In the work of M. Gorky "on the bottom" will affect the huge reservoir of moral, moral and spiritual problems of society. The author used the principle of the great minds of the past: the truth is born in the dispute. His play - the dispute is designed to raise the most important questions for a person so that he himself answered himself. A full analysis of the work may be useful to students of 11 classes in preparation for literature lessons, test tasks, creative work.

Brief analysis

Year of writing - The end of 1901 - the beginning of 1902.

History of creation - The play was created specifically for setting in the theater, Gorky invested the most important questions of being in the mouth of his heroes, reflected his own look at life. The period of the late 19th century is shown, a deep economic crisis, unemployment, poverty, ruin, collapse of human destination.

Subject - The tragedy of loose people who were at the very bottom of life.

Composition - Linear composition, events in the play are built in chronological order. The action is static, the characters are in one place, the play consists of philosophical reflections and disputes.

Genre - Socio-philosophical drama, play dispute.

Direction - Critical realism (social identity).

History of creation

The play was conceived by bitter a year before her creation, somehow in a conversation with Stanislavsky, he mentioned that he wanted to create a play about the residents of the night, sanking on the bottom. In 1900-1901, the author made some sketches. During this period, Maxim Gorky seriously fucked by A. P. Chekhov's plays, their stage at the stage and the play of actors. It was crucial for the author in terms of work in a new genre.

In 1902, a play was written on the bottom, and in December of the same year, it was raised on the stage of the MCAT Theater with the participation of Stanislavsky. It should be noted that the writing of the work was preceded by a crisis, which happened in Russia in the late 90s of the 19th century, factories and plants stopped, unemployment, ruin, poverty, hunger - all this is a real picture in the cities of that period. The play was created with a certain goal - to raise the level of culture of all classes of the population. Its setting caused a resonance, largely due to the genius of the author, as well as the controversy of the voiced problems. In any case, about the play spoke, with envy, discontent or admiration - it was a success.

Subject

In the works are intertwined several meanings: Fate, hope, meaning of life, truth and lies. The characters of the play argue on high topics, being so low that it is no longer possible to fall further. The author shows that the poor man can have a deep essence, be highly moral, spiritually rich.

At the same time, anyone can fall on the very bottom, to rise from which it is almost impossible, it delays, gives freedom from conventions, allows you to forget about culture, responsibility, upbringing and moral aspects. Gorky only voiced the most sharp problemsmodern, he did not decide them, did not give a universal answer, did not show the way. Therefore, its work is called a play-dispatch, it is based on a dispute, in which the truth is born, its own for each character.

Problemsthe works are diverse, the most burning, perhaps it is worth considering the dialogs of the heroes about the saving lies and bitter truth. Meaning of the name The plays are that the social bottom is a layer, where there is also a life where people love, live, think and suffer - it exists in any era and no one is immune from this bottom.

Composition

The composition of the play itself was determined as "scenes", although its genius corresponds to the masterpiece places of Russian and foreign classics. The linearity of the plays is due to the chronological sequence of events. The plug of the play is the appearance of Luke at night with its unresoluteness and innerighlessness. Further, in several actions, the development of events occurs, passing to the most powerful heat - dialogue on the meaning of existence, about the truth and lies. This is the culmination of the play, behind it - the junction: the suicide of the actor, the loss of the hope of the last inhabitants of the night. They are not able to save themselves, and therefore are doomed to death.

Genre

In the play "On the bottom", the analysis allows us to conclude about the uniqueness of the Gorky genre - the play-dispute. The main thing in the development of the plot is conflict, it drives the action. Heroes are in the dark basement and the dynamics is achieved due to the collision of opposing points of view. The production genre is customary to define as a socio-philosophical drama.

Test on the work

Rating Analysis

Average rating: 4.3. Total ratings obtained: 2307.

Maxim Gorky - literary pseudonym Alexei Maksimovich Peshkova (16 (28) Martha 1868, Nizhny Novgorod, Russian Empire - June 18, 1936, Gorki, Moscow region, USSR) - Russian writer, prozais, playwright.

I dedicate to Konstantin Petrovich Pyatnitsky

Characters:

Mikhail Ivanov Kostylev, 54 years old, maintenance attendant.

Vasilisa Karpovna, his wife, 26 years old.

Natasha, her sister, 20 years old.

Medvedev, their uncle, policeman, 50 years old.

Vaska ash, 28 years old.

Tick, Andrei Mitrich, Locksmith, 40 years old.

Anna, his wife, 30 years old.

Nastya, Maiden, 24 years old.

Quashnya, trafficking dumplings, for 40 years.

Bubnov, Cartus, 45 years old.

Baron, 33 years old.

Satin, an actor - approximately one age: for 40 years.

Luka, Wanderer, 60 years old.

Aleshka, shoemaker, 20 years old.

Curve goiter, Tatar - Hooks.

Several bosias without names and speeches.

Analysis of the drama "At the bottom of Gorky M.Yu.

Drama at the very essence is intended for scene. The orientation on the stage interpretation limits the artist in the means of expressing the author's position. She cannot, unlike the author of the epic work, directly express its position - exceptions are only the author's remarks that are intended for the reader or actor, but which will not see the viewer. The copyright position is expressed in the monologues and dialogues of the heroes, in their actions, in the development of the plot. In addition, the playwright is limited in the volume of the work (the performance can go two, three, from the strength of four hours) and among the actors (all of them must "fit" on stage and have time to realize themselves in a limited time of the performance and scene space).

That's why , a sharp clash between heroes on a very meaningful and significant occasion for them. In other cases, heroes simply will not be able to realize themselves in a limited amount of drama and scenic space. The playwright tying such a node, when unwounding which a person shows itself from all sides. Wherein in the drama there can be no "extra" heroes - All heroes should be included in the conflict, the movement and stroke of the play should capture them all. Therefore, a sharp, conflict situation, playing in front of the viewer, turns out to be an essential drawing of the drama as a kind of literature.

The subject of the image in the Drama of Gorky "on the bottom"(1902) the consciousness of people thrown as a result of deep social processes to the bottom of life. In order to embody a similar subject of the image with scenic tools, the author needed to find the appropriate situation corresponding to the conflict, as a result of which the conflict of the spectrons consciousness would most fully appear, its strengths and weaknesses. Is it possible for this social, public conflict?

Indeed, social conflict is presented in a play on several levels. First, it is a conflict between the owners of the spouses of the spouses of Kostylev and its inhabitants. He is felt by the heroes throughout the platform, but it turns out as if static, deprived of the speakers, underdeveloped. This is because Kostyleva themselves are not so far in the social plan left the inhabitants of the night. Relationship between owners and inhabitants can only create tension, but not to become the basis of a dramatic conflict capable of "tying" drama.

Moreover Each of the heroes in the past experienced his social conflict, as a result of which he was at the "bottom" of life, at the night.

Ho These social conflicts are fundamentally issued for the scene, moved into the past and therefore do not become the basis of the conflict of dramaturgical. We only see the result of public turmoil, so tragicly reflected in the lives of people, but not these clashes themselves.

The presence of social stress is labeled already in the title of the play. After all, the very fact of the existence of the "bottom" of life also suggests the presence of "dumb", the upper flow, to which the characters are striving. Ho and this can not be the basis of a dramatic conflict - after all, this tension is also deprived of the speakers, all attempts of heroes to leave the "bottom" are unpromising. Even the emergence of police Medvedev does not give an impulse to the development of a dramaturgical conflict.

Maybe, does the drama organizes a traditional love conflict? Really, such a conflict is present in the play. It is determined by the relationship between the Vasilisa, Vasilisa, Kostylev's wife, the owner of the night and Natasha.

The exposition of the love plot is the appearance of the Kostylev and a conversation at night, from which it is clear that Kostylev is looking for his wife to Vasilis, who changes him with Vasya ash. Love conflict tie - the appearance of Natasha at night, for which the ashes leaves Vasilis. During the development of a love conflict, it becomes clear that relations with Natasha enrich the ashes, revive him to a new life.

The culmination of a love conflict is fundamentally submitted for the scene: We do not see exactly what Vasilisa scraars Natasha with boiling water, just learn about it on the noise and screams behind the scene and conversations of the nights. The murder of Kostyleva Vaska Sidel turns out to be a tragic junction of a love conflict.

Of course, love conflict is the face of social conflict. It shows that the antichelovic conditions of the "bottom" criek man, and the most sublime feelings, even love, do not lead to the enrichment of the individual, but to death, injury and katorga. In this way, the love conflict, Vasilisa comes out of him the winner, reaches at once all of its goals: Mastrate the former lover Vaska Sidel and his rival Natasha, gets rid of the unloved her husband and becomes an overlooking hostess. In Vasilis, there was nothing human left, and its moral cloak shows the monstristence of social conditions in which the inhabitants of the surgery and its owners are immersed.

Ho Love conflict can not organize stage action and become the basis of a dramatic conflict if only because, turning on the eyes of the nights, he does not affect them . They arevividly interested in the peripetias of these relations, but do not participate in them, remaining only third-party spectators. Hence, the love conflict also does not create situations that could form the basis of the conflict of dramaturgical.

Once again we repeat: the subject of the image in the play of Gorky is not only and not so much social contradictions of reality or possible ways of their permission; his interested in the consciousness of the nightnamons in all its contradictions. This subject of the image is characteristic of the genre of philosophical drama. Moreover, it requires both unconventional forms of artistic expressiveness: the traditional external action (event series) is inferior to the so-called internal action. An ordinary life is reproduced on the scene: small quarrels occur between the nightnings, one of the heroes appears and disappears. Ho not these circumstances are plumming. Philosophical problematics makes the playwright transform the traditional forms of the drama: the plot is manifested not in the actions of heroes, but in their dialogues; The dramatic effect translates bitter into the extraction row.

