Problems, the main conflict and the system of images in the play by A. Vampilov "Duck Hunt

The author of four large plays and three one-act plays (counting the student's House with Windows in the Field), who died tragically at the age of 35, who did not see any of his plays on the Moscow stage, published only a small collection of stories during his lifetime (1961) - Vampilov (1937 -1972) nevertheless made a revolution not only in modern Russian drama, but also in Russian theater, dividing their history into pre- and post-vampilovs.

The writer created the image of a hero of his time, a young, self-confident, educated person experiencing the collapse of his romantic hopes and ideals. The author dared, in the face of severe ideological restrictions, to show the youth of the 1960s as a deceived generation. The writer places his heroes in critical situations when they are required to live on, but they do not see the point in this. The author brilliantly portrayed the stifling stagnation of the Soviet era, when any initiative was punished, freedom was absent, it was impossible for youth full of strength to express themselves.

Vampilov's plays are based not on a dramatic, but on a lyrical conflict. These are plays-confessions, the heroes of which never do anything, there is no tragic or dramatic beginning in the plays. In front of the viewer is a hero who is trying to understand himself and the absurdity of the world around him. The main thing in the plays is the process of a person's lyrical self-awareness.

Self-portrait of the “lost generation”, existential questions, action as an experiment, the atmosphere of general comic and absurd acting - a combination of all these and many other elements took shape in the specific genre of Vampilian tragicomedy. Vampilov emphatically exaggerates the features of melodrama: his characters either consciously model their own everyday situations according to melodramatic models, or look back at them with palpable irony. At the same time, Vampilov reinforces the traditional for melodrama role of chance, giving it a special philosophical and psychological significance. Chance so powerfully controls the fate of its heroes, because they are deprived of any attachment, social, moral, cultural stability.

Throughout Vampilov's drama runs a system of fairly stable dramatic types, differently illuminated in different situations and conflicts. These characters form enduring duets. In his plays, there is always the character of a foolish eccentric - an off-stage incorruptible prosecutor in Farewell, the exalted Kuzakov in Duck Hunt (the one who is going to marry the "fallen" Vera), the tragicomic Khomutov in Twenty Minutes with an Angel.

This type was most concentrated in the dry and businesslike Waiter from "Duck Hunt". Women's characters, according to M. Turovskaya's exact observation, also form contrasting pairs and even triads based on the counter- and comparison of girls full of romantic hopes to tired and distracted women (Irina - Galya - Vera in "Duck Hunt"). The paradox of Vampilov's drama lies in the fact that all these very dissimilar types not only revolve around the central hero - Kolesov, Busygin, Zilov, Shamanov - but they are necessarily his doubles, reflecting some facet of his personality. The very central character finds itself at the crossroads of opposing possibilities inherent in itself and realized in its environment. This construction places the novel character, unfinished and unfinished, at the center of the dramatic action (hence the open finals of Vampilov's plays).

The play "Duck Hunt" (1971)- the most striking and mature work of A. Vampilov. It expresses the main, according to the author, conflict of his era - the devaluation of spiritual values.

As a matter of fact, in the play there is no usual conflict clash of the protagonist with the environment or other characters as such. The background of the conflict in the play is Zilov's memories. And by the end of the play, even such a construction has no resolution. E. Gushanskaya notes that the Irkutsk geologist told the story of the wreath to Vampilov. “It was his fellow geologist, friends who sent a wreath with the inscription“ Dear Yuri Alexandrovich, who was burnt at work ”.” This strangeness extends to the content of Duck Hunt itself. Throughout the play, the main character goes hunting, makes the necessary preparations, but he never gets there in the play itself. Only the final says about his next training camp: "Yes, I'm leaving now." Another feature of the play is its three-stage finale. At each of the steps, the work could be completed. But Vampilov does not stop there. The first step can be designated when Zilov, having invited his friends to the commemoration, "felt the trigger with his big toe ...". No wonder there is an ellipsis at the end of this phrase. There is a hint of suicide here. Viktor Zilov crossed some threshold in his life, once he decided to take such a step. But the phone call does not allow the hero to complete the work he has begun. And the friends who came later again return him to real life, the atmosphere from which he wanted to break only a couple of minutes ago. The next step is a new attempt to "assassinate" Zilov on his life. “Sayapin disappears.

Waiter. Come on. (Grabs Kuzakov, pushes him out the door.) It will be better that way ... Now put your gun down.

Zilov. And you get out. (They look each other in the eye for a moment. The waiter steps back toward the door). Alive.

The waiter detained Kuzakov who appeared at the door and disappeared with him. "

In the third finale of the play, Zilov never arrives at any specific answer to the questions that arise for him in the course of the play. The only thing he decides to do is go hunting. Perhaps this is also some kind of transition to solving one's life problems.

Some critics considered Vampilov's plays in a symbolic way. "Duck Hunt" is simply filled with objects - or situations - symbols. For example, a phone call that brings Zilov back to life can be said from the other world. And the telephone becomes a kind of conductor for Zilov's connection with the outside world, from which he at least tried to isolate himself from everything (after all, almost all the action takes place in a room, where there is no one except him). The window becomes the same connecting thread. It is a kind of way out in moments of mental stress. For example, with an unusual gift from friends (funeral wreath). “For some time he stands in front of the window, whistling the melody of the mourning music that has dreamed of him. With a bottle and a glass, he settles down on the windowsill. " “The window is, as it were, a sign of another reality, not present on the stage,” noted E. Gushanskaya, “but the reality of the Hunt set in the play”.

Hunting and everything connected with it, for example, a gun, becomes a very interesting symbol. It was bought for hunting ducks. However, Zilov tries it on himself. And the hunt itself becomes an ideal symbol for the protagonist.

Victor is so eager to get into the other world, but that one remains closed to him. And at the same time, hunting is like a moral threshold. After all, it is, in fact, a murder legalized by society. And this is "elevated to the rank of entertainment." And this world becomes for Zilov the world of dreams, eh. the image of the waiter becomes a guide to this world.

How does the waiter worry about the trip: “How is it? Are you counting the days? How much do we have left? .. I have a motorcycle on the move. It's okay ... Vitya, the boat should be tarred. You would write to Lame ... Vitya! " And in the end, the dream simply turns into a utopia, which does not seem to come true.

E. Streltsova calls the Vampilov Theater "the theater of the word, in which the author was able to unite the incompatible in an incomprehensible way." The uniqueness, and sometimes even the comicality of some situations, combines with memories that are close and dear to the heart.

His drama includes new images of characters, a kind of conflict, strange and unusual events. And on symbolic subjects, you can recreate a separate picture, which will even brighter shade the actions and behavior of the protagonist. A kind of open ending, characteristic of his other plays, gives hope that Zilov will be able to find his place not only in his memories within the room.

Summary - "Duck Hunt". The action takes place in a provincial town. Viktor Alexandrovich Zilov is woken up by a phone call. Waking up with difficulty, he picks up the phone, but there is silence. He slowly gets up, touching his jaw, opens the window, it is raining outside. Zilov drinks beer and starts physical exercises with a bottle in his hands. Another phone call and another silence. Now Zilov calls himself. He talks to the waiter Dima, with whom they were going hunting together, and is extremely surprised that Dima asks him if he will go. Zilov is interested in the details of yesterday's scandal, which he made in the cafe, but which he himself remembers very vaguely. He is especially worried about who hit him in the face yesterday.

As soon as he hangs up, there is a knock at the door. A boy enters with a large funeral wreath, on which is written: "To the unforgettable untimely burned out at work Zilov Viktor Alexandrovich from inconsolable friends." Zilov is annoyed with such a gloomy joke. He sits down on the couch and begins to imagine how everything could be if he really died. Then the life of the last days passes before his eyes.

