Message on the theme and creativity of Ostrovsky. Biography - Ostrovsky Alexander Nikolaevich

(1843 – 1886).

Alexander Nikolaevich "Ostrovsky -" Giant Theater Literature "(Lunacharsky), he created a Russian Theater, a whole repertoire, which was brought up by many generations of actors, strengthened and developed the traditions of scenic art. Its role in the history of the development of Russian drama and all domestic culture is difficult to overestimate. For the development of Russian drama, he made such a lot like Shakespeare in England, Lope de Vega in Spain, Moliere in France, Goldeni in Italy and Schiller in Germany.

"History left the name of the great and brilliant only for those writers who knew how to write for all the people, and only those works have experienced a century, which were truly popular at home; such works are made with time to be understood and valuable and for other peoples, but finally And for the whole world. " These words of the great playwright Alexander Nikolayevich Ostrovsky can be attributed to his own creativity.

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 by treating the 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 Goncharov - full, rich in difficulty life; Labor, and led to such a logical relationship between estimates, for talent requires, first of all, a great work over himself, and the playwright did not earn up before God - did not cut his talent to 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 in the People's Theater created by him - about a thousand acting persons.

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 You now became as soon as possible in reality that you are undoubtedly common in the wider sense of the writer. "

And to the island progressive Russian drama possessed magnificent plays. Recall the "inexpensive" phonvizin, "Mount from the mind" of Griboedov, Boris Goddshkin, the "auditor" of Gogol and Masquerad Lermontov. Each of these plays could enrich and decorate, which Belinsky, literature of any Western European country rightly wrote.

But these plays were too little. And they did not define the state of theatrical repertoire. Figuratively speaking, they rose above the level of mass drama as lonely, rare mountains in the endless desert plain. The overwhelming part of the plays, flooded the then theatrical scene, was transfers of empty, frivolous water waters and souchalty meloders woven from horrors and crimes. And they water, and melodramas, terribly distant from life, were not even her shadow.

In the development of Russian dramaturgy and domestic tetra, the appearance of Pieces A.N.ostrovsky was a whole epoch. They turned cool with drama and the theater to life, to her truth, to the fact that truly torn and worried people of the unprivileged layer of the population, people of labor. Creating "plays of life", as Dobrolyubov called them, Ostrovsky made a fearless knight of the truth, a tireless fighter against the Dark Kingdom of autocracy, a merciless accuser to the dominant classes - nobility, bourgeoisie and devoted to him who served officialhood.

But Ostrovsky was not limited to the role of a satirical accusatory. He brightly, sympathetically portrayed the victims of the socio-political and family-domestic despotism, workers, the beluters, enlighteners, the hot heart of Protestants against arbitrariness and violence.

The playwright not only made the positive heroes of his plays of people of labor and progress, carriers of the People's Truth and Wisdom, but also wrote in the name of the people and for the people.

Ostrovsky depicted in his plays prose of life, ordinary people in everyday circumstances. Taking the content of my plays, the universal problems of evil and good, truth and injustice, beauty and disgrace, the Ostrovsky experienced his time and entered our era like her contemporary.

The creative path of A.N.ostrovsky lasted four decades. He wrote their first works in 1846, and the last - in 1886.

During this time, he wrote 47 original plays and several plays in co-authorship with Solovyov ("Marriage Balzaminova", "Dickard", "shines yes not heats", etc.); Made a lot of translations from Italian, Spanish, French, English, Indian (Shakespeare, Goldoni, Lope de Vega - 22 plays). In his plays 728 roles, 180 acts; Presented all Russia. The variety of genres: comedies, dramas, dramatic chronicles, family scenes, tragedies, dramatic etudes are presented in his drama. He performs in his work as a romantic, a lotovik, tragic and comedized.

Of course, any periodization to some extent conditional, but in order to better navigate throughout the variety of creativity of Ostrovsky, we divide his work into several stages.

1846 - 1852 - The initial stage of creativity. The most important works written during this period: "Notes of the Zamoskvoretsky resident", the play "Picture of family happiness", "His people - to tear", "poor bride."

1853 - 1856 - The so-called "Slavophile" period: "Do not sit down in your sleeves." "Poverty is not a vice," "Do not live like, as you want."

1856 - 1859 - Rapprochement with the circle of "contemporary", return to realistic positions. The most important plays of this period: "Profitable place", "pupil", "In someone else's hangover", "Trilogy about Balsamin", and, finally, created during the revolutionary situation, "thunderstorm."

1861 - 1867 - Deeperation in the study of domestic history, the result is the dramatic chronicles of Kozma Zahorić Minin-Sukhuk, "Dmitry Samozvana" and "Vasily Shui", "Tushino", the drama "Vasilisa Melentievna", the comedy "Voevoda or Sleep on the Volga".

1869 - 1884 - Pieces created during this period of creativity are devoted to social and domestic relations, which were in Russian life after the reform of 1861. The most important plays of this period: "On all sages of pretty simplicity", "hot heart", "mad money", "forest", "wolves and sheep", "last victim", "Late love", "Talents and fans", " No guilt to blame. "

Ostrovsky's plays appeared not from scratch. The appearance of them is directly related to the plays of Griboedov and Gogol, who have entered all the valuable, which was reached by the Russian comedy preceding them. Ostrovsky knew the old Russian comedy of the 18th century, specially studied the works of Kapnik, Fonvizin, Meltelikova. On the other hand, the influence of the prose of "genuine school".

The Ostrovsky came to the literature in the late 40s, when Gogol's drama was realized as the greatest literary and social phenomenon. Turgenev wrote: "Gogol pointed the way, as our dramatic literature will go with time." Ostrovsky from the first steps of its activities was aware of himself as a successor of Gogol's traditions, "Natural School", he counted himself to the authors of the "new direction in our literature."

Years 1846 - 1859, when Ostrovsky worked on his first big comedy "his people - to tear up," there were years of becoming it as a realist writer.

The ideological and artistic program of Ostrovsky - playwright is clearly set out in its critical articles and reviews. Article "Error", Tale of Mrs. Tour "(" Moskvatik ", 1850), unfinished article about the novel of Dickens" Dombey and Son "(1848), a review of the comedy Menshikov" Foods ", (" Moskvatikan "1850)," Note about the situation Dramatic art in Russia is currently "(1881)," Pushkin's feasting word "(1880).

Ostrovsky's social and literary views are characterized by such basic provisions:

First, he believes that the drama should be a reflection of people's life, popular consciousness.

The people for Ostrovsky are, above all, a democratic mass, lower estates, ordinary people.

Ostrovsky demanded a writer to study the people's life, those problems who worry the people.

"In order to be a folk writer," he writes, "he writes," a little one love for the Motherland ... It's necessary to know your people well, to come together with him, crush. The best school for talent is the study of your nationality. "

Secret, Ostrovsky speaks of the need for national identity for dramaturgy.

The nationality of literature and art is understood by the Ostrovsky as an integral consequence of their nationality and democraticness. "Nationally only the art that is popular, because the true carrier of nationality is the national, democratic mass."

In the "Feast Word about Pushkin" - an example of such a poet is Pushkin. Pushkin - People's Poet, Pushkin - National Poet. Pushkin played a huge role in the development of Russian literature because he "gave the courage to the Russian writer to be Russian."

And finally, the third position is about the socio-accusatory nature of the literature. "Than the work is greater than, the greater in it the accusatory element, because the" distinguishing feature of the Russian people "-" aversion from everything sharply determined ", the reluctance to return to the" old, already convicted forms "of life, the desire to" seek the best ".

The public is waiting for the art of damage to the defects and shortcomings of society, the court over life.

Condeming these vices in their artistic images, the writer causes disgust in public, makes it be better, moral. Therefore, the "social, accusatory direction can be called moral and public" - underlines the island. Speaking about the socio-accusatory or moral and public direction, he means:

the accuratory criticism of the dominant lifestyle; Protection of positive moral began, i.e. The protection of the aspirations of ordinary people and their aspirations for social justice.

Thus, the term "moral and accusatory direction" in its objective meaning is approaching the concept of critical realism.

The works of Ostrovsky, written by him in the late 40s and early 50s, the "picture of family happiness", "notes of the Zamoskvoretsky resident", "His people - to think", "poor bride - organically related to the literature of a genuine school.

The "picture of family happiness" is largely the nature of the dramatized essay: not divided into phenomena, there is no completion of the plot. Ostrovsky put in front of him the task of portraying a life of merchants. The hero is interested in Ostrovsky solely as a representative of his estate, his lifestyle, his way of thinking. It goes on the genuine school. Ostrovsky reveals the close connection of the morality of his heroes with their social being.

The family life of merchants, he places in direct contact with the monetary and material relations of this environment.

Ostrovsky fully condemns its heroes. Heroes express his views on family, marriage, education, as if demonstrating the wildness of these views.

This technique was distributed in satirical literature of the 40s - reception of self-disclosures.

The most significant work of the Ostrovsky 40s. - came the comedy "his people - to tear up" (1849), which was perceived by contemporaries as a major conquest of a genuine school in drama.

"He began unusual," writes Turgenev about Ostrovsky.

The comedy immediately attracted the attention of the authorities. When censored presented a play for consideration by the king, Nikolai I wrote: "In vain printed! Play to ban, anyway. "

The name of the Ostrovsky was listed in the lists of unreliability, and the playwright for five years was given to the unlawful supervision of the police. "Case about Ostrovsky's literature" was established.

Ostrovsky, like Gogol, criticizes the most foundations of relations that dominate in society. He critically refers to the modern public life and in this sense he is a follower of Gogol. And at the same time, Ostrovsky immediately decided as a writer - an innovator. Comparing works of the early stage of his creativity (1846 -1852) with the traditions of Gogol, make sure that the new is an island in literature.

The action of the "High Comedy" of Gogol proceeds as it were in the world of unreasonable reality - "Auditor".

Gogol tested a person in his attitude to society, to civil debt - and showed - this is what these people. This is the focus of defects. They do not think about society at all. They are guided in their behavior with narrow-minded calculations, egoistic interests.

Gogol does not focus on the life - laughter through tears. His officials acts as a social layer, but as a political force that determines the life of society as a whole.

Ostrovsky is completely different - a thorough analysis of public household.

Like the heroes of the essays of the natural school, the heroes of Ostrovsky - ordinary, typical representatives of their social environment, which their usual everyday life share, all its prejudices.

a) In the play "His people will find" Ostrovsky creates a typical biography of the merchant, talks about how capital is peeled.

Bolshe in childhood traded cakes from the tray, and then became one of the first rich in Zamoskvorechye.

Podkhaluzin - was the capital of the owner's robbery, and finally - Tishka - a boy on the blisters, and, however, already knows how to please the new owner.

Here are the three steps of a merchant career. Through their fate, Ostrovsky showed how capital is drawn up.

b) The peculiarity of the Ostrovsky's drama was that this question was how capital was drawn up in a merchant environment - he showed through the consideration of intra-day, daily, ordinary relationships.

It is the Ostrovsky first in Russian drama reviewed the thread for the thread of the web of daily, household relations. He first introduced into the art of art all these little things in life, family secrets, small economic affairs. A huge place occupy, it would seem, nothing significant household scenes. Much attention is paid to the poses, gestures of heroes, their manners talk, their speech itself.

The first plays of Ostrovsky seemed to the reader unusual, non-stage, more similar to narrative, and not for dramatic works.

The circle of works of the Ostrovsky, directly connected by the natural school of the 40th Gg, closes the play "Poor Bride" (1852).