In the exhibition, we see people, in essence, humbled with their tragic position at the bottom of life. The concerned conflict is the appearance of Luke. Outwardly, he does not affect the life of the nights, but in their minds begins hard work. Luke immediately turns out to be in the center of their attention, and all the development of the plot concentrates on it. In each of the heroes, he sees the bright directions of his personality, finds the key and approach to each of them. And it produces true coup in the life of heroes. The development of internal action begins at the moment when the heroes discover the ability to dream of a new and better life.

It turns out that those light sides, what luke guessed in every character play, and make up his true essence. It turns out prostitute Nastya. dreams of beautiful and bright love; Actor, spiroving man remembers creativity and seriously think about returning to the scene; "Hereditary" thief of Vaska ash finds the desire for honest life, wants to go to Siberia and become a strong owner there.

Dreams detect the true human essence of the Heroes of Gorky, their depth and purity.

This is also manifested by another line of social conflict: the depth of the personality of heroes, their noble aspirations are in the blatant contradiction with their present social status. The device of society is such that a person does not have the opportunity to realize his true essence.

Lukefrom the first moment of its appearance at the night, refuses to see in the ocellists of the rogues. "I and Zhulikov respect, in my opinion, not a single flea - not bad: all - black, all - jump" - so he says, justifying his right to call his new neighbors "Honest people" And rejecting the objection to Bubnova: "Was honest, yes before last in spring." The origins of such a position - in naive anthropologism of Luke, which believes that the man is initially good and only social circumstances make it bad and imperfect.

This studios of Luke clarifies the reason for his warm and friendly attitude towards all people - including those who found themselves on the "bottom" of life .

The position of Luke appears in the drama very difficult, and the copyright attitude to it looks ambiguous . On the one hand, Luke is absolutely uncanyten in his sermon and in wishes to awaken in people the best, hidden by the side of their nature, about which they did not even be suspected - they contrasted with their position at the very bottom of the Company. He sincerely wishes to his conversories of good, shows real ways to achieve a new, better life. And under the influence of his words, the heroes are really experiencing a metamorphosis.

Actor It stops drinking and saving money in order to go to the free hospital for alcoholics, I don't even know that she doesn't need it: the dream of returning to creativity gives him the strength to overcome his ailment.

Ash He subordinates his life to the desire to leave Natasha to Siberia and stand on his feet there.

Dreams of Nastya and Anna, Wives Tick, quite illusory, but these dreams give them the opportunity to feel happier.

Nastya.he imagines heroine of concrete novels, showing in his dreams of a non-existent Raole or Gaston's feats of self-sacrifice, which she is really capable;

Dying Anna,dreaming about the afterlife, also partly goes away from the sensation of hopelessness: only Bubnovyes BaronPeople are completely indifferent to others and even to themselves, remain deaf to Luke's words.

Luke's position exposes a disputeabout what is truehaving emerged from him with the Bubnov and Baron, when the latter ruthlessly exposes the groundless dreams of Nastya about Raoul: "Here ... You say - really ... she, truth, - not always by fellow people ... not always the truth soul Collure ... "In other words, Luka claims charity for a man of comforting lies. Ho Is Luke only claim?

In our literary criticism, the concept was long dominated, according to which the bitter definitely rejects the comforting sermon of Luke. HO Position writer is more difficult.

Vaska ash will really go to Siberia, but not as a free settler, but as a convicts convicted of killing Kostyleva.

The actor who lost faith in his strength will exactly repeat the fate of the hero of the parable of the righteous land told Luke. Trusting the hero to tell this plot, bitter and himself in the fourth act will beat him, making direct conclusions. Luke, told the parable of a person who, who, having blown in the existence of the righteous land, was worn, believes that a person can not be deprived of hope, let the illusory. Gorky through the fate of the actor assures the reader and the viewer in the fact that it is false hope that can lead a person to the loop. Ho will return to the prior question: what did the inhabitants of the bowl of Luke?

The actor accuses him that he did not leave the addresses of free hospital . All heroes agree that hopewhich Luca instilled in their souls - false. Ho because he did not promise them from the bottom of life - he just supported their timid faith in the fact that there is a way out and that he is not ordered for them. Ta faith in Himself, which woke up in the minds of the spent room, turned out to be too fragile and with the disappearance of the hero, who was able to support her, immediately faded. It's all about the weakness of the heroes, in the inability and reluctance to make them at least a little in order to confront the ruthless social circumstances, which circumscribe them to exist at the duty room of the Kostylev.

Therefore, the main accusation by the author addresses not Luke, but the heroes, unable to find the strength to oppose their will of reality. So bitter manages to open one of the characteristic features of the Russian national nature: dissatisfaction with reality, sharply critical to it attitude and complete unawares to do so that this reality is to change . That is why such a warm response finds a bow in their hearts: after all, he explains the failures of their life by external circumstances and is not at all inclined to blame the heroes themselves in a failed life. And the idea of \u200b\u200btrying somehow these circumstances cannot be changed in the head or his flock. Therefore, so dramatic experiencing heroes Care Luke: Hope, awakened in their souls, can not be found in their characters internal support; It will always be necessary for external support even so helpless in the practical sense of a person as the "invalid" Luke.

Luka is an ideologist of passive consciousness, so unacceptable for Gorky.

According to the writer's thought, passive ideology can only reconcile the hero with his current situation and will not attempt him to try this position to change, as it happened with Nastya, with Anna, with the actor . Ho who could argue on this hero, who could oppose anything of his passive ideology? There was no such hero in the night. The bottom line is that the bottom can not work out another ideological position, so the ideas of Luke are so close to its inhabitants. Ho his sermon gave a momentum to occur to a new life position. Her expresser became satin.

He is well aware that his mindset turns out to be a reaction to the words of Luke: "Yes, this is he, the old yeast, crushed the cohabitants to us ... an old man? He is a clever! .. The old man is not a charlatan! What is true? Man is true! He understood it ... You are not! .. He ... I worked on me, like an acid to an old and dirty coin ... "The famous Satina monologue about a man in which he claims to respect instead of pity, and pity considers as humiliation - expresses a different life position. HO is still the very first step towards the formation of an active consciousness capable of changing social circumstances.

The tragic finals of the drama (suicide actor) sets the question about the genre nature of the play "At the bottom".I remember the basic genres of drama. The difference between them is determined by the subject of the image. The comedy is the genre of the moral phostective, so the subject of the image in the comedy is the portrait of society in the non-military moment of its development. The subject of the image in the tragedy is most often the tragic, unresolved conflict of the ideologue hero with society, the outside world, irresistible circumstances. This conflict can move from the sphere of external in the consciousness of the hero. In this case, we are talking about internal conflict. Drama is a genre, a study of philosophical or socio-household problems.

Do I have reason to consider the play "At the bottom" as a tragedy? Indeed, in this case, I will have to identify the actor as a hero ideologist and consider his conflict with society as an ideological, for the hero of the ideologue of death claims his ideology. Tragic death is the last and often the only opportunity to stop before opposing the power and approve ideas.

It seems that there is no. His death is an act of despair and disbelief in their own rebirth. Among the heroes of "DNA" there are no obvious ideologues opposing reality. Moreover, their own position is not comprehended by them as tragic and hopeless. They have not yet reached the level of consciousness when the tragic life of life is possible, because it implies a conscious confrontation with social or other circumstances.

Such a hero at the downtime of Kostyleva, on the "bottom" of life, bitterly does not clearly find. Therefore, it will be more logical to consider "at the bottom" as a socio-philosophical and socio-domestic drama.

Reflecting on the genre nature of the play, you need to find out what clashes are in the focus of attention of the playwright, which becomes the main subject of the image. In the play "On the bottom", the subject of the study of Gorky is the social conditions of the Russian reality of the stroke of the centuries and its reflection in the consciousness of heroes. At the same time, the main, the main subject of the image is precisely the consciousness of the spectrums and the parties to the Russian national nature manifested in it.

Gorky is trying to determine what social circumstances that influence the characters of heroes. For this, he shows the background of heroes, which becomes clear to the viewer from the characters' dialogues. Ho is more important for him to show those social circumstances, the circumstances of the "bottom", in which heroes were now. It is this position that equalizes the former Aristocrat of Baron with Shuler Bubnov and the thief of the Vaska ashes and forms common for all the features of consciousness: the rejection of reality and at the same time passive attitude towards it.

Inside Russian realism, since the 40s of the last century, a direction is developing, which characterizes the pathos of social criticism in relation to reality. This is the direction that is presented, for example, the names of Gogol, Nekrasov, Chernyshevsky, Dobrolyubov, Pisarev, got a name critical realism.

Gorky in Drama "On the bottom" continues these traditions, which manifests itself in its critical attitude to the social parties of life and largely to the heroes, in this life immersed and formed it.

Typical - does not mean the most common: on the contrary, the typical is more often manifested in exceptional. To judge the typicality - it means to judge what circumstances did one or another originate than this character is due to the prehistory of the hero, what turns of fate led him to the modern situation and determined those or another qualities of his consciousness.

Analysis of the play "At the bottom" (opposition)

Chekhov tradition in Gorky drama. Originally said bitter about the innovation of Chekhov, who "Killed realism" (traditional drama), raising images to "Spiritualized symbol". Thus was determined by the departure of the author of the "Seagull" from the acute collision of characters, from the tense plot. Following Chekhov, Gorky sought to convey a leisurely pace of everyday, "misstainless" life and allocate the "underwater flow" of the inner motivations of heroes in it. Only the meaning of this "current" bitter understood, naturally, in his own way. Chekhov - plays of sophisticated sentiment, experiences. Gorky is a collision of inhomogeneous maidos, the very "fermentation" of the thoughts, which was observed bitter in reality. His dramas appear one after another, many of them are indicative of "scenes": "Messenger" (1901), "at the bottom" (1902), "Dachnips" (1904), "Sun Children" (1905), "Barbara" ( 1905).