The first recollection. At the Forget-Me-Not cafe, Zilov's favorite pastime, he and his friend Sayapin meet with the chief of work, Kushak, during their lunch break to celebrate a big event - he got a new apartment. Suddenly his mistress Vera appears. Zilov asks Vera not to advertise their relationship, puts everyone at the table, and the waiter Dima brings the ordered wine and barbecue. Zilov reminds Kushak that a housewarming celebration is scheduled for the evening, and he, somewhat flirting, agrees. Zilov is forced to invite Vera, who really wants it. The boss, who has just escorted his legal spouse to the south, he introduces her as a classmate, and Vera, with her very relaxed behavior, inspires certain hopes in Kushak.

In the evening, Zilov's friends are going to his housewarming party. While waiting for the guests, Galina, Zilov's wife, dreams that everything between her and her husband would become like at the very beginning, when they loved each other. Among the gifts brought are items of hunting equipment: a knife, a bandolier and several wooden birds used in duck hunting for replanting. Duck hunting is Zilov's greatest passion (except for women), although he has not yet managed to kill a single duck so far. As Galina says, the main thing for him is getting ready and talking. But Zilov pays no attention to ridicule.

Second memory. At work, Zilov and Sayapin must urgently prepare information on the modernization of production, the flow method, etc. Zilov proposes to present it as an already implemented modernization project at a porcelain factory. They throw a coin for a long time, to do - not to do. And although Sayapin fears exposure, they are nevertheless preparing this "linden". Here Zilov reads a letter from an old man's father, who lives in another city, with whom he has not seen for four years. He writes that he is sick, and calls to see, but Zilov is indifferent to this. He does not believe his father, and he still does not have time, since he is going on a duck hunt on vacation. He cannot and does not want to miss it. Suddenly, an unfamiliar girl Irina appears in their room, confusing their office with the newspaper editorial office. Zilov plays it, posing as a newspaper employee, until his joke is exposed by the boss who comes in. Zilov starts an affair with Irina.

Third recollection. Zilov returns home in the morning. Galina is not sleeping. He complains about the abundance of work, about the fact that he was so unexpectedly sent on a business trip. But his wife says bluntly that she does not believe him, because last night a neighbor saw him in the city. Zilov tries to protest, accusing his wife of excessive suspicion, but this does not work for her. She endured for a long time and no longer wants to endure Zilov's lies. She informs him that she was at the doctor and had an abortion. Zilov pretends to be indignant: why didn't she consult with him ?! He tries to soften it somehow, remembering one of the evenings six years ago, when they first became close. Galina protests at first, but then gradually succumbs to the charm of the memory - until the moment when Zilov cannot remember some very important words for her. Finally, she sinks into a chair and cries. The recollection is as follows. At the end of the working day, an angry Kushak appears in the room of Zilov and Sayapin and demands an explanation from them regarding a brochure with information about reconstruction at the porcelain factory. Shielding Sayapin, who is about to get an apartment, Zilov takes full responsibility. Only Sayapin's wife, who suddenly appeared, managed to extinguish the storm by taking the simple-minded Kushak to football. At this moment, Zilov receives a telegram about the death of his father. He decides to fly urgently to be in time for the funeral. Galina wants to go with him, but he refuses. Before leaving, he goes to the Forget-me-not for a drink. In addition, here he has an appointment with Irina. Galina accidentally becomes a witness of their meeting, who brought Zilov a raincoat and a briefcase for the trip. Zilov is forced to confess to Irina that he is married. He orders dinner, postponing the flight until tomorrow.

The recollection is as follows. Galina is going to visit relatives in another city. As soon as she leaves, he calls Irina and calls her to him. Galina unexpectedly returns and says that she is leaving for good. Zilov is discouraged, he tries to detain her, but Galina locks him with a key. Once trapped, Zilov uses all his eloquence, trying to convince his wife that she is still dear to him, and even promising to take on the hunt. But it is not Galina who hears his explanation, but Irina who appears, who perceives everything Zilov said as referring specifically to her.

The last memory. While waiting for friends invited on the occasion of the upcoming vacation and duck hunt, Zilov drinks at Forget-Me-Not. By the time the friends get together, he is already quite drunk and begins to tell them nasty things. Every minute he disperses more and more, carries him, and in the end everyone, including Irina, whom he also undeservedly insults, leaves. Left alone, Zilov calls the waiter Dima a footman, and he punches him in the face. Zilov falls under the table and "switches off." After a while, Kuzakov and Sayapin return, pick up Zilov and take him home.

Remembering everything, Zilov, in fact, suddenly lights up with the thought of committing suicide. He no longer plays. He writes a note, loads the gun, takes off his shoes and fumbles for the trigger with his big toe. At this moment, the phone rings. Then Sayapin and Kuzakov imperceptibly appear, who see Zilov's preparations, pounce on him and take away the gun. Zilov drives them away. He shouts that he doesn't trust anyone, but they refuse to leave him alone. In the end, Zilov manages to drive them out, he walks around the room with a gun, then throws himself on the bed and either laughs or sobs. Two minutes later, he gets up and dials Dima's phone number. He is ready to go hunting.