In it, Ostrovsky shows the same dependence of a person from economic, monetary relations. Several grooms seeks the hands of Maria Andreevna, but the one who gets it, it is not necessary to make any effort to achieve the goal. For him, the well-known economic law of capitalist society, where everything solves money. The image of Marya Andreevna begins in the work of the island new for him the topic of the position of a poor girl in society, where everything determines the commercial calculation. ("Forest", "Pupil", "Diminant").

So, for the first time, the island (unlike Gogol) appears not only the vice, but also the victim of the vice. In addition to the owners of modern society, those who are opposed to them, the desires, the needs of which are in contradiction with the laws, the customs of this environment. This entailed new paints. Ostrovsky discovered new sides of his dating - dramatic satirism. "His people will consider" - satirity.

Island art manner in this play even more different from Gogol's drama. The plot here loses all the sharpness. It is based on an ordinary case. The topic that sounded in the "marriage" of Gogol and received satirical lighting - the transformation of marriage in buying and selling, there was a tragic sound.

But at the same time, it is a comedy on the drawing of characters, according to the provisions. But if Hohol's heroes cause laughter and condemn the public, then the Ostrovsky viewer saw his daily life, he felt deep sympathy to one - condemned others.

The second stage in Ostrovsky's activities (1853 - 1855) marked the seal of Slavophilic influences.

First of all, this transition of Ostrovsky to Slavophilic positions should be explained by the strengthening of the atmosphere, the reaction, which is established in the "gloomy seven years" 1848 - 1855.

What exactly is this influence, what ideas of Slavophiles turned out to be close island? First of all, the rapprochement of the island with the so-called "young editor" of Moskvatianin, the behavior of which should be explained by the interest characteristic of them to Russian national life, folk creativity, the historical past of the people, which was very close to Ostrovsky.

But Ostrovsky failed to distinguish between this interest in the main conservative principle, which manifested itself in the established social contradictions, in hostile attitude towards the concept of historical progress, in the worship of all patriarchals.

In fact, Slavophiles act as ideologists of socio-backward elements of small and medium bourgeoisie.

One of the most striking ideologues of the "young editorial board" "Moskvatian" Apollo Grigoriev argued that there is a single "national spirit", which is the organic basis of folk life. To catch this national spirit and is the most important for the writer.

Social contradictions, the struggle of classes is the historical layers that will be overcome and which do not violate the unity of the nation.

The writer should show the eternal moral starts of a folk nature. The carrier of these eternal moral began, the spirit of the people is the class "middle, industrial, merchant", because it was this class that preserved the patriarchs of the tradition of old Russia, retained faith, morals, fathers language. This class did not affect false civilization.

The official recognition of this doctrine of Ostrovsky is his letter in September 1853 to Pogododin (the editor of the "Moskvatian"), in which Ostrovsky writes that he now became a supporter of the "new direction", the essence of which is to appeal to the positive principle of life and folk nature.

The former look at things now seems to him "young and too cruel." The impact of social defects is not the main task.

"The corrections will be available without us. To have the right to correct the people, not offended by him, it is necessary to show him what you know for him and good "(September 1853), - writes Ostrovsky.

A distinctive feature of the Russian people of Ostrovsky is presented at this stage not his readiness to renounce against outdated norms of life, but patriarchalness, commitment to unchanged, indigenous conditions of life. Ostrovsky now wants to connect "high with comic" in his plays, understanding under high positive features of merchant life, and under the "comic" - all that lies outside the merchant circle, but its influence providing him.

These new looks of Ostrovsky found their expression in the three so-called "Slavophilic" plays of Ostrovsky: "Do not sit down in our sleeves", "poverty is not a vice", "you don't like how you want."

All three Slavophile Pieces of Ostrovsky have one defining start - an attempt to idealize patriarchal lies of life and family morality of merchants.

And in these plays, Ostrovsky appeals to family-household plots. But they no longer cost economic, social relations.

Family, household relations are interpreted in a purely moral plan - it all depends on the moral qualities of people, they do not cost material, money interests. Ostrovsky is trying to find the ability to resolve contradictions in moral terms, in the moral reincarnation of heroes. (Moral enlightenment of Proud Torcov, the nobleness of the soul of Borodkin and Rusakov). Samodorism justifies not so much the existence of capital, an economic attitude, how many personal properties of a person ..

The Ostrovsky depicts those parties to the merchant life, in which it seems to be focused on the national, the so-called "National Spirit". Therefore, it focuses on the poetic, light sides of the merchant life, introduces ritual, folklore motifs, showing the "People's Epic" beginning of the life of heroes to the detriment of their social certainty.

Ostrovsky emphasized the proximity of his merchant heroes to the people, their social and household connections with the peasantry in the plays of this period. They say about themselves that they are "simple" people, "uncompatible", that their fathers were peasants.

From the artistic side these plays are clearly weaker than the same. The composition of their deliberately simplified, the characters were less clear, and the junction was less justified.

For the plays of this period, Didactimism is characterized, light and dark starts are open in them, the heroes are sharply divided into "good" and "evil", the vice is punished with a junction. The plays of the Slavophilic period is peculiar to open morality, sentimentality, aspiration.

At the same time, it should be said that this period is Ostrovsky, in general, remained in realistic positions. According to Dobrolyubov, "the strength of a direct artistic feeling could not and here to leave the author, and therefore private provisions and individual characters are distinguished by genuine truth."

The value of the Pieces of Ostrovsky, written during this period, is primarily in the fact that they continue to ridicurate and condemn the Samorams in whatever forms, it does not appear / love the ends. (If large - rough and straightforward - type of self-timer, then Rusakov - softened and meek).

Dobrolyubov: "In the Bolshe, we saw a divent nature, subjected to the influence of merchant life, it seems to us in Rusakov: but even the honest and soft nature come out with it."

Most: "What am I and Father, if not to order?"

Rusakov: "I am not asking for whom she will love, and for whom I love."

The praise of patriarchal life is contradictoryly combined in these plays with the formulation of acute social issues, and the desire to create images in which national ideals would be embodied (Rusaki, Borodkin), with sympathy for young people who carry new aspirations, confront the entire patriarchal, old. (Mitya, Love Gordeevna).

In these plays, the expression of the desire of the Ostrovsky find a bright, positive start in ordinary people.

So there is a topic of people's humanism, the latitude of the nature of a simple person, which is expressed in the ability to boldly and on their own to look at the surrounding and in the ability to come from their own interests for the sake of others.

This topic was then sounded in such central plays of Ostrovsky as a "thunderstorm", "Forest", "Dustpannica".

The idea of \u200b\u200bcreating a people's performance - the performance of Didactic - was not alien to the Ostrovsky, when he created "poverty is not a vice" and "not so live, as I want."

Ostrovsky sought to convey the ethical principles of the people, the aesthetic basis of his life, to cause the response of the democratic viewer to the poetry of the native life, the National Starny.

The Ostrovsky was guided by the noble desire to "make a democratic audience an initial cultural vaccination." Another thing is the idealization of humility, humility, conservatism.

Curious assessment of the Slavophilic Pieces in the articles of Chernyshevsky "Poverty is not a vice" and Dobrolyubov "Dark Kingdom".

Chernyshevsky with his article spoke in 1854, when Ostrovsky was close to Slavophilas, and there was a danger of washing of Ostrovsky from realistic positions. Chernyshevsky calls the Pieces of Ostrovsky "Poverty is not a vice" and "not sitting in our sleeves" "fake," but further continues: "Ostrovsky did not destroy his excellent talent, he needs to return to the realistic direction." "In truth, the power of talent, the erroneous direction is destroyed even the strongest talent," concludes Chernyshevsky.

The Dobrolyubov article was written in 1859, when Ostrovsky was released from Slavophilic influences. To remember the former delusions was meaninglessly, and Dobrolyubov, confirmingly on this expense a deaf hint, focuses on the disclosure of the realistic beginning of the same plays.

Chernyshevsky and Dobrolyubov estimates mutually complement each other and are an example of the principle of revolutionary-democratic criticism.

In early 1856, a new stage begins in the works of Ostrovsky.

The playwright comes closer with the editors of the contemporary. This rapprochement coincides with the period of lifting the progressive public forces, with the rewinding of the revolutionary situation.

He, as if following the Council of Nekrasov, returns to the path of studying social reality, the way to create analytical plays, which give pictures of modern life.

(In the review on the play "I don't like how you want," Nekrasov advised him, refusing all biased ideas, to go along the way that his own talent will lead: "Give the free development of your talent" - ways of image of real life).

Chernyshevsky emphasizes "Beautiful talent, strong island talent. Dobrolyubov - "The power of the artistic fuss" of the playwright.

During this period, Ostrovsky creates such significant plays as the "pupil", "profitable place", the trilogy about Balzaminov and, finally, during the revolutionary situation - "Thunderstorm".

For this period, Ostrovsky's creativity is characteristic, first of all, expanding the coverage of life phenomena, expansion of the subject.

First, in the field of his study, which the landfill, a serfish environment enters, Ostrovsky showed that the Ulabekov's landowner ("pupil") mocks just as severely over his victims, as well as illiterate, dark merchants.

Ostrovsky shows that in the landowner-noble environment, as in the merchant, the same struggle of the rich and poor, senior and younger.

In addition, in the same period, Ostrovsky raises the topic of mesh. Ostrovsky was the first Russian writer who noticed and artistically discovered the meshness as a social group.

The playwright discovered in the meshness the predominant and eclipant all other interests of interest in the material, the fact that bitter subsequently determined as a "ugly developed sense of property".

In the trilogy about Balsaminov ("Festive sleep - before dinner", "they gnaw your dogs, someone else's not stick," "What are you going, then you will find") / 1857-1861 /, Ostrovsky denounces the Meshchanous way of existence, with his mentality, limitations , vulgarity, thirst for profit, ridiculous dreams.

In the trilogy about Balsaminov, not just ignorance or limited, but some intellectual mildness, the inferiority of the tradesman. The image is constructed on opposition to this mental inferiority, moral insignificance - and complacency, confidence in their right.

In this trilogy there are elements of water-condition, buffonads, features of an external comium. But the combination of internal combination prevails in it, since the figure of Balzaminov's internally comical figure.

Ostrovsky showed that the kingdom of the messenger, this is the same dark kingdom of impassable vulgarity, wildness that is directed to one goal - profit.

The next play is "profitable place" - indicates the return of Ostrovsky on the path of "moral and accusatory" drama. In the same period, the Ostrovsky was the discoverer of another dark kingdom - the kingdom of officials, the tsarist bureaucracy.

During the abolition of serfdom, the impact of bureaucratic orders had a special political meaning. The bureaucracy was the most complete expression of an autocably-serf system. It embodied the exploitative and predatory essence of autocracy. It was no longer just household arbitrariness, but violation of common interests in the name of the law. It was in connection with this play of Dobrolyubov that expands the concept of "Samodoria", understanding the self-deframe at all.

"Profitable place" reminds on the problem of N.Gogol "Auditor". But if in the "Revolution" officials who create lawlessness feel guilty, fear of retaliation, then Ostrovsky officials are imbued with the consciousness of their rightness and impunity. Bribery, abuse, seem to them, and the surrounding norm.

Ostrovsky stressed that the distortion of all moral norms in society is the law, and the law itself is something illusory. Both officials and people dependent on them know that laws are always on the side of one who has power.

Thus, officials - for the first time in the literature - the island show as peculiar traders by law. (An official can turn the law as he wants).