"At the bottom" as a socio-philosophical drama.From the cycle of these works, the thoughts and perfection of the construction is allocated "at the bottom". The featured by the artistic theater, who passed with a rare success, the play was struck by the "surceal material" - from the life of Bosyakov, Shuler, prostitutes - and their own, despite this, philosophical saturation. "Overcome" a gracious flavor, the awesome life helped a special author's approach to the inhabitants of the dark, dirty surgery.

The final feature of the play was on theatrical poster, after the bitter went over the others: "WITHOUT SUN", "OUTERNING", "DNO", "ON THE DOP of LIFE."Unlike the initial, calculating the tragic position of Bosyakov, the latter clearly possessed meaningful, perceived widely: "At the bottom" not only life, but first of all the human soul.

Bubnovspeaks about himself and his coarseners: "... everything merged, one naked man remained." Because of the "lumps", the loss of the former position of the heroes of the drama truly bypass particular and with some kind of universal concepts. In this embodiment, the internal state of the individual appears visibly. The "Dark Kingdom" made it possible to allocate the bitter sense of things imperceptible under normal conditions.

The atmosphere of spiritual disagreement of people. The role of a polylog. Peculiar to the whole literature began the beginning of the XX century. The painful reaction to the disassembled, the spontaneous world in the Gorky drama acquired rare scales and conviction of the embodiment. The author transferred the stability and integrity of the relationship of the guests of Kostylev in the original form of the "polylog". In I Act They say all the characters, but everyone who almost does not listen to others - about her. The author emphasized the continuity of such "communication." Quashnya (with her replica begins a play) continues the argument started with a tick. Anna asks to stop what the "Every God's Day" lasts. Bubnov breaks up satin: "I heard a hundred times."

In the stream of fragmentary replicas and moves, words having a symbolic sound are made. Bubnov repeats twice (engaged in a rapid business): "And the threads are rotten ..." Nastya characterizes the relationship between Vasilisa and Kostyleva: "Tie away from any living person to such a husband ..." Bubnov notes about the situation of the Nastya itself: "You are too extra" . Specified on the specific occasion of the phrase disclose the "subtext" meaning: the impact of connections, the personality of the unfortunate.

Uniqueness of the internal development of the play. The situation is changing S. the appearance of Luke.It is with his help that illusory dreams and hopes come to life in the souls and hopes. II and III acts of drama Allowed to see in the "naked person" an attraction to a different life. But, based on false ideas, it is marked only by misfortunes.

The role of Luke in this outcome is very significant. Smart, who knows the old man indifferently looks at his real environment, believes that "for the best people live ... For a hundred years, and maybe more - for the best person they live." Therefore, the misconceptions of the ashes, Natasha, Nastya, the actor does not touch him. Nevertheless, the bitter did not limit the effect on Luke at all.

Writer, not less than human disagreement, does not accept naive faith in a miracle. It is miraculously incurred by ashes and Natasha in some "righteous land" of Siberia; the actor - in the marble hospital; Cleash - in honest labor; Nastya - in love happiness. Speech Luke was therefore worked out that they fell on the fruitful soil of secretly trembling illusions.

The atmosphere II and III acts are different compared to I. There is an end-to-end motive of the care of the inhabitants of the night in some unknown world, the mood of the exciting expectation, impatience. Luka advises ash: "... from here - a step march! - Go! Go away ... "The actor says Natasha:" I'm leaving, leaving ...<...> You are also leaving ... "The ash persuades Natasha:" ... in Siberia, it is necessary to go to Siberia ... we are going there, well? " But there are different, bitter words of hopelessness. Natasha: "Nowhere to go." Bubnov once "spun in time" - left the crime and forever remained in a circle of propoines and cheelers. Satin, remembering his past, sternly claims: "After the prison, there is no move." And the tick with pain is recognized: "There is no refuge ... there is nothing." In these replicas of the inhabitants of the night, there is a deceptive exemption from the circumstances. Gorky Bosyaki due to their rejection workers are experiencing this eternal drama for a person with a rare nude.

The circle of existence as if closed: from indifference - to an unattainable dream, from her - to real shocks or death. Meanwhile, in this state, the heroes of the playwright finds the source of their spiritual fracture.

The value of the IV Act. In the IV act - the former situation. Nevertheless, something completely new is happening - the fermentation of the Bosya's sleepy thought begins. Nastya and the actor first brightly denounce their stupid classmates. Tatarman expresses an alien conviction alien to him: you need to give the soul "the law is new." The tick is unexpectedly calmly trying to recognize the truth. But the main thing is to express those who have long been anyone or anything believes.

Baron, admitting that "never understood anything," thought thoughtfully: "... After all, I someone was born ..." This perplexity binds everyone. And extremely strengthens the question "Why was born?" Satin. Smart, daring, he corrects Bosyakov: "Stupid, like bricks," "cattle", who do not know anything and who do not want to know. Because satin (he is "kind, when drunk") and trying to protect the dignity of people, open their opportunities: "Everything is in a person, everything for a person." Satina's arguments are unlikely to repeat, the life of the unfortunate will not change (the author is far from any embellishment). But the flight of the thoughts of Satina fascinates the listeners. For the first time, they suddenly feel like a small particle of the big world. The actor is because it does not withstand his doom, breaking up life.

Strange, to the end, not aware of the rapprochement of "bitter brethren" acquires a new shade with the arrival of Bubnov. "Where are the people?" - He shouts and offers to "sing ... all night", "disappear" his destiny. That is why at the news about the suicide actor satin responds sharply: "Eh ... spoiled a song ... Fool."

Philosophical overtone play.The play of the Gorky socio-philosophical genre and in its vital concreteness was directed, undoubtedly to universal concepts: alienation and possible contacts of people, imaginary and real overcoming of the humiliating position, illusions and active thought, sleep and the awakening of the soul. The characters "at the bottom" only intuitively touched the truth, without outriving the feeling of hopelessness. Such a psychological collision enlarged the philosophical sound of the drama, discontinued the commonality (even for refined) and the difficult to achieveness of genuine spiritual values. The combination of eternal and instantaneous, stability and at the same time the sharpness of the usual representations, a small stage space (dirty surge) and thinking about the large world of humanity allowed the writer in the household situation to embody difficult vital problems.

At the bottom - my summary of chapters

First action

The basement similar to the cave. The ceiling is heavy, with a rolling stucco. Light from viewers. To the right behind the fence of Camorka ash, near Nara Bubnov, in the corner a large Russian oven, opposite the door to the kitchen, where Quash, Baron, Nastya live. Behind the furnace is a wide bed behind the stente curtain. Circle Nara. In the foreground on the stump of wood vice with an odor. Nearby casts sits, Baron, Nastya, reading a book. On the bed behind the curtain, Anna coughs. On the babes there is old rugged bubn trousers. Next to him just awakened satin lies and growls. The stove is the actor.

The beginning of spring. Morning.

Quashny, talking to the baron, promises to never marry anybody. Bubnov is interested in satin, why is that "grunt"? Quashman continues to develop his idea that she is a free woman and will never agree "to give himself to the fortress." The tick rudely shouts to her: "Draw! I myself get married with Abramka. "

Baron snags a book from the reading Nastya and laughs over the vigilant "Rock Love". Nastya and Baron fight because of the book.

The quasch scolds a tick to the old goat, brought to his wife to death. The tick is lazily dug off. Quach is sure that the tick does not want to hear the truth. Anna asks Silence to die quietly, the tick is impatiently reacting to the words of his wife, and the Bubnov philosophically notes: "Noise - death is not a hindrance."

Squach surprised how Anna lived with such a "son"? The dying asks to leave her alone.

Quashnya and Baron are going to the bazaar. From the proposal to eat Pelmeni Anna refuses, but Quashen still leaves dumplings. Baron teases Nastya, trying to get angry it, and then hurriedly goes for quashers.

A finally awakened satin is interested in who hit him on the eve and for what. Bubnov argues, whether it is not equal, but beat for the cards. The actor shouts from the furnace that one day the satina will be killed at all. The tick calls the actor to plunge from the oven and start cleaning the basement. The actor objects, Baron's turn. Baron, looking out of the kitchen, hesitates with his employment - he goes with a quasper to the bazaar. Let the actor work, he has nothing to do, or Nastya. Nastya refuses. Quashman asks the actor to remove, he will not break. The actor is disconnected by the disease: it is harmful to breathe dust, its body poisoned with alcohol.

Satin pronounces incomprehensible words: "Siksbr", "macrobiotic", "transcendental". Anna offers her husband to eat dumplings left by quasher. She herself languishes, anticipating the rapid end.

Bubnov asks Satina, which denote these words, but Satin has already forgotten their meaning, and in general it is tired of all these conversations, all "human words", which he heard, probably, a thousand times.

The actor recalls that he once played a burner "Hamlet", quotes from there the word Hamlet: "Ophelia! Oh, remember me in your prayers! "

The tick, sitting at work, creates a diaper. And satin remembers that he once served in his youth on the telegraph, read a lot of books, was an educated person!

Bubnov skeptically notices that he heard this story "a hundred times!", But he himself was a shot, he had his institution.

The actor is convinced that education - nonsense, the main thing - talent and faith in yourself.

Meanwhile, Anna asks to handle the door, she is stuffy. The tick does not agree: it is cold on the floor, it is cut. Anne fits the actor and offers to bring to the sen. By supporting the patient, it takes it into the air. The meeting of Kostylev laughs on them, what kind of "wonderful couple".