The sixties of the XX century are better known as the times of poetry. Many poems appear during this period of Russian literature. But drama also plays an important role in this context. And the place of honor is given to Alexander Valentinovich Vampilov. With his dramatic creativity, he continues the traditions of his predecessors. But much of his work is brought in by both the influences of the 60s itself and the personal observations of Vampilov himself. All this was fully reflected in his famous play "Duck Hunt". So, K. Rudnitsky calls Vampilov's plays centripetal: "... they certainly bring to the center, to the fore the heroes - one, two, from the strength of three, around which the rest of the characters move, whose fates are less significant ...". Such characters in "Duck Hunt" can be called Zilov and the waiter. They, like two satellites, complement each other. "Waiter. What can I do? Nothing. Himself must think. Zilov. That's right, Dima. You are a terrible guy, Dima, but I like you better. At least you don't break like these ... Give me your hand ... The waiter and Zilov are shaking hands ... ". The attention of the drama of this period of Russian literature was directed to the peculiarities of the "entry" of a person into the world around him. And the main thing is the process of its approval in this world. Perhaps only hunting becomes such a world for Zilov: "..Yes, I want to hunt ... Are you leaving? .. Great ... I'm ready ... Yes, I'm leaving now." The conflict was also special in Vampilov's play. “The interests of drama were directed ... to the nature of the conflict, which forms the basis of the drama, but not the processes taking place within the human personality,” noted E. Gushanskaya. Such a conflict becomes interesting in the play "Duck Hunt". As a matter of fact, in the play there is no usual conflict clash of the protagonist with the environment or other characters as such. The background of the conflict in the play is Zilov's memories. And by the end of the play even such a construction has no resolution; In Vampilov's play, strange and unusual cases often occur. For example, this ridiculous joke with a wreath. “(He examines the wreath, picks it up, straightens the black ribbon, reads the inscription on it aloud). "To the unforgettable untimely burned out at work Zilov Viktor Alexandrovich from inconsolable friends" ... (He is silent. Then he laughs, but not for long and without much fun). " However, E. Gushanskaya notes that the Irkutsk geologist told the story of the wreath to Vampilov. “It was his fellow geologist, friends who sent a wreath with the inscription“ Dear Yuri Alexandrovich, who was burnt at work ”.” This strangeness extends to the content of Duck Hunt itself. Throughout the play, the main character goes hunting, makes the necessary preparations, but he never gets there in the play itself. Only the final says about his next training camp: "Yes, I'm leaving now." Another feature of the play is its three-stage finale. At each of the steps, the work could be completed. But Vampilov does not stop there. The first step can be designated when Zilov, having invited his friends to the commemoration, "felt the trigger with his big toe ...". No wonder there is an ellipsis at the end of this phrase. There is a hint of suicide here. Viktor Zilov crossed some threshold in his life, once he decided to take such a step. But the phone call does not allow the hero to complete the work he has begun. And the friends who came later again return him to real life, the atmosphere from which he wanted to break only a couple of minutes ago. The next step is a new attempt to "assassinate" Zilov on his life. “Sayapin disappears. Waiter. Come on. (Grabs Kuzakov, pushes him out the door.) It will be better that way ... Now put your gun down. Zilov. And you get out. (They look each other in the eye for a moment. The waiter steps back toward the door). Alive. The waiter detained Kuzakov who appeared at the door and disappeared with him. " In the third finale of the play, Zilov never arrives at any specific answer to the questions that arise for him in the course of the play. The only thing he decides to do is go hunting. Perhaps this is also some kind of transition to solving one's life problems. Some critics considered Vampilov's plays in a symbolic way. "Duck Hunt" is simply filled with objects - or situations - symbols. For example, a phone call that brings Zilov back to life can be said from the other world. And the telephone becomes a kind of conductor for Zilov's connection with the outside world, from which he at least tried to isolate himself from everything (after all, almost all the action takes place in a room, where there is no one except him). The window becomes the same connecting thread. It is a kind of way out in moments of mental stress. For example, with an unusual gift from friends (funeral wreath). “For some time he stands in front of the window, whistling the melody of the mourning music that has dreamed of him. With a bottle and a glass, he settles down on the windowsill. " “The window is, as it were, a sign of another reality, not present on the stage,” noted E. Gushanskaya, “but the reality of the Hunt set in the play”. Hunting and everything connected with it, for example, a gun, becomes a very interesting symbol. It was bought for hunting ducks. However, Zilov tries it on himself. And the hunt itself becomes an ideal symbol for the protagonist. Victor is so eager to get into the other world, but that one remains closed to him. And at the same time, hunting is like a moral threshold. After all, it is, in fact, a murder legalized by society. And this is "elevated to the rank of entertainment." And this world becomes for Zilov the world of dreams, eh. the image of the waiter becomes a guide to this world. How does the waiter worry about the trip: “How is it? Are you counting the days? How much do we have left? .. I have a motorcycle on the move. It's okay ... Vitya, the boat should be tarred. You would write to Lame ... Vitya! " And in the end, the dream simply turns into a utopia, which does not seem to come true. E. Streltsova calls the Vampilov Theater "the theater of the word, in which the author was able to unite the incompatible in an incomprehensible way." The uniqueness, and sometimes even the comicality of some situations, combines with memories that are close and dear to the heart. His drama includes new images of characters, a kind of conflict, strange and unusual events. And on symbolic subjects, you can recreate a separate picture, which will even brighter shade the actions and behavior of the protagonist. A kind of open ending, characteristic of his other plays, gives hope that Zilov will be able to find his place not only in his memories within the room.

The sixties of the XX century are better known as the times of poetry. Many poems appear during this period of Russian literature. But drama also plays an important role in this context. And the place of honor is given to Alexander Valentinovich Vampilov. With his dramatic creativity, he continues the traditions of his predecessors. But much of his work is brought in by both the influences of the 60s itself and the personal observations of Vampilov himself. All this was fully reflected in his famous play "Duck Hunt".
So, K. Rudnitsky

He calls Vampilov's plays centripetal: “. by all means bring to the center, to the fore the heroes - one, two, at least three, around which the rest of the characters move, whose fates are less significant. ”. Such characters in "Duck Hunt" can be called Zilov and the waiter. They, like two satellites, complement each other.
"Waiter. What can I do? Nothing. Himself must think.
Zilov. That's right, Dima. You are a terrible guy, Dima, but I like you better. At least you don't break like these. Give me your hand.
The waiter and Zilov are shaking hands. ”
The attention of the drama of this period of Russian literature was directed to the peculiarities of a person's “entry” into the surrounding world. And the main thing is the process of its approval in this world. Perhaps only hunting becomes such a world for Zilov: “Yes, I want to hunt. Are you leaving ?. Perfectly. I'm ready. Yes, I'm leaving now. "
The conflict was also special in Vampilov's play. “The interests of drama were turned. on the nature of the conflict, which forms the basis of the drama, but not the processes taking place inside the human personality, ”noted E. Gushanskaya. Such a conflict becomes interesting in the play "Duck Hunt". As a matter of fact, in the play there is no usual conflict clash of the protagonist with the environment or other characters as such. The background of the conflict in the play is Zilov's memories. And by the end of the play even such a construction has no resolution;
In Vampilov's play, strange and unusual cases often occur. For example, this ridiculous joke with a wreath. “(He looks at the wreath, picks it up, straightens the black ribbon, reads the inscription on it aloud). "To the unforgettable untimely burned out at work Zilov Viktor Alexandrovich from his inconsolable friends." (He is silent. Then he laughs, but not for long and without much fun) ”.
However, E. Gushanskaya notes that the Irkutsk geologist told the story of the wreath to Vampilov. “It was his fellow geologist, friends who sent a wreath with the inscription“ Dear Yuri Alexandrovich, who was burnt at work ”. This strangeness extends to the content of "Duck Hunt" itself. Throughout the play, the main character goes hunting, makes the necessary preparations, but he never gets there in the play itself. Only the final says about his next training camp: “Yes, I'm leaving now.”
Another feature of the play is its three-stage finale. At each of the steps, the work could be completed. But Vampilov does not stop there. The first step can be designated when Zilov, having invited his friends to the commemoration, “felt the trigger with his big toe.” No wonder there is an ellipsis at the end of this phrase. There is a hint of suicide here.
Viktor Zilov crossed some threshold in his life, once he decided to take such a step. But the phone call does not allow the hero to complete the work he has begun. And the friends who came later again return him to real life, the atmosphere from which he wanted to break only a couple of minutes ago. The next step is a new attempt to “assassinate” Zilov on his life. “Sayapin disappears.
Waiter. Come on. (Grabs Kuzakov, pushes him out the door.) It will be better that way. Now put your gun down.
Zilov. And you get out. (They look each other in the eye for a moment. The waiter steps back toward the door). Alive.
The waiter detained Kuzakov who appeared at the door and disappeared with him. ”
In the third finale of the play, Zilov never arrives at any specific answer to the questions that arise for him in the course of the play. The only thing he decides to do is go hunting. Perhaps this is also some kind of transition to solving one's life problems.
Some critics considered Vampilov's plays in a symbolic way. “Duck Hunt” is simply filled with objects - or situations-symbols. For example, a phone call that brings Zilov back to life can be said from the other world. And the telephone becomes a kind of conductor for Zilov's connection with the outside world, from which he at least tried to isolate himself from everything (after all, almost all the action takes place in a room, where there is no one except him). The window becomes the same connecting thread. It is a kind of way out in moments of mental stress. For example, with an unusual gift from friends (funeral wreath). “For some time he stands in front of the window, whistling the melody of the mourning music that has dreamed of him. With a bottle and a glass, he settles himself on the windowsill ”. “The window is, as it were, a sign of another reality, not present on the stage,” noted E. Gushanskaya, “but the reality of the Hunt set in the play”.
Hunting and everything connected with it, for example, a gun, becomes a very interesting symbol. It was bought for hunting ducks. However, Zilov tries it on himself. And the hunt itself becomes an ideal symbol for the protagonist.
Victor is so eager to get into the other world, but that one remains closed to him. And at the same time, hunting is like a moral threshold. After all, it is, in fact, a murder legalized by society. And this is "elevated to the rank of entertainment." And this world becomes for Zilov the world of dreams, eh. the image of the waiter becomes a guide to this world.
How does the waiter worry about the trip: “How is it? Are you counting the days? How many do we have left there ?. The motorcycle is on the move. Order. Vitya, the boat should be tarred. You would write to Lame. Vitya! " And in the end, the dream simply turns into a utopia, which does not seem to come true.
E. Streltsova calls the Vampilov Theater “the theater of the word, in which, in an incomprehensible way, the author was able to combine the incompatible”. The uniqueness, and sometimes even the comicality of some situations, combines with memories that are close and dear to the heart.
His drama includes new images of characters, a kind of conflict, strange and unusual events. And on symbolic subjects, you can recreate a separate picture, which will even brighter shade the actions and behavior of the protagonist. A kind of open ending, characteristic of his other plays, gives hope that Zilov will be able to find his place not only in his memories within the room.

