The role of Ostrovsky in the history of Russian literature. The value of the creativity of Ostrovsky for ideological and aesthetic development of literature

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Life and creativity A.N. Ostrovsky

The role of Ostrovsky in the history of the development of Russian drama 4

Life and creativity A.N. Ostrovsky 5.

Childhood and youthful years 5

First passion theater 6

Training and service 7

First passion. The first plays 7.

Beep with father. Ostrovsky wedding 9.

Start creative way 10

Traveling around Russia 12

"Thunderstorm" 14

The second marriage of Ostrovsky 17

The best work of Ostrovsky - "Dustpannica" 19

Death of great playwright 21

Genre peculiarity of Dramaturgia A.N. Ostrovsky. Value in world literature 22

Literature 24.

The role of Ostrovsky in the history of the development of Russian dramatic

Alexander Nikolaevich Ostrovsky ... This is an unusual phenomenon. It is difficult to overestimate the role in the history of the development of Russian dramaturgy, scenic art and the whole domestic culture. For the development of Russian drama, he made such a lot like Shakespeare in England, Lona de Vega in Spain, Moliere in France, Goldeni in Italy and Schiller in Germany.

Despite the oppression, by the censorship, theatrical and literary committee and the Directorate of Imperial Theaters, contrary to the criticism of the reactionary circles, the playlithium of Ostrovsky acquired every year all great sympathies and among democratic audience, and in the circle of artists.

Developing the best traditions of Russian dramatic art, using the experience of progressive foreign drama, tirelessly knowing the life of their native country, continuously communicating with the people, closely communicating with the most progressive modern public, Ostrovsky became an outstanding image of his time of his time, embodying the dreams of Gogol, Belinsky and other progressive figures Literature on the emergence and celebration on the domestic scene of Russian characters.

The creative activity of Ostrovsky had a great influence on the further development of progressive Russian dramaturgy. It was from him that he studied the best of our playwrights. It was to him that beginner dramatic writers were stretched at one time.

On the strength of the exposure to Ostrovsky on the modern writing youth can show a letter to the playwright poetess A. D. Mesovskaya. "Do you know how big was your influence on me? Not love for art made me understand and appreciate you: and on the contrary, you taught me and love me, and respect the art. You are obliged to one thing that I resforced the temptation to get into the arena of miserable literary mediocities, did not chase behind the cheap laurels thrown by the hands of the sour-sweet fear. You and Nekrasov made me love me and work, but Nekrasov gave me only the first push, you are the direction. Reading your works, I realized that the rhyme flux is not poetry, and the set of phrases is not literature, and that, only the processing mind and technique, the artist will be a real artist. "

Ostrovsky had a powerful impact not only on the development of domestic drama, and the development of the Russian theater. The enormous value of Ostrovsky in the development of the Russian theater is well emphasized in the poem dedicated to the Ostrovsky and Uchuten in 1903 M. N. Yermolova from the scene of the Small Theater:

On the scene, life itself, with the scene itifies,

And the sun bright caresses us and warms ...

There is a live speech of simple, living people,

On stage not "hero", not an angel, not a villain,

And just a man ... Happy guide

Hurry to quickly smash heavy shackles

Conventions and lies. Words and feelings of the new

But in the caches of the soul on them the answer sounds, -

And whisper all of the mouth: Blessed poet,

Dilapidated, Mishful Covers

And in the kingdom Dark shed bright light

The same famous actress wrote in 1924 in his memories: "Alone with Ostrovsky, the truth itself was the right and life itself ... The growth of original dramaturgy, full responses to modernity, began to talk about poor, humiliated and offended."

The realistic direction that is muffled by the autocracy, continued and deepened by Ostrovsky, turned the theater on the path of close connection with reality. Only it gave the theater life as a national, Russian, folk theater.

"Literature you brought a whole library of artistic works as a gift, for the scene created their own special world. You alone completed the building, in the foundation of which the cornerstones of Fononon, Griboedov, Gogol were put on. This wonderful letter received among other congratulations in the year of the thirty-seater of literary and theater activities Alexander Nikolaevich Ostrovsky from another large Russian writer - Goncharov.

But much earlier about the first work of the young yet Ostrovsky, printed in the "Moskvatian", a subtle connoisseur of the elegant and sensitive observer V. F. Odoyevsky wrote: "If this is not a minute flash, not a mushroom, who squeezed himself from the earth, sprinkled by any rot, then this person has a huge talent. I consider three tragedies in Russia: "inexpensive", "grief from the mind", "Auditor". On the "bankrupt" I set the number fourth. "

From such a promising first assessment to the anniversary letter of pots, full of life, saturated with labor; Labor, and led to such a logical relationship of assessments, for talent requires primarily a great work over him, and the playwright did not earn up before God - did not cut his talent in the ground. Posted by the first work in 1847, Ostrovsky has since wrote 47 pieces and more than twenty plays translated from European languages. And in total, about a thousand acting persons created by him.

Shortly before death, in 1886, Alexander Nikolaevich received a letter from L. N. Tolstoy, in which a brilliant prose writhe admitted: "I know by experience, as you read, listen and remember your things people, and therefore I would like to assist that Now you are now as soon as possible in the fact that you are undoubtedly - common in the broadest sense by the writer. "

Life and creativity A.N. Ostrovsky

Childhood and Youth Years

Alexander Nikolaevich Ostrovsky was born in Moscow in a cultural, official family on April 12 (March 31, on the old style) of 1823. The roots of their family went into the clergy: the father was the son of the priest, the mother - the daughter of a little sheer. Moreover, the Father, Nikolai Fedorovich, and graduated from the Moscow Theological Academy. But the fishery of the clergy preferred the officer's career and succeeded in it, as it achieved material independence, and the situation in society and the noble rank. It was not a dry official, closed only in his service, but a widely educated person, as evidenced by at least his passion for the books - the everlasting library of Ostrovsky was very solid, which, by the way, was played not the last role in the self-education of the future playwright.

The family lived in those wonderful places of Moscow, which then found an additional reflection in the places of Ostrovsky, - first in Zamoskvorechye, at the Serpukhov gate, in the house on the residential, purchased by the late Papyk, Nikolai Fedorovich on the cheap, from trading. The house was warm, spacious, with mezzanine, with extensions, with a flibem, surrendered residents, and with a shady garden. In 1831, the family has suffered a mountain - after childbirth, Gemini girls died Love Ivanovna (all she gave birth to eleven children, but survived only four). The coming into the family of a new man (the second marriage Nikolay Fedorovich married Lutheran Baroness Emilia von Teszin), naturally, contributed to the house some of the innovations of the European nature, which, however, went to the benefit of children, the stepmother was caring, helped children in learning music, languages, Formed a circle of communication. First, the brothers and sister Natalia was avoided the newly mamma. But Emilia Andreevna, good-natured, calm in character, care and love for the remaining orphans attracted their children's hearts, slowly having replaced the replacement of the nickname "Mute Auntie" on "Cute Mama".

Now everything is different from the island. Emilia Andreevna patiently taught Natasha and boys to music, French and German languages, which she knew perfectly, decent manerars, passage in society. We started in the house at the live music evenings, even dances under the piano. Nyanyushki and bodies for born babies, governess appeared here. And it was now at the island, which is called, nobility: on porcelain and silver, with starch napkins.

Nikolay Fedorovich liked all this. And by having received an offacarious nobility at the service in the service, then he had previously been "from the spiritual title," the Banebard's Papenbard was painted with a cake, and she now took a merchant.

First passion theater

All then pleased, everything was held by Alexander Ostrovsky: and fun parties; and conversations with friends; and books from the extensive panekina library, where first of all were read, of course, Pushkin, Gogol, articles of Belinsky and in magazines and almanachas, various comedies, dramas, tragedies; And, of course, the theater with the urine and ships headed.

