The place of the chosen work in the work of the writer. Methodical development of a lesson on literature "The depiction of the moral qualities of a person in the story of V.M.
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1.4 Analysis of the selected work (story "Red Kalina")
About Shukshin's work, one can say - to live among people, incidents, impressions, each of which requires its own, and a legitimate place in art, each, pushing everything else, tears through you to paper, to the stage, to the screen, insistently demanding and grumbling, - It is very difficult.
Here we recall the film story "Kalina Krasnaya" written in 1973 by V. Shukshin. The main character is Yegor Prokudin. Egor is inconsistent: now he is emotionally lyrical and embraces one birch tree after another, now he is rude, now he is a ruffian and a bum, a lover of drinking, now he is a kind-hearted person, now a bandit. And now some critics were very confused by this inconsistency, and they took it for the lack of character and "truth of life."
Critics did not immediately notice that such a way of life until now has not been possible, perhaps, to create anyone - not a single writer, not a single director, not a single actor, and Shukshin therefore succeeded because he is Shukshin, who piercingly saw people around him, their fates, their life twists and turns, because he is a writer, a director and an actor all rolled into one.
Prokudin's inconsistency is not at all so simple, spontaneous and not conditioned by anything, it is by no means an empty space and not a lack of character.
Prokudin is consistently inconsistent, and that's something else. This is already logic. His logic is not our logic, it cannot, and probably should not be accepted and divided by us, but this does not mean at all that it does not exist, that it is not able to open up to us and be understood by us.
Not quickly and not quietly, but with an even step, Yegor moves along the arable land he has just plowed towards his death.
He walks, knowing where he is going.
Goes, first sending away his henchman on plowing, so that he would not be a witness of what will inevitably happen now, so that a person who has nothing to do with Prokudin's fate would not face any danger, some kind of witness troubles.
The beat of Prokudin's tarpaulin boots on the wooden walkways is heard loudly and continuously, when he is released from prison, but now he is almost inaudible, but in the same rhythm, he walks through the arable land from free to death, and the circle closes, and everything becomes clear to us.
But then we understand that this person should have done just that - all his previous inconsistencies started talking about it.
Prokudin neither pity, nor love, nor patronage, nor help - he would not accept anything from us, but he needs our understanding. It is necessary in its own way - after all, he resists this understanding all the time, it was not for nothing that he was so inconsistent and threw out his knees, but all this because our understanding was necessary for him.
And then you involuntarily begin to think that Prokudin gives us an understanding not only of himself, but also of his artist - Vasily Shukshin.
Time is running. Those born in the year of Shukshin's death become his readers today. For them, he unwittingly is the name of the classic series. But the years that have passed since his death have not lost their desired meaning in the words, which he wrote with a capital letter. People, True, living Life. Each word is a reflection of Shukshin's soul, his position in life - never give up, not bend under the weight of life, but, on the contrary, fight for his place under the sun.
Analysis of the story "Kalina Krasnaya" by Vasily Shukshin
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Freaks in Shukshin's stories
Story "Chudik" (1967). Many wonderful things are done by Vasily Knyazev, nicknamed Chudik, starting with 50 rubles, which he puts on the counter with "witty" words ("You live well, citizens!"), Since "there is no owner" ...
The work is one of the most colorful in the writer's work and tells about the life of ordinary village people with their original and incredibly difficult fates.
The main character of the story is Yegor Prokudin, presented by the writer in the image of a recidivist thief released from prison, whose characteristic features are his inner spiritual strength, love for his native land and an honest attitude towards a woman.
The storyline of the work tells about the decision taken by the protagonist to start a new life, not related to his criminal past. Yegor arrives in a small village to see Lyuba Baikalova, a woman whom he meets as a result of correspondence while in the colony.
Lyuba is a bright, kind, conscientious person, with a soul accepting a former criminal and sincerely hoping for his further correction. The writer portrays the heroine in the form of typical representatives of Russian women, whose distinctive national feature is feelings of compassion and pity.
The woman accepts Yegor into her family, consisting of elderly parents and his brother Peter, who lives in a neighboring hut with his family, and also helps in finding employment in a rural collective farm. The image of Peter in the story is presented as a real Russian peasant, laconic, thorough in deeds, fair.