A new hero came to the Ostrovsky's play - just graduating the university young official of the greedy. The conflict between representatives of the old formation and Zhadov acquires the power of an irreconcilaginous contradiction:

a / Ostrovsky managed to show the failure of the illusions about an honest official as a power capable of stop administration abuse.

b / Fight with the "Youth" or a compromise, treason of ideals - no choice by Zhadov is not given.

Ostrovsky reigned the system, those living conditions that generate bribes. The progressive value of the comedy lies in the fact that in it an irreconcilable denial of the old world and the "Yossovsky" merged with the search for a new morality.

Zheadov is a weak man, he does not stand the struggle, he also goes to ask for an "profitable place."

Chernyshevsky believed that the play would be even stronger if he ended in the fourth act, i.e., the desperation of Zhadov's despair: "We go to the uncle to ask an income place!" In the fifth - in front of Zhadov, the abyss appears, which almost destroyed him morally. And, although the end of the Vyshirmy is not typical, in the salvation of Zhadov there is an element of chance, his words, his faith in the fact that "somewhere there are other, more persistent, decent people," which will not compromise, do not resign They talk about the future for the further development of new public relations. Ostrovsky premeditated the coming public lift.

The rapid development of psychological realism, which we observe in the second half of the XIX century, manifested itself in dramaturgy. The secret of the island's dramatic letter is not in the union of the characteristics of human types, but in the desire to create full-blooded human characters, internal contradictions and whose borings serve as a powerful impetus for dramatic movement. About this feature of the creative manner of Ostrovsky told G.A.Tovstonogov, bearing in mind, in particular, Glumov from the comedy "on every sages of pretty simplicity," the character is far from perfect: "Why is the glules charming, although he makes a number of vile actions? After all, if He is not considered to us, then there is no performance. The charming does hatred for this world, and we are internally justifying his way to pay with him. "

Interest in the human person in all her states made writers to seek funds for their expression. In the drama, the main such means was the stylistic individualization of the character of the characters, and the leading role in the development of this method belongs to the island. In addition, the Ostrovsky in psychologism made an attempt to go further, along the way to give its heroes as possible freedom as part of the copyright plan, the result of such an experiment was the image of Katerina in the "thunderstorm".

In the "thunderstorm", Ostrovsky rose to the image of the tragic clash of living human feelings with a dead Domostroevian life.

Despite the variety of types of dramatic conflicts presented in the early works of Ostrovsky, their poetics, their total atmosphere was determined, first of all, the fact that the Samodoria was given in them as a natural and inevitable phenomenon of life. Even the so-called "Slavophile" plays, with their search for light and good began, did not destroy and did not violate the oppressive atmosphere of the Samodor. This common flavor is characterized by a "thunderstorm" play. And at the same time, it has a power that resolutely opposes a terrible, dead routine, is a national element, pronounced in folk characters (Katerina, above all, Kuligin and even Kudryash), and in Russian nature, which becomes a significant element of dramatic action .

The play "Thunderstorm", who set the difficult issues of modern life and appeared in the press and on stage, just on the eve of the so-called "liberation" of the peasants, showed that Ostrovsky is free from any illusions regarding Russia's public development paths.

Even before the publishing "Thunderstorm" appeared in the Russian stage. The premiere took place on November 16, 1859 in the Small Theater. The play was occupied by magnificent actors: S.Vasiliev (Tikhon), P. Sadovsky (wild), N. Skalova (Kabanova), L. Nikulina-Kositskaya (Katerina), V. Zhansky (Kudryash) and others. The production was led by N. Ostrovsky himself. The premiere had a huge success, the following performances were held with the triumph. A year after the brilliant premiere of "Thunderstorms", the play was awarded the highest academic award - a great Uvarovsky Prize.

In the "thunderstorm", the social system of Russia is sharply reflected, and the death of the main character is shown by the playwright as a direct consequence of its hopeless position in the "Dark Kingdom". The conflict in the "thunderstorm" is built on the implacable collision of the freedom-loving Katerina with a terrible world of wild and wild and kabanov, with animal laws based on cruelty, lies, mockery, on the humiliation of the human person. Katerina went against the self-employment and obscurantist, armed only by his feeling, consciousness Rights to life, fortunate and love. According to a fair remark of Dobrolyubov, she "feels the opportunity to satisfy the natural thirst for his soul and cannot further stay still: she rushes to a new life, at least I had to die in this impulse."

Katerina, from childhood, was brought up in a peculiar setting that had developed romantic dreaminess, religiosity and thirst for freedom. These character traits have led to the tragity of its position in the future. Brought up in a religious spirit, she understands all the "sinfulness" of his feeling for Boris, but can not oppose the natural attitude and is completely given to this gust.

Katerina acts not only against the "Kabanov concepts about morality." It openly protests against the immutable religious dogmas, approved by the categorical inviolability of church marriage and condemned suicide, as contrary to Christian teaching. Bearing in mind this fullness of protest Katerina, Dobrolyubov wrote: "Here is the true power of the character, which in any case can be rejected! Here is the height that our folk life comes in its development, but to which there was a very few in the literature of our literature, and no one knew how to keep it so well as Ostrovsky. "

Katerina does not want to put up with the surrounding dead decor. "I don't want to live here, so I will not become, even though you cut me!" - She says to Varvar. And she cums the life of suicide. "Sad, bitter such liberation, - noticed Dobrolyubov, - but what to do, - when there is no other way out" . The character of Katerina is complex and multifaceted. It is about this complexity, it is extensive only testifies, perhaps, that many outstanding performers, pushing out, seemingly from the exact opposite dominant character of the main character, so to the end and could not exhaust it. All these various The interpretations did not revealed to the end of the main thing in the nature of Katerina: her love she was given with all the vicinity of the young nature. Her life experience is negligible, most of all in her nature is a sense of beauty, poetic perception of nature. However, its nature is in motion, in development. One contemplation of nature, as we know from the play, it is not enough for her. There are other spheres of the spiritual forces applications. Prayer, service, myths are also a means of thickening a poker The adequacy of the main character.

Dobrolyubov wrote: "Do not rituals occupy her in the church: she doesn't even hear what they sing and read; It in the soul other music, other visions, for her service ends inconspicuous, as if in one second. It is occupied by trees, strangely painted on the images, and she imagines a whole country of gardens, where all such trees, and all this blooms, fragrant, everything is full of paradise singing. And then she will see on a sunny day, as "from the dome a bright such post goes down, and in this post smoke, for sure the clouds," - and now it sees, "as if the angels fly in this post and sing." Sometimes it will be introduced to her - why would she not fly? And when it stands on the mountain, then it pulls it to fly: it would be so, felt, raised his hands, and flew ... ".

A new, who has not yet been loosened by the sphere of manifestation of her spiritual forces and was her love for Boris, who ultimately caused her tragedy. "The passion for the nervous passionate woman and the struggle with the debt, the fall, the repentance and heavy redemption of guilt - all this is fulfilled by the lively dramatic interest, and are kept with extraordinary art and knowledge of the heart," I. A. Goncharov said rightly.

As often still passion, the immediacy of Katerina's nature are condemned, and its deep spiritual struggle is perceived as a manifestation of weakness. Meanwhile, in the memoirs of the artist E. B. Piunova-Schmidtgof, we find a curious story of Ostrovsky about my heroine: "Katerina," Alexander Nikolaevich told me, - a woman with passionate in kind and strong character. She proved it with his love for Boris and suicide. Katerina, although the scored medium, at the first opportunity he is given to his passion, saying before that: "Be what will be, and I will see Boris!" Before the picture of Hell, Katerina does not concern and clickers, but only the face and the whole figure should be depressed deadly fear. In the farewell scene, with Boris, Katerina speaks quietly, as a patient, and only the last words: "My friend! My joy! Goodbye!" - Pronounces as louder as possible. The position of Katerina became hopeless. To live in the house of her husband, it is impossible ... go nowhere. To parents? Yes, by that time they would have tied and led to her husband. Katerina came to the conviction that it was impossible to live, as she had lived before, and, having a strong will, drowned ... ".

"Without fear of accusations of exaggeration, I. A. Goncharov wrote," I can say on the conscience that there was no such work as drama in our literature. She, undoubtedly, occupies and, probably, will take a long time on high classic beauties. With whatever side, it is neither being taken - if there is a plan for creating, or dramatic movement, or, finally, characteristics, it is imprinted everywhere by the strength of creativity, the subtlety of the observation and the grace of finishing. " In the "thunderstorm", according to Goncharov, "the wide picture of national life and morals has lowered."

Ostrovsky conceived a "thunderstorm" as a comedy, and then called it drama. Very carefully talked about the genre nature of the "Thunderstorm" N. A. Dobrolyubov. He wrote that "the mutual relationship of self-smuggling and fraud is brought to the most tragic consequences."

By the middle of the XIX century, the Dobrolyubovo definition of the "play of life" turned out to be more capacious than the traditional division of dramatic art, still experiencing a cargo of classic norms. In Russian drama, there was a process of rapprochement of dramatic poetry with everyday reality, which, naturally, affected their genre nature. Ostrovsky, for example, wrote: "The history of Russian literature has two branches, which finally merged: one branch in the vaccine and there is a foreign departure, but a well-rooted seed; She comes from Lomonosov through Sumarokov, Karamzin, Batyushkova, Zhukovsky, and so on. Before Pushkin, where he begins to converge with another; Other - from Cantemir, through the comedy of the same Sumarois, Fonvizin, Capnicker, Griboedov to Gogol; It completely merged both; Dualism over. On the one hand: commendable ODY, French tragedies, imitation of ancient, sensitivity of the late XVIII century, German romanticism, frantic young literature; And on the other hand, satire, comedy, comedy and "dead souls", Russia as if at the same time in the person of the best writers lived the period over the period of the life of foreign literature and brought up its universal value. "

The comedy, thus, turned out to be closest to the everyday phenomena of Russian life, she sled to everything that worried about the Russian audience, reproduced life in its dramatic and tragic manifestations. That is why the Dobrolyubs were so stubbornly for the definition of the "play of life", seeing not so much conditionally genre value, as the principle of reproducing modern life in drama itself. Actually, the Ostrovsky said about the same principle: "Many conditional rules disappeared, they will disappear and some more. Now the dramatic works are nothing but a dramatized life. "This principle determined the development of dramatic genres throughout the next decades of the XIX century. In his genre" Thunderstorm "- a socially-house tragedy.

A. I. Revyakin rightly notes that the main sign of the tragedy is "the image of irreconcilable vital contradictions that cause the death of the main character who is outstanding" - in the "thunderstorm" there. The image of the folk tragedy, of course, led to the new, original structural forms of its incarnation. Ostrovsky has repeatedly opposed the oblique, traditional manner of building dramatic works. Novatovskaya in this sense was "Thunderstorm". He didn't talk about it without irony in a letter to Turgenev dated June 14, 1874 in response to the proposal to print "thunderstorm" translated into French: "Print" Thunderstorm "in good French translation does not interfere, she can impress its originality; But should it be put on the stage - you can think about it. I will very highly appreciate the French to make plays and I'm afraid to insult their delicate taste with your terrible inefficiency. From a French point of view, the construction of "thunderstorms" is the reality, but it must be admitted that it is not very folded at all. When I wrote a "thunderstorm", I got carried away by the finishing of the main roles and with unforgivable frivolity "reacted to the form, and the same was in a hurry to rush to the Benefens of the late Vasilyeva."