1. Alexander Vampilov was born in the village of Kutupik, Irkutsk region in 1937; after graduating from high school, he studied at Irkutsk University since 1955, as a student he wrote humorous stories that made up his first book ...
2. As in many other plays by Vampilov, life in "Duck Hunt" has a certain semantic and artistic significance. True, against the rich, bright and picturesque background of the rest of Vampilov's plays, the everyday atmosphere of “Duck ...
3. The gift of a dramatic writer is one of the rarest in the literary craft. The form of the drama poses many constraining conditions. You need a special dramatic ear, similar to a musical one, and a flair to not just translate literary speech ...
4. Alexander Vavilov was born in the village of Kutupik, Irkutsk Region in 1937, after graduating from high school, he studied at Irkutsk University since 1955, as a student he wrote humorous stories that made up his First Book ...
5. In the famous play "Duck Hunt" Alexander Vampilov took advantage of an unconventional plot that allowed him to create a gallery of characters that puzz the viewer and reader, causing great public concern. Before us is one of the countless in its ...
6. Alexander Vampilov was born in 1937 in the village of Kuzhulik, Irkutsk region. And in 1955, after entering the university, he moved to the city of Irkutsk. Probably one of the happiest generations ...
7. It all started when we were offered to go to the theater to see Vampilov's drama "Duck Hunt". We agreed, of course, but due to the quarantine, the trip was postponed a week in advance. But here...
8. Two young people - a medical student Busygin and a sales agent Semyon, nicknamed Silva - hit on unfamiliar girls. After escorting those home, but not meeting the further hospitality they hoped for, ...
9. We must always live honestly. Even children know that lying is bad. But sometimes lies are more humane than the truth. It so happens that people lie to help a person. Alexander Vampilov has ...
10. ... Everything was bright, like the morning of a person who believed in himself. V. Shilovsky Alexander Vampilov's father was born in 1898. He had four younger siblings. After the death of his father ...
11. “An accident, a trifle, a coincidence of circumstances sometimes become the most dramatic moments in a person’s life,” Vampilov developed this idea in his plays. A. Vampilov was deeply worried about the problems of morality. His works are written in ...
12. The main theme of Vampilian drama can perhaps be defined as parting with illusions. The main characters of his plays are revealed to the viewer in dramatically tense, decisive moments in life, in a situation of choice: to defend ...
13. The entire character system of A. Vampilov's theater embodies the tragicomedy situation of the collapse of stable values, general moral fluidity and fragility. The point is not that someone is bad, but someone is good, someone is progressive, but ... Alexander Vampilov is known in Russian drama as the author of four large plays and three one-act plays. He died tragically at the age of 35. Vampilov's innovative plays revolutionized Russian drama and ...
14. Alexander Vampilov was born in the village of Kutupik, Irkutsk Region in 1937. After graduating from high school, he studied at Irkutsk University since 1955, as a student he wrote humorous stories that made up his first ...
15. In the play "Duck Hunt" written in 1967 and published in 1970, Alexander Vampilov created a gallery of characters that puzzled the viewer and reader and caused a great public outcry. Before us is one of the countless ...

"Duck Hunt" Vampilova A.V.

The play by A.V. Vampilov's "Duck Hunt", written in 1970, embodied the fate of the "era of stagnation" generation. Already in the remarks, the typical character of the events depicted is emphasized: a typical city apartment, ordinary furniture, everyday disorder, which testifies to the disorder in the mental life of Viktor Zilov, the main character of the work.

A fairly young and physically healthy person (according to the plot he is about thirty years old) feels deeply tired of life. There are no values ​​for him. From the very first conversation between Zilov and his friend, it turns out that yesterday he made some kind of scandal, the essence of which he no longer remembers. It turns out he offended someone. But he doesn't really care. "They'll survive, right?" - he says to his friend Dima.

Suddenly, Zilov is brought a funeral wreath with a ribbon on which are written touching memorial words: "To the unforgettable untimely burned out at work Zilov Viktor Alexandrovich from inconsolable friends."

Initially, this event seems like an unsuccessful joke, but in the process of further development of events, the reader realizes that Zilov really buried himself alive: he drinks, scandals and does everything to disgust people who were close and dear to himself.

There is one important artistic detail in the interior of Zilov's room - a large plush cat with a bow on its neck, a gift from Vera. This is a kind of symbol of unfulfilled hopes. After all, Zilov and Galina could have a happy family with children and a comfortable, well-organized life. It is no coincidence that after the housewarming, Galina offers Zilov to have a child, although she understands that he does not need him.

The basic principle of relations with people for Zilov is unrestrained lies, the purpose of which is the desire to whitewash oneself and denigrate others. So, for example, inviting his boss Kushak to a housewarming party, who at first does not want to go on a visit without his wife, Zilov informs Galina that Vera has been invited for him, with whom he is allegedly in love. In fact, Vera is the mistress of Zilov himself. In turn, Victor pushes Kushak to courting Vera: “Nonsense. Act boldly, do not stand on ceremony. This is all done on the fly. Grab the bull by the horns. "

Expressive in the play is the image of Sayapin's wife Valeria, whose ideal is philistine happiness. She identifies family ties with material goods. "Tolechka, if in six months we don't move into such an apartment, I'll run away from you, I swear to you," she says to her husband at the Zilovs' housewarming party.

A.V. Vampilov and another expressive female image of the play - the image of Vera, who, in essence, is also unhappy. She has long lost faith in the possibility of finding a reliable life partner for herself and calls all men the same (Alikami). At housewarming, Verochka constantly shocks everyone with her tactlessness and her attempt to dance on the table at Zilov's. A woman tries to seem coarser and more cheeky than she really is. Obviously, this helps her to drown out the longing for real human happiness. Kuzakov understands this better than anyone else, who says to Zilov: "Yes, Vitya, it seems to me that she is not at all who she claims to be."

An important compositional move is used in the housewarming scene. All guests give gifts to the Zilovs. Valeria tortures the owner of the house for a long time before making a gift, and asks what he loves most. This scene plays an important role in revealing the image of Zilov. Galina confesses in her that she has not felt her husband's love for a long time. He has a consumer attitude towards her.