However, the correct, full and calm life that has begun is disrupted by the arrival of Yegor's former accomplices in thieves' cases, which ended in the tragic death of the protagonist, since the criminals do not forgive Prokudin's decision to leave the gangster life.
A distinctive feature of the story is the image of nature, which is presented as an integral element of the narrative, confirmed by the title of the work, symbolizing the bright red color of the viburnum a premonition of an imminent and inevitable ending. Revealing the image of Yegor Prokudin, the writer throughout the entire narrative uses a description of nature in the form of spring air on the day of his release, which turned his head, young birches, personifying the homeland, the juicy aroma of the earth at the moment of its plowing, which makes Yegor indulge in childhood memories.
Despite the dramatic nature of the story, which lies in the tragic fate of the protagonist, the work, having a sad, lyrical connotation, is filled with the author's faith in a Russian person who is distinguished by true patriotism, love for his native land, an open, non-spiteful soul striving for rural foundations and life according to human laws according to conscience.
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In terms of genre, the work belongs to the lyrical tale, called the spring tale by the author, the basis of the plot of which the writer borrows from folk legends.
Flowers are the plant that almost all people associate with the word romance. They are given to girls for the holidays, on dates and even just like that.
Probably, each of us has some memories that involuntarily make us think about something, reflect, or just cause a smile. This is how I associate summer
The film has features characteristic of the direction of the 70s. This is a bright, free thought about life, colored with a clear and vivid identity. This is a simple picture, designed for a wide audience, but it is complex in that there are many layers in it. The main question here is "what?" And not "how?" It can be seen that the director feels free in the choice of material, means, and editing.
Some critics saw the social and psychological conflict between the criminal and his environment, others - "crime and punishment", and others - the moral meaning of guilt before the abandoned mother (He is a lonely outcast who becomes a criminal in order to fill his soul). Some wrote that this is a film - a song, others accused of anti-song composition. And all these assessments directly characterize the picture.
In structure, the film is a thrombus (literal and figurative meaning of the image). There is a plot, but there are still many layers (just what the critics see).
"Kalina krasnaya" is a tragedy of guilt and reckoning. The integrity of the narrative from the point of view of Shukshin is given not by the plot, but by the humanity embodied in it. Several vivid images in this film. For example, the image “birch forest” is a bright, clean world, including human purity. Or the image of the "white church" - it passes through the film several times, which appears several times. We can say that the picture is very metaphorical, everything in it is welded with nature. The landscape in it is a poetic leitmotif.
mutilated like Prokudin's life itself
after meeting with mother
after his death. A direct metaphor is his life as a desecrated church.
Catharsis occurs when Yegor realizes his guilt, strives for purification and Lyuba's love for Yegor.
The image of Yegor Prokudin is very contradictory. He is looking for a holiday and wants it right now, at the same time he strives for harmony. In this regard, the picture consists of contrasting episodes - a gradually increasing contrast.
The inevitability of the denouement (the death of Prokudin) is shown in detail. An episode when Prokudin greets birches and collides with a crow, then a montage with a flooded church.
USSR, MOSFILM, 1973, color, 108 min.
Tragic melodrama.
This painting by Vasily Shukshin is an extremely rare genre exception in Soviet art, where all tragedies were bound to be “optimistic”. This is a story about the human soul, about "how it is not arranged in life, how it toils and seeks its place."
In "Kalina Krasnaya" Kolokolnikov's joke turns into a foolish provocation by the former criminal, dissolute peasant son Yegor Prokudin of the environment of his wanderings - be it "thieves' raspberry", the dull space of a district town, or even the genetically close house of the Baikalov peasant family. This is the genre range of the wanderings of Shukshin's hero: from light jokes, carnival comedy through holy foolish provocations, which can also be seen in the simple-minded performances of the hero of his eccentric work. For in "Kalina Krasnaya" a seemingly pervasive, although most often the latent motive of Soviet cinema - "one's own among strangers, a stranger among one's own," was guessed, which was decided mainly on the social plane, when almost the whole nation belonged, if not to those who passed the camps or to relatives of those who were imprisoned, it is so imperative to see a variety of “displaced persons”, recruits, migrants and “limiters”. Almost everyone moved involuntarily or at the call of their hearts from place to place across a large, immense country, found themselves in the position of tumbleweeds, trying to adapt, to take root in a foreign environment. Before Kalina Krasnaya, Shukshin's work in literature and cinema was often understood from the point of view of the obsessive opposition of city and village, urban facelessness, lack of spirituality, isolation from the roots - and rural naturalness, human individuality, and a deep connection with the native land.