Kostylev is interested in the tick, was there a morning of Vasilisa here? The tick did not see. Kostylev scolds the tick that he takes a place for five rubles at the night, and he pays two, it would be necessary to throw a fifty dollar; "Better looped" - Pars tick. Kostylev dreams that he will buy oil lamp oil on this extin one and will pray for his own and other people's sins, because the tick does not think about his sins, and that his wife brought into the grave. The tick does not stand and begins to shout at the owner. The returned actor tells that he was well attached Anna in the Seine. The owner notices that the good actor will start everything on the world, but the actor would have arranged for the same time, if Kostylev now stuck him half of the debt. Kostylev immediately changes the tone and asks: "Is it possible to equate the kindness of heart with money?" A kindness is one thing, and the debt is another. The actor calls Kostyleva Shelma. The owner knocks on the Camorka ash. Satin laughs that Sidel will open, and Vasilisa has him. Kostylev is angry. Opening the door, the ashes demands money from Kostyleva for the watch and when he learns that he did not bring money, - the owner is angry and scolds. He roughly shakes Kostyleva, demanding a debt of seven rubles from "him. When the owner leaves, ash explains that he was looking for his wife. Satin is surprised how Vaska has not yet come to Kostyleva. The ash replies that "will not spoil life because of such a rubbish." Satin teaches the ashes "Smunely kill Kostyleva, then marry Vasilis and become the owner of the night." Ash, such a prospect does not please, the nightnits all his property in the kabaska will eat, because he is kind. The ashes angry that Kostylev woke him not in time, he just saw the dream that she caught a huge bream. Satin laughs that it was not a bream, but Vasilisa. The ashes sends them all with Vasilisa to hell. The tick, returned from the street, is dissatisfied with the cold. Anna he did not bring her natasha to the kitchen.

Satin asks for the ashes of PAYAK, but the actor says that they need a grivennik for two. Vasily gives until the ruble asked. Satin admires the kindness of thief, "no in the light of people is better." The tick notes that they are easily getting money, so they are good. Satin objects: "Many money goes easily, and few easily part with them", he argues that if the work is enjoyable, he maybe will work. "When work is pleasure, life is good! When work - duty, life - slavery! "

Satin and actor go to the Kabak.

The ashes asks for the tick of the Health of Anna, he answers that he will soon be lifted. The ash advises the melts not to work. "How to live?" - Interested in the one. "Others live," the ashes notices. Tick \u200b\u200bwith contempt speaks about others, he believes that he will break away from here. The ash objects: others are not worse than the tick, and "honor and conscience them. They are not caught instead of boot. Honor yes the conscience is needed, who has the power yes there is power. "

There is a crude bubnov and the question of ashes about honor and conscience says that he does not need conscience: "I am not rich." Ashes agrees with him, but tick against. Bubnov interested: Does the tick want to take conscience? The ashes advises the messenger to talk about conscience with satin and baron: they are smart, though drunkards. Bubnov is confident: "Who is drunk and smart - two land in it."

The ashes recalls how satin said it is convenient to have a conscientious neighbor, and the most conscientious "is not profitable".

Natasha leads a wanderer Luka. That politely greets present. Natasha represents a new guest, offering him to go to the kitchen. Luka assures: old men - where heat, there is homeland. Natasha tells the clash to later he came for Anna and was with her shakes, she dies and she is scary. The ash objects that it's not scary to die, and if Natasha kills him, so he will also joyfully die from a clean hand.

Natasha does not want to listen to him. The ash admires Natasha. I am wondering why she rejects him, no matter how much it will disappear.

"Through you and disappear,"- assures Bubnov.

Tick \u200b\u200band Bubnov say that if Vasilisa does notice about such an asset attitude towards Natasha, both will not last.

In the kitchen onion pulls a guy song. The ash is surprised why people suddenly still attack? He shouts Luke to not so much. Vaska loved to listen to beautiful singing, and this howl brings melancholy. Luka is surprised. He thought he sings well. Luke says that the Nastya sits in the kitchen and cries over the book. Baron assures that by dull. The ash suggests the baron for the shells of drinking with a dog, getting on all fours. Baron is surprised, what joy from this Vaska. After all, now they are even. Luke first sees Baron. The counts saw the princes, and Baron - for the first time, "and then spoiled."

Luka says that the night cars have a good live. But the baron remembers how he happened, in the bed of coffee drank with cream.

Luka notes: people with time are smarter than. "Live worse, but they want - all the best, stubborn!" Baron is interested in an old man. Who it? He answers: Wanderer. He says that everything is in the world of the wanderers, and "Our Earth is in the sky." Baron goes with Vaska to the Tavern and, saying goodbye to Luka, calls him the shelma. Alesha with Garmonew enters. It begins to shout and crude, which is not worse than others, so why Medyakin does not allow him to walk down the street. Vasilisa appears and also swears on Alya, he drives him from his eyes. Orders Bubnov to drive Alya, if he appears. Bubnov refuses, but Vasilisa evil reminds that since he lives from grace, then let him obeys the owners.

Interested in Luka, Vasilisa calls him a passing chair, since he has no documents. The hostess is looking for ashes and, without finding him, breaks down on the Bubnov for the dirt: "To keep the sterns!" She evil screams Nastya, so that she removed in the basement. Having learned that my sister was here, Vasilisa is even more angry, shouting at the night. Bubnov is surprised how much the malice in this woman. Nastya responds that with such a husband, like Kostylev, every breaks. Bubnov explains: "Mistress" came to her lover, did not find him in place, so and angry. Luka agrees to remove the basement. Bubnov found out from Nastya the reason for the Evil Vasilisa: Aleshka blurted out that Vasilisa was tired of the ashes, so she drives the guy. Nastya sighs, which is superfluous here. Bubnov replies that she is excess everywhere ... and all people on Earth are extra ...

Medvedev is interested in Luka, why does not know him? Luke responds that not the whole earth in his site enters, it remains and except. Medvedev asks about the ashes and Vasilis, but the Bubnov is fought, which does not know anything. Returns quashen. Complain that Medvedev calls her married. Bubnov approves this union. But Quash explains: a woman is better in the hole, than married.

Luke leads Anna. Quashnya, pointing to the sick, says that she brought it to the death of MOV SENY, noise is heard. Kostylev calls Abram Medvedev: Protect Natasha, which sister beats. Luka asks Anna that they did not share her sisters. She responds that they are both full, healthy. Anna says Luke that he is kind and soft. He explains: "Miles, because of soft".

Second action

The same setting. Evening. On the Naras Satin, Baron, Krivoy Goob and Tatar, play cards, ticks and the actor are watching the game. Bubnov plays checkers with Medvedev. Luka is sitting in the bed of Anna. The scene is weakly lit by two lamps. One burns at the gamns, the other is near Bubnov.

Tatar and Krivoy Sob sing, Bubnov also sings. Anna tells Luke about his hard life in which he remembers nothing but beat. Luke comforts her. Tatarin shouts on Satina, stumbling in a card game. Anna remembers how all his life is starving, was afraid to make a nurse, eat extra piece; Is it really waiting for flour? In the basement, the cries of the grathers, Bubnova, and then he sings the song:

As you wish, run ...

I don't lose weight ...

I want the will, - Eh!

I can't break the chain ...

Krivoy goiter sinks. Tatarin shouts that the baron hides the card in the sleeve, plutum. Satin soothes the Tatar, saying that it is known: they are crooks, why agreed to play with them? Baron soothes that he lost the grivennik, and shouts on the treshka. Krivoy Goob explains Tatarin that if the nightnails begin to live honestly, then three days will die from hunger! Satin scolds Baron: the educated person, and did not learn to the cards. Abram Ivanovich lost to Bubnov. Satin counts winnings - fifty-three kopecks. The actor asks for three kopecks, and then he is surprised himself, why do he need them? Satin calls onions in Kabak, but he refuses. The actor wants to read the poems, but with horror aware that I forgot everything, I cut my memory. Luke calms the actor that the drunkenness is treated, only he forgot, in which city the hospital. Luke convinces the actor that he will cure, take himself in hand, will again live well. Anna calls Luka to talk to her. The tick stands before his wife, then leaves. Luka regrets the tick - he is bad, Anna replies that she is not up to her husband. She was worse from him. Luke comforts Anna that she will die and takes her. "Death - she still calms down ... She's affectionate for us ... Mad - Relax!" Anna is afraid that he awaits her flour on that light. Luka says that she will call her Lord and say that she lived hard, let it now rest. Anna asks, what if it recovers? Luke is interested in: why, on the flour new? But Anna wants to live again, she even agrees to suffer, if she is waiting for peace. Includes ash and screams. Medvedev is trying to calm him down. Luka asks to silend: Anna dies. Ashes agreed with Luka: "You, grandfather, please, respect! You, brother, well done. You don't lie well ... Tales say nice! Vriya, nothing ... a little, brother, pleasant in the world! "

Vaska asks Medvedev, did Vasilis Natasha beat? The policeman discusses: "then family, and not him, ash, business." Vaska assures that if he wants, Natasha will leave him. Medvedev is outraged that the thief dares to build plans for his niece. It threatens to withdraw the ash on clean water. At first Vaska in passing says: Try. But then it threatens that if he is bought to the investigator, he will not be silent. It will tell that Kostlev with Vasilisa was pushing on theft, they are stolen. Medvedev is confident: no one will believe the Warmer. But ash confidently says that they will believe in the truth. Sidel and Medvedev threatens that he himself confuses. The policeman goes to do not go on trouble. The ashes smugly notes: Medvedev ran to complain Vasilis. Bubnov advises Vaska to yearn. But ashes, Yaroslavsky, you won't take our bare hands. "If the war - we will fight," the thief is threatened.