Vera, asking about his mistress with a grin, also understands that Victor is indifferent to her and her visit does not give him much pleasure. During the conversation, it turns out that Zilov does not like his job as an engineer, although he can still improve his business reputation. This is evidenced by the remark of Kushak: "He lacks a business streak, this is true, but he is a capable guy ...". The Sayapins give Zilov the hunting equipment the hero dreams of. The image of a duck hunt in the work is undoubtedly symbolic. It can be viewed as a dream of a worthwhile business, which Zilov is just unable to do. It is no coincidence that Galina, who knows his character deeper than others, notes that the main thing for him is getting ready and talking.

A kind of test for Zilov is a letter from his father, who asks him to come to him to see him. It turns out that Victor has not been with his parents for a long time and is very cynical about the tearful letters of his old father: “He will send out such letters to all ends and lie, a dog, waiting. Relatives, a fool, comes running, oh, ah, and he is happy. He will lie down, lie down, then, you see, he got up - he is alive and well and accepts vodka. " At the same time, the son does not even know exactly how old his father is (he remembers that he is over seventy). Zilov has a choice: to go on vacation to his father in September, or to realize his old dream of duck hunting. He chooses the latter. As a result, the unfortunate old man will die without seeing his son.

Before our eyes, Zilov destroys Galina's last hopes for personal happiness. He is indifferent to her pregnancy, and the woman, seeing this, gets rid of the child. Tired of endless lies, she leaves her husband for a childhood friend who still loves her.

Trouble is also gathering at work: Zilov handed over to the chief an article with false information, and he also forced his friend Sayapin to sign it. The hero is threatened with dismissal. But he is not very worried about it.

In a cafe with a sentimental name "Forget-me-not" Zilov often appears with new women. It is there that he invites young Irina, who sincerely falls in love with him. In a cafe, his wife finds him with a girl.

Upon learning of Galina's desire to leave him, Zilov tries to restrain her and even promises to take her with him on the hunt, but when he sees that Irina has come to him, he quickly switches. However, other women, whom he once attracted to himself with false promises, eventually leave him. Vera is going to marry Kuzakov, who takes her seriously. It is no coincidence that she begins to call him by name, and not Alik, like the rest of the men.

Only at the end of the play does the viewer find out what kind of scandal Zilov arranged in Forget-Me-not: he gathered his friends there, invited Irina and began to insult everyone in turn, grossly violating the rules of decency.

In the end, he offends the innocent Irina as well. And when the waiter Dima, with whom the hero is going on the long-awaited duck hunt, stands up for the girl, he insults him too, calling him a lackey.

After all this disgusting story, Zilov is actually trying to commit suicide. He is rescued by Kuzakov and Sayapin. The housekeeper Sayapin, dreaming of his apartment, is trying to distract Zilov with something. He says it's time to renovate the floors. Victor in return gives him the keys to the apartment. The waiter Dima, despite the insult, invites him to go on a duck hunt. He allows him to take the boat. Then he drives away people who are somehow trying to fight for his life. At the end of the play, Zilov throws himself on the bed and either cries or laughs. And most likely, he cries and laughs at himself. Then he still calms down and calls Dima, agreeing to go hunting with him.

What is the further fate of the hero? It is quite obvious that he needs to rethink his attitude to life in general, to the people with whom he is associated with communication. Perhaps Zilov will still be able to overcome his mental crisis and return to normal life. But most likely the hero is doomed to find his own death in speed, since he cannot overcome his own selfishness and does not see the goal for which it is worth continuing his life. The loss of spiritual and moral foundations is a typical feature of the generation of the period of stagnation. For centuries, people's lives have been subordinated to the norms of religious morality. At the beginning of the 20th century, public thought was driven by the idea of ​​creating a bright future, a socially just state structure. During the Great Patriotic War, the main task was to protect the native land from invaders, then - post-war construction. In the sixties - seventies, there were no socio-political problems of this magnitude. Perhaps that is why a generation of people has formed, which is characterized by the loss of family ties and the meaning of friendly relations. The influence of the church on the spiritual life of a person by this time was lost. The norms of religious morality were not observed. Few believed in the idea of ​​building a bright future. The reason for Zilov's spiritual crisis is the realization of the worthlessness of his life, the absence of a real goal, since the so-called duck hunt, which he constantly dreams of, is rather an attempt to escape from life's problems, rather than a real deed, for which everyone else can be sacrificed.

Transcript

1 246 Philology. Art Criticism Bulletin of the Nizhny Novgorod University. N.I. Lobachevsky, 2008, 3, with UDC 82.01 / 09 ARTISTIC FEATURES OF THE "DUCK HUNTING" A. VAMPILOV 2008 Nizhny Novgorod State University named after N.I. Lobachevsky Received by the Editors A number of poetic features of "Duck Hunt", the central play of A. Vampilov's theater, are investigated: the organization of the system of images, the functions of the protagonist, ways of defining his subjectivity, the nature of interaction with the environment. The question is raised about the relationship between the temporal layers of the play: the stage and non-stage past, the actual present, the possible future. Key words: A.V. Vampilov, drama, "Duck Hunt", tragicomedy, drama, time, character, subjectivity, society, individuality, conflict, problems. The play by A.V. Vampilov's "Duck Hunt" is usually viewed as a socio-psychological drama (less often as a tragicomedy with elements of industrial conflict, farcical and melodramatic inserts), in which the playwright revises the problems of his early works. In the first two multi-act plays (Farewell in June, The Elder Son), the playwright was interested in the alignment of forces in revealing the subjectivity of a person hidden under the social mask in a situation generated by the unique manifestations of an omnipotent life. They were understood as a combination of circumstances, which is an echo of the multi-event and diversity of life, and a happy or unlucky event as a form of its single expression of will. The problems of the plays were born at the intersection of relative constancy, internal orderliness, regularity of reproduction of everyday conditions, shown not from the material, but from the socially effective side, the subjectivity of a person seeking self-determination and exit into reality, and being as a kind of good god who is able to set life in motion ... It was convenient to solve such dramatic tasks within the framework of the comedy genre: this practically did not require deviating from its canonical structure. However, even with a slight shift in emphasis from describing the situation to the process of self-knowledge of the individual, a change in genre forms was required, which led to a revision of the disposition in the Vampilov triad of man, life (people) being. On the one hand, for the playwright, the infinity of manifestations of the act of self-knowledge and the impossibility of its completion became obvious, on the other hand, social life in reality showed the limitations of its proposals to a person and was not able to satisfy his growing need to find a common substantial meaning, from which individual meaning would be derived. ... The favorable existence of comedies was, in fact, not the reality of life, but the reality of literature, the playwright was convinced of this by personal example, trying to get through to the reader and meeting constant resistance on his way. Life gave up on a person, offering him, at the risk of everything, to be active, to fight, without having objective reasons, effective methods and faith in a positive outcome of the struggle. The complication of the picture of the world, the unstoppable actualization and self-generation of models of being that claim to explain the true reasons for its existence and the vector of development, the loneliness of a person in a world that has lost interest in him, pushed Vampilov to the transition from the comedic element to the tragicomic one, from the canonical features of drama to its romanization ( the term of M.M. Bakhtin). This was reflected not only in the deliberate incompleteness of the fate of the protagonist, immersed in the eternal present without the possibility of realizing any future, but also in the complex plot-compositional structure of the play, previously uncharacteristic for Vampilov's poetics. So, the fabric of "Duck Hunt" falls into three layers: Zilov's past, which is a chain of episodes, to an insignificant degree connected with each other by plot and aimed at revealing as many aspects of the manifestation of his personality as possible, the hero's present, in which he is deprived of the opportunity to act, and representations of