And only in "Kalina Krasnaya" this conflict is understood at the tragic national, "all-Union level" - the point is by no means that the failed peasant became a recidivist thief, leaving his home, betraying his mother, existing without a family, alone falcon. As if the whole country, which then constituted a sixth of the Earth, found itself in the situation of an "eternal restless wanderer", not knowing where to nest, with whom to become related, how to find peace for its restless soul, which hardly wants only a spree, a "run in width", but to a greater extent he suffers to fall back on the lost foundations of being.
"Kalina Krasnaya", directed by the director at the age of 44, is Shukshin's most confessional and artistically autobiographical film, which in no way fits into the framework of the suffocating stagnation.
It is not by chance that the picture begins with a scene of a performance by a prison amateur performance - a chorus of prisoners thoughtfully and with concentration plays a song about how the evening bells "lead a lot of thoughts". It is easiest to count that the former criminal Yegor Prokudin, after getting out of prison, wants to atone for his old sins and start a new life in his "native land", having become attached to the good woman Lyuba Baikalova, whom he met by correspondence, but his former friends stubbornly do not let him go and in spite of organizing a gangster stabbing. But this is not a "crime drama" or even a melodrama spiced up with unexpectedly comic scenes.
Cast: Vasily Shukshin, Lydia Fedoseeva-Shukshina, Alexey Vanin, Ivan Ryzhov, Maria Skvortsova, Maria Vinogradova, Ophimia Bystrova, Zhanna Prokhorenko, Lev Durov, Nikolai Pogodin, Georgy Burkov, Tatyana Gavrilova, Artur Makarov, Oleg Vasiliy. Director: Shukshin, Scriptwriter: Vasily Shukshin, Director of Photography: Anatoly Zabolotsky, Production Designer: Ippolit Novoderezhkin, Composer: Pavel Chekalov, Sound Director: Viktor Belyarov.
62. Analysis of the film "There lived a songbird""LIVING A FEBRUARY DROZD", USSR, GEORGIA-FILM, 1971, b / w, 83 min.
Kinonovella.
The title of the film comes from the words of the folk song "Once upon a time there was a songbird." And there is sadness, tenderness, light irony in it, addressed by the author - Otar Ioseliani - to the hero and, for some reason, it seems, to himself and, of course, to the leading role of the timpani of the opera house orchestra, documentary director Gela Kandelaki. His face of a true Tbilisi is sometimes dissolved in the luxurious crowd of this city, then comes to the fore. His impulsive, at first glance, devoid of meaning and goal-setting, actions, then drown in the stream of life, then, as if struggling with it, are knocked out to the surface.
Here he is at the last moment, under the destructive gaze of the director, has time to his drums in the theater orchestra in order to fit his drums into the general music of the finale. Here he is alone, lying in the grass near the waterfall, as if in heavenly bushes, listening attentively to the melody that is born in him, to his music. The director generously and slyly presented his hero with several bars from Bach's Passion according to Matthew. "Whom I love - that I give" ...
Music, noises, sounds, orchestrated by the director into a complete symphony, this is a film in a film that must be watched and listened to. There is a prediction in it - in the screeching of car brakes. There is a warning - in the relentless pounding of the clock, these messengers of eternity into our everyday life. And in the pictorial series, festive and undisturbed - meetings, feasts, fleeting street contacts, a short stay in the father's house - confusion, as it will become clear in the finale, the last morning, afternoon, evening in the hero's life. Black and white chronicle or life ?!