Curious reasoning A.I. Zhuravlyova on the genre of the originality of "thunderstorms": "The problem of genre interpretation is the most important when analyzing this plays. If you contact the scientific and critical and theatrical traditions of interpretation of this play, you can select two prevailing trends. One of them is dictated by the understanding of the "thunderstorms" as a socially domestic drama, there is no particular importance to everyday life. The attention of the director and according to the viewers, as it were, equally distributed between all the participants in the action, each person receives an equal value. "

Another interpretation is determined by the understanding of "thunderstorms" as tragedy. Zhuravleva believes that such a interpretation is deeper and has a "big support in the text", despite the fact that the interpretation of "thunderstorms" as drama relies on the genre definition of the island itself. The researcher rightly notes that "this definition is a tribute to tradition." Indeed, the entire previous story of Russian drama did not give the samples of the tragedy, in which the heroes would be individuals, and not historical figures, at least legendary. "Thunderstorm" remained a unique phenomenon in this regard. The key point for understanding the genre of the dramatic work in this case is not the "social status" of the heroes, but, above all, the nature of the conflict. If you understand the death of Katerina as a result of a collision with mother-in-law, see the victim of the family negle in it, then the scale of the heroes, really, looks fine for the tragedy. But if you see that the fate of Katerina determined the collision of two historical eras, the tragedy nature of the conflict seems to be quite natural.

A typical sign of the tragedy structure is the feeling of catharsis, experienced by the audience during the junction. The death of the heroine is freed from the neot, and from the tormenting internal contradictions.

Thus, the social and consumer drama from the life of the merchant class develops into a tragedy. Through the loving household conflict, Ostrovsky managed to show an epochal fracture occurring in a common consciousness. A wakeful sense of personality and a new attitude to the world, founded by non-individual will, found themselves in an irreconcilable antagonism not only with real, everybody, the reliable state of the modern island patriarchal defendant, but also with the ideal idea of \u200b\u200bmorality inherent in a high heroine.

This transformation of the drama in the tragedy occurred and thanks to the triumph of the lyrical element in the "thunderstorm".

The symbolism of the name of the play is important. First of all, the word "thunderstorm" has a direct meaning in its text. The title image is included by the playwright in the development of action, directly involved in it as a phenomenon of nature. The motive of thunderstorm develops in the play from the first to the fourth act. At the same time, the image of a thunderstorm is recreated by Ostrovsky and as a landscape: poured moisture dark clouds ("like a cloud of clouds, it goes out"), we feel a stool in the air, hearing thunder rollers, get silent in front of lightning light.

The title of plays has a figurative meaning. The thunderstorm rages in the soul of Katerina, affects the boosal of creative and destructive principles, collisions of bright and gloomy premonitions, good and sinful feelings. Scenes with a grumble as if pushing forward the dramatic action of the play.

The thunderstorm in the play acquires the symbolic meaning, expressing the idea of \u200b\u200bthe whole work as a whole. The appearance of such people in the dark kingdom, like Katerina and Kuligin, is a thunderstorm over Kalinov. The thunderstorm in the play passes the catastrophicity of being, the state of the split in the world. Multipleness and multifaceted possession name becomes a kind of key to a deeper understanding of its essence.

"In the play of the city of Ostrovsky, whoaring the name" Thunderstorm, "A. D. Galakhov wrote, - the action and atmosphere tragic, although many places excite laughter." In the "thunderstorm", not only tragic and comic, but - that is especially important epic and lyrical. All this determines the originality of the composition of the play. V.Eyerhold wrote about this: "The peculiarity of the construction of the" thunderstorms "is that the highest point of the voltage gives the Ostrovsky in the fourth act (and not in the second picture of the second action), and the strengthening is noted in the scenario not gradual (from, second action Third to the fourth), and the impetus, or rather, two jolts; The first rise is specified in the second action, in the farewell scene of Katerina with the Tikhon (the rise is strong, but not yet), and the second lift (very strong is the most sensitive push) in the fourth action, at the moment of repentance of Katerina.

Between these two acts (supplied, as if on the vertices of two unequal, but sharply rushing up the hills) - the third action (with both paintings) lies as it were in the valley. "

It is easy to notice that the inner scheme of the "Thunderstorm" construction is finely opened by the director, is determined by the stages of the nature of Katerina, the stages of development of it, feelings for Boris.

A. Anastasyev notes that the Piesen is Ostrovsky his own, special fate. For many decades, "Thunderstorm" does not come off from the scene of Russian theaters, the execution of the main roles was famous for N. A. Nikulin-Kositskaya, S. V. Vasilyev, N. V. Rykalova, G. N. Fedotova, M. N. Yermolov, P. A. Streptova, O. O. Sadovskaya, A. Koonen, V. N. Pashnyne. And at the same time, "the historians of the theater did not testify for one-piece, harmonic, outstanding performances." The unsolved mystery of this great tragedy lies, according to the researcher, "in its dignity, in the hardest alloy the indisputable, unconditional, specifically historical truth and poetic symbolism, in the organic connection of real action and deeply hidden lyrical principle."

Usually, when they talk about the lyricism "Thunderstorms", they mean, above all, the system of the ministry of the main heroine of the play by nature, they say about the Volga, which is opposed in its most general form "barn" lifestyle and which causes lyrical outpouring Kuligina . But the playwright could not - by virtue of the laws of the genre - include the Volga, beautiful Volzhsky landscapes, in general, nature into the system of dramaturgical action. He showed only a path with which nature becomes an integral element of stage action. Nature There is not only an object of admirement and admiration, but also the main criterion for the assessment of everything that allows you to see alogure, unnaturalness of modern life. "Is the island" thunderstorm "wrote? "Thunderstorm" Volga wrote! " - Exclate the famous Teatranov and Critic S. A. Yuryev.

"Every true domestic is at the same time a true romantic," will later say, bearing in mind the Ostrovsky, the well-known theatrical figure of A. I. Yuzhzh-Sumbatov. Romantic in the broad sense of the word, surprised by the correctness and severity of the laws of nature and violation of these laws in public life. It was about this that Ostrovsky reasoned in one of his early diary records after arriving in the Kostroma places: "And on the side of the Volga, right against the city, two villages; Especially picturesque one, from which up to the Volga stretches the most curly grove, the sun when sunset climbed into it somehow wonderful, from the root, and made a lot of miracles. "

Out of this landscape sketch, Ostrovsky reasoned:

"I am starved, looking at it. Nature - You are the lover true, only terribly losing; Like love, you, you are all unhappy; The unsatisfied passion boils in your eyes, and no matter what you can't satisfy your desires, "you are not angry, you don't go away, but you are not looking away with your passionate eyes, and these full expectations of the eyes - execution and flour for a person."

Lyricism "Thunderstorms", so specific in shape (up. Grigoriev subtly noticed about him: "... as if it's not a poet, and the whole people created here ..."), it raised on the soil of the proximity of the world of the hero and the author.

The orientation for a healthy natural beginning becomes in the 50s - 60s by the socio-ethical principle of not one island, and all Russian literature: from Tolstoy and Nekrasov to Chekhov and Kuprin. Without this, a peculiar manifestation of the "author's" voice in dramatic works, we cannot fully understand the psychology of the "poor bride", and the nature of lyrical in the "thunderstorm" and "idleness", and the poetics of the new drama of the late XIX century.

By the end of the sixties, the creativity of Ostrovsky is thematically extremely expanding. It shows how new stirred with the old: in the usual images of his merchants we see the gloss and lightness, education and "pleasant" manners. They are no longer stupid despot, and predators-purchases who are holding in their fist not only family or city, but entire provisions. The conflict with them is the most diverse people, their circle is infinitely wide. And the accusatory pathos of the plays is stronger. The best of these: "hot heart", "mad money", "forest", "wolves and sheep", "last sacrifice", "idleness", "talents and fans".

Shifts are very well visible in the work of the island last period, if you compare, for example, the "hot heart" with "thunderstorms". A merchant karosleps is a famous merchant in the city, but not so terrible as wild, he is rather a cudak, his life does not understand and busy with his dreams. His second wife, Matrön, clearly leads a novel with Clapper Narkis. They both rob in the owner, and Narkis wants to become a merchant. No, it is not monolithic now the "Dark Kingdom". Domostroevsky construction will no longer save the leadership of Gradoboeva. Unrestrained people of a rich merchant HLYNA - Symbols of life of life, decay, nonsense: Khlynov Melith Street Water champagne.

Parasha - the girl's "hot heart". But if Katerina in the "thunderstorm" turns out to be a victim of an unrequited husband and a hazardous lover, then Parasha is aware of his mighty mental power. She also wants to "take off". She loves and swear slightly accuracy, the indecisiveness of the beloved: "Well, for the guy, that behind the plates I was imposed on me ... I see, I myself think about my head."

With a huge tension, the development of the love of Yulia Pavlovna Togina to unworthy to her young Kutyl Dulchin in the "last victim" was shown. In the late drams of Ostrovsky there is a combination of plenty of provisions with a detailed psychological characteristic of the main characters. A large emphasis on the peripetia of the flour experienced by them, in which a great place begins to take the struggle of a hero or heroine with himself, with his own feelings, mistakes, assumptions.

In this regard, the "idleness" is characteristic. Here, it may be, for the first time in the center of attention of the author, the sense of heroine, escaped from under the guardianship of the mother and an old lifestyle. This play is not a struggle of light with darkness, but the struggle of love itself for their rights and freedom. Larisa Sami Pararty preferred to Kararandyshev. Cynically overwhelmed over the feelings of Larisa around her people. The mother was abarted, who wanted to "sell" the daughter of the "idleness" for a monetary man, vanishing the fact that it would be the owner of such a treasure. The paratas, who deceived her best hopes and considered Larisa's love with one of the mumbling jellies, was abused. Knurov and sovers who played Larisa to Orlyan were abarted.

In which cynics, ready to go on the formation, blackmail, bribes for the sake of mercenary goals, turned the landowners in the colors of Russia, we learn from the "Wolves and Sheep" play. "Wolves" is the landowner Murzavetskaya, the landowner of the Berkuts, and the "Sheep" is a young rich widow of Kupavina, an unless elderly Barin Lynyaev. Murzavetskaya wants to marry a disturbed nephew on Kupavina, "Parrot" by her old notes of her deceased husband. In fact, promissory bills are falsified by trusted, Strayphimi Khagunov, which is equally served and Kupavina. Gained from St. Petersburg Berktov, the landowner - and the dealers, e more diligently than local scoundrels. He was in the middle of the way. Kupavina, with her huge capital, was filmed to his hands, not spreading about feelings. Lot "Parrot" Murzavetskaya expose the forgery, he immediately conclude a union: it is important for him to win a ballotting in the elections to the leaders of the nobility. There is a real "wolf" and there are all the others next to him "Sheep". At the same time, there is no sharp separation into the scoundrels and innocent. Between "wolves" and "sheep", as if there is some kind of stench. Everyone plays the war with each other and at the same time easily put together and find a general benefit.

One of the best plays of the entire Ostrovsky repertoire, apparently, is a play "without guilt to blame." It combines the motives of many former works. Crucinin's actress, the main acting person, - a high spiritual culture woman survived a great life tragedy. She is good and generous heart and wise on top of good and suffering stands Crucinin. If you like, she and the "Light of Light" in the "Dark Kingdom", she and the "last sacrifice", she and the "hot heart", she and the "idleness", around her "fans", that is, predatory "wolves", chains and Cynic. Kruchinin, not yet assuming that her son's son is not in life, reveals his undetected heart: "I experienced you more and more live in the world; I know that people have a lot of nobility, a lot of love, selflessness, especially in women. "

This play is a turbid Russian woman, apotheosis of her nobility, self-scenarisms. This and the apotheosis of the Russian actor, the real soul of which is Ostrovsky well knew.