Luke advises ashes to go to Siberia, Vaska is launched, woed when he is lucky for a government account. Luke persuades that such as ashes in Siberia are needed: "There are such - necessary." The ash replies that his path was predetermined: "My way - marked me! The parent was sitting all his life in prisons and I ordered the same thing ... I was when little was, so at that time I was called the thief, the son's thieves ... "Luka praises Siberia, calls her" golden face ". Vaska is wondering why Luka is all lying. The old man replies: "And what do you really painfully need ... think! She, truth, maybe, volatile for you ... "The ashes asks Luka, is there God? The old man answers: "If you believe - there; You do not believe, - no ... What do you believe, then there is. " Bubnov goes to the restaurant, and Luka, slamming the door, as if leaving, carefully climbing the oven. Vasilisa goes to the ash's room and calls Vasily there. He refuses; He is all tired and she too. The ash looks at Vasilis and admits that, despite her beauty, he never lay a heart to her. Vasilisa offended that the ashes did so suddenly in love with her. The thief explains that it is not suddenly, her soul does not have, like beasts, they are with her husband. Vasilisa confesses ashes that he loved in him the hope that he pulls her out of here. She offers the Sister's ashes if he free her from her husband: "I'll take this loop with me." The ashes smiles: it all came up with everything: a husband - in the coffin, lover - at the catguard, and herself ... Vasilisa asks him to help through his friends, if the ashes himself does not want. The board will be Natalia. Vasilisa from jealousy beats sister, and then herself crying out of pity. Quietly entered Kostylevel cares and shouts to his wife: "Beggar ... Pig ..."

The ashes drives Kostyleva, but he is the owner and decides where he is. The ashes shakes greatly for the collision of the crutch, but on the furnace, the arms of Luke, and Vaska launches the owner. The ash understood that Luka I heard everything, but he does not deny. Specially began to make noise so that the ashes did not invent Kostyleva. The old man advises Vaska to stay away from Vasilisa, take Natasha, yes go away from here. Ash cannot decide how to be. Luka says that the ashes still young, will have time to get "Baba to get, let him go from here alone while he was not borrowed."

The old man notes that Anna died. The ash does not like dead people. Luke responds that you need to love alive. They go to the tavern to inform Clear about the death of his wife. The actor remembered the poem of Beranta Field, which in the morning wanted to tell Luke:

Lord! If the holy truth is

The world does not know how to find the road -

Honor madman who will have

Humanity Sleep Golden!

If B Tomorrow is our way

Light our sun forgotten

Tomorrow I would have illuminated the world

The thought of madness is some ...

Natasha, who listened to the actor, laughs at him, and he asks where to go onion? As soon as it becomes warm, the actor is going to go to look for a city in which he is treated from drunkenness. He admits that his scenic pseudonym crickeling-Zavolzhsky, but no one knows this here and does not want to know the name very disappointment. "Even dogs have nicknames. Unnamed - no man. "

Natasha sees the deceased Anna and speaks about this Actor and Bubnov. Bubnov notes: there will be no one to cough at night. He warns Natasha: the ashes "will leaving her head," Natasha still dare from whom. The included looking at Anna, and Natasha is surprised that no one else regrets. Luka explains that the living must be regretted. "Living - do not regret ... You can't regret ourselves ... where!" Bubnov philosophice - everything will die. All advise the plot to declare the death of his wife into the police. That grows: He has only forty kopecks, what to bury Anna? Krivoy Zob promises that he will gather at the next room in the Pyataku - Mizvetnik. Natasha is afraid to go through the dark senses and asks onions to spend it. The old man advises her the living fear.

The actor shouts Luke to call the city where he is treated from drunkenness. Satin is convinced that all the mirage. There is no such city. Tataror stops them so as not shouting at the dead. But satin says that it's all the same. On Luke appears in the doorway.

Action third

Desert cracked by different trash. In the depths of the wall of refractory brick, to the right log wall and all overgrown with bunign. Kostyleva left wall at night. In the narrow pass between the walls are board and timber. Evening. Natasha and Nastya are sitting on the boards. On the woods - Luke and Baron, the tick and the baron are located nearby.

Nastya talks about the supposedly former date with his student in love with her, ready to shoot out because of love for her. Bubnov laughs at the fantasies of Nastya, but the baron asks not to interfere with lying on.

Nastya continues to fantasize that the student parents do not agree to their marriage, he can't live without her. She allegedly says goodbye to Raul. Everyone laughs - last time the lover was called Gastron. Nastya is indignant that she does not believe. She claims: she had real love. Luka comforts Nastya: "Tell me, Girl, nothing!" Natasha calms down Nastya that all of the envy do that behave. Nastya continues to fantasize what kind of gentle words she spoke to her beloved, persuading him not to deprive himself of life, not to upset the hot favorite parents / Baron laughs - this is a story from the book "Rock Love". Luka comforts Nastya, believes her. Baron laughs over Nastya's stupidity, however, noting her kindness. Bubnov is surprised: why people love lies so much. Natasha is confident: it is more pleasant to the truth. So she dreams that tomorrow the stranger will come special and will happen quite special. And then understands that there is nothing to wait. Baron picks up her phrase that there is nothing to wait, and he does not really wait. All already ... was! Natasha says that sometimes he imagines himself dead and terribly it becomes. Baron regrets Natasha, which sister suffers. That asks: And who is easier?

Suddenly the tick screams that not everyone is bad. If everyone, not so hurt. Bubnov is surprised by a cry of a tick. Baron goes to put up to Nastya, otherwise she will not give him a drink.

Bubnov is dissatisfied with the fact that people lie. Okay, Nastya got used to "sink to himself ... a blush in the soul brings." But Luka why is it fighting without any benefit for yourself? Luke copacing Baron, so as not to begot the soul of Nastya. Let us cry if he wants. Baron agrees. Natasha asks Luka why he is kind. The old man is confident that someone and good need to be. "On time the person will regret ... it's good ..." He tells the story as, being a guard, regretted the thieves who climbed the cottage guarded by Luke. Then these thieves turned out to be good peasants. Luka makes a conclusion: "I will not spare them - they would, maybe they killed me ... Ali still ... And then - the court is yes prison, yes Siberia ... what is the sense? Prison - good will not teach, and Siberia will not teach ... And the person will teach ... Yes! Man - Maybe good to teach ... Very simple! "

Bubnov himself could not lie and always tells the truth. The tick jumps up as the stolen and shout, where the Bubnov does the truth sees?! "No work - here's the truth!" The tick hates everyone. Luke and Natasha regret the mclutter reminiscent of the crazy. The ashes asks about the Mc and adds that he does not like him - he hurts evils and proud. What is proud of? Horses are the most hardworking, so they are, above the person?

Luke, continuing the conversation started by Bubnov about the truth, tells such a story. He lived in Siberia, a person who believes in the "righteous land", which is inhabited by special good people. This man suffered all the insults and injustice in the hope that someday he would go there, it was his beloved dream. And when the scientist came and proved that there is no such land, this man hit the scientist, cut it with a scoundrel, and he helped himself. Luka says that he will soon leave the bedroom to "Khokhli", look at the local faith.

The ash suggests Natasha to leave with him, she refuses, but ashes promises to steal, it is competent - it will work. He offers to go to Siberia, assures: it is necessary to live differently than they live, better, "so that you can respect yourself."

He's called him since childhood, so he became a thief. "Call me differently, Natasha," asks Vaska. But Natasha does not believe anyone, waiting for something better, as much as the heart Schumit, and Natasha loves Vaska. At times he likes it, and sometimes and look sick on him. The ashes persuades Natasha that over time she would love him like her. Natasha asks with a mock, how does the ash, it turns out to love two at the same time: her and Vasilisa? The ash replies that sinks, as in the bog, for which it will grab, all rot. He could love Vasilis if she were not so greedy to money. But she is not love, but money, will, debauchery. The ash admits that Natasha is another matter.

Luke persuades Natasha to leave with Vaska, just to remind him more often that he is good. And here, with whom she lives? Her relatives are worse than wolves. And ash - the guy is strong. Natasha does not believe anyone. Sust is sure: she is one road ... But he will not let her go there, it will kill him better. Natasha is surprised that the ashes is not yet a husband, but is already going to kill her. Vaska hugs Natasha, and she threatens that if Vaska is touching her finger, she will not tolerate, he woofs. The ashes wait that his hands would be choke if he offended Natasha.

Standing by the window of Vasilisa is heard and says: "So I rushed! Council Yes Love! .. "Natasha frightened, and ash sure: no one will not dare to offend Natasha. Vasilisa objects that Vasily does not know how to offend or love. He delete more in words than in practice. Luka is surprised by the poisonousness of the Language "Miscellane".

Kostylev drives Natalia to put samovar yes tow the table. The ashes stands up, but Natasha stops him, so as he did not command it, "Early!".

The ash says Kostylev, which messed up over Natasha and enough. "Now she is mine!" Kostylev laughs: He has not yet bought Natasha. Vaska threatens to not really having fun, no matter how much it was necessary to cry. Luka drives ash, whom Vasilisa incites, wants to raise. The ash threatens Vasilis, and she says he that he wondered by ashes.

Kostylev is interested, is it true that Luka decided to leave. He responds that it will go where the eyes look. Kostylev says it is not good to vomit. But Luke calls himself a wanderer. Kostylevel scolds onions for the absence of a passport. Luka says that "there are people, and there are people." Kostylev does not understand Luka and angry. And he responds that Kostylev will never be a person, even if he is "God's Lord himself". Kostylev drives Luka, Vasilisa joins her husband: Luke has a long tongue, let it be cleaned. Luka promises to go on the night. Bubnov confirms that it is always better to leave on time, tells his story about how he, in time, left, avoided the cavities. His wife contacted a speedman, yes so deftly, that, that and looked, to poison Bubnov, so as not to interfere.

Bubnov beat his wife, and the master is his. Bubnov even pondered, as if to "stop" his wife, but she unwound and left. The workshop was recorded on his wife, so he turned out to be a goal as a falcon. This contributes to the fact that the tambourines a winding drunk and lazy is very, as he himself admits Luke.