Did the hero give himself away to others or wasted himself? Did he pour the wine of his talent, of his very life, or quench someone's thirst for communication of human participation? Is he kind, generous, loving or irresponsible, scattered, lazy ?. ... So then, upon the release of the film in 1971, critics and spectators argued about the hero, about the meaning of the film. And they did not find answers from the author, not because he knew, but withheld them. But because he is talented, free, he lived in a different system of values. Not in the one where there is “up” and “down”, “better” and “worse”, but in the one where instead of hierarchy there is an alignment, just choose where the process of choice itself is personal and endless, equal to the path of life.
Otar Ioseliani also suggested to us, people of the deaf 70s, depressed, standardized, hierarchical, - choose ... if you can.
The film was released in a limited release (320 copies).
Cast: Gela Kandelaki, Gogi Chkheidze, Dzhansug Kakhidze, Irina Dzhandieri, Marina Kartsivadze, I. Mdivani, Nugzar Erkomaishvili, Deya Ivanidze, Tamara Gedevanishvili, Maka Makharadze, Revaz Baramidze, Giorgi T. Magtakveli-shvili , Kakhi Kavsadze.
Director: Otar Ioseliani.
Operator: Abesalom Maisuradze.
Production designer: Dmitry Eristavi.
Composer: Teimuraz Bakuradze.
Sound engineers: Tengiz Nanobashvili, Mikhail Nizharadze, Otar Gegechkori.
Installation: no.
Best Foreign Film in 1972 at the Italian box office.
Specialty 050146 Teaching in primary grades
ODP 11 Literature
21-U group
The topic of the lesson "The depiction of the moral qualities of a person in the story
Medvedeva V.V., teacher of literature
OGAPOU "Starooskolsk Pedagogical College"
Target: to expand the students' understanding of the work of V.M. Shukshin; develop the skills of analyzing literary text and improve their creative skills;
Lesson type : consolidation of new material;
Learning component :
Ensure that students master the story of V.M. Shukshina "Red Kalina";
Develop creative writing skills;
Show the relationship and interdependence of the phenomena of the surrounding world and the internal qualities of a person;
Developing
Develop cognitive processes (attention, memory, thinking);
Develop speech (correctly use terms, concepts, definitions, improve the expressiveness of speech);
Develop interest in Russian literature and language;
Nurturing component :
To cultivate love for the mother, loved ones;
To contribute to the formation of a highly moral personality, able to see, feel, love their nature, the people around them, their small homeland;
Educational technologies used : technology of pedagogical workshops;
Intersubject and intrasubject communications : music, cinema, expressive reading, visual arts, text analysis;
Forms of work :
Frontal work;
Independent work;
Resource provision :
Interactive board;
Methodological support :
Multimedia presentation;
Literary texts by V. Shukshin "Red Kalina";
Stills from the movie "Kalina Krasnaya".
Predicted result : at the end of the lesson, students must master the following competencies:
OK 2. Organize their own activities, determine methods for solving professional problems, evaluate their effectiveness and quality;
Be able to:
Articulate your attitude towards the read work in a reasoned manner;
Know:
The figurative nature of verbal art; the content of the studied literary work;
During the classes
Teacher's word : Good afternoon, dear students and guests. We continue to work in the context of a creative workshop.
And for today's lesson, I suggest you start by thinking:
"What is the beauty of a person manifested in?"
Write down in a notebook words, phrases that are associations to the concept of human beauty, and pictures of the world around us and amazing music will help you.
(music sounds and slides with pictures of the surrounding world on the screen)
What associations do you have?
(students read their associations, for example: charm, harmony, love, goodness, splendor, peace of mind, lightness,
bright dreams, etc.)
Now, based on the associations you heard and your own associations, say:
What is the beauty of a person manifested in?
(For example, the beauty of a person is manifested in the beauty of the heart. Beauty induces noble feelings in a person. Beauty manifests itself in good, useful deeds. And for me, beauty is manifested in respect for parents and people around us ... ..)
2. Word of the teacher : the topic of our lesson
“The depiction of the moral qualities of a person in the story of V.M. Shukshina "Kalina red"
And now we will try to use the example of the story to reveal a very important question: what is the beauty of a person?
Conversation on the story "Kalina Krasnaya"
Every person is born good, he is not characterized by an evil inclination. But in his later life, he can stumble, go off the right path, lose his inner beauty, like the hero of Shukshin's story Yegor Prokudin.