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 Innokenty Annensky called him a "realist-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 - we were solved" allowed to put in the theater only ten years after it was possible to printed it in the journal.)

With a feeling of undisguised satisfaction A. N. Ostrovsky wrote on November 3, 1878, by his friend, Artist of the Alexandrian theater A. F. Burdin: "I already read my play in Moscow five times, among the listeners were faces and hostile to me, and all Unanimously recognized "the idleness" best of all my works. "

Ostrovsky lived in "Nurednant", at times only for her, his fortieth thing, rushed "his attention and strength", wanting to "separate" its most thorough way. In September 1878, he wrote it from his acquaintances: "I work on my own play with all my might; It seems that it will not be bad."

Following the day after the premiere, on November 12, Ostrovsky could learn, and undoubtedly found out, from the "Russian statements", as he managed to "tire the whole public up to the most naive spectators." For she is the public - obviously "turned" those spectacles, what 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 a "note on the position of dramatic art in Russia at present" (1881) wrote that "dramatic poetry closer to the people than other branches of literature. Any other works are written for educated people, and dramas and comedies - for all people; dramatic Writers should always remember this, they should be clear and strong. This proximity to the people does not do not humiliate dramatic poetry, but by opposite, 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. About the new, not sophisticated in the art of Steritel Island writes: "Elegant literature is still boring for him and is 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, - "It takes strong drama, 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, will write that the essence of it is in the main, "walking" truths, in the ability to convey them to the heart of the reader.

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.

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.

Ostrovsky knew the internal, hidden from the eye of the audience, the backstage of the theater. Starting from the "Forest" (1871), the Ostrovsky develops the theater theater, creates images of actors, depicts their fate - follow this play "Comedian XVII century" (1881), "Talents and fans" (1881), "Without guilt" ( 1883).

The theater in the image of Ostrovsky lives according to the laws of the world, who is familiar to the reader and the viewer for other places. The fact that the fate of artists is determined by the businesses, relations, the circumstances of the "common" life. Ostrovsky's ability to recreate an accurate, a living picture of time is fully manifested in the plays about the actors. This Moscow era of Tsar Alexei Mikhailovich ("Comedian XVII century"), provincial city, modern island ("talents and fans", "without guilt"), noble estate ("forest").

In the life of the Russian theater, which Ostrovsky knew so well, the actor was the face of a subane, who were in multiple dependence. "Then there was a favorite time, and all the superior administration of the inspector of the repertoire was to instruct the main director to be completely concerned with the compilation of the repertoire, so that the pets that receive greater presets were playing every day and, if possible on two theaters," wrote Ostrovsky in "note on Project Rules on Imperial Theaters for Dramatic Works "(1883).

In the image of the Ostrovsky, the actors could be almost poor, as unfortunately and lucky in the "forest", humiliated, losing the face of human because of drunkenness, like Robinson in the "Naddannica", like SMADA in "Wine to blame", like Yerast Golovilov in "Talents And fans "," we, artists, our place in the buffet, "Schmag says with challenge and evil irony.

Theater, the life of provincial actresses in the late 70s, approximately at a time when the Ostrovsky writes plays about the actors, shows M.E. Saltykov-Shchedrin in the novel "Lord Golovyevy". The nephews of Jews Forers and Anninka go to the actresses, fleeing from gathering life, but fall into the vertpets. They had no talent, nor training, they did not train acting, but all this was not required on a provincial scene. Acting's life appears on the memories of Anninki as hell as a nightmare: "Here is a scene with worsted, seized and slippery from damp decorations; So she spins out the stage, it is only spinning, imagining that he plays ... Drunk and draken nights; passage The landowners, hastily removal from skinny wallets with green; the grip of the merchant, the prubing "Akorch" almost with Nagaika in the hands. " And the life of the flasher is impellent, and what is being played on the stage, ugly: "... and the Duchess Gerlesteinskaya, a stunning hussar mention, and Claytte Ango, in a wound dress, with a cut ahead to the belt itself, and beautiful Elena, with a cross in front, Behind and from all sides ... Nothing, except for shamelessness and nudity ... That's what life went! " This life brings the favorite before suicide.

Coincidences from Shchedrin and Ostrovsky in the image of the provincial theater are natural - both they write about what they knew well, they write the truth. But Shchedrin is a merciless satir, he is so thickeled paints, the image becomes grotesque, the island gives an objective picture of life, his "Dark Kingdom" is not hopeless - not in vain N. Dobrolyubov wrote about "Light Beam".

This feature of Ostrovsky was marked with critics even when his first plays appear. "... the ability to portage reality as it is -" mathematical loyalty of reality ", the absence of any fraction ... All this is not distinctive features of Gogol's poetry; all these are distinctive features of a new comedy," wrote B. diamonds in the article "Sleep by Case of one comedy. " Already in our time, literary student of A.N. Ostrovsky in the work of "Belinsky and Dramaturgia" noted that "the most striking difference between the plays of Gogol and Ostrovsky is that Gogol has no vice victim, and the island has a suffering sacrifice Cobestle ... Depriveing \u200b\u200ba vice, island something protects against him, someone protects someone ... Thereby changing all the filling of the play. The play is painted by suffering lyrism, enters the development of fresh, morally or poetic feelings; the author's efforts are sent to that In order to dramatically push the inner legality, the truth and poetry of genuine humanity, oppressed and expelled in the situation of the dominant pearly and deception. " Other than Gogol, the Ostrovsky approach to the image of reality is explained, of course, the originality of his talent, the "natural" properties of the artist, but also (this can also be missing) with the changed time: increased attention to personality, to its rights, recognition of its value.

IN AND. Nemirovich-Danchenko in the book "The Birth of the Theater" writes about what is the Pieces of Ostrovsky especially staged: "atmosphere of good", "Clear, solid sympathy on the side of offended, to which the theater hall is always extremely sensitive."

In the plays about the theater and the actors at the Ostrovsky, the image of a genuine artist and an excellent person is attended. In real life, Ostrovsky knew many excellent people in the theater world, appreciated them highly, respected. L. Nikulina-Kositskaya played a big role in his life, brilliantly overlooking Katerina in the "thunderstorm". The Ostrovsky was friends with the artist A. Martynov, N. Rybakov, unusually highly appreciated, G. Fedotova, M. Yermolov played in his plays; P. Streptova.

In the play "Without guilt guilt" Actress Elena Kruchinin says: "I know that there are many nobility in people, a lot of love, dedication." And the Rutina-Krucinin itself belongs to such beautiful, noble people, it is a wonderful artist, smart, significant, sincere.

"Oh, do not cry; they do not stand your tears. You are a white pigeon in a black flock of rods, here they come to you. Whiteness, Clean Your It is an offensive," says in "talents and fans" of the Naps Sasha Nekina.

The brightest image of a noble actor, created by Ostrovsky, is the tragic of unhappiness in the "forest". Ostrovsky depicts a "living" person, with severe destiny, with a sad life story. Strongly drinking unhappiness can not be called a "white dove". But he changes through the play, the storyline gives him the opportunity to fully reveal the best features of his nature. If at first in the behavior of nonsensevtsev, a disorder inherent in the provincial tragic tragedy, addiction to the pompous declamation (it is ridiculous at these moments); If, playing the Barin, it falls into ridiculous situations, then, having understood what is happening in the estate of Gurmajskaya, what a rubbish of his mistress, he takes a hot participation in the fate of Axyushi, has excellent human qualities. It is found that the role of a noble hero is organic for him, this is really his role - and not only on stage, but also in life.

In his presentation, art and life are inextricably linked, the actor is not a hypocrite, not a pretender, his art is based on genuine feelings, genuine experiences, it should not have anything to do with pretendation and lies in life. In this sense of the replica who throws the Gurmyzhskaya and its entire company of unhappiness: "... We are artists, noble artists, and comedians - you".

The main comedian in the vital performance, which is played in the "Forest", is gourmet. She chooses an attractive, pretty role of a woman's strict moral rules, generous charity dedicated to good deeds ("Lord, do I live for myself? Everything I have, all my money belongs to the poor. I'm only a desktop for my money, but The owner of them all the poor, all unhappy "- she inspires it to others). But all this is a hypocrisy, a mask who hides her genuine face. Gurmyzskaya deceives, pretending to be kindly, she did not think to do something for others, to help someone: "What I walked around! Play-play a role, and you will play." Gurmajskaya not only plays the role itself completely alien to her, she and others makes playing on it, imposes their roles that should submit it in the most advantageous light: Unfortunately appointed to play the role of a grateful, loving nephew. Aksyusha - the role of the bride, Bulanovoy - the groom Aksyushi. But Axyusha refuses to break a comedy for her: "I will not go for him; so what is this comedy?" Gurmajskaya, no longer hiding that she directed the playful performance, roughly puts Axyush to the place: "Comedy! How do you dare? And at least a comedy; I feed you and dress up, and make you make a comedy."

Comedian lucktime, who turned out to be an insightful tragic of unfortunately, who took the play first by the play by Gurmyzhskaya, before it figured out in a real situation, says unfortunately: "The gymnasist is, it is clear, smarter; he plays your lover here! Plays, and you ... simple. "

The present appearance appears in front of the viewer, without the protective Pharisee Mask, Gurmajskaya - greedy, selfish, lingerie, depraved lady. The performance that she played, pursued low, dirty, dirty targets.

In many plays, Ostrovsky presented such a false "theater" of life. Podkhaluzin in the first play of Ostrovsky "his people" wakes up the role of the most devoted and faithful owner of a person and thus achieves its goal - deceiving Bolshaya, it becomes the owner. Glums in the comedy "on every sage is pretty simplicity" builds his career on a difficult game, putting on one, then another mask. Only the case prevented him to achieve a goal in the intrigue heap. In the "idleness" not only Robinson, entertaining Voezhevatov and Paratov, is represented by Lord. Trying to look important funny and miserable quarandyshev. Having become the fiance of Larisa, he "... the head raised so highly that, that and looked at someone. Yes, there was still glasses for some reason, and never wore them. Laying - barely nods," says Everything that Karandyshev is doing is artificially, all - at the bottom: And the pathetic horse he started, and the carpet with cheap weapons on the wall, and the lunch that he suits. PARATS A person is a calculating and soulless - plays the role of hot, unrestrainedly wide natures.

Theater in life, impressive masks are born to disguise, hide something immoral, shameful, to give black for white. For such a performance usually - calculation, hypocrisy, self-defense.

The stalls in the play "Without guilt guilt," being a victim of intrigue, which Corinkina started, and believing that Kruchinina only pretended to be a good and noble woman, sanguated by bitterness: "Actress! Actress! So play on stage. There's a good pretending money pays . And play in life above the simple, trustful hearts, which the game is not needed, who are asking for the truth ... I need to execute for it ... I do not need to be deceived! We are submitting the truth, clean truth! " The hero of the play here is very important for the island thought about the theater, about his role in life, about nature and the goal of acting art. Comedanism and hypocrisy in the life of Ostrovsky opposes the art performed by the truth and sincerity art on the scene. The real theater, the inspirational game of the artist is always moral, carry well, enlighten the person.