Everything was admired then the Ostrovsky in the theater: not only the play, the play of actors, but even impatient, nervous noise of viewers before the start of the performance, sparkling of oil lamps and candles. Dividly painted curtain, the air of the theatrical hall - warm, fragrant, soaked powder, makeup and strong spirits, which lobs and corridors sprayed.

It was here, in the theater, on the gallery, he met with one remarkable young man-Dmitry Tarasenkov, from the new-fashioned merchant sons, to the passion of those who loved theatrical performances.

It was not a small growth, wide, the tight young man for five years, six older than Ostrovsky, with blond hair, cut into a circle, with a sharp look of small gray eyes and a snitch, truly by a donyas voice. His powerful Creek "Bravo", which he met and accompanied from the Scene of the famous Mochalov, was easily drowned by the applause of the parquet, lies and balconies. In his black merchant trip and a blue Russian shirt with a skewed gate, in chrome, harmonica, his boots, he strikingly resembled the good one of the old peasant fairy tales.

They came out of the theater together. It turned out that both lived unlikely from each other: Ostrovsky- on a resident, Tarasenkov - in coins. It also turned out that both of them compose the play for the theater from the life of a merchant class. Only Ostrovsky is just trying to try on a comedy prose, and Tarasenkov writes a five-acting poetic drama. And finally, it turned out, thirdly, that both Papashi-Tarasenkov and Ostrovsky - resolutely against such hobbies, considering their empty pampering, distracting sons from serious classes.

However, Dadasky Ostrovsky Night, neither the comedies did not touch the Son, while the second guild of the merchant Andrei Tarasenkov was not just burned in the stove all the Scriptures of Dmitry, but invariably awarded his son with fierce sticks of the stick.

From that first meeting in the theater, it became increasingly and more often to take care of Dmitry Tarasenkov on a residential street, and with the relocation of Ostrovsky to another of their possession - and on Vorobino, that on the shore of the Yauza, silver baths.

There, in the silence of garden gazebo, overgrown with hop and dying, they, they were, for a long time they read together not only modern Russians and foreign plays, but also tragedies and dramatic satirs of old Russian authors ...

"My Great Dream is to become an actor," said Dmitry Tarasenkov Ostrovsky once, "and this time came, finally give her heart without a residue theater, tragedy. I dare it. I should. And you, Alexander Nikolayevich, or soon hear something beautiful about me, or pay for my early death. To live as I lived still, I do not want, s. Away all fussy, all low! Farewell! Today, in the night I leave my native fenats, leaving the wilderness of this kingdom to the unknown world, to the Holy Art, in the favorite theater, on the scene. Farewell to friend, kiss on the track! "

Then, in a year, after two, recalling this farewell to the garden, the island caught himself on a strange sense of some awkwardness. Because, in essence, it was in those who seemed to be the cute farewell words of Tarasenkova something wrong so that there was no fake, but no matter how invented, not quite natural, or such a stronger, call and strange declamation, what the dramatic products are filled Note our geniine. Like Nestor Puppeteer or Nicholas Polevoy.

Training and service

Original education Alexander Ostrovsky received in the first Moscow gymnasium, entered in 1835 in 1835 in the third class and completing the course of study in 1840 with honors.

After graduating from the gymnasium, at the insistence of the father, a man wise and practical, Alexander immediately entered Moscow University, at the Faculty of Law, although he himself wanted to engage in mostly literary labor. Having studied two years, Ostrovsky left the university, quitted with Professor Nikita Krylov, but the time spent in his walls was not spent in vain, because it was used not only to study the theory of law, but also for self-education, to the patients of public life, to communicate with teachers. Suffice it to say that K. Ushinsky became his closest student friend, he was often in the theater with A. Pisem. And lectures read P.G. Redkin, so-called Granovsky, D. L. Kryukov ... In addition, it was at that time the name of Belinsky, whose articles in the "domestic notes" were read about not only students. Fasciating the theater and knowing the entire running repertoire, the island all this time independently reread such classics of drama, like Gogol, Cornel, Rasin, Shakespeare, Schiller, Voltaire. Having left the university, Alexander Nikolaevich in 1843 decided on the service in the conscientious court. It happened again in solid insistence with the participation of the father who desired for the Son the legal, respected and profitable, career. This also explains the transition in 1845 from the conscientious court (where the works "on conscience") in the Moscow Commercial Court were solved: here the service - for four rubles a month - five years later, until January 10, 1851.

Having heard and sawing in court, the stationery servant Alexander Ostrovsky was returned from the public service from one end of Moscow to another - from the Resurrection Square or Mokhovaya Street on Jauzu, in his vastino.

In his head, a blizzard crashed. Soiled, the characters invented by the lead ages and comedies were scolded and swear - merchants and pickhams, naughty well done from shopping rows, dodgy piles, cuzzers, merchant daughters Il on all the judicial stripes ready for the stack ... to this unknown country , called the Zamoskvoretia, where those characters lived, only slightly touched the Great Gogol in the "marriage", and he, is Ostrovsky, may be destined to tell about her all thoroughly, in detail ... And, the right, eikh felt in his Head Fresh Scenes! What are the fierce bearded faces in front of the eyes! Etike juicy and new language in literature!

Having reached the house on Jauza and kissing the handle of Mama with Patenka, he sat down in impatiently for the dining table, he eaten what was supposed. And then raised to himself to his second floor, in his close celle with the bed, a table and a chair to sketch two or three scenes for a long time of the planned play "Claim" (so initially, in drafts, called the first play of the Ostrovsky "Family Picture Happiness ").

First passion. First plays

Was already late autumn of 1846. City gardens, near Moscow groves and flying. The sky frowned. But the rains did not go. It was dry and quiet. He slowly walking from Mokhovoy along the favorite Moscow streets, enjoying the autumn, by the smell of fallen leaves by the air, rustling by the crews past the crews, the noise of the Iverly chapel of the crowd of Bogomoltsev, the beggars, whims, strangers, the stray monks who were collecting "on the adolescence of the temple", Popov, For some misconduct behind the arrival and now "shattered between the courtyard", the peddler of a hot shot and other goods, dashing wellers from shopping beds in Nikolskaya ...

Finally, it's finally to the Ilyinsky gate, he jumped into the carriage passing by the carriage and for three kopecks he drove some time on it, and then again with a fun heart she walked to his Nicholovorobinsky lane.

That youth and no longer offended hopes and did not deceiving the faith in friendship chewed his heart. And the first hot love. There was this girl with a simple Kolomna boss, seamstress, needlewoman. And his name was in a simple, cute Russian name - Agafia.

In the summer, they met the walking in Sokolniki, at theatrical Balagan. And since then, Agafya has gained the White and Sisters of his Natalian, and now thinks to throw Kolomna in settlement in Moscow, near the Sasha village, Nicola in Vistina, is thinking.

Already four hours, the Ponoloire was chosen on the bell tower when finally Ostrovsky approached a spacious championship in the church.

In the garden, in a wooden gazebo, braided dried up already hop, saw Ostrovsky, still from the wicket, brother Misha, a lawyer's student leading with someone lively conversation.

Apparently, Misha was waiting for him, and noticing, immediately hesitated about his interlocutor. That impulse turned around and, smiling, welcomed the "friend of infant years" by the classic squeak of the hands of the theater hero from the stage at the end of the monologue.

It was the merchant son of Tarasenkov, and now actor-tragic Dmitry Gorez, who played on theaters everywhere, from Novgorod to Novorossiysk (and not without success) in classic dramas, in melodramas, even in Schiller and Shakespeare tragedies.

