you will not disappear, the gift of Isores.

And I was right! And finally found

I am my enemy, and a new passion

I was delighted with the enthusiasm!

Now - it's time! The cherished gift of love

Go today in the cup of friendship.

Special room in the restaurant; Piano.

M o c and r t and with a l e r and at the table.

With a l e r and

What are you overcast today?

M about c and r t

With a l e r and

You, right, Mozart, is something upset?

Lunch is good, glorious wine,

And you are silent and frown.

M about c and r t

Admit,

My Requiem worries me.

With a l e r and

Do you compose Requiem? How long have it been?

M about c and r t

For a long time, three weeks. But a strange case ...

I did not tell you?

With a l e r and

M about c and r t

So listen.

Week three, I came late

Home. Told me what came

For me someone. Why - I do not know

I thought all night: who would it be?

And what is in me? Tomorrow is the same

I went and did not find me again.

On the third day I played on the floor

With my boy. I clicked me;

I went out. Man dressed in black

Participating bowing, ordered

I need Requiem and disappeared. I sat down

And began to write - and since that time

Did not come my black man;

And I am glad: I was sorry to part

With my work, at least quite ready

OR REQUIEM. But meanwhile I ...

With a l e r and

M about c and r t

I refer to me ...

With a l e r and

M about c and r t

I do not give day and night

My black man. For me everywhere

How shadow he chases. So now

It seems to me that he is with us-thirds

With a l e r and

And, full of! What is the fear of the child?

Rass empty Duma. Boualersche

I used to say: "Listen, Brother Salieri,

How the thoughts of black will come to you,

Spooky champagne bottle

Ile List "(marriage Figaro (".

M about c and r t

Yes! Beaver after all was a friend to you;

You for him "Tarar" composed,

The thing is nice. There is one motive ...

I am all the stupid of him when I am happy ...

La La La ... Ah, right, Salieri,

What did Boualers choose someone?

With a l e r and

I do not think: he was too funny

For crafts such.

M about c and r t

He is a genius

How are you yes me. And genius and villainism -

Two incomplete things. Not true?

With a l e r and

You think?

(Throws poison to a glass of Mozart)

Well, drink.

M about c and r t

Health, friend, for the sincere alliance,

Combating Mozart and Salieri,

Two sons of harmony.

With a l e r and

Wait, wait! .. You drank! .. without me?

M about c and r t

(throws a napkin on the table)

Pretty, I fed.

(Goes to piano.)

Listen, Salieri,

You are crying?

With a l e r and

These tears

For the first time Lew: and hurt and nice

As if hard I committed debt,

As if the knife is a healing compartment

Personal dick! Friend Mozart, these tears ...

Do not notice them. Go on, hurry

I still fill the soul sounds ...

M about c and r t

Whenever everyone felt the power

Harmony! But no: then I could not

And the world exist; no one would

Take care of low life needs;

Everyone would be betrayed by free art.

We are few chosen, lucky idle,

Neglected despicable benefit

One beautiful priests.

Not true? But I am now unhealthy,

Something is hard for me: I'll go light down.

Goodbye!

With a l e r and

Goodbye.

You snow

For a long time, Mozart! But he is right,

And I'm not a genius? Genius and evils

Two incomplete things. Not true:

And Bonarotti? or it is a fairy tale

A stupid meaningless crowd - and not

Clearing the creator of the Vatican?

Presenter summary The plays "Mozart and Salieri" (A. S. Pushkin), it should be said that it is quite small, and the characters in it are only two - composers Mozart and Salieri.

Essence of conflict

The basis of the conflict of the play is internal conflict Salieri, which can be reduced to understanding the essence of creativity in general. For him, music is labor, craft and constant self-improvement. In other words, overcoming. For Mozart, the writing of music is inspiration and joy. He creates easily and freely.

Thus, in the brief content of "Mozart and Salieri" Pushkin, we note that main question The plays, on which there is no answer and over which Salieri suffers: why are some trials are definitely, and others are forced to prove their place among the fellows on the workshop with tireless hard work?

He believes that heaven is unfair, looking "mad head" and "idle walking". After all, Mozart is not fit of his great gift, he burns life, not working, so it must die. Salieri sees its task to kill Mozart. This is a great task, he thinks.