Ostrovsky's plays about the actors and theater, exactly reflecting the circumstances of the Russian reality of the 70s - 80s of the last century, contain thoughts about the arts that are alive today. These are thoughts about difficult, sometimes the tragic destiny of a genuine artist who, implementing, spending, burns herself, about the happiness of creativity, full of dedication, about the high mission of art, approving good and humanity. Ostrovsky himself expressed himself, revealed his soul in the plays created by him, perhaps, especially frankly in the plays about the theater and actors. Much in them is consonant with what the poet of our century writes in wonderful verses:

When the string dictates the feeling,

It is on the scene of the slave scene,

And here the art ends,

And the soil and fate breathe.

(B. Pasternak " Oh, I would know

what happens ... ").

At the production of Plays Ostrovsky, whole generations of Russian wonderful artists rose. In addition to the garden, Martynov, Vasilyeva, Streptova, Yermolov, Massalitinova, Gogolev. The walls of the Small Theater saw the living great playwright, on stage until now his traditions.

The dramatic skills of Ostrovsky is the property of the modern theater, the subject of close study. It is not outdated at all, despite some old-fashionedness of many techniques. But this old-fashionedness is exactly the same as the Theater of Shakespeare, Moliere, Gogol. These are old, genuine diamonds. Ostrovsky's plays laid the limitless possibilities of stage incarnation and acting growth.

The main power of the playwright is the all-level truth, the depth of typing. Dobrolyubov also noted that Ostrovsky depicts not just the types of merchants, landowners, but also universal types. We have all the signs of the highest art that is immortally.

The originality of Ostrovsky's drama, its innovation is particularly clearly manifested in typing. If ideas, themes and plots reveal the originality and innovation of the content of the island drama, the principles of typical of characters concern also its artistic pictoriality, its shape.

A. H. Ostrovsky, who continued and developing the realistic traditions of Western European and domestic drama, was attracted, as a rule, not exceptional individuals, but ordinary, ordinary social characters greater or less typical.

Almost any island character peculiar. At the same time, the individual in his plays does not contradict the social.

Individualizing their characters, the playwright discovers the gift of the deepest penetration into their psychological world. Many episodes of Island Pieces are masterpieces of realistic image of human psychology.

"Ostrovsky," Dobrolyubov was rightly wrote, "he knows how to look deep into the souls of a person, knows how to distinguish nature from all the extended deformities and growths; Therefore, the external oppression, the severity of the entire situation, the goded man, are felt in his works much stronger than in many stories, scary outrageous in content, but external, officially, the parties are completely obscured by the inner, human side. " In the ability to "notice nature, penetrate into the depths of man's souls, to catch his feelings, regardless of the image of his external official relations," Dobrolyubov recognized one of the main and best properties of the talent of Ostrovsky.

In the work on the characters, the Ostressive was incentive improved the techniques of his psychological skill, expanding the circle of paints used, complicating the coloring of the images. In the very first work, we have bright, but more or less unicineal characters of acting persons. Further works are examples of more in-depth and complicated disclosure of human images.

In domestic drama, the School of Ostrovsky is completely naturally denoted. It includes I. F. Gorbunov, A. Krasovsky, A. F. Pisemsky, A. A. Potekin, I. E. Chernyshev, M. P. Sadovsky, N. Ya. Soloviev, P. M. M. M. M. Solovyov, and . A. Kuchchsky. Study at Ostrovsky, I. F. Gorbunov created wonderful scenes from the mesh and merchant and craft life. Following the Ostrovsky, A. A. Pethene revealed in his plays. The crown of the nobility ("the newest oracle"), the predatory essence of the rich bourgeoisie ("guy"), bribery, careerism of the blessing ("Mishura"), the spiritual beauty of the peasantry ("Sheep's Succession -" Soul of man "), the emergence of new people of a democratic warehouse (" cut off chunk "). The first drama of Potekhin "The Court of Human is not God", which appeared in 1854, resembles Ostrovsky's plays, written under the influence of Slavophilia. In the late 50s and at the very beginning of the 60s in Moscow, St. Petersburg and the provinces were very popular with I. E. Chernyshev, Artist of the Alexandrinsky Theater, a permanent employee of the Iskra magazine. These plays, written in a liberal-democratic spirit, obviously imitating the artistic manner of Ostrovsky, have impressed the exception of the main heroes, the acute formulation of moral and domestic issues. For example, in the comedy "Groom from the Debt Office" (1858), it was told about the poor man trying to marry a wealthy landowner, in the comedy "not in money happiness" (1859) a soulless predator-merchant, in the drama "Father of the Family" (1860) was derived Samodur-landowner, and in the comedy "spoiled life" (1862) depicted on rarity honest, good official, his naive wife and dishonestly treacherous veil, violating their happiness.

Under the influence of Ostrovsky was formed later, at the end of the XIX and early XX century, such drama, like A. I. Skybatov-Yazzhin, Vl.I. Nemirovich-Danchenko, S. A. found, E. P. Karpov, P. P. Galotch and many others.

The indisputable authority of Ostrovsky as the first playwright of the country recognized all progressive figures of literature. Highly appreciate the playwright of Ostrovsky as "nationwide", listening to his advice, L. N. Tolstoy sent him a play "First Vinokur" in 1886. Calling the Ostrovsky "Father of Russian Dramaturgia", the author of the "war and the world" asked him to read the plays in the accompanying letter and express his "father's sentence."

Ostrovsky's plays, the most progressive in the drama of the second half of the XIX century, make up in the development of world dramatic art a step forward, an independent and important chapter.

The enormous influence of Ostrovsky on the playwright of the domestic, Slavic and other peoples is indisputable. But his work is connected not only with the past. It actively lives in the present. In his contribution to the theater repertoire, which is an expression of the current life, the great playwright is our contemporary. Attention to his work does not decrease, but increases.

Ostrovsky will still long attract the minds and hearts of domestic and foreign spectators by the humanistic and optimistic pathos of their ideas, the deep and wide generalization of their heroes, good and evil, their universal properties, the uniqueness of their original dramaturgical skills.

Alexander Nikolaevich Ostrovsky

Ostrovsky Alexander Nikolaevich (1823, Moscow - 1886, the estring of the Schekovo Kostroma lips.) - Dramaturgure. Rod. In the family of a judicial official. Having received a serious home education, graduated from the Gymnasium Yves 1840 entered the legal Ft. Mosk. Un-Ta, from where she left, without graduating from the course, in 1843. I entered the service for judicial institutions that allowed O. to collect a bright material for its plays. Despite endless difficulties with censorship, Ostrovsky wrote about 50 pieces (the most famous "revenge place", "Wolves and sheep", "Thunderstorm", "Forest", "Dustpannica"), creating a grand artistic canvas, depicting the life of various estates of Russia second floor. XIX century He was one of the organizers of the artistic mug, the society. Dramatic writers and opera composers, made a lot to improve the position of theatrical case in Russia. In 1866, shortly before death, the Ostrovsky headed the repertoire of the mile. Theaters. The value of Ostrovsky was realized by its contemporaries. I.A. Goncharov wrote to him: "You alone completed the building, in the foundation of which they put the cornerstones of Fononon, Griboedov, Gogol. But only after you, the Russians, we can say with pride:" We have our own Russian, the National Theater. "He, by justice , Must be called; "Ostrovsky Theater.

Materials KN: Shikman A.P. The figures of domestic history. Biographical reference. Moscow, 1997.

Alexander Nikolaevich Ostrovsky (1823-1886) is an exceptional figure against the background of the literature of the XIX century. In the West before the appearance of ibsen, there was not a single playwright, which could be put in one row with him. In the life of merchants, dark and ignorant, enchanted by prejudices, inclined to self-employment, ridiculous and funny, he found the original material for his scenic works. The pictures of the life of the merchants gave the Ostrian opportunity to show the important side of Russian life as a whole, the "Dark Kingdom" of the old Russia.

Ostrovsky - folk playwright in the true and deep sense of the word. His nationality is also manifested in the immediate connection of his art with folklore - folk songs, proverbs and sayings, which make even the names of his plays, and in truthful, imbued with a democratic tendency of a people's life, and in an extraordinary bulge, the relief of the images created in the affordable and Democratic shape and addressed to the People's Spectator.

Citizted by ed.: World History. Tom Vi. M., 1959, p. 670.

Ostrovsky Alexander Nikolaevich (1823 - 1886), playwright. Born on March 31 (April 12 N.S.) in Moscow in the family of an official who deserved the nobility. Children's years were held in Zamoskvorechye, the merchant and Meshchansky district of Moscow. Got a good home education, since childhood studying foreign languages. He subsequently knew Greek, French, German, and later - English, Italian, Spanish.

At the age of 12, he was given to the 1st Moscow gymnasium, which he graduated from 1840 and entered the Faculty of Faculty of Faculty of Moscow University (1840 - 43). He listened to the lectures of such advanced professors as Tryzanovsky, M. Podogodin. The desire for literary creativity coincides with passionate passion of the theater, on the scenes of which the great actors M. Shepkin and P.Mochalov appeared at the scenes at that time.

Ostrovsky leaves the university - legal sciences have ceased to interest him, and he decides to seriously do literature. But, at the insistence of his father, he entered the Moscow Communication Court. Work in court gave the future playwright a rich material for his plays.

In 1849, a comedy was written "his people - to tear up!", Bringing the confession to the author, although it appeared on the stage only after 11 years (was banned by Nikolai 1, and Ostrovsky was given under the supervision of the police). Inspired by success and recognition, Ostrovsky wrote one every year, and sometimes several plays, creating a whole "Ostrovsky Theater", which includes 47 plays of various genres.

In 1850, it becomes an employee of the magazine "Moskvatikan", is included in the circle of writers, actors, musicians, artists. These years have given a lot of dramatur in creative terms. At this time, "Morning of a young man", "an unexpected case" (1850) is written.

In 1851, Ostrovsky left the service to all forces and time to give literary creativity. Continuing Gogol's accusatory traditions, he writes the comedy "Poor Bride" (1851), "did not compare the characters" (1857).

But in 1853, refusing the "hard" view of Russian life, writes Pusher: "Let a better Russian man rejoices, seeing herself on the stage than the encouragement. The corrections will have without us." Comedy followed: "Do not sit down in our sleeves" (1852), "Poverty is not a vice" (1853), "I don't like how you want" (1854). N. Chernyshevsky reproached the playwright in ideological and artistic false of his new position.

The further creativity of Ostrovsky was part of the expedition organized by the Maritime Ministry to study the life and fishery of the population associated with rivers and shipping (1856). Made a trip along the Volga, from the sources to Nizhny Novgorod, during which he was led by detailed records, studied the life of the local population.

In 1855 - 60, in the predimed period, it comes closer with revolutionary democrats, comes to a certain "synthesis", returning to the chief of the "rulers" and opposing their "little people". Pieces appear: "In someone else's hangover" (1855), "revenue place" (1856), "pupil" (1858), "Thunderstorm" (1859). Dobrolyubov enthusiastically appreciated the drama "Thunderstorm", devoting her an article "Light of Light in the Dark Kingdom" (1860).

In the 1860s, Ostrovsky appeals to the historic drama, considering such plays necessary in the repertoire of the theater: the "Tushino" chronicles (1867), "Dmitry Samozhan and Vasily Shuisky", the psychological drama "Vasilis Melentyev" (1868).

In the 1870s draws the life of the Poreframe Nobility: "On all sages of pretty simplicity", "Mad money" (1870), "Forest" (1871), "Wolves and Sheep" (1875). A special place is occupied by the play "Snow Maiden" (1873), which expressed the lyrical beginning of Ostrovsky's drama.