They hugged ...

Ostrovsky spoke about his new idea, about a multi-acting comedy under the news "bankrupt" and Tarasenkov offered to work together.

Ostrovsky thought. Until now, everything is - and the story and comedy - he wrote one, without comrades. However, where are the grounds where the reason is to refuse to deny this a cute person in cooperation? He is an actor, playwright, knows perfectly and loves literature Yes, just like Ostrovsky himself, hates a lie and all sorts of tyrantism ...

At first, of course, something did not fit, there were debugs, and disagreement. For some reason, Dmitry Andreevich, and the example, by all means he wanted to slip into a comedy for another one for Mamzel sticky groom - heated. And many nerves had to spend the island, to convince Tarasenkov in the perfect unnecessaryness of this worthless character. And how many fearful, unattended or simply no one famous words threw the burning of the comedy to the existing persons - even though the merchant Bolshev, or his wife's stupid Agrapne Kondratyevna, or Swash, or daughter merchant Olympiad!

And, of course, Dmitry Andreyevich could not reconcile in any way with the habit of Ostrovsky to write a play at all from the beginning, not from the first of her paintings, but no matter how the corrosion is one thing, then another phenomenon, then from the first, then from the third, say, the act.

It was all that Alexander Nikolayevich was thinking about the play for such a long time, he knew in such smallest details and now she saw her all that it seemed to him as if all the rest seemed to him for him.

In the end, it was allegedly so it. Slightly having argued, they decided to start writing a comedy in ordinary - from the first act ... four pursions worked with a horn with Ostrovsky. Alexander Nikolaevich was increasingly dictated, walking on a small swelling there and here, and Dmitry Andreevich recorded.

However, of course, the burgers sometimes threw, smiling, very sensible comments or suddenly suddenly somehow had some kind of funny, unknown, but juicy, a truly merchant character. So they wrote four small phenomena of the first act, and their cooperation ended.

The first works of Ostrovsky were "the legend about how the quarterly warden was launched into the dance, or from the great to funny only one step" and "notes of the Zamoskvoretsky resident." However, the true beginning of the creative biography and Alexander Nikolaevich, and the researchers of his creativity consider the play "Picture of Family Happiness". This is about her by the end of the life of the island will remember: "The most memorable day for me in my life: February 14, 1847. From this day, I began to consider myself a Russian writer and no doubt and oscillations believed in your vocation. "

Yes, indeed, on this day, the critic Apollo Grigoriev led to the house of Professor S. P. Shevyreva his young friend who had to read the gathered her play. He read well, talented, and Intrigue captured, so the first execution was successful. However, despite the juiciness of the work and for good reviews, it was only a test of herself.

Beep with father. Wedding Ostrovsky

Meanwhile, Patek Nikolai Fedorovich, acquiring four estates in various Volga provinces, finally looked favorably on the relentless request of Emily Andreevna: he quit the service in the courts, law practice and decided to move with all his family for permanent residence in one of these places - Selo Schelcho.

Then, waiting for the carriage, Called Patek Ostrovsky in an empty already the office and, sneaking on the soft chair left behind the unnecessaryness, said:

For a long time I wanted, Alexander, I have long wanted to prevent you, Ile just seizure you finally have your displeasure. University you threw; In court you serve without proper zeal; God knows with whom you know - Clay, innkeepers, gentlemen, Other Small Schusher, not to mention everyone there are the Lords of Phalintonists ... Actresses, actors - let them be so, although your writings don't comfort me: hassle, I see a lot but a little sense! .. This, however, is your business. - not a baby! But think you yourself, what kind of manners you learned there, habits, words, expressions! After all, how do you want yourself, and from the nobles and son, dare to think, a venerable lawyer, I remember ... Of course, Emilia Andreevna, in his delicacy, didn't do it - it seems so? And will not do. Nevertheless, yours, to say straight, the peasants and these acquaintances are insulted! .. then the first point. And the second point is such. I noted from many that you started an imagine with some kind of mesh, seamstress, and the name of her edition ... too in Russian - Agafya. What is the name, humbly! However, the point is not in this ... It is worse what she lives next door, and, apparently, not without yours, Alexander, consent ... So, I remember: if all this will not leave Ile, God forbid, Let's get married, Ile just bring to yourself that Agapye, -What then, how do you know yourself, and you will not have a penny from me, everything stops once and forever ... I'm not waiting for the answer, and silence! What I say, it is said. You can go to gather ... However, wait, here's another. All yours with Mikhail's thing and some need for you, the furniture told me to the janitor, how to eat, transport to another our house, under the mountain. There will be live, as soon as you return from Schelikov, in mezzanine. With you, let's have enough. And Sergey will live while with us ... go!

Ostiving Agafia Island can not and will never make anything ... Of course, it will not be sweet enough without paternal support, but there is nothing to do ...

Soon they were left with Agafia at all in this small house near the shore of Jaws, near the silver bath. Because, without looking at Parenkin, anger, after all, in the end, "TU Agapy" Ostrovsky and her whole simple Skarb to her mezzanine. And Brother Misha, determining the service at the State Control Office, immediately went first to Simbirsk, then to St. Petersburg.

The father's house was very small, about five windows along the facade, for heat and decency she was trimmed, painted in a dark brown color. And the house was attached at the very sole mountain, which climbed the church of the Church of St. Nicholas with a narrow-sole alley to His Makushka.

From the street, it seemed a single-storey house, but at the gate, in the yard, the second floor was found (in other words, the mezzanine in three rooms), looked at the windows into the next courtyard and the wasteland with silver baths on the river bank.

Start of a creative path

I passed almost a year after moving Patenks with a family in Selo Schelike. And although it often tomila then an island offensive need, still the sun and joy met his three small rooms, and they still have heard, climbing the dark, narrow staircase to the second floor, a quiet, glorious Russian song, what a lot knew his blond vallolish gang . And in this one year, during the need, the serviceed by the service and the submitted newspaper work, alarmed, like everything around after the case of Petrashevsky, and sudden arrests, and the arrest of censorship, and the buzzing of the writers "flies" , It was in this difficult year that he graduated so long ago he did not give a comedy "bankrupt" ("his people - to think").

This play, completed by the winter of 1849, was read by the author in many houses: A. F. Pisemsky, M. N. Katkova, then at M. P. Pogodin, where Mai, Shchepkin, Merge, Sadovsky and where to To listen to "bankrupt", Gogol arrived for the second time (and then he came to listen and once again - already in the house to E. P. Meschestchina).

The execution of the play in the house of Pogodina had far-reaching consequences: "His people" appear "appears. In the sixth issue of "Moskvatian" for 1850, and since then once a year, the playwright publishes his plays in this magazine and participates in the work of the editorial board until the publication is closed in 1856. Further printing of the play was forbidden, Nykola's own resolution I lasil "in vain printed, to play." The same play was the cause of a secret police surveillance for the playwright. And she (as well as the participation in the work of "Moskvatian") made it a controversial center between Slavophiles and Westerns. Setting this pitch on the stage the author was able to wait not to wait for a decade: in the original form, without interfering with censorship, it appeared in the Moscow Pushkin Theater only 30 April 1881.

The period of cooperation with Possodinsky "Moskvyanin" for Ostrovsky is simultaneously saturated, and complicated. V. Taeu he writes: in 1852 - "Do not sit down in my sleeves", in 1853 - "Poverty is not a vice", in 1854 - "not so live, as I want" - the plays of the Slavophilic direction, which Despite the disgraced reviews, everyone wanted to the domestic theater of the new hero. Thus, the premiere "not in their sleeves do not sit" January 14, 1853 in the Malm Theater caused delight among the public not least due to the language, heroes, especially against the background of a rather monotonous and scarce then repertoire (works of Griboedov, Gogol, Fonvizin were extremely Rarely; For example, the "auditor" was only three times for the entire season). The scene has a Russian national character, a person whose problems are close and ionyt. In the result, the puppeteer was no longer the "Prince Skopin-Shuisky" for this, and the "poverty is not vice" - 13 times. In addition, they played in the performances, Kositskaya, Sadovsky, Shchepkin, Martynov ...