And if the dramaturgically resolution of the conflict of Pushkin (Salieri kills Mozart in the fial of the play) and happening, then it cannot bring to the answer to the main question - and essentially the final remains open.

In the presentation of the summary of "Mozart and Salieri" Pushkin, we talked about the main conflict of the plays.

About the heroes of the play

Prototypes of Pieces Characters - real personalitiesBut mixing them together, especially with such a final, happening, most likely, only thanks to the will of the author.

In the brief content of "Mozart and Salieri" Pushkin need to clarify that Antonio Salieri at one time ( end of XVIII. - early XIX. century) was considered a famous and recognized musician. it italian composer, a glitch follower, the author of many vocal and vocal-musical works, court chapelster. He was a teacher, instilled the basics of skill with such famous composers like Schubert, leaf, Beethoven.

But, you can say, the fate played with him a faint joke - and with light hands Pushkin he stayed in the history of the "Mozart killer". This "stigma" stuck to him that much later, in Milan, in 1997, even the court was held, which fully justified the musician and confirmed his innocence in the death of Mozart.

In addition to Mozart, there is a third character in the play, the presence of which can be called symbolic, "Open". This man dressed in black, or, as his Mozart calls, "My Black Man" is a stranger, who came to order him by Requiem, and did not see the order. He became a certain herald of death, the envoy of the otherworldly forces - as if Requiem Mozart wrote himself for himself. This gloomy image is very common in world literature: Pushkin picked it up at Goethe ("Faust"), later he was borrowed for his works Leonid Andreev and Sergey Yesenin.

The first scene

In the summary of the play of Pushkin "Mozart and Salieri", we note that at the beginning of the first stage, Salieri sits in her room and reflects on his own, filled with study, works and well-deserved glory of life and how great his envy to Mozart. It comes to visit the Mozart himself and leads street musician, blind old man, "hidden", whom he just met in the restaurant. He played on the "Schipka" Aria Kerubino from the Mozartov Opera "Wedding Figaro" and played so badly that the author slept.

When the old man starts playing again, the Mozart laughs, and Salieri comes into indignation and drive the violinist.

Then Mozart plays the piano "Belligendle", which was composed of hesening at night. His listener is already in admiration and says that the Mozart "God" and he "is unnecessary." Mozart refers to these manifestations of delight with an obvious irony, he jokingly replies that "my deity was hungry", and Salieri immediately invites him to dine in the restaurant.

Mozart is offended to prevent his wife, and the remaining explains his task and the audience: "I have chosen to stop it," otherwise we died. To kill the Divine Mozart, according to Salieri, it is necessary to also be so that they can do those like Him, "Walkingless Cada Prach." And he prepares poison.

On this we will finish the summary of the first scene of the tragedy of Pushkin "Mozart and Salieri".

Scene Two

Mozart tells how "black man" came to him, as requested by Requiem and no longer appeared. The interlocutor is trying to encourage him, saying that for fun, on the advice of Boualem, it is necessary to count the "Figaro wedding" and drink a glass of champagne. "Or really," Mozart is interested in, "which someone was poisoned by Boualersha?". Salieri denies this, and Mozart adds that, of course, "he was a genius, like you yes,", and it is known that "genius and evils are two things unconscious."

Salieri sweeps into the bowl of the interlocutor of the poison, and he drinks wine. Then Mozart, cropped behind the piano, plays his new essay - requiem. His listener is touched: he "and hurt and nice", as if he committed heavy, but the necessary work.

Mozart feels not good and go home. And Salieri remains to reflect on a tormenting question. He recalls the legend of "On Bonarotti" (in the summary of the tragedy of Pushkin "Mozart and Salieri" need to notice what is meant here famous story, in which the Great Italian painter and sculptor Michelangelo Buonarot poisoned the simulator to significantly pass the flour of the dying Christ).

Can an artist be a genilane, who committed atrocity in the name of art? Or this story is a lie, the Ruskazni crowd?

On this issue of the musician to itself (or the viewer) the play is over.

We have briefly resulted in Pushkin's play "Mozart and Salieri".