2 Artistic features of "Duck Hunt" by A. Vampilov 247 swarms, tied to the moment of the present and showing its capabilities as an interpreter. Vampilov freely assembles parts of the text, using the logic of memories generated by mentally flipping through a telephone book. After a party in the Forget-me-not cafe (the name is symbolic: the impossibility of forgetting the past, the Erinic role of memory) Zilov receives a funeral wreath from his friends. The first episode of the hero's performances, marked on the stage by music and darkening, shows how he sees the reaction of the environment to his own death, if it really happened: Sayapin's doubts about the veracity of the rumors ("No, he was joking, as usual"), Kuzakov's confidence in the implementation a pessimistic version of events ("Alas, this time everything is serious. There is nowhere more serious"), an ironic epitaph of Vera ("He was an alik from aliks"), a sanctimonious condemnation of Kushak ("Such behavior does not lead to good"), unification in the grief of Galina and Irina ("We will be friends with you") and the sinister role of the Waiter, who collects money for a wreath, making the fact of death socially irrefutable. The scene described gives an idea of ​​Zilov as a psychologist and interpreter of human nature: his assumptions about the possible behavior of the environment are accurate and plausible, this is confirmed by the further course of the play. In addition, in this fragment, the specificity of the construction of the figurative system of the play (its concentration around the image of Zilov) and the dual definition of the subjectivity of the characters through the identification of their attitude towards Zilov (acceptance / rejection) and the characteristics of their positioning strategy, suggesting the following methods, are manifested: declarative statements: "Kuzakov ... Who knows ... If you look at it, life, in essence, is lost ... ". According to M. B. Bychkova, in this case a replication of the stable Chekhovian motive “lost life” is presented. This is evidenced by the frequency of occurrence of the phrase in the text, and its contextual environment (it is said out of place, at the wrong time), and lexical design. However, if Chekhov's subject of action is life, which emphasizes the spontaneity, independence of fate from the character's will (exculpatory mode), then in Vampilov we are dealing with a passive construction, in which a grammatical subject, expressed lexically, and a logical subject, hidden, but easily life reconstructed according to the context has been played by [us] (accusatory mode). The heroes of The Duck Hunt are characterized by a partial awareness of their own role in the formation of destiny, begun, but not completed, and therefore incomplete recognition of responsibility for life; complexes of statements and actions aimed at creating and maintaining a socially approved image: “Sash.< >I am far from being a prude, but I must tell you that he behaved very ... uh ... imprudently. " The image of Kushak is satirical to a greater extent than all others. The comic mask of an influential, but weighed down with vices, face is presented here in almost all of its basic qualities. There is neither a tragicomic shift of emphasis (hyperbolization of vice, layering of monstrous features), nor a dramatic complication of subjectivity. The greatest similarity in the organization of the system of images "Duck Hunt" has with the first play "Farewell in June": the link "influential person formal subordinate" and the tension in it are preserved (Repnikov Kolesov, Kushak Zilov). If we talk about the internal classification of Vampilov's plays, then it is necessary to single out the following pairs with identical poetic structures: “Farewell in June” and “Duck Hunt”, “Elder Son” and “Last Summer in Chulimsk”; the opposition of the character to the environment through a negative and ironic nomination: “Faith. He was alik from aliks. " The frequency and variety of addressing of the word "alik" is a characteristic feature of Vera's speech portrait. This ironic nomination (which has lost its original connection with the word "alcoholic" in the context of the play) is not only a way to establish a distance between the female character (the accuser) and the male character (the accused and the guilty), it is also an attempt at typification necessary to develop a picture of the world. The need for self-knowledge, felt by all the characters, is realized here by contradiction. However, generalization in the world of "Duck Hunt" is a false path leading to pseudo understanding, a temporary removal of the acuteness of the issue. The only way to oneself is individualization, seeing oneself and the world in specific, unique features, only Zilov is capable of this. It is necessary to pay attention to the remark preceding the scene imagined by the hero: “The light is slowly extinguished, and just as slowly two searchlights are lit. One of them, half-shining, snatched Zilov out of the darkness, sitting on the bed. Another spotlight, bright

3 248 cue, highlights the circle in the middle of the stage. " The author emphasizes that the light circles should record the disintegration of space into the real, in which the inactive subject is immersed in objective reality, and the unreal, in which reality is re-created and constructed by the subject. In real space, Zilov is a character, in the surreal, in addition to the character's function, he claims to be the author's. Imagining his own death and the life that continues after it, in which he does not exist physically, but as an object of discussion, he acquires the ability to perceive reality in a detached manner, without immersion in it, which is the most important condition for objective vision. The given distance between the real, scenic Zilov, sitting on the couch, and the reality that he models in his own mind, objectifying it for the viewer and the reader, forms an internal opposition in him between the character-object and the character-subject, realized in further scenes. If the character-object in the past basically acts and is practically devoid of reflective qualities, then the character-subject, yearning for action and realizing its impossibility (which leads to the decision to go hunting as overcoming the reality that blocks his activity), is forced to live through memories and due to temporary distances overestimate them. The opposition of false activity and the necessary awareness of life, complicated by the refusal to intervene in it or the fundamental impossibility of doing this, was characteristic even of the first plays by Vampilov, however, it was in The Duck Hunt, thanks to the compositional articulation of episodes of different times and the disintegration of the main character into a subject and an object of perception , expressed so clearly. Vampilov uses a minimum of dramatic means to outline the situations presented in the play: he imitates the everyday course of life, in which the general absence of event emphasizes the meaning of each event, endowing it with semantic fullness. The speech design of the characters' replicas creates the effect of non-fictional scenes, their empirical simplicity and recognizability. The characters are immersed in life, not distanced from it by reflection, the logic of their behavior is determined by the social role and relationships shown in the play as established. The subjectivity of the characters in the play only slightly depends on space and time; it is determined by the relationship between impulsive action and its subsequent rethinking and evaluation. The difference in the strategy of positioning characters of themselves in society and real needs dictated by the character reveals the specifics of the processes of restraint and inhibition, mechanisms of social regulation of relations, forms the field of play according to the rules that determine the atmosphere of the play. Characters willingly enter into dialogue, which is due to the predestination of their relationship and a fairly confident awareness of the possibilities and restrictions imposed by society. They do not see the difference between social life with its rules, restrictions and reality, where any mode of behavior is possible, therefore the nature of their actions can be called non-playful, or "serious". The opposition of “serious” characters to “frivolous” (“funny”, “crazy”) is one of the immanent features of the figurative system of Vampilov's plays, which makes it possible to speak of the unity of his poetics. A "serious" state, which can be characteristic of both the individual and the environment, means the presence of some external or internal limit imposed on any action and phenomenon. "Serious" characters represent society as a protective shell designed to minimize the influence of accidents. Their subjectivity has merged with a social mask, which predetermines the standardization, average behavior even with external speech freedom. They consider the restrictions imposed by society to be organic for their own nature, since the presence of rules and prohibitions regulates life, removes the need to determine the substantial content of subjectivity. The "serious" characters are characterized by a conflict-free type of interaction with each other and with the reality in which they are immersed. The tension, which nevertheless arises as a result of obeying the rules that limit opportunities and do not allow passions to break free, they remove with the help of aggression that is permitted or hidden from society: “Zilov. Uh, you should have seen him with a gun. Beast"; Sayapin.< >In someone else's apartment, everything is in sight, everything is in public. The wife is a scandal, and you, if you are a delicate person, be patient. Or maybe I want to hit her? " ... Opposed to them, "cheerful", "going crazy" Zilov implements in his behavior a game model of interaction with the environment and reality, which makes his actions unpredictable for other characters.