Satin and actor appear. Satin requires Luka to confess the lies to the actor. The actor did not drink today vodka, and worked - the street chalk. It shows earned money - two five thousand. Satin proposes to give him money, but the actor says that he earns himself on the road.

Satin complains that he blocked in the cards "all smits". There is a "Shulera in a smarter me!" Luke calls satina a fun man. Satin recalls that in his youth he was funny, loved people to mix, represent on stage. Luke is wondering how satin reached the present life? Satina is unpleasant to ban soul. Luke I want to understand how such a unlucky person and suddenly got on the bottom. Satin responds that four years and seven months spent in prison, and after prison, there is no more go away. Luke is interesting, for which satin is in prison? He responds that for a scoundrel who killed in passability and irritation. In prison and to play cards learned.

- Who killed? - asks Luke. Satin replies that because of his native sister, however, he does not want to talk more, and sister died nine years ago, she was glorious.

Satin asks the returned tick, why that is so sullen. The locksmith does not know what to do, there is no tool - all the funeral "Ate". Satin advises nothing to do - just live. But the teddy is ashamed for such a living. Satin objects, after all, people are not ashamed that ticks for such a doctrine existence.

There is a cry of Natasha. Her again hits the sister. Luka advises to call the Vaska ash, and the actor runs away for him.

In the fight, Krivoy Goble, Tatar, Medvedev participate in the fight. Satin is trying to push to Vasilisa from Natasha. Appears Vaska ash. He sweeps all, runs for Kostylev. Vaska sees that Natasha's feet are fed by boiling water, she is almost in love with Vasilia: "Take me, Skoronon me." Vasilis appears and shouts that Kostyleva killed. Vasily does not understand anything, he wants to take Natasha in the hospital, and then pay off her offenders. (The light goes out on the stage. Separate surprised exclamations and phrases are heard.) Then Vasilisa shouts with a triumphant voice that her husband killed Vaska ash. Calls the police. He says that everything herself saw. The ashes approaches Vasilis, looks at the corpse of Kostyleva and asks, and not to kill her, Vasilisa? Medvedev calls the police. Satin soothes ashes: the murder in a fight is not a very serious crime. He, satin, also beat the old man and is ready to make a witness. The ash admits: Vasilisa slammed him to kill her husband. Natasha unexpectedly shouts that ashes and her sister - at the same time. Vasilisa prevented her husband and sister, so they killed her husband and walked her, tilting samovar. The ashes stunned by the accusation of Natasha. He wants to refute this terrible charge. But she does not listen and curses their offenders. Satin is also surprised and says ashes that this family "will drown it."

Natasha shouts almost in delight that her sister taught, and Vaska ash killed Kostyleva, and he asks himself to be imprisoned.

Fourth action

The situation of the first action, but there is no ashes of the ash. At the table sits ticks and chinit harmony. After the other end of the table - satin, Baron, Nastya. They drink vodka and beer. The ovens melted an actor. Night. In the courtyard wind.

The tick did not notice how the bow in the turmoil disappeared. Baron adds: "... Snim smoke from face of fire." Satin speaks words of prayer: "Tako disappears sinners from the face of the righteous." Nastya stands for onions, calling all those present rust. Satin laughs: Onion for many was like a ballkin for toothless, and the baron adds: "As a plaster for injections." The tick also stands around onions, calling him lubricant. Tatar is convinced that the Quran should be a law for people. Tick \u200b\u200bagree - you need to live according to the laws of God. Nastya wants to get away from here. Satin advises her to capture with him the actor, they are on the way.

Satin and Baron lists the music of art, can't remember the patronert of the theater. The actor tells them - it is Melpomen, calls them ignorant. Nastya shouts and waving his hands. Satin advises the baron, do not interfere with the neighbors to do what they want: let them scream, they do not know where. Baron calls Junk Charlatan. Nastya indignantly calls him the charlatan itself.

The tick notes that Luka "did not like the truth very much, rebelled against her." Satin shouts that "man is true!". The old man was blown because of pity for others. Satin says that he read: there is a truth comforting, reconciling. But this lie is needed by those who weak soul, who hides it like a shield. Who is the owner, not afraid of life, I do not need lies. "The lies are the religion of slaves and owners. The truth is the God of a free man. "

Baron recalls that their genus, released from France, was rich in Catherine and notable. Nastya interrupts: all the baron invented. That is angry. Satin calms him down, "Forget about the Karen grandfather ... In the carriage of the past - you will not leave anywhere ...". Satin asks Nastya about Natasha. She responds that Natasha has long come out of the hospital and disappeared. Outdoor nightnings argue who is stronger than "will succe", Vasilisa Vasilisa Vasilisa. They come to the conclusion that Vasily is tricky and "will turn out", and Vaska will go to the cowboy to Siberia. Baron quarrels again with Nastya, explaining to her that he is not honing him, Baron. Nastya laughs in response - Baron lives on her handy, "like a worm apple."

Seeing that Tatarin went to pray, satin says: "Man is free ... He pays for everything he himself, and therefore he is free! .. Man is true." Satin argues that all people are equal. "There is only a person, everything else is the matter of his hands and his brain. Human! It's great! It sounds ... proud! " Then he adds that a person must be respected, and not to humiliate pity. He talks about herself that he is "convict, killer, Shuler", when goes

Active persons and exposure in the play "At the bottom"

I go to the lesson

Irina Kustova,
High School number 3,
Polar Dawns,
Murmansk region

Lesson in the 11th grade

Active persons and exposure in the play "On the bottom"

Objectives lesson.Develop the ability to carefully read the list of actors in the dramatic work; develop creative thinking, the ability to compare, draw conclusions; Educating attention to the word.

Homework when preparing for a lesson.

The originality of dramatic works (individual task).

"Study" of posters (the name of the play, the importance of names, professions, ages of heroes).

Expressive reading of the 1st act on roles (the choice of the hero is individual tasks).

Vocabulary: Drama, play, conflict, polylog.

During the classes

Reiteration. Dramatic works.

Teacher. What is the originality of drama? Why is it the most difficult thing to perceive the genus of art?

Answers students.

Drama ( greek. - "Action") - the most effective genus of literature. It is designed to perform on stage. Therefore, the playwright cannot, unlike the author of the epic work, directly express its position - exceptions are only the author's remarks, which are intended for the reader or actor, but which the viewer does not see. The playwright is also limited in the volume of the work (the performance can go two or three hours) and among the actors (they all have to fit on stage and have time to realize themselves).

Teacher. Therefore, in the drama, a special burden falls on the conflict - a sharp clash between the heroes on a very significant occasion for them. In other cases, heroes simply will not be able to realize themselves in a limited amount of drama and scenic space. The playwright tying such a node, when unwounding which a person shows itself from all sides. At the same time, in drama there can be no extra heroes - all heroes should be included in the conflict.

Before starting the study of the play, delay on the name of the play, the poster for her, we will get acquainted with the actors. The presence of a conflict is labeled already in the name of the play and the poster.

Turn to the poster. Let's talk about names, surnames. The name of the name is huge. In one of the vintage songs, it seems: "You say, well done, what name is called. And by name you can give a place. "

Question.

What could have attracted viewers - contemporaries M. Gorky - the name of the play "At the bottom?

Answers.

- "DNA" called cunning market. Each intelligent person should be with this sign, considered bitter. The conflict is undoubtedly marked in the title. After all, the very fact of the existence of the "bottom" of life also implies the presence of the "upper current" to which the characters are striving.

Question.

What associations arise from you in connection with the names Ash, tick, bubnov, satinname Luke? Are there a hint of them for the features of their personality, the genus of classes, fate?

Answers.

Luka is one of the evangelists, Gorky gives him the name he is expensive. (Newspaper "Moscow Vedomosti", 12/23/1902: "This wanderer entered the basement as a ray of the bright sun, refreshing everything is bad ... and ... awakening to the life of good sprouts.")

Name Luke Comes from the word "crazy." This is exactly what the old man and contemporaries of Gorky are seen (D.Mergekovsky: "The Religion of the Elder of the Decking is a religion of lies").

In Krasnoyarsk, a contemporary of M. Gorky Archbishop Luka lived (1877-1961). It was a famous priest and surgeon, a person worthy of respect. Of course, he was famous to bitter. Krasnoyarsk Archbishop Luka spent twelve years in Stalin's camps. In October 2002, a monument was opened in honor of the 125th anniversary of his birth in Krasnoyarsk. The priest and surgeon in the vitro - so saw his sculptor. (The teacher emphasizes an ambiguous attitude towards the name as well as to the hero itself.)

Satin - In this name, the sound of the word "Satan". But what kind of test comes with? Maybe satin experiences a person with the possibility of a new faith?

Question.

What does the occupation of the existing persons speak?

Answers.

The tick is a locksmith, a quasher - trades of dumplings, Aleshka - a shoemaker, Krivoy Goob and Tatar - the keystones. All these are the necessary professions, that is, these people can earn their lives. This also guesses social conflict. Why do these people do not work? Who is to blame? And will the question of the play itself be answered?

Question.

What is the age of the nightnails? What does it say?

Answers.

Clear and quasher for 40 years, Anna - 30, Bubnova - 45. This is the most efficient age. And this age in which a person has to have to work out, to have something over his shoulders. But these people are at the night, they have nothing.

Baron 33 years. This is the age of Jesus Christ. Why is bitter (and we know that the big artist does nothing accidental) gives the age of Christ to one of the unloved heroes with a nickname baron? Perhaps analyzing the play, revealing the image of the hero, we will answer this question.

The relationship of the spouses of the crutch and the police emphasizes the social conflict between them and the inhabitants of the night.

Question.

Why are some actors named only by last name, others - by name, third - completely, indicating the kind of classes?