What is the complexity of this period? In that struggle, which turned around Ostrovsky, and in the revision of some of their convictions themselves, "in 1853 he wrote to the revision of his views on creativity:" On the first comedy ("His people - to tear") I did not bother because : 1) What I do not want to make yourself not only enemies, but even displeasures; 2) that my direction begins to change; 3) What look to life in my first comedy seems to me young and too tough; 4) What can the Russian man rejoices, seeing herself on stage than herself. The corrections will be available without us. To have the right to correct the people, not offending, it is necessary to damn what you know behind him and good; I'm doing this now, connecting high with comic. The first sample was "Sani", second graduating. "

Not all this arranged. And if Apollo Grigoriev believed that the playwright in the new plays "sought to give not a satire to the Samodoria, but a poetic image of a whole world with a very diverse basis and crash", then Chernyshevsky adhered to a sharply opposite opinion, inclining Ostrovsky to his side: "In the last two works Ostrovsky fell into a shown embellishment of what cannot and should not be attached. The works came out weak and fake "; And immediately gave recommendations: they say, the playwright, "damaging his literary reputation, did not destroy his excellent talent: it can still appear to appear fresh and strong if the city is still the Tinopa, which led him to" Poverty Not vice. "

At the same time, the vile gossip crashed in Moscow, as if the "bankrupt" or "his people," the Ostrovsky's "is not a play, and if they simply say, so stolen by the actor Tarasenkova-Gornie. Say, he, island, nothing else like a literary thief, which means a fraudster from scammers, without honor and conscience man! Actor also Gorez - an unhappy victim with his gullible, noble friendship ...

Three years ago, when these rumors crawled out, Alexander Nikolaevich still believed in the high, honest beliefs of Dmitry Tarasenkov, in his decency, in its integrity. Because a person could not, so unless the theater who loved theater, with such an excitement reading Shakespeare and Schiller, this actor calls, this Hamlet, Othello, Ferdinand, Baron Meinau at least to support those poisoned gossip. But the mountains, however, was silent. Rumors crawled and crawled, rumors were torn, spread, and the burns were silent and silent ... Ostrovsky wrote then a friendly letter, asking him to perform in the press, to finish these vile gossip.

Alas! There was neither honor nor the conscience in the soul of Rosetsya-actor Tarasenkova-Gornie. In his complete deceit, he not only recognized himself as the author of the famous comedy "his people" his people ", but at the same time hinted at some plays, allegedly transferred to them by Ostrovsky to save six or seven years ago. So now it went out, as if all the writings of Ostrovsky - for a little, perhaps, exception - they were stolen with them or the Tarasenkov-Gorev's playwright.

He answered nothing to Tarasenkov, and found her strength to get down to work on the next comedy. Because he counted at the time all the new plays written by them is the best refutation of the Gorez slander.

And in 1856 again emerged from the non-existence of Tarasenkov, and all these Pravdov, Alexandrovichi, Vl. Zotov, "N. BUT." And others like them, re-rushed at him, on Ostrovsky, with the former Branjy and with the former Azart.

And not the grief, of course, was the instigator. Here the dark strength was rising on him that she was once a Phononvizin and Griboedov, Pushkin and Gogol, and now he is driven by Nekrasov and Saltykov-Shchedrin.

He feels it, he understands. And therefore, he wants to write his response to the sagny note of the Moscow police leaf.

Calmly now outlined by the story of the creation of a comedy "his people - to tear up" and a minor participation of Dmitry Gornie-Tarasenkova in it, who had long been printed with him, Alexander Ostrovsky.

"Gentlemen Faketonists," he finished his answer with ice tranquility, "they are interested in their unforgettableness before they forget not only the laws of decency, but also those laws in the fatherland, which protect the personality and property of everyone. Do not think, gentlemen, that the writer, honestly serving a literary case, allowed you to play with its name with impunity! " And in the signature, Alexander Nikolaevich marked himself as the author of all nine written by him still and long-known the reading public, including the comedies "their people - to tear."

But, of course, the name of Ostrovsky was known primarily thanks to the Comedy's small theater "not sitting in their sleeves"; They wrote about her: "... From this day, rhetoric, false, gallowania began to disappear from the Russian drama little. The actors started talking on the stage, thereby tongue as they really speak in life. A whole new world began to open for the audience. "

Six months later, the Poor Bride was delivered in the same theater.

It is impossible to say that the entire troupe definitely accepted the plays of Ostrovsky. Yes, this and impossible in the creative team. After the presentation of "Poverty is not a vice", Shchepkin said that he did not recognize the Pieces of Ostrovsky; A few more actors joined him: Schumsky, Samarin and others. But the young troupe understood and accepted the playwright immediately.

The Petersburg theatrical scene was more complicated than Moscow, but she soon conquered the talent of Ostrovsky: in two decades his plays appeared to the public about a thousand times. True, it did not bring him special wealth. The Father, with whom Alexander Nikolaevich, did not consult, choosing his wife, refused him in material assistance; The playwright lived together with his beloved wife and children in the cheese mezzanine; In addition, the Poshodinsky "Moskvatikan" paid humiliatingly little and irregularly: the Ostlensky has led fifty rubles per month, bumping into the misfortune and the appeal of the publisher. Employees left a magazine for many reasons; Ostrovsky, despite everything, remained faithful to him to the end. His last work, which he saw the light on the "Moskvatian" pages, - "Do not live like I want." At the sixteenth book, in 1856, the journal ceased to exist, and Ostrovsky began to work in the magazine Nekrasov "Contemporary".

Traveling in Russia

At the same time, an event occurred, significantly changed the views of Ostrovsky. Chairman of the Geographical Society Grand Duke Konstantin Nikolaevich decided to organize an expedition with the participation of writers; The purpose of the expedition is to study and describe the life of residents of Russia engaged in the shipment, about which to make essays for the Ministry of "Maritime Collection" by covering the Urals, Caspian, Volga, the White Sea, the Azov region ... Ostrovsky in April 1856 began journey along the Volga: Moscow - Tver - Goroda - Ostashkov - Rzhev - Staritsa - Kalyazin - Moscow.

That's how Alexander Nikolayevich Ostrovsky was listed in the provincial city of Tver, to the merchant of the second guild of Barsukov, and immediately she was dismissed.

Sitting with rainy June morning, in the hotel room at the table and waiting for the heart will finally calm down, the island, then rejoicing, then annoying, she moved into one after another events of the last months.

That year, everything as if he managed. He was already his own man in St. Petersburg, Nekrasov and Panayev. He already stood in one row with the famous writers who made up the pride of Russian literature, - next to Turgenev, Tolstoy, Grigorovich, Goncharov ... Excellent actors and actors of both capitals knew him with their sincere friendship, honor him as if even a meter in Theatrical art.

And how many other friends and buddies in Moscow! It is impossible to count it ... Even on the trip here, on the upper Volga, Guriy Nikolayevich Burlakov, the faithful companion (and the secretary and the correspondence, and the voluntary motion in various road affairs), silent, white, with glasses, a completely young man. He joined the Ostrovsky from Moscow and since he worshiped the theater flamesily, then, he said, and wanted to be "in the tears of one of the mighty knights of Melpomen (in the ancient Greek mythology Muz tragedy, theater) of the Russian"

To this, wonder from such expressions, Alexander Nikolaevich immediately answered Burlakov, that, they say, he doesn't look like a knight, but that, of course, sincerely glad a kind to friend-comrade in his long journey ...