4 Artistic features of "The Duck Hunt" by A. Vampilov 249 In the given field of social checks and balances, ethical relativism and utilitarian relations, the hero feels confident, which is confirmed by the characterological remark: “Zilov is about thirty years old, he is rather tall, strong build; there is a lot of freedom in his gait, gestures, manner of speaking, resulting from confidence in his physical usefulness. At the same time, in his gait, and in gestures, and in conversation, there is a certain carelessness and boredom, the origin of which cannot be determined at first glance. " Despite the hero's confidence in his own strength, his relationship with the environment is disharmonious. On the one hand, the game model of behavior, the refusal to recognize the external limit of actions give him a sense of freedom: comfort and conflict-free relations with the social environment are of no value to him, do not constitute his subjectivity, therefore, do not rule over his fate. On the other hand, the idea of ​​life as a game, where all needs can be realized with such qualities as dexterity and resourcefulness (this allows us to speak of Zilov's closeness to the type of trickster inherent in the central characters of Vampilov's comedies), obscures from him the need that is on the periphery of consciousness. realization of one's own subjectivity. Hence the "negligence" and "boredom" qualities described in the remark, characteristic of the disaffected heroes of the novels of the first third of the 19th century. However, if for the hero of the novel "boredom" was a symptom of the idea of ​​the meaninglessness of social life that was not manifested in consciousness, then in relation to the dramatic hero it is evidence of an inner need for the realization of subjectivity. Not encountering serious obstacles on his way, Zilov understands that there are no objective restrictions. A society that is afraid of non-standard actions is able to explain and even forgive any of its actions, therefore, the search for external and internal limits, the boundaries of what is permitted becomes its unconscious goal. Subjectivity, which must be determined in the conflict, pushes the hero to search for this conflict. The desire of society to smooth out contradictions, to quickly and unequivocally resolve situations makes the creation of a conflict situation almost unrealistic. The task facing Zilov is further complicated by the fact that at the moment of resolution he is not aware of it. In response to direct insults that the hero throws in the face of his surroundings, the mechanism of social pushing out the announcement of the dead is triggered. Declaring dead has to do with social death and is a plot synonym for declaring insane. The difference between Zilov and the environment lies primarily in the fact that, being in society, he remains free from it. Reality as it is cannot satisfy any of the characters in the play, since the norm of life, even with statistical averaging, has fluctuations determined by subjective needs. However, Zilov and his entourage have different ideas about the desired being. The subjectivity of the protagonist is determined by the image of a duck hunt, he internally opposes the world of hunting and the only person associated with it, the waiter, to the social environment. Despite the high degree of adaptation in society, the waiter is intuitively unpleasant for most of the characters, only in the perception of Zilov is he a normal person: “Galina. I don't know, but he's terrible. One glance is worth it. I'm afraid of him. Zilov. Nonsense. Normal guy" . The life desired by the protagonist is unattainable within the framework of society, since it lies outside it, therefore, his connection with the guide to the world of duck hunting is the most stable and deeply subjective. The rest of the characters believe that reality, as it should be, is realizable exclusively in society, the only reality given to them. Personal space, mutual understanding in the family, romantic love, all these values ​​that determine subjectivity can be realized, they do not crowd out each other, do not form the field of character competition. A prosaically ordered reality, in which there is no place for substantial conflict, also levels out subjective conflicts. Zilov, who creates a scandalous situation in each scene of his memories, rebelles, tries to dissociate himself from the world of "others", searches for the hidden essence of things through a conflict with reality, society and himself. The last stage of rebellion is suicide, the realization of physical death after social death. If most of the characters play by the rules, then Zilov plays with the rules: he breaks them and tempts others to do it (a model of behavior of a provocateur). Knowledge of human nature in the variety of its negative manifestations endows Zilov with strength: he easily persuades the interlocutors to follow their own needs, despite the fear of the consequences, thereby forcing them to once again show themselves from the worst side. If we consider the constant indulgence of nature as ha-

As a characteristic of a fall, the dynamics of Zilov's behavior is a fall into which he involves the environment. However, the catastrophic nature of this process is not determined by circumstances, but by the essentially substantial desire of the hero to reach the limit, to find boundaries that can put an end to the descent. Only having reached the last line, he will be able to rise above his position, to look at himself from the side. Scenes related to the past reflect not the dynamics of the character, but the sequential development of the mode of the hero's behavior. In the past, not remote from the moment of the stage action, but immediately preceding it, the hero is so active that this activity completely supplants reflection, which is neither effectively nor declaratively stated. Zilov's past can be conditionally divided into the stage past, shown in the pictures of memories (the hero is given ready-made, in already frozen subjective features), and the off-stage past, which is discussed in the dialogue between Galina and Zilov, hinting at the possible dynamics of character, vector of subjective change: “Zilov. Listen. Don't panic.< > Well, something has changed, life is going on, but you and I are all in place. " Nevertheless, there is no certainty as to whether the “other” Zilov really existed. The hero's past, separated by a significant interval from the present, does not have the usual explanatory power in the play. Changing character under the pressure of circumstances, the opposition of a catastrophically transforming subjectivity and substantial, impersonal time is a problematic, excluded from the focus of the author's attention. The prevalence of such problems in the social, everyday and psychological drama of the second half of the twentieth century, the introduction of a non-protagonist as the main character gave researchers a reason to consider Zilov's story as a story of the loss of positive potential. However, the juxtaposition of temporary layers in "Duck Hunt" testifies against such interpretations. In the play, there is a certain past, remote from the moment of action and expressed not compositionally, but rhetorically. It appears in the characters 'remarks and sets the temporal depth, emphasizing the prevailing character of the characters' relationships. The focus is not on becoming, but on a kind of static, endowed with the power to keep the situation unchanged. The moment of action, or stage time, breaks up into stage present, the duration of which is measured in hours, and stage past, the duration of which, apparently, does not exceed a month. Both the present and the past are shown fractionally in the form of episodes, the connecting link of which is Zilov (there is not a single episode where he does not participate). However, the present and the past are not two phases of the protagonist's life that are similar in nature, they are two substantial quantities that differ both in the nature of being, and in the ways of manifestation, and in semantic content. The present Zilov, flowing in the insulating space of the apartment, is continuous in its flow, it is objective, relatively dynamic and is a set of segments of the same type, between which there are no time pauses. Memories tearing the fabric of the present are also one of the phases of its course. The climax of the attempted suicide, its prevention, and the inevitably ensuing emotional catastrophe bring the present to a close. It ends where the future can begin, illustrated in the play by the image of a duck hunt. In the social world, duck hunting is not feasible; it is an artifact of another time and space. The stage past is split into separate localized elements, does not have a single flow character, is intermittent, which makes it impossible to show the consistent development of what was called Zilov's “spiritual illness” in the criticism. The present in the play is undoubtedly objective, while the past, opposed to it, is subjective. Pictures of the past are given in the individual perspective of Zilov's perception, they are selected by him from the whole multitude of life episodes according to the problematic and character principle, and this process of selecting and viewing the selected material is nothing more than reflection, which the hero avoided. We can say that the past is not just reproduced, that is, shown as the present, but is produced, reflected and processed by the consciousness of the protagonist. It is unreal, modeled, therefore, shown in the scenes of Zilov's memories is not a previous time stage of the image of Zilov, immersed in the present, but a kind of mental construct, a phantom of consciousness. And nevertheless, it makes sense to talk about the juxtaposition of Zilov's images, localized in the present and unreal past of memories. The articulation of the episodes that form the event outline of the play is presented as an author's technique, it is stage-marked and indifferent to any subjectivity.