In the last period of creativity, a whole series of plays dedicated to the fate of a woman in the conditions of entrepreneurial Russia was written 1870 - 80: "Last sacrifice", "Dustpannica", "heart is not a stone", "talents and fans", "without guilt," etc.

Materials KN: Russian writers and poets. Brief biographical dictionary. Moscow, 2000.

Vasily Perov. Portrait of A. N. Ostrovsky. 1871

Ostrovsky Alexander Nikolaevich (31.03. 1823-2.06.1886), playwright, theatrical figure. Born in Moscow in Zamoskvorechye - the merchant and Meshchansky-official district of Moscow. Father - official, son of the priest, who graduated from the Spiritual Academy, who received the public service and later received the nobility. Mother - from poor clergy, was different along with the beauty of high mental qualities, died early (1831); Magic of Ostrovsky, from the ancient noble family of the russian Swedes, transformed the Patriarchal Zamoskvoretsky life of the family to the noble way, cared for a good home to upbringing his children and steps, for which the family had the necessary prospect. Father, in addition to civil service, was engaged in private practice, and from 1841, having resigned, became a successful jury of the Moscow Commercial Court. In 1840, Ostrovsky graduated from the 1st Moscow gymnasium, which was at the time of an exemplary secondary educational institution with a humanitarian bias. In 1840-43 he studied at the Law Faculty of Moscow University, where at the time I was taught by M. P. Pogodin, T. N. Granovsky, P. G. Rarkin. In the gymnasium, the island was carried away by literary creativity, he was made by passionate theater in his student years. In the Moscow stage, the great actors P. S. Mochalov and M. S. Shchepkin, who had a great influence on young people were shone. As soon as the classes with special legal disciplines began to interfere with the creative aspirations of Ostrovsky, he left the university and, at the insistence of his father, in 1843 he entered the stationery in the Moscow conscious court, where property disputes, crimes of juvenile, etc.; In 1845, he was transferred to the Moscow Commercial Court, from where he left in 1851 to become a professional writer. Work in the courts significantly enriched the life experience of Ostrovsky, gave him knowledge of the language, life and psychology of the Meshchansky-merchant "third-party" Moscow and officials. At this time, the island tries in different fields of literature, continues to compose poems, writes essays and plays. The beginning of his professional literary activity is Ostrovsky considered the "Family Picture" play, which is 14 Feb. 1847 I successfully read in the house of the University Professor and the writer S. P. Shevyreva. By this time, the "Notes of the Zamoskvoretsky resident" (for them, back in 1843, was written a small story "The legend about how the quarterly warden was launched into the dance, or from the Great to the funny only one step"). The next play "His people will tear!" (The initial name "bankrupt") was written in 1849, in 1850 printed in the magazine "Moskvatik" (No. 6), but was not allowed on the scene. For this play, which made the name of the Ostrovsky famous all-reading Russia, he was given to the unlawful supervision of the police.

With n. The Ostrovsky becomes an active employee of "Moskvatian", published by M. P. Pofodin, and soon together with A. A. Grigoriev, E. N. Edelson, B. N. Almazov, and others forms t. N. "Young edition", trying to revive the magazine, promoting realistic art, interest in folk everyday life and folklore. The circle of young employees "Moskvatian" included not only writers, but also actors (P. M. Sadovsky, I. F. Gorbunov), musicians (A. I. Dubyuk), artists and sculptors (P. M. Blylevsky, N. A . Ramazanov); Moskvyaninians had friends among the "simpleness" - performers and folk songs. Ostrovsky and his comrades in "Moskvatian" were not only a group of like-minded people, but also a friendly circle. These years were given a lot of Ostrovsky in creative terms, and above all the deep knowledge of "living", non-academic folklore, speech and life of urban common people.

All R. The 40th island entered a civil marriage with the Meshchansky girl A. Ivanova, who remained with him until his death in 1867. Being a little educated, she had a mind and tact, the wonderful knowledge of common life and wonderfully sang, her role in the creative life of the playwright was undoubtedly Significant. In 1869, Ostrovsky married the actress of the Small Theater M. V. Vasilyeva (from which by that time had already had children), prone to the noble, "secular" forms of life, which complicated his life. For many years, Ostrovsky lived on the verge of poverty. Being a recognized head of Russian playwrights, he constantly needed on the slope of years, extracting funds to life with tireless literary labor. Despite this, he was distinguished by hospitality and constant willingness to help anyone in need.

The whole life of Ostrovsky is associated with Moscow, which he considered the heart of Russia. Of the relatively few travels of Ostrovsky (1860 - a trip with a tour with A. E. Martynov in Voronezh, Kharkov, Odessa, Sevastopol, during which a great actor died; foreign trip 1862 in Germany, Austria, Italy with a visit to Paris and London; a trip C and F. Gorbunov on the Volga in 1865 and with brother, M. N. Ostrovsky, in the Transcaucasia in 1883) the most influence on his work was provided by an expedition organized by the maritime ministry who were sent to the literators to study the life and fields of the population associated with rivers and shipping. The Ostrovsky made a trip along the Volga, from the sources to N. Novgorod (1856), during which the detailed records were led and amounted to a neighborhood of shipping, shipbuilding and fisheries of the Upper Volga region. There was a great importance for him and life in the beloved Kostroma holidays, which the writer's father bought in 1847. The first trip of there (1848, on the path of Ostrovsky examined the ancient Russian cities Pereslavl Zalessky, Rostov, Yaroslavl, Kostroma) made a huge impression on Ostrovsky (remained Enthusiastic record in the diary). After the death of the Ostrovsky's father and Brother M. N. Ostrovsky bought the estate at stepmother (1867). The history of the creation of many plays is connected with a click.

In general, the passionate concentration of Ostrovsky at creativity and theater affairs, making his life to poor external events, it was not splashing her with the fate of the Russian theater. The writer died in a writing desk in Schelike, working on the translation of the play of Shakespeare "Anthony and Cleopatra".

In the creative path of the Ostrovsky, the following periods can be distinguished: early, 1847-51 - the sample of forces, the search for their path, which ended with the triumphant entry into the greater literature of the comedy "their people - to tear!". This initial period passes under the influence of "Natural School". The next, Moskvaster period, 1852-54 - Active participation in the mug of young employees "Moskvatian", who sought to make a magazine by the body of a social thought, related to Slavophilism (the plays "do not sit down in their sleeves", "Poverty is not a vice", "not so live , as you want "). The worldview of Ostrovsky is definitively determined in the predetermined period, 1855-60; It occurs its rapprochement with populists ("in someone else's hangover", "profitable place", "pupil", "thunderstorm"). And the last, the pureform period is 1861-86.

Piece "Your people - to think!" It has a sufficiently complex composite structure that combines the phrase-sensitive outlaits with a strained intrigue, and at the same time characteristic of the island's default of the deployment of events. The lengthy slowdown exposition is explained by the fact that the dramatic effect of the island is not exhausted by intrigue. In it is drawn and moralizing episodes with potential conflict (spores of sticky with mother, whale visits, scenes with a tish). It is peculiarly dynamic and conversations of heroes that do not lead to any direct results, but having their "microcondition", which can be called a speech movement. Speech, the most reasoning method is so important and interesting that the viewer monitors all turns, it would seem empty chatter. The isoev's speech itself is an almost independent object of an artistic image.

Ostrovsky's comedy, drawing as if the exotic life of a closed merchant world, actually reflected community processes and change in its own way. There is also a conflict of "fathers" and "children." Here they talk about the enlightenment and emancipation, not knowing, of course, these words; But in the world, the very basis of which make up deception and violence, all these high concepts and liberating the natural life are distorted as in the mirror curve. The antagonism of the rich and poor, dependent, "junior" and "older" will be deployed and demonstrated in the sphere of struggle not for equality or the freedom of personal feeling, and in selfish interest, the desire to get rich and "heal in their will". High values \u200b\u200bare replaced by their parody twins. Education is nothing but the desire to follow fashion, contempt for the customs and preference of the "noble" cavaliers "bearded" grooms.

In the Comedy of Ostrovsky there is a war against everyone, and in the very antagonism of the playwright reveals a deep unity of the characters: the deception is deceived only violence, the rudeness of feelings is the natural product of the rudeness of morals and coercion. The acuity of social criticism does not interfere with objectivity in the outcome of characters, especially noticeable in the formation of Most. His gross self-immortality is combined with a straight and simpleness, with sincere suffering in final scenes. Entering in the play as it were from the 3 stage of a merchant biography (mention of the past, the image of tishki with its naive accumulation, the "dedicated" podhaliuzine, the crushing owner), is the island of the epic depth, showing the origins of character and "crisis". The history of the Zamoskvoretsky merchant house appears not as a "anecdote", the result of personal defects, but as a manifestation of vital patterns.

After Ostrovsky created in the comedy "his people - to think!" So an irrepresentable picture of the inner life of a merchant house, he had the need to find positive principles that could withstand the amoralism and cruelty of the modern society. The direction of searches was determined by the participation of the playwright in the "young edition" "Moskvatian". At the very end of the reign of imp. Nicholas I Ostrovsky creates a kind of patriarchal utopia in the plays of the Muscovite period.

For Muscovites, focusing on the idea of \u200b\u200bnational identity was characterized, which was developed mainly in the field of art theory, especially manifested in the interest of a folk song, as well as to the Dopurerov forms of Russian life, which remained even in the medium of the peasantry and patriarchal merchants. The patriarchal family appeared to the Muscovites model of the ideal public device, where the relationship between people would be harmonious, and the hierarchy would be based not on coercion and violence, but on the recognition of the authority of seniority and everyday experience. There was no consistently formulated theory or, moreover, Muscovites did not have programs. However, in literary criticism, they invariably defended the patriarchal forms and opposed their norms of "Europeanized" noble society not only as the original national, but also more democratic.

Ostrovsky and during this period sees the social conflict of the life depicted by him, shows that the idyll of the patriarchal family is fraught with drama. True, in the first Moskvatsentan play "not in their sleigh," the drama of intrameal relations is emphasized by the social color. Social motifs here are connected only with the image of the nobility hidden life of Vikhorev. But the next, the best play of this period "Poverty is not vice" brings social conflict in the family to high voltage. The power of the "senior" over the "younger" here has a clear money. In this play, for the first time the island, the comedy and dramatic start, which will be a distinctive feature of his creativity in the future. Communication with Muscovite ideas here is manifested not in smoothing the contradictions of life, but in understanding this contradictions as the "temptation" of modern civilization, as the result of the invasion of strangers, the internally alien to the patriarchal world began, personified in the figure of the Korshun manufacturer. For Ostrovsky Samodor Gordes, confused by Korshunov, by no means a genuine carrier of patriarchal morality, but a man who changed her, but a capable of returning to her under the influence of the shocks experienced in the final. The poetic image of the world of folk culture and morality created by Ostrovsky (scenes of the density and especially popular songs that seek a lyrical comment on the fate of young heroes), with their charm, purely confront saming, but he needs, however, in support, he is fragile and defenseless before on the "modern". It is not by chance that in the plays of the Muscovite period, the only hero that actively affects the course of events was loved by the ends, a man, "broken off" from the patriarchal life, who had gained bitter life experience beyond and therefore, he managed to look at the events in his family from the side, soberly appreciate them And to direct them the current to the general well-being. The largest achievement of the Ostrovsky is precisely in the creation of the image of Love Torotov, at the same time poetic and very vital.