- Tell me, what was the beauty of the hero of the story of Yegor Prokudin from birth?
- And where did all this beauty go? Follow the text: who is he now Yegorushka, Gore, Goryushka, as the author calls him?
Watch a frame from the movie "Kalina Krasnaya"
(scene of wild life)
- What are the qualities of the protagonist that manifested themselves in this scene and in the passages you read? How does he relate to the people around him, to himself?
Now let's see another shot (visit to the mother)
- Tell me, how did he show himself in this episode, what is his attitude towards his mother?
And if Yegor Prokudin is so self-sufficient, generous, ready to throw money left and right, why did he not confess to his mother, leave her money when she lives in such poverty?
- Yegor's soul asked for something. What did not suit him in such a life? Confirm with examples from the text.
- Yes, indeed, Yegor goes through a difficult path of comprehending that life is not intended for the holidays, but for the correction and salvation of his warped soul.
Assignment: "Draw a picture"
The director-producer of the film "Kalina Krasnaya" is V.M. Shukshin, and he allowed to move away from the content of the story, including in his picture, an episode when Yegor Prokudin is rapidly sweeping on a "rocket" through the water against the background of a destroyed church. There is a certain symbol in this.
I suggest you work in rows: students in the first row draw a verbal picture depicting a flooded, destroyed church, against the background of which Yegor Prokudin sweeps across the water; the second row draws a picture of bitter repentance after visiting the mother against the background of the temple.
(student speeches)
Indeed, in the film "Kalina Krasnaya" the path of the grace-filled transformation of the soul of Yegor Prokudin is marked, as if by landmarks, by the pictures of two destroyed churches.
Now look at the association words written in the notebook at the beginning of the lesson. Be so kind as to underline the word or phrase that you think best suits your understanding of a person's beauty.
(students name words)
This word will be the leitmotif of your mini-essay.
What is the beauty of a person?
( Students write compositions to music, and then each
reads out his text)
Examples:
I think that the true beauty of a person is the inner beauty of his soul. If one person is ready to give to another all the most precious that he has, to respond to any request and does not require gratitude, then this is a beautiful person. Even external unattractiveness will not prevent such a person from doing good.
The beauty of a person lies in his behavior, in his actions and deeds. It is the actions that speak about the personality of a person, about his appearance, soulfulness and hard work.
What is the beauty of a person? I think there is no definite answer to this question, since beauty is present everywhere, but not everyone is able to see it. Truly beautiful is the one who has an open and kind heart, who can love nature, homeland, and most importantly the people around you.
People often say that the main thing in a person is spiritual beauty, but sometimes there is nothing behind these words. People first look at his appearance, and then they look into his soul. I always remember an excerpt from Zabolotsky's poem "Ugly Girl":
And if so, then what is beauty,
And why do people deify her?
She is a vessel in which there is emptiness,
Or a fire flickering in a vessel?
In these words, in my opinion, there is an answer to the question posed.
A handsome person is an addicted person who knows how to love and be friends. This is a person who is interested in living in the world of his country. This is a person for whom there are no barriers, frameworks and stereotypes. Probably, this is a free person enjoying his freedom to the fullest.
Yes, indeed, a person is beautiful in relation to himself, to the world around him and to people.
In the next lesson, we will continue to consider the problem of the moral qualities of Shukshin's heroes using the example of other stories. We will be interested in the question: What are Shukshin's heroes thinking, thinking, what questions do they occupy?
Reflection:
I want to give each of you the floor to express what has not been said, that there is still something left to finish ...
Estimated answers:
Behind the pictures of the surrounding world that we saw at the beginning of the lesson "I perceived the person who created this beauty
I thought about the fact that a person is an artist by nature, because everywhere, one way or another, he seeks to bring beauty into the world around him.
I would like to say that we need to have time to make beauty, goodness in life.
And in my heart there is sadness because Shukshin's hero acquired spiritual beauty at the end of his life.
I wanted even more to love my mother, to tell her kind, warm words
The story "Kalina Krasnaya" made me think about our actions, when we behave defiantly, we try to imitate someone, copy someone, but we still have to remain ourselves.