Conclusions.

The very name of the play and the list of actors speaks about social conflicts, whose victims have become the heroes of the play, which appeared on the "bottom" of life, at the night.

A loving conflict is part of the social conflict (it is marked in the bill of course at the age of the spouses of crutches, the presence of a girl with a gentle name Natasha).

It is clear that here, in the conditions of the "bottom", the most sublime feelings will not bring happiness.

The next stage of the lesson - reading on roles The 1st Act (in drama, the appearance of heroes, their first replicas).

The action of the 1st act is preceded by a detailed description of the basement. The author wanted to introduce the audience in this basement. He looks like a cave. But this is the house of the night, they are tied to their dwelling. From another world blows cold. "Omarny," says Bubnov, cold Aleshka, a bow.

The task is tasked in front of students: when reading, putting the character of his hero to the intonation; After reading the 1st act, give it a characteristic.

Student responses.

Satinit appeared not with words, but with a growl. His first replica says that he is a card Shuler and a drunkard. He once served on the telegraph, was an educated person. He pronounces incomprehensible to surrounding words. Organon Translated in the instrument, the "knowledge body", "reason." (Maybe satin means that there is no human body poisoned, but the rationality of life itself.) Siksbr. - This is an ancient German tribe, means "Dark Man". In these words, the superiority of satin over the rest of the nightnails is felt.

Actor - Drunkard, constantly remembering his acting past. He is harmless, does not make evil anyone, helps Anna, regrets her. Citation of classical works by him speaks in favor of the hero.

He prefers loneliness, society of himself, or rather, his dum, dreams, memories. They are characterized by remarks to his replicas: "Sorry", "suddenly, as if waking up."

He has no name (his name was Cherchkov-Zavolzhsky, but "no one knows this"). As drowning, he grabs for any straw, if it creates the illusion of this name, individuality. "My body poisoned with alcohol." Remarika "pride" explains a lot: so I have something that is not from others.

Bubnov.From the first replicas is manifested by Tugodum, indifference. S. Luzhsky, who performed in the moss, the role of Bubnova, recalls a conversation with Gorky: "He asked me in the 3rd act to be more dumber."

Mite.In the 1st act - twice the remark "sullen". This is the most gloomy figure. He soberly looks at life and sullen in front of him.

Nastya.in the 1st act appears with the novel "Rock Love". (Newspapers wrote that such boulevard novels constituted the traditional "culture" of the urban prostitute.)

She has already found a "elevator deception" before the arrival of Luke.

Luke Appears with the words: "Good health, honest people." To the question of Vasilisa: "Who are you?" Replies: "Passing ... Wandering."

(In the future, one of the students will perform a message "Strong in Russia. Gorky attitude to wanderers.")

Conclusions after reading.

In the 1st act we met with all the characters of the play. These people most of them are indifferent to each other, often do not hear that others say, do not try to understand. In the 1st act, all the characters say, but everyone almost does not listen to others, - about yours.

The recording of the guests of the Kostyleva, the atmosphere of spiritual disagreement of people the author transmits in the original form of a polylog. (Polylog - form of a speech organization in drama, combining the replica of all members of the scene.) Heroes deliberately scattered Gorky - everyone speaks of his own. Whatever the hero of the play, he will anyway speak about what hurts. In the speech of characters there are words, phrases having a symbolic meaning. (Bubnov: "And the threads are rotten ..."; Bubnov - Nastya: "You are unnecessary everywhere.") With these words, the "subtext meaning" is revealed: the impact of connections, the unnecessaryness of these people.

Despite the abundance of replicas, the action of the 1st act of slowdown, "sleepy". The development of the conflict begins with the appearance of Luke.

Literaturereference:

1. Yuzovsky Yu. "At the bottom" M. Gorky. Ideas and images. M., 1968.

2. Gorky M.. Article "On Pieces".

3. Kuzmichyov I.. "At the bottom" M. Gorky. The fate of the play in life, on stage, in criticism. M., 1981.

Analysis of the play M. Gorky "at the bottom"

In all the plays, M. Gorky sounded an important motive - passive humanism, addressed only to such feelings as pity and compassion, and oppose the humanism of an active, exciting desire to protest, resistance, struggle in people. This motive was the main content of the play created by Gorky in 1902 and immediately caused the stormy discussions, and then he had given in a few decades such a huge critical literature, which few of the dramatic masterpieces were spent in several centuries. We are talking about the philosophical drama "At the bottom".

Gorky plays are social dramas in which the problems are common and unusual heroes. The author has no main and minor heroes. In the plot of the Pieces, the main thing is not a clash of people in some life situations, but a clash of life positions and the views of these people. These are socio-philosophical drama. Everyone in the play is subordinate to the philosophical conflict, a collision of various life positions. And that is why intense dialogue, often the dispute is the main thing in the work of the playwright. Monologists in the play are rare and are the completion of a certain stage of the dispute of heroes, with a conclusion, even by the author's declaration (for example, a Satina monologue). The arguing parties seek to convince each other - and the speech of each of the heroes is bright, rich in aphorisms.

The development of the action of the play "At the bottom" flows through several parallel channels, almost independent of each other. The attitude of the owner of Kostyleva, his wife Vasilisa, His sisters of Natasha and the Arala's sister, are tied to a special plot assembly, his wife, Vasilisa, her sisters. Separately develops a storyline associated with the relationship of the lambing and lowered "on the bottom" locksmith tick and his dying wife Anna. Separate plot nodes are formed from Baron and Nastya relations, Medvedev and Quachries, from Fate Actor, Bubnova, Aleshka and others. It may seem that bitter gave only an amount of examples from the life of the inhabitants of the "bottom" and that, in essence, nothing would have changed if these examples were more or less.

It seems even that he deliberately sought the ruin of action, making the scene on several sites, each of whom was populated with its characters and lives with its special life. At the same time, an interesting multi-voiced dialogue occurs: replicas sounding on one of the sections of the scene, how accidentally echoed with remarks sounding on the other, acquiring an unexpected effect. In one corner of the scene, the ashes assures Natasha that no one is afraid of anything, and in the other - the latter cards of Bubnov says long: "And the threads are rotten ..." and it sounds like an evil irony at the ashes. In one corner, the actuator is trying and cannot exchange the favorite poem, and in the other Bubnov, who plays the checkers with the town Medvedev, gloatingly tells him: "Your lady disappeared ..." And again it seems that this is not only addressed to Medvedev. but also to the actor that it is not only about the fate of the party in checkers, but also about fateman.

This end-to-end action is complex in this particular play. To understand it, you need to figure out what role the onions play here. This wandering preacher consoles all, everything promises to get rid of suffering, everyone says: "You are nading!", "You - Believe!" Luka is an outstanding personality: smart, he has huge experience and acute interest in people. The entire philosophy of Luke is compressed in one of his saying: "What do you believe, then there is." He is sure that the truth never cure any soul, and they will not cure anything, but you can only soften the pain of comforting lies. At the same time, he sincerely regrets people and sincerely wants to help them.

From the collisions of this kind and a pass-through action of the play is formed. For the sake of him, the developing destinies of different people would have taken as if parallel to developing fates. These are people of different viability, different resilience, different ability to believe in a person. The fact that Luke sermon, its real value is "checked" to such different people, makes this check especially convincing.

Luke says in dying Anna, who did not know at rest during the life: "You are pleased with the joy, without anxiety ..." And in Anna, on the contrary, the desire to live is intensifying: "... a little more ... to live ... a little! If there will be no flour there ... here you can suffer ... you can! " This is the first lesion of Luke. He tells Natasha the parable of the "righteous land" to convince her in the harmfulness of the truth and in saving deception. And Natasha makes a completely different, just the opposite to the conclusion about the hero of this parable, who committed with him: "It did not squeeze in deception." And these words cast light on the tragedy of the actor, who believed the consolations of Luke and having failed to endure bitter disappointment.

The brief dialogues of the old man with his "wards", intertwining among themselves, report the play intense internal movement: the ghostly hopes of unfortunate are growing. And when the wreck of illusions begins, the onions imperceptibly disappear.

The biggest lesion tolerates onions from satin. In the last act, when Luke is no longer at the top and all argue about who he is and what, actually, is achieved, the concern of Bosyakov: how to live? Baron expresses general condition. Calculated that he used to "never and did not understand anything," he lived "like in a dream," he thoughtfully noticing: "... For some reason I was born ..." People start listening to each other. Satin first protects Luka, denying that he is a conscious deceiver, a charlatan. But this protection quickly turns into an offensive - an offensive for a false philosophy of Luke. Satin says: "He lied ... But - it's out of pity ... There is a comforting lies, a false reconciling ... I know false! Who is weak soul ... And who lives in other people's juices, "the lies are needed ... She supports, others - cover it ... And who is the owner himself ... who is independent and not eats someone else - why should he lie? Lies - Religion of slaves and owners ... True - God of a free man! " Lies like the "religion of the owners" embodies the owner of the nightsage Kostylev. Luka embodies a lie as "religion of slaves", expressing their weakness and attachment, their inability to fight, a tendency to patience, to reconciliation.

Satin concludes: "Everything is in man, everything is for a person! There is only a person, yet the rest is the case of his hands and his brain. " And although for satin, his welfarers were and will remain "stupid, like bricks," and he himself will not be further than these words, for the first time in the night there is a serious speech, there is a pain because of the deceased life. The arrival of Bubnov strengthens this impression. "Where are the people?" - He exclaims and offers to "sing ... all night," to tear his inglorious fate. That's why Satin responds to the news of the suicide of the actor with sharp words: "Eh ... spoiled a song ... Fool!" This replica has another accent. Care from the life of the actor - again the step of a person who could not withstood the truth.