So everything went fine. With this sweet, a cheerful companion, making his way to the origins of the beauty of the Volga, he visited many coastal villages and cities Tver, Rzhev, city or once vertyazin, with the remnants of an old temple, decorated with semi-erased frescoys; The beautiful city of Ternaya Tver Ternaya's steep shores; And further, farther north - on the navallas of primitive boulders, on the swamps and shrubs, on bare hills, among deserted and wildness - to the blue Lake Seliger, from where the remains almost drowned in the spring water and the white walls of the abode of the Nile deshkin, sparkling for a thin mesh rain as a fabulous kite-hail; And, finally, from Ostashkov - to the mouth of the Volga, to the chapel, called Jordan, and a little further to the West, where from under fallen, overgrown birch mums flowing as a non-notable stream of our powerful Russian river.

The tenant memory of the Ostrovsky greedily grabbed all of them seen, everything was heard in that spring and at that summer, 1856, so that the time would come, or in a comedy, or in Drama, all this suddenly came to life, walked, spoke in his tongue, began to ride passions .

He already threw his notebooks ... If only time was a little more free from everyday need for the most important thing - silence in the soul more, peace and light, it would not be that one, and four to write and more plays with good for actors roles. And about the sorrowful, truly terrible fate of the Fortress Russian girl, the landlord pupil, along the whims of the Barskie villages, in whims and ruined. And you can write a comedy, which has long been conceived by the officials of the officials who have once bent in the service: "Profitable location": about the black faint of Russian courts, about the old kiss-thieves and a bribemer, about the death of a young, unspoed, but a weak soul under the oppress prose. Yes, and recently, on the road to Rzhev, in the village of Sitkov, at night at the innovative DVO-RA, where the officers kicked the Lord, his excellent plot for the play about the devilish power of gold, for whom the person is ready for robbery, for killing, for anyone betrayal...

He was pursued by the image of a thunderstorm over the Volga. This dark space burst with lightning sparkling, shower and thunder noise. These foam shafts, as if in rage throwing low sky to the rolled clouds. And alarmingly screaming seagulls. And grinds the stones rolled by waves on the shore.

Something every time arose, it was born in his imagination from these deeply smeared in sensitive memory and all awakened impressions; They have long stuck and depressed the insult, insult, the ugly slander, washed him the soul of the poetry of life and woke up unattheless creative alarm. Some unclear images, scenes, scraps of speeches have long been tormented by him, long pushed her hand to paper to capture them finally or in a fairy tale, or in drama, or in taking on the violent antiquity of these steep shores. After all, he is never forgetting now poetic dreams and sorrowful weekdays, which he survived in his many months of journey from the origins of Kormylitsy Volga to Nizhny Novgorod. The beauty of the Volga Nature and the bitter poverty of artisans-Volzhan - Burlakov, Kuznetsov, shoal, tailoring and booties of masters, their exhaustive work per hour per week and the great fear of rich - merchants, contractors, dealers, bumps, on the labor bondage of comprehensive money.

Something had to really mature in his heart, he felt it. He tried to tell in his essays for the "maritime collection" about the severe life of the people, about the merchant misfortune, about the deaf risks of the thunderstorm impending on the Volga.

But this was true, such sadness in these essays, which, having placed four chiefs in the February issue for the fifty-ninth year, did not want more Lord from the maritime edition, the Kramol truth is to print.

And, of course, it's not a matter of that, good or badly paid him for essays. It is not about this. Yes, he now does not need money: "Library for reading" recently published his drama "pupil" recently, and in St. Petersburg, he sold his employee to the publisher of Kushelev-Bezborodko for four thousand silver two-volume assembly of their writings. However, they can not, in fact, to remain in the midst of deep impressions that they continue to disturb his creative imagination! .. "Nights on the Volga" - that's how he calls him the cycle of dramatic works, where he tells a lot from what his excited and what did not excel the publicity of the high-ranking editors of the "Maritime Collection" ...

“Storm"

Returning from the "Literary Expedition", he writes Nekrasov: "Mercileous Sovereign Nikolay Alekseevich! Circular letter I, for departure from Moscow, received recently. I have the honor to notify that I am preparing a whole series of plays under the general title "Nights on the Volga", from which I will give you one personally at the end of October or in early November. I do not know how much I will have time to do in this winter, but two certainly. Your humble servant A. Ostrovsky. "

By this time, he already tied his creative fate with the "contemporary" - a magazine that joined for attracting Ostrovsky, whom Nekrasov called "our, undoubtedly, the first dramatic writer. In a large extent, a snapshot in the "contemporary" contributed to the acquaintance with Turgenev, with Lvy Tolstoy, Goncharovim, Druzhinin, Panavis. In April 1856, "Contemporanik" prints the "picture of family happiness", then - "old friend is better than new two", " They agreed with the characters "and other plays;. Perseners have already become accustomed to Nekrasovsky magazines (at first the" contemporary ", and then" domestic notes ") open their winter rooms with Ostrovsky's plays.

It was June 1859. Everything bloomed and smelled in the gardens outside the window in Nikolovorobinsky Lane. The herbs smelled, filthy and hops in the fences, bushes of richness and lilac, swelling not discontinued by the flowers of Jasmine.

Sitting, leaving, in a written table, it was a long time ago, Alexander Nikolayevich's window was glad. His right hand still kept the sharp pencil, and the chubby palm of the left continued, as an hour ago, it was late to lie on the finely written sheets of a manuscript of the comedy finished by him.

He was remembered by his humble modules that she went with a snack-walled husband under the cold, condemning and strict her mother-in-law somewhere on Sunday walking in Torzok, Kalyazin or Tver. I remember the Volga dashing guys and girls from the merchants that they ran in the night in the gardens over the extinguishment of the Volga in the night, and then that it happened often, they hid themselves with the narrowed unknotee from their native uncoar.

He himself knew since childhood and his youth, living in Papane in Zamoskvorechye, and then visiting the familiar merchants in Yaroslavl, Kineshma, Kostroma, and he heard not once from the actresses and actors, which was how to live a married woman in those rich, for high fences and strong castles of merchant houses. Increased slaves, slaves of her husband, mother-in-law and mother-in-law, devoid of joy, will and happiness.

So what ripens in the soul of his drama on the Volga, in one of the county settlements of the prosperous Russian Empire ...

He pushed aside the manuscript of an unfamiliated old comedy and, taking a clean piece of paper stack, began to quickly throw the first, still fragmentary and unclear, the plan of his new play, his tragedy from the "Nights on the Volga" cycle. Nothing him, however, did not satisfy these short sketches. He trampled away from the leaflet behind the sheet and wrote some separate scenes and pieces of dialogues, then suddenly those who came to mind about the characters, their characters, about the junction and the beginning of the tragedy. There was no harmony, certainty, accuracy in these creative attempts - he saw he felt. They did not heave some united deep and heat thought, some one comprehensive artistic way.

Time passed for noon. Ostrovsky rose from the chair, threw a pencil on the table, put on his light summer card and, having affected Agafier, went outside.

He wandered along the Yauza for a long time, he stopped here, then there she looked at fishermen, sitting with rods over dark water, on boats, slowly floating to the city, on a blue deserted sky above his head.

Dark water ... a steep shore above the Volga ... Whistle Lightning ... Thunderstorm ... Why is it so pursued by this image? What is he connected with the drama in one of the Volga shopping towns, which has long been disturbing him and cares? ..