6 Artistic features of "Duck Hunt" by A. Vampilov 251 Both the hero's present and his memories are shown with the same degree of objectivity. Zilov of the present in relation to scenes of memories takes on the role of the author: his subjectivity dictates the selection of episodes, determines the time of the beginning and the end of the scene. Becoming an author, coinciding with him, he is forced to adopt his objective manner. He is indifferent to himself in the past in the sense that he is trying to reproduce as accurately as possible in his consciousness what he has lived through. Based on what has been said, three hypostases (in other words, the type of manifestation) of Zilov's image can be identified: solutions. 2. Zilov of memories, immersed in the life of society, provoking and provoked, acting, non-reflective, playing. 3. Zilov is an author-interpreter who exists at the moment of showing imaginary scenes and scenes of memories, he is declared both as an observer and as a creator. He is excluded from the scope, therefore accurate and objective. The coincidence of Zilov with the author's image at the moment of the stage implementation of these episodes suggests that the conventionality of the past in the play is relative: on the one hand, it is unreal, subjectively reworked, on the other hand, it is as similar to the real as possible, does not differ from it in emotional coloring. The living of life and the living of memories in the play are identical. E. Gushanskaya in the work “Alexander Vampilov. Sketch of creativity "declares the existence of the fourth hypostasis of the future Zilova, who" falls out something more terrible than death,< > learn to shoot. " However, the future in the play is invariably set as unrealized, therefore, there is no future Zilov, who learns to shoot, takes the path of correction, etc. The present of the play is completed on the stage, since the problematic to the last final phrase of the hero is expressed in its entirety, but ontologically it has no end, it is indefinite. In "Duck Hunt" the present appears not only as a moment in time that does not imply completion (the eternal present of Zilov, in relation to which the past is a memory lived at a given moment, and the future is a potential, desired, but non-embodied time), but also as modernity , dictating the choice of problematic (peaceful sixties, prosaically ordered reality: typical houses, typical destinies, tears invisible to the world), and as a reflective substance. The present is the only true given of the hero: the past is gone, the future has not yet been born. Zilov is isolated from others: locked in an apartment, inside his physical shell, in time his loneliness is existential, since only it is capable of manifesting unconscious subjectivity. The hero's memories, which are a form of reflection, cover the entire dramatic canvas and go far beyond their subjective nature. Objectifying himself for the reader (viewer) and equally for the hero (distanced from his own past, Zilov sees himself from the outside, his consciousness is divided into producing and contemplative parts, he himself is a spectator, which is emphasized on the stage), the memory practically loses its subjective coloring, it spontaneously. This is the only form of existence of the past in the present, the past is actualized in connection with material signs, attempts at the hero's action. The present is not able to change the past, it is ineffective and stable in its immutability, however, thanks to merging with the subjectivity of the hero (throughout almost the entire play, he is the only resident of the reality of the present; the present in the play is also the subjective time of the course of psychological processes) learns to objectively reflect the episodes that were present some time ago. Zilov, the subject of memories, is a medium of times. He did not seek self-knowledge, did not strive for it, moreover, he, as a character in the comedy Vampilov "Farewell in June" Kolesov (although unlike him unconsciously), tried to shield himself from reflection with an activity that did not have any goals, even hedonistic which critics so often point out. Zilov of the past lives instinctively, Zilov of the present, thanks to immersion in spontaneously arising pictures of memories, comes to some understanding of his own life. This can be judged based on the decisions of the hero. So, as mentioned earlier, Zilov is passively subordinated to the elemental force of memories, he undergoes his own past (a double circle of living in the same episode), but Zilov of the present is primarily a thinking subject. The structure of the play is such that in relation to episodes of the past, the consciousness of the author, hero and reader in their contemplation is one, there is no hierarchical relationship between them,

7 252 a priori assumed in the episodes of the present. In addition, at the intersection of the past and the present, the idea of ​​the hero's dramatic guilt arises. Unlike tragic guilt, substantial in nature, it is subjective-substantial and is born not in connection with the unstoppable disintegration of the world in which the hero exists, but in connection with the contradiction that arises between his actions, goals and the substantial content of subjectivity. The dramatic hero does not know himself to the end, and the more his behavior and the inner image of the ideal "I" diverge, the more power the dramatic conflict acquires. This dramatic ignorance is the source of dramatic guilt. It may not have the catastrophic consequences of tragic guilt, but it also has a substantial component, since it represents the gap between what is and what is desired as a fundamental contradiction of social life. Zilov's dramatic guilt lies in the fact that realization comes to him too late, when life has exhausted the possibilities for action. The hero is a few steps late, but for the time that unstoppably flows from the past to the present and the future, this is an insurmountable abyss. Unfinished suicide is also an attempt to overcome time, to complete the past with one action that cuts the Gordian knot of internal conflict, but the present is another reality, it resists the invasion of alien elements. Unwillingness to live with a load of dramatic guilt and doom for this life lead the hero to an emotional catastrophe. In the criticism of the 1920s. a tendency has developed to interpret The Duck Hunt primarily as a drama of losses, since the play consistently reveals the series of values: the hero realizes or makes visible for comprehension what could have become a solid support in his life, but is no longer there. And yet "Duck Hunt" is primarily a tragicomedy of existence and self-valuable awareness: its conflict is born where reality, taking the form of a mercilessly objective mirror, provides the hero with the opportunity to look at himself from the outside. The vision of subjectivity as an invariably stable, long ago and correctly understood entity, which gives the hero confidence in his own strengths, comes into conflict with the image that appears before him when he finds himself not in the role of a participant in events, but in the role of an eyewitness. The question “Is it really me?” Not verbally expressed in the play, the catastrophic discrepancy between I-for-myself and I-in-reality, the unwillingness to be myself give rise to an existential conflict that involves two ways of resolving: the destruction of the unwanted “I” by physical elimination ( suicide) or by transformation. Zilov consistently tries both. The open ending of the play leaves us no room for an unambiguous statement about Zilov's transformation: Vampilov did not want categorical definiteness. The consciousness of the hero, weighed down by the burden of dramatic guilt, which has acquired the ability to reflect, is thrown open into life, like the consciousness of the reader and the author. There is no limit to subjectivity, it is capable of change. Speaking about the play and about Zilov: "It's me, do you understand?" Vampilov, apparently, wanted not only to point out the limitations of the vulgar sociological interpretations of the play, but also to declare it as a drama of self-comprehension in which the hero, reader and author are equal. References 1. Bakhtin MM Epic and novel (On the methodology of the study of the novel) // Bakhtin MM. Literature and aesthetics. Research over the years. M .: Art. lit., p. 2. Vampilov A. Duck hunting: Plays. Notebooks. Yekaterinburg: U-Factoria, p. 3. Bychkova M.B. The category of guilt in the structure of the dramatic text (based on the work of A. Vampilov) // Drama and Theater: Sat. scientific. tr. Tver: Tver. state un-t, Issue. III. S. Gushanskaya E. Alexander Vampilov: Essay on creativity. L .: Sov. Writer. Leningrad. branch, s. 5. Bychkova M.B. "Duck Hunt" A. Vampilov: an attempt at an existentialist reading // Drama and Theater: Sat. scientific. tr. Tver: Tver. state un-t, Issue. II. WITH AESTHETIC PECULIARITIES OF THE "DUCK HUNTING" BY A. VAMPILOV X.A. Demeneva This article is devoted to the study of some poetical features of the "Duck hunting", the central play of A. Vampilov "s theater. The organization of the system of images, the functions of the main character, the means for identification of his subjectivity, and the manner of his interaction with the milieu are examined. The question is also raised of the correlation between the play s temporal layers: onstage and offstage past, actual present, and possible future.

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