Each of the last three acts "at the bottom" ending with someone's death. In the final of the II actions, Satin shouts: "The dead do not hear!" The drama movement is associated with the awakening of "living corpses", their hearing, emotions. It was here that the main humane, moral meaning of the play, although she ends tragically.

The problem of humanism is difficult in that it cannot be solved once and for all. Each new era and every shift in history makes it put and decide it again. That is why they can arise again and again disputes about the "softness" of Luke and the rudeness of satin.

The multivalousness of the Gorky play led to various theatrical productions. The brightest was the first stage embodiment of the Drama (1902) by the artistic theater, directories K.S. Stanislavsky, V.I. Nemirovich-Danchenko, with the direct participation of M. Gorky. Stanislavsky later wrote that everyone conquered "peculiar romanticism, on the one hand bordering theatricality, and on the other hand with a sermon."

In the 1960s, the "contemporary" under the leadership of O.Fremova as it would have entered the controversy with the classical interpretation "at the bottom". The figure of Luke was displayed on the fore. His comforting speeches are filed as an expression of concern for a person, and Satina was wounded for "rudeness". Spiritual gusts of the heroes turned out to be crowded, and the atmosphere of action - landed.

Disputes about the play are caused by a different perception of Gorky's drama. In the play "On the bottom" there is no subject of dispute, clashes. There is no direct mutuality of the heroes: their relationship has long been for a long time, before the play. Therefore, the true meaning of the behavior of Luki does not open immediately. Next to the embittered replicas of the inhabitants of the surgery of his "Blassing" speeches sounds contrastful, humane. From here and the desire to "humanize" this image is born.

M. Gorky psychologically expressively embodied the promising concept of man. The writer revealed sharp philosophical and moral conflicts of their time in a non-sabroval material, their progressive development. For him, it was important to awaken the person, her ability to think, comprehend the essence.

Homework

2. Collect the material for each inhabitant at night.

3. Think about how to group actors can be grouped.

4. What is the nature of the conflict in the play?

The purpose of the lesson: show the innovation of Gorky; Determine the components of the genre and conflict in the play.

The main question I wanted to put, this is what is better, truth or compassion. What you need. Need to bring compassion before using a lie like a bow? This question is not subjective, but a secularization.

Maksim Gorky

History of creating a play

More than 80 years do not come up with the domestic scene performances on the play "At the bottom". She went around the largest theaters of the world, and the interest in it does not weaken!

In 1901, Gorky said about the idea of \u200b\u200bhis play: "It will be scary." The author has repeatedly changed the name: "WITHOUT SUN", "OUTERNING", "DNO", "At the bottom of life". The title "At the bottom" first appeared on the posters of the Art Theater. There is no place of action - "surgeon", not the nature of the conditions - "without the sun", "bottom", not even social status - "at the bottom of life." The phrase "at the bottom" is much wider in meaning than all of the above. What happens "at the bottom"? "At the bottom" - what, only if life? Maybe - and souls?

The multivalousness of the Gorky play led to its different theatrical productions.

The brightest was the first stage embodiment of the Drama (1902) by the artistic theater of the famous directories K.S. Stanislavsky, V.I. Nemirovich-Danchenko with the direct participation of A.M. Gorky.

In 1903, the play was marked by the Honorary Griboedov Prize.

Features composition

Question

Where is the play play?

Answer

In the basement, like a cave, in which people are forced to conduct ancillary existence. Separate descriptions of the description are introduced here with the symbols of hell: there is a surgeon below the ground level, people are deprived of the sun here, the light falls down "from top to bottom", the characters feel "dead", "sinners", "dropped into pit," killed "society and in these arches buried.

Question

How is the scene of action in the play?

Answer

In the author's remarks. In the first action, this "basement similar to a cave", "heavy, stone vaults, wrapped, with a collapsed stucco." It is important that the writer makes directions, as the scene illuminates: "From the viewer and from top to bottom", the light comes to the bedrooms from the basement window, as if looking for among basement inhabitants. Thin partitions are separated by the ashes room. Everywhere on the walls - Nara. In addition to Kwashny, Baron and Nastya, who live in the kitchen, there is no one of anyone. Everyone in front of a friend in appearance, a secluded place only on the stove and behind the sieve canopy separating from the other bed of the dying Anna (this is already as if separated from life). Everywhere dirt: "dirty stem canopy", unpacked and dirty table, benches, stool, wasopted cartons, pieces of oil, rag.

Question

List the characters of the play with their brief characteristics. Which groups can be divided into all characters?

Answer

All inhabitants of the night can be consecrated in four groups, depending on the place that they occupy in the collision of various positions, in the philosophical conflict of the play.

The first group includes actors, Nastya, ash, Natasha. These characters are predisposed to a meeting with a wanderer Luka. Each of them lives some dream or hope. So the actor expects to recover from alcoholism, returning to the stage, where he had a theater name of cricket-Zavolzhsky. Now, really, there is no name left, but it is directed in thoughts to artistic glory. Nastya dream a French student, whom she allegedly loves. The ashes dreams of a free and separate life, "so that you can ... to respect." Natasha vaguely hopes for a happy fate when Vasily will be her strong support. Each of these characters is not too hard in their aspirations, internally used.

Luka, about which we will talk in detail in the next lesson, is designed to identify the essence of everyone.

Baron and Bubnov - Third Group. The first one of them constantly lives past, recalling hundreds of serfs, carriages with coat of arms, coffee with cream in the mornings in bed. Fully devastated, he is no longer waiting for nothing, he does not dream of anything. The second - Bubnov - also sometimes turns to the former years, when he suffered from life, but mostly lives the present and recognizes only what he sees and touches. Bubnov - indifferent cynic. Only the facts are understood for him, they are "stubborn item." True, Baron and Bubnova - a tough, loony truth, far from genuine truth.

The fourth position occupies satin in the play. With all its originality, it is also distinguished by its inconsistency. First, the words spoken by this hero are in a sharp contrast with its essence. After all, the truth tells the zhuli by the family of classes, the arrestant and the killer in the past. Secondly, in some cases satin turns out to be close to Luke. He agrees with a wanderer that "people for the best live", that the truth is associated with the idea of \u200b\u200ba person that it is impossible to interfere with him and disgrace it ("Do not hurt a person!")

Images should be placed on the "stairs" of the ranks and provisions, since we have a social cut of Russia's life of the beginning of the 20th century: Baron, Kostylevel, Bubnov, Satin, actor; Ash, Nastya.

Question

What is the conflict of drama?

Answer

The conflict of this drama is social. Each of the nightnails survived his social conflict in the past, as a result of which was in a humiliating position. The life of the people gathered in this hell. She deprived the right to work the tick, on the family - Nastya, at the profession - actor, on the former comfort - Baron, requested to the hungry existence of Anna, to theft - ashes, the dignitable filing - Bubnova, prostitution - Nastya.

A sharp conflict situation playing in front of the audience is an essential draw of the drama as a kind of literature.

Question

How is the social conflict interrelated with drama?

Answer

Social conflict has been submitted for the scene, moved into the past, he does not become the basis of a dramatic conflict. We observe only the result of extranectural conflicts.

Question

What kind of conflicts, except social, stand out in the play?

Answer

The play has a traditional love conflict. It is determined by the relationship between Vaska Susili, Vasilisa, the owner of the owner of the night, Kostyleva and Natasha, Sisters Vasilisa. The exposition of this conflict - the conversation of the nightnails, from which it is clear that Kostylev is looking for his wife to Vasilis, who changes him with Vaska Sidl. The tie of this conflict is the appearance at night Natasha, for which the ashes leaves Vasilis. During the development of a love conflict, it becomes clear that relations with Natasha revive the ashes, he wants to leave her and start a new life. The climax of the conflict was carried out for the scene: at the end of the third action, we from the words of Kwashni, we find out that the feet of the feet were welded, "Vasilisa overturned Samovar and Obawal Natasha legs. The murder of Kostyleva Vaska Sidel turns out to be a tragic junction of a love conflict. Natasha ceases to believe ash: "They are at the same time! Be you cursed! You both…"

Question

What is the peculiarity of a love conflict in the play?

Answer

Love conflict becomes the Grand Social Conflict. It shows that the antichelovic conditions are crippled man, and even love does not save a person, but leads to the tragedy: to death, injury, murder, cautious. As a result, one Vasilisa reaches all of its goals: hesitates the former lover of ashes and his sister-rival Natasha, gets rid of the unloved and improving her husband and becomes a single hostess of the night. Vasilisa does not have anything human, and it shows the monstristence of social conditions who dispelled and the inhabitants of the night, and its owners. The nightnits are not directly involved in this conflict, they are only third-party spectators.

Question

What reminds you this surprise?

Answer

The surrounding house is a peculiar model of that cruel world from which her inhabitants were thrown into. Here, too, there are their "hosts", the police, the same alienation is manifested, the same vices.

Final word of the teacher

Gorky depicts the consciousness of people "bottom". The plot unfolds not so much in external action - in everyday life, as in the dialogues of heroes. It is the conversations of the nightnamies that determine the development of a dramatic conflict. The action is translated into the extraction number. This is characteristic of the genre of philosophical drama.

So, the play genre can be defined as a socio-philosophical drama.

Homework

Prepare for Luke's Lesson. To do this: Mark (or write out) His statements about people, about the truth, about faith. Determine your attitude to statements about Luke Baron and Satina (IV Act).

Determine the composite elements of the play. Why did Czechs consider the last act superfluous?

Literature

D.N. Murin, E.D. Kononova, E.V. Minenko. Russian literature of the twentieth century. Grade 11 program. Thematic perspective planning. St. Petersburg: Smio Press, 2001

E.S. Corner. Russian Literature XX Century / St. Petersburg: Parity, 2002

N.V. Egorova. Pounding developments in Russian literature of the twentieth century. Grade 11. First half of the year. M.: Vako, 2005