Yes, in his drama brutal people were a beautiful, clean woman, proud, gentle and dreamy, and she rushed into the Volga with longing and sadness. It's like that! But the thunderstorm, thunderstorm over the river, over the city ...

The Ostrovsky suddenly stopped and was standing on the shore of the Yauza's crusted rigid grass for a long time, looking in the daschy depth of her waters and nervously plugging his thumbs up his round reddish beard. Some new, amazing thought, since he suddenly freshen all the tragedy with poetic light, was born in his torment brain. Thunderstorm! .. Thunderstorm over the Volga, over a wild abandoned city, what a lot about Rus, over a woman rolling in fear, heroine drama, over all of our life - the thunderstorm killer, the thunderstorm is the proclaimer of the coming change!

Here he rushed directly, through the field and wasteland, as soon as possible to her mezzanine, in the office, to the table and paper.

The Ostrovsky hurriedly ran into the office and on some of the papers turned into arm, finally recorded the drama about the death of the thirsty will, the love and happiness of the unfortunate of his Katerina - "thunderstorm." Here it is, the reason or a tragic reason for the junction of the whole play is a deadly fear of the destruction of a woman from a thunderstorm suddenly bold over the Volga. She, Katerina, pupil from childhood, deep faith in God - a judge of a person, should, of course, continue to be sparkling and rattling in the sky, the punishment of the Lord for the boldlessness, for the desire of will, for secret meetings with Boris. And this is why in the state of this confusion, she will throw in many ways to her knees in front of her husband and mother-in-law, to shout out her passionate repentance in everything that he thought and would count to the end with his joy and his sin. With all, climbed, one-cell, without finding support and exit, will be rushed by Katerina from the high Volga shore into the pool.

So much was decided. But much remained unresolved.

Day after day he worked on the plan of his tragedy. I started it with a dialogue of two old women, passing and urban, to tell the viewer about the city, about his wild nravas, about the family of the Kupchi-Widow Kabanova, where he was married to Katerina, about Tikhon, her husband, about the richeest in the city of Savor Savel Prokofyche Wild and about other things that the viewer should know. In order to felt the audience and realized what such people live in the county Volga region and how could the hard drama and the death of Katerina Kabanova, merchant modules could have been involved in it.

It came to the conclusion that it was not necessary to deploy the first act of the first act anywhere else, but only in the house of that self-kept Saveel Prokofych. But this decision, as the previous one, with the old woman dialogue, - after a while he threw. Because neither in any other case did not produce everyday naturalness, ease, was not a true truth in the development of action, and the play is nothing but a dramatized life.

And in fact, after all, a leisurely conversation on the street of two old women, passing and urban, exactly what it would be necessary to know the viewer sitting in the hall, it will not seem natural to him, but will seem deliberate, the playwright specially invented. And then they will then have nowhere, these chatty old women. Because later, they will not be able to play roles in his drama - will respond and disappear.

As for the meeting of the main actors from Saveel Prokofyucha Wild, then there is no natural way to collect them there. True Dick, Unlock and Humor around the city, the well-known swear of Savel Prokofich; What can he have family meetings or cheerful gatherings in the house? Resolutely no.

So after, after a long random, Alexander Nikolaevich decided that he would start his play in a public garden on the steep of the Volga, where everyone could go to walk, ride with clean air, throw a look at the surcharge by the river.

There, in the garden, and tell that it would be necessary to know the viewer, the urban marital self-taught mechanic Kuligin who had recently recently the nephew of Savel Wild Boris Grigorievich. And there will hear the viewer with the truth about the actors of the tragedy: about Kabanchi, about Katerina Kabanova, about Tikhon, about Varvar, his sister, and others.

Now it was so built by a play so that the viewer forgot that he was sitting in the theater that in front of him scenery, the scene, not life, and the filtered actors talk about the sufferings of their or joy words, the author's written. Now Alexander Nikolaevich knew exactly what the audience would see the very reality in which they live every day. It will only be the validity of the highly author's thought, his verdict, as it were, unexpected in his true, not yet noticed by the essence.

Alexander Nikolaevich never wrote so smashfully and quickly, with such a reverent joy and deep excitement, as he wrote now "thunderstorm." Unless another drama, the "pupil", also about the death of a Russian woman, but at all the powerful, tortured fortress, was once faster - in St. Petersburg, in his brother, in two or three weeks, though it thought about her almost Two days of the year.

So summer passed, flashed unnoticed by September. And on October 9, in the morning I finally put the Ostrovsky last point in my new play.

None of the plays had such success among the public and criticism as "thunderstorm." She was published in the first issue of the "Reading Libraries", and the first view took place on November 16, 1859 in Moscow. The performance was played weekly, and even five times a month (like, for example, in December) with a crowded hall; The roles were performed by the pubist of the public - Rykalov, Sadovsky, Nikulina-Kositskaya, Vasilyev. And this play is one of the sails known in the creativity of Ostrovsky; Wild, Kabaniu, Kuligina Forget hard, Katerina - It is impossible, as it is impossible to forget the will, beauty, tragedy, love. Hearing a play in reading the author, Turgenev on the next day wrote Feta: "The amazing, the most magnificent work of Russian, mighty, completely mastered the talent." Goncharov appreciated her no less high: "Without fear of accusations of exaggeration, I can say on conscience that there was no such work as drama, there was no in our literature. She undoubtedly occupies and, probably, long will take first place on high classic beauties. " Everyone became known and the article Dobrolyubov dedicated to the "thunderstorm". The grandiose success of the play was crowned with a large Uvarov Academic Award to the author of 1500 rubles.

He now truly became famous, the playwright Alexander Ostrovsky, and the whole Russia listens to the Word. Because, it is necessary to think, and finally made it on the scene of censorship, his favorite comedy, not once the wrapped, who had a heart-destroyed heart, - "His people".

However, this play was in front of the theaterist public crippled, not the same, as once was printed in the "Moskvatian", but with the well-chained ending. Because the author had to come three years ago, with the edition of the assembly of his writings, though reluctant, albeit with the bitter pain in the soul, but to get it on the scene (as they say, under the curtain) Mr. quarterly, the name of the law tacker Podkhaluzina "in the case of concealing the property of the insolvent merchant Bolshaya".

In the same year, the Pieces of Ostrovsky was published in the same year, which entered eleven works. However, it was the triumph "Thunderstorm" made the playwright a truly popular writer. Especially since this topic then he continued to affect and develop on the other of the mother-le - in the plays "not all the car carnival", "the truth is good, and happiness is better", "hard days" and others.

Frequently needed himself, Alexander Nikolaevich, at the end of 1859, made a proposal to create a "Society for the benefit to the in need of writers and scientists," which became widely known as the "Literary Fund". And he himself began to hold public pieces in favor of this fund.

The second marriage is Ostrovsky

But time does not stand still; Everything runs, everything changes. And the life of Ostrovsky has changed. Several years ago he was married with Marya Vasilyevnya Bakhometheva, an actress of the Small Theater, who was younger than the writer on the 2nd 2 years (and the Roman stretched for a long time: the first extra-fellow son was already born before the wedding), - It is hardly possible to name completely happy: Marya Vasilyevna Itself was nature nervous and did not really delve into the experience of her husband

The literary life of Russia stirred when the first Ostrovsky plays entered her: first in reading, then in magazine publications and, finally, from the scene. Perhaps the largest and deepest estimated critical heritage dedicated to his drama, left ap.A. Grigoriev, friend and admirer of creativity writer, and N.A. Dobrolyubs. The Dobrolyubov article "Light of Light in the Dark Kingdom" about the drama "Thunderstorm" became a well-known, hurry.