And now I remembered the following lines:
Your word has not sunk into oblivion,
Gold did not crumble into copper,
We watch, holding our spirit, a film strip
Under the name: life or death.
Let this film go on without a screen -
The whole country is on view.
How talented, no, brilliant
You played the role of Shukshin in it.
Now cheerful, now gloomy, now sad,
Hiding heartache behind laughter
You remain yourself in art ...
Being yourself is the most difficult role.
Self-assessment of activities in the lesson
Criteria
Indicators
Result (in points)
Topic: "The depiction of the moral qualities of a person in the story
V.M. Shukshina "Kalina red"
OK2. Organize your own activities
Activity;
Be able to:
The figurative nature of artistic text
Find the correspondence of the lines of the story with the director's production of a feature film;
Topic: “The image of the moral qualities of a person in the stories of V.M. Shukshina ("Chudik", "Cut", etc.)
OK2. Organize your own activities;
OK6. OK6. Work in a team and team, interact with colleagues and social partners.
Activity;
High-quality performance of all tasks in the lesson;
Respect for the thoughts expressed by team members;
Be able to:
Write reviews;
Expressing your judgment in a mini-essay;
Formation of a complete answer to the questions posed;
Expressive reading of the text;
Statement of your perception of the image;
Know:
The figurative nature of literary texts;
The main facts of the life and work of V.M. Shukshin;
Find the correspondence of Shukshin's heroes with the acting of the actors in the film;
Total:
Converting points to a mark:
9-10 points - mark "5"
7-8 points - mark "4"
5-6 points - mark "3"
About Shukshin's work, one can say - to live among people, incidents, impressions, each of which requires its own, and a legitimate place in art, each, pushing everything else, tears through you to paper, to the stage, to the screen, insistently demanding and grumbling, - It is very difficult.
Here we recall V. Shukshin's film story "Red Kalina", written in 1973. The main character is Yegor Prokudin. he is a kind-hearted person, sometimes a bandit. ”And now some critics were very confused by this inconsistency, and they took it for a lack of character and" truth of life. "
Critics did not immediately notice that such a way of life until now has not been possible, perhaps, to create anyone - not a single writer, not a single director, not a single actor, and Shukshin therefore succeeded because he is Shukshin, who piercingly saw people around him, their fates, their life twists and turns, because he is a writer, a director and an actor all rolled into one.
Prokudin's inconsistency is not at all so simple, spontaneous and not conditioned by anything, it is by no means an empty space and not a lack of character.
Prokudin is consistently inconsistent, and that's something else. This is already logic. His logic is not our logic, it cannot, and probably should not be accepted and divided by us, but this does not mean at all that it does not exist, that it is not able to open up to us and be understood by us.
Not quickly and not quietly, but with an even step, Yegor moves along the arable land he has just plowed towards his death.
He walks, knowing where he is going.
Goes, first sending away his henchman on plowing, so that he would not be a witness of what will inevitably happen now, so that a person who has nothing to do with Prokudin's fate would not face any danger, some kind of witness troubles.
The beat of Prokudin's tarpaulin boots on the wooden walkways is heard loudly and continuously, when he is released from prison, but now he is almost inaudible, but in the same rhythm, he walks through the arable land from free to death, and the circle closes, and everything becomes clear to us.
But then we understand that this person should have done just that - all his previous inconsistencies started talking about it.
Prokudin neither pity, nor love, nor patronage, nor help - he would not accept anything from us, but he needs our understanding. It is necessary in its own way - after all, he resists this understanding all the time, it was not for nothing that he was so inconsistent and threw out his knees, but all this because our understanding was necessary for him.
And then you involuntarily begin to think that Prokudin gives us an understanding not only of himself, but also of his artist - Vasily Shukshin.
Time is running. Those born in the year of Shukshin's death become his readers today. For them, he unwittingly is the name of the classic series. But the years that have passed since his death have not lost their desired meaning in the words, which he wrote with a capital letter. People, True, living Life. Each word is a reflection of Shukshin's soul, his position in life - never give up, not bend under the weight of life, but, on the contrary, fight for his place under the sun.