Turn to the estimates of the AP.A. Grigorieva. Deployed article entitled "After the" thunderstorm "island. Letters to Ivan Sergeevich Turgenev "(1860), largely contradicts the opinion of Dobrolyubov, hesitates with him. Disagreement was fundamental: two critics adhered to various understanding of the nationality in the literature. Grigoriev considered a nationality not so much reflection in the artistic work of the life of workers, as Dobrolyubov, how much the expression of the common spirit of the people, regardless of the situation and class. From the point of view of Grigoriev, the Dobrolyubs reduces the complex problem of Pieces of Ostrovsky to the chinds of Samodoria and in general the "Dark Kingdom", and the playwright assigns only the role of saticar-accuser. But not the "angry humor of saticar", but the "naive truth of the People's Poet" is what the power of the island of Ostrovsky, as she sees Her Grigoriev. Grigoriev calls the Ostrovsky "Poet, who plays on all Folk Ladas." "The name for this writer, for such a big, despite its flaws, the writer is not satirik, and the People's Poet" is the main thesis of the AP.A. Grigoriev in controversy with N.A. Dobrolyubov.

The third position that does not coincide with those mentioned two, adhered to D.I. Pisarev. In the article "Motives of the Russian Drama" (1864), he completely denies everything positive and bright, which is ap.A. Grigoriev and N.A. Dobrolyubov saw in the image of Katerina in the "thunderstorm". In the "Realist" of Pisarev, a different look: Russian life "does not conclude any information of independent updates", and only people like V.G. can enter it. Belinsky, the type that manifested itself in the image of Bazarov in the "fathers and children" I.S. Turgenev. The darkness of the same artistic world is hopeless.

Finally, we will focus on the position of playwright and public figure A.N. Ostrovsky in the context of the struggle in the Russian literature of ideological flows of Russian public thought - Slavophilics and Westernity. Ostrovsky's cooperation time with Moskvatian magazine M. P. Pogodina is often associated with his Slavophilic views. But the writer was much wider than these positions. After caught by someone's statement of this period, when he looked at the Kremlin from his Zamoskvorechye on the opposite shore and said: "Why did they look at these pagodas?" (It would seem, obviously "Western"), also did not reflect his genuine aspirations. There was no Ostrovsky nor Western, nor Slavophil. Mighty, distinctive, folk talent of the playwright flourished during the period of the formation and lifting of Russian realistic art. The genius of PI aroused Tchaikovsky; originated at the turn of the 1850-1860sXIX. century Creative Commonwealth of Russian Composers "Mighty Hand"; Russian realistic painting bloomed: Created by I.E. Repin, V.G. Perov, I. N. Kramskaya and other largest artists - this is what stressful life was boiling rich on talents visual and musical art of the second halfXIX. century. Brushes V. G. Perova belongs to the portrait of A. N. Ostrovsky, N. A. Rimsky-Korsakov creates an opera on the fairy tale "Snow Maiden". A.N. Ostrovsky entered the world of Russian art naturally and full.

As for the actual theater itself, the playwright itself, assessing the artistic life of the 1840s - the time of his first literary quest, speaks of the great diversity of ideological flows and artistic interests, many circles, but notes that everyone united the general, the theater . The writers of the 1840s, who belonged to the natural school, the sketchy schools (the first compilation of the genuine school was called "Physiology of St. Petersburg", 1844-1845) In the second part included the article V.G. Belinsky "Alexandrinsky Theater". The theater was perceived as a place where the classes of society are faced, "so you will turn around on each other." And this theater was waiting for the playwright of this scale, which manifested itself in A.N. Ostrovsky. The value of the creativity of Ostrovsky for Russian literature is extremely large: he was truly the successor of the Gogol tradition and the founder of the new, National Russian Theater, without which the appearance of Dramaturgia A.P. Chekhov. The second half of the XIX century in the European literature did not give any playwright comparable to scale with A. N. Ostrovsky. The development of Europe's literature went otherwise. French Romanticism V. Hugo, George Sand, Critical Realism of Standal, P. Merim, O. De Balzak, then - Creativity G. Flaubert, English Critical Realism, Ch.Dikkens, W. Tekkesey, Sh. Bronte, laid the ways not drama, but Epos First of all, the novel, and (not so noticeable) lyrics. Problems, heroes, plots, the image of a Russian nature and Russian life in the Pieces of Ostrovsky are so nationally peculiar, so they are clear and consonant with the Russian reader and the viewer that the playwright did not have such an influence on the world literary process, as the Chekhov subsequently. And in many ways the reason for this was the language of Pieces of Ostrovsky: to translate them, retaining the essence of the original, to convey something special and special than he fascinates the viewer, turned out to be impossible.

Source (in reducing): Mikhalskaya, A.K. Literature: Basic level: 10th grade. In 2 tsp 1: uch. Manual / A.K. Mikhalskaya, O.N. Zaitseva. - M.: Drop, 2018

Biographies) Hugely: closely adjacent in his work to the activities of the great teachers of Pushkin, Griboedov and Gogol, Ostrovsky said and his word, strong and clever. Realist on the manner of the letter and artistic world, he gave Russian literature an unusually many of the most diverse paintings and types, grated from Russian life.

Alexander Nikolaev Ostrovsky. Training video

"Reading his works, directly affecting the immense width of the seizure of Russian life, abundance and variety of types, characters and provisions. As in Kaleidoscope, Russian people are held in front of our eyes, - here and self-sales merchants, with their crashes and households, - here and landlords and landlords - from wide Russian natures burning life, to predatory scopidomok, from complacent, Clean hearts, to worm, who do not know any moral cut, they replaces the official world, with all the various representatives of it, ranging from the highest steps of the bureaucratic staircase and ending with the image and similarity of God, small propoines-sutags, - the generation of expensive vessels, then they are simply Capless people, honest and dishonestly interrupted every day, - all kinds of Deltsi, Teachers, Southwerkers and Surrivets, Provincial actors and actresses with all the world around them .. And along with this, the distant historical and legendary past of Russia is held in the form of artistic paintings of the Volga Udaltsov XVII century, the Terrible Tsar Ivan Vasilyevich, troubled time with frivolous DM Tytry, the Schui, the Great Nizhny Novgorod, by the Mini, boyars and the people of the epoch, "the pre-revolutionary critic Aleksandrovsky writes.

Ostrovsky is one of the brightest national Russian writers. After examining the depth of the most conservative layers of Russian life, he managed to consider in this life good and evil residues of the old days. It is fuller than other Russian writers introduced us to the psychology and the world of Russian man.

What is the merit of A.N. Ostrovsky? Why, according to I.A. Antcharov, only after Ostrovsky we could say that we have our Russian national theater? (Apply for an epigram lesson)

Yes, there were "inexpensive", "grief from the mind", "Auditor", walled Turgenev, A.K. Tolstoy, Sukhovo-Koblin, but they were not enough! Most of the repertoire of theaters was empty water waters and translation melodramas. With the advent of Alexander Nikolayevich Ostrovsky, who devoted his entire talent exclusively dramaturgy, the repertoire of theaters changes qualitatively. He alone wrote so many plays as all Russian classics did not write, taken together: about fifty! Every season for more than thirty years, theaters received a new play, or even two! Now it was to play!

There was a new acting school, a new theater aesthetics, the "Ostrovsky Theater" appeared, which became the property of all Russian culture!

What caused the attention of the island to the theater? The playwright himself answered this question like this: "Dramatic poetry closer to the people than all other branches of literature. All other works are written for educated people, and dramas and comedies - for all the people ... ". Writing for the people, awaken his consciousness, form a taste - the task is responsible. And the Ostrovsky was seriously treated. If there is no exemplary theater, the simple public can take the ledges and melodramas, irritating curiosity and sensitivity, for the real art. "

So, we note the main merits of A.N Ostrovsky before the Russian theater.

1) Ostrovsky created the repertoire of the theater. It is written in 47 original plays and 7 plays in collaboration with young authors. Twenty plays are translated by Ostrovsky from Italian, English, French.

2) No less important is the genre variety of his drama: these are "scenes and paintings" from Moscow life, dramatic chronicles, drama, comedy, Spring Tale "Snow Maiden".

3) In his plays, the playwright depicted various classes, the characters, professions, they created 547 acting persons, from the king to the restaurant servant, with the characters inherent in them, habits, unique speech.

4) Ostrovsky's plays cover a huge historical period: from the XVII to xιx century.

5) The action of the plays occurs in the landlord estates, on the bodies and the Volga shores. On the boulevards and streets of county cities.

6) Heroes of Ostrovsky - and this is the main thing - living characters with their own characteristics, manners, with their own fate, with alive inherent in this hero language.

Since the first performance of the first performance (January 1853; "Do not sit down in my sleeves") a hundred and a half century passed, and the name of the playwright does not come with posters of theaters, the performances go on many scenes in the world.

It is especially acute interest in the island in troubled times, when a person is looking for answers to the most important issues of life: what happens to us? why? What are we? Maybe it was at such a time a person lacks emotions, passions, feelings of completeness of life. And we still need what the Ostrovsky wrote about: "And a deep breath on the whole theater, and unconfigured warm tears, hot speeches that would run straight into the soul."

Ostrovsky wrote for theater. This is the feature of his talent. Created images and paintings of life are designed for the scene. Therefore, the speech is so important at the isoys, therefore his works are so bright. No wonder Innokentiy Annensky called him a realistic-rumor. Without putting on the stage, his works were not necessarily completed, so the Ostrovsky perceived the prohibition of his play by theatrical censorship. Comedy "His people" was allowed to put in the theater only ten years after it could have managed to print it in the journal.

With a sense of undisguised satisfaction, A. N. Ostrovsky wrote on November 3, 1878, by his friend, artist of the Alexandrian theater A. F. Burdin: "I read my play in Moscow five times, among the students there were faces and hostile to me, and all Unanimously recognized the "idleness" the best of all my works. " Ostrovsky lived "Dosperinant", at times only on her, his forties in the account, rushed "his attention and strength", wanting to "separate" its most thorough way. In September 1878, he wrote it from his friends: "I work on my own play with all my might; It seems not to be bad. " Following the day after the premiere, on November 12, Ostrovsky could find out, and undoubtedly found out, from the "Russian statements", as he managed to "tired the whole public to the most naive spectators." For she is the public - obviously "turned" those spectacles that he offers to her. In the seventies, the relations of Ostrovsky with criticism, theaters and the audience were becoming more complicated. The period when he enjoyed everyone recognized by him at the end of the fifties - the beginning of the sixties, was changed to others, more and more growing in different circles of cooling to the playwright.

Theatrical censorship was more rigid than literary. This is not by chance. In essence, its theater art is democratic, it is more directly than literature, addressed to the general public. Ostrovsky in the "note on the situation of dramatic art in Russia at present" (1881) wrote that "dramatic poetry closer to the people than other branches of literature. All sorts of other works are written for educated people, and dramas and comedies - for the whole people; Dramatic writers should always remember it, they must be clear and strong. This proximity to the people does not do not humiliate dramatic poetry, but by contrast, doubles her strength and does not give her to wipe and grind. " Ostrovsky speaks in his "note" on how the theater audience in Russia is expanding after 1861. 0 New, not sophisticated in the art viewer Ostrovsky writes: "Elegant literature is still boring for him and incomprehensible, music too, only the theater gives him a complete pleasure, there he is childishly worried about everything that happens on stage, sympathizes good and recognizes evil, Clearly represented. " For the "fresh" public, wrote Ostrovsky, "strong drama is required, a major comic, causing, frank, loud laughter, hot, sincere feelings."

It was the theater, according to Ostrovsky, who goes from his roots to the People's Balagan, has the opportunity to directly and strongly influence the souls of people. After two and a half decades, Alexander Blok, speaking of poetry, write that the essence of it is in the main, "walking" truths, in the ability to convey them to the heart of the reader, which the theater has:

Turn, mourning klyachi!
Actors, right hand craft
To the truth of the walk
Everyone has become painful and light!

("Balagan", 1906)

A great importance that the Ostrovsky attached to the theater, his thoughts on theatrical art, about the position of the theater in Russia, about the fate of the actors - all this was reflected in his plays. Contemporaries perceived Ostrovsky as a successor of the dramatic art of Gogol. But immediately the novelty of his plays was noted. Already in 1851, in the article "Sleep on the occasion of one comedy", young critic Boris Diazov pointed out the distinction of Ostrovsky from Gogol. The originality of Ostrovsky consisted not only that he was not only the opposite, but also their victims, not only that, as I. Annene wrote, Gogol was predominantly a poet of "visual", and the island "auditory" impressions.

Uniqueness, the novelty of Ostrovsky manifested itself in the choice of life material, in the image item - he mastered the new layers of reality. He was a discoverer, a Columbus not only Zamoskvorechye, - whom we don't see whose voices do not hear in the works of Ostrovsky! Innocent Annensky wrote: "... this is a virtuoso of sound images: merchants, wanderers, factory and latin teachers, Tatars, Gypsies, actors and sex, bars, tests and minor bins-island gave a huge gallery of typical speeches ..." Actors, theater environment - too The new life material, which is mastered by Ostrovsky, is everything connected with the theater, it seemed very important to him.

In the life of the Ostrovsky Theater played a huge role. He took part in the formulation of his plays, worked with actors, and many of them were friends, corresponded. He put a lot of strength, protecting the rights of actors, seeking to create in Russia theatrical school, his own repertoire. Artist of the Small Theater N.V. Rykalova recalled: Ostrovsky, "getting closer to the troupe, has become our own man. Troupe loved him very much. Alexander Nikolaevich was unusually affectionate and carried away with everyone. With the uncertainty then reigned, when the artist said the authorities "you", when, among the troupe, it was from the serfs, the Ostrovsky's entry seemed to everyone with some revelation. Usually Alexander Nikolayevich himself put his plays ... Ostrovsky collected troupe and read her play. He knew how to read the masterfully. All the actors came out with him exactly alive ... Ostrovsky knew the inner, hidden from the eye of the audience, the backstage of the theater. Starting from the forest "(1871), the Ostrovsky is developing the theater theater, creates images of actors, depicts their fates -" Comedian XVII "(1873)," Talents and fans "(1881) follow," Talents and Fans "(1883 ).

The situation of actors in the theater, their success depended on whether they would like or not wealthy viewers asking the tone in the city. After all, provincial troupes lived mainly on donations of local patrons that felt in the host theater and could dictate their conditions. Many actresses lived at the expense of expensive gifts from wealthy fans. Actress, who was accustomed to his honor, was not easy. In the "talents and fans" island depicts such a life situation. Domina Panteleevna, Mother Sasha Nekina complains: "There is no happiness sachet! Contains itself very carefully, well, there is no placement of the interder of the public: no gifts of what special, nothing, as other things that ... if ... ".

Nina Relinskaya who takes eagerly the patronage of rich fans, turning essentially into the convection, lives much better, feels in the theater much more confident than a talented nongin. But despite the difficult life, adversity and resentment, in the image of Ostrovsky, many people dedicated their life scene, the theater, preserve kindness and nobility in their soul. First of all, these are tragics, which on the stage have to live in the world of high passions. Of course, nobility and spiritual generosity are inherent not only among tragics. Ostrovsky shows that genuine talent, disinterested love for art and the theater raise, towers people. These are the missions, nongin, kruchinin.

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