Exploring the archaic forms of life in the family relations of merchants, the island creates an artistic utopia, the world, where, relying on the folk (peasant in their origins), the ideas about morality, it turns out to be possible to overcome distribution and fierce individualism, increasingly spreading in modern society, to achieve Lost, destroyed by history, unity of people. But the change in the entire atmosphere of Russian life on the eve of the abolition of serfdom leads the Ostrovsky to understand the utopianness and intact of this ideal. A new stage of his path begins the play "In someone else's hangover" (1855-56), where the brightest image of the merchant-self-director Titia Broskova, which became a nominal one. Ostrovsky wider covers the life of society, referring to the topics traditional for Russian literature and developing them completely original. Referring to the "income" (1856) of the widely discussed topic of officialhood, the Ostrovsky not only refuses the Lucchimacy and arbitrariness, but reveals the historical and social roots of the "Substitutional philosophy" (the image of the Yusov), the illusion of hopes for the new generation of educated officials: life pushes them to compromise (greed). In the "pupil" (1858), the Ostrovsky draws "Samogany" the life of the landlord estate without the slightest lyrism, so common to writers-nobles when applying to the placement.

But the highest artistic achievement of Ostrovsky in the preforming years was "Thunderstorm" (1859), in which he opened a folk heroic character. The play shows how violation of idyllic harmony of patriarchal family life can lead to tragedy. The main heroine of the play Katerina lives in an era when the scene is destroyed - harmony between a private person and moral representation of the medium. In the soul of the heroine, the attitude towards peace is born, a new feeling, she is still unclear, "a waking sense of personality, which, in accordance with her position and life experience, takes the form of individual, personal love. In Katerina, the passion is born and growing, but this passion is highly lightweight, far from thoughtless aspiration for hidden joys. The wokeering sense of love is perceived by Katerina as a terrible sin, imbued, because love for someone else's person for her, a married woman, there is a violation of moral debt. Moral commandments of the patriarchal world for Katerina are full of primary meaning and meaning. Already realizing his love for Boris, she strives to resist her, but does not find a support in this struggle: everything is already collapsed around her, and everything that she is trying to rely on, turns out to be an empty shell, deprived of genuine moral content. For Katerina, the same form and ritual themselves do not matter - it is important to human essence of the relationship. In the moral value of his moral representations, Katerina does not doubt, she only sees that there is no one in the world and in the world and in its struggle is alone. The world of patriarchal relations dies, and the soul of this world leaves life in flour and suffering. Under the Ostrovsky Ostrovsky, the conceived social and household drama from the life of merchants turned into a tragedy. He showed a folk nature on a steep historical fracture - hence and the scale of "family history", the mighty symbolism "thunderstorms".

Although modern socio-household dramaturgion is the main part of the Ostrovsky heritage, in the 60s he addresses the historical drama, sharing the overall interest of the Russian culture of this period to the past. In connection with the educational understanding of the tasks of the Ostrovsky Theater considered the play on the topics of the national history necessary in the repertoire, believing that historical dramas and chronicles "develop self-knowledge and raise conscious love for the Fatherland." For the island history - the sphere is high in national being (this determined the appeal to the poetic form). The historical plays of Ostrovsky is heterogeneous by genre. Among them are the chronicles ("Kozma Zahorić Minin-Suchuk", 1862; "Dmitry Immozvana and Vasily Shuisky", 1867; "Tushino", 1867), Historical and household comedies ("Voevoda", 1865; "Comedian XVII century", 1873 ), Psychological drama "Vasilis Melentyev" (in collaboration with S. A. Gideonov, 1868). The preferences of the chronicle of the traditional genre of the historical tragedy, as well as the appeal to the troubled time, was determined by the people's character of the Ostrovsky Theater, his interest in the historical act of the Russian people.

In the varying period in Russia, the closure of class and cultural and international groups of the Company collected; "Europeanized" lifestyle, the former privilege of the nobility, becomes the norm. Social Pestrot characterizes the picture of the life created by Ostrovsky in the pureforming period. The thematic and temporal range of his drama is made extremely broad: from historical events and private life of the XVII century. to the hottest malice; from the inhabitants of the outfill, poor Meshchansky Okrain to modern "civilized" entrepreneurs-torpedil; From the reforms of the noble living rooms to the forest road, on which the actors of lucky and unhappiness are found ("Forest").

The early Ostrovsky has no classic-intellectual characteristic characteristic of the most Russian writers, the noble "extra person." In k. 60s, he addresses the type of the noble hero-intellectual. The comedy "On all sages of pretty simplicity" (1868) - the beginning of a peculiar anti-Dvorayan cycle. Although social criticism is in all the plays of Ostrovsky, actually satirical comedies has a little: "On all sages of pretty simplicity", "Mad money" (1870), "Forest" (1871), "Wolves and Sheep" (1875). Not separate characters or storylines are involved in the scope of satirical images, but the whole life presented, not so many people, individuals, how much way in general, the course of things. The plays are not connected plugly, but this is exactly the cycle, in general, giving a wide linen of the life of the Poreframe nobility. According to the principles of poetics, these plays differ significantly from the main genre of pre-reform creativity - created by the Ostrovsky type of People's Comedy.

Ostrovsky in a comedy "On all sages of pretty simplicity" with satirical sharpness and with the objectivity characteristic of his manner captured a special type of evolution of the "excess person." The path of Glumov is the path of betrayal towards his own personality, the moral split leading to cynicism and immorality. A not a noble nobleman is not a noble nobleman, and a beggar actor of unhappiness is not a high hero in the Poremoregia of Ostrovsky. And the "path to heroes" this declamic nobleman passes in front of the audience, playing the role of the Barin, who returned to relax in the native land, and in the final, sharply and resolutely striking the estate with the world, pronouncing the court over its inhabitants from the standpoint of a high, humane art.

A wide picture of complex social processes occurring in Russia after the decade of reforms, Rodnit "Forest" with the Great Russian novels of the 70s. Like L. N. Tolstoy, F. M. Dostoevsky, M. E. Saltykov-Shchedrin (it was during this period that the "Lord Golovy") created his "manorbed family"), the Ostrovsky was causing that in Russia "everything was drowned and Only fit "(as stated in Anna Karenina). And in the family mirror reflects this new reality. Through the family conflict in the island comedy, there are huge shifts occurring in Russian life.

The noble manor, her hostess, respectable guests-neighbors are outdated by Ostrovsky with all the power of satirical chip. Badaev and Milonov with their conversations about "current times" are similar to Shchedrian characters. Without the participants of the intrigue, they, however, are needed not only for the characteristics of the environment, but participate in action as the necessary spectators of the performance, played by the main antagonists of the play - Gurmajskaya and unhappy. Each of them puts its performance. The path of unfortunately in the play is a breakthrough from the fetaned melodrama to a genuine life altitude, the defeat of the hero in the "comedianness" and the moral victory in genuine life. At the same time, and coming out of the melodramatic role, unhappiness turns out to be an actor. His last monologue imperceptibly passes into the monologue of Karl Mora from the "Robbers" F. Schiller, as if Schiller judges the inhabitants of this "forest". Melodrama is thrown away, a large, present art comes to the aid of the actor. Gurmajskaya refused the costly role of the head of the patriarchal nobleman, guarding his less successful relatives. From the manor, hemp goes to the merchant house, the pupil of Aksyusha, who received dowry from the poor actor. On the village roads on foot, with the Kotomka, the last Gurmajsky is the wandering actor of unhappiness. The family disappears, disintegrates; There is a "random family" (the expression of Dostoevsky) - a married couple, consisting of a landowner in a fifty and inconspicuous gymnasium.

In the work on satirical comedies from modern life there was a new style of Isleth of Ostrovsky, not supplanted, however, the former, and difficult to interact with it. His arrival in the literature was marked by the creation of a national-distinctive theater style, based on the poetics on the folk tradition (which was determined by the nature of the early island "valuable" medium). The new manner is associated with the inventive tradition of the XIX century, with the discoveries of the narrative prose, with the study of the personality hero-contemporary. The new task prepared the development of psychologism in the art of Ostrovsky.

In the heritage of the island and in Russian drama, in general, the play "Snow Maiden" (1873) occupies a very special place. Having conceived as an extravagange, a fun view for festive performances, written on the plot of folk fairy tales and widely using other forms of folklore, primarily a calendar poetry, in the process of creating a play turned the idea. In the genre attitude, it is comparable to the European philosophical and symbolic drama, for example. With "Per Gunta" ibsen. In the "Snow Maiden" with great strength, the lyrical beginning of the island drama was expressed. Sometimes the "Snow Maiden" is called utopia without sufficient grounds. Meanwhile, the utopia contains an idea of \u200b\u200bideally fair, from the point of view of its creators, a device of society, it must be absolutely optimistic, the genre itself is designed to overcome the tragic contradictions of life, resolving them in fantastic harmony. However, the life depicted in the "Snow Maiden", beautiful and poetic, far from Idylliya. Berendeia is extremely close to nature, do not know evil and deception, as His nature does not know. But all that their own will or power of circumstances falls out of this cycle of natural life, should inevitably die here. And this tragic doomes of all overlooking the "organic" life embodies the fate of the Snow Maiden; It is not by chance that it dies exactly when he adopted the law of the life of Berendev and is ready to embody his woken love in domestic forms. It is not available to her nor Mizgir, whose passion, unfamiliar to Berendies, pushes him out of a circle of peaceful life. Uniquely optimistic interpretation of the final creates a contradiction with the immediate audience sympathy of the dead heroes, so it is incorrect. "Snow Maiden" does not fit into the genre of fairy tales, it is approaching mysterlery. Mythological plot can not have an unpredictable final. The arrival of the summer is inevitable, and the Snow Maiden can not not melt. All this does not devalue, however, its choice and victims. The actors are not passive and submissive - the action does not cancel usual action. Mysteryful action every time the new embodiment of the essential foundations of life. The free will of the Snow Maiden and Mizgius at Ostrovsky is incorporated inside this life cycle. The tragedy of the Snow Maiden and Mizgius not only does not ring the world, but even contributes to the normal flow of life, even saves Berendevo kingdom from "Ostuda". The world of Ostrovsky can be tragedy, but not catastrophic. Hence the unusual, unexpected combination in the tropism finale and optimisticness.

In the "Snow Maiden", the most generalized image of the "Island of Ostrovsky", which is reproduced in folk-symbolic form deeply lyrical author's presentation of the essence of the national life, overcoming, but not canceling the tragedy of individually personal being.

The artistic system of the island drama was formed in the subsoil of comedy. The writer develops such a type of comedy, in which, along with negative characters, they certainly have their victims, causing our sympathy and compassion. It predetermined the dramatic potency of his comedy world. Dramaticism of individual situations, sometimes fate ever expands more and more as it loosens, destroys the comedy structure, does not deprive, however, the play features a "major comism". "Joker" (1864), "Pacific" (1866), "There was no penny, yes suddenly Altyn" (1872) - explicit evidence of this process. It gradually accumulates the quality necessary for the emergence of drama in the narrow meaning of the term. This is primarily a personal consciousness. While the hero does not feel spiritually opposing environment and does not separate himself from her, he, even causing full sympathy, cannot yet become a hero of drama. In the "joker" the old old roughness of the hoarsee protects its right to be "jester", since it gives him the opportunity to feed the family. "Strong drama" of his monologue arises as a result of the spiritual work of the viewer, but remains outside the sphere of the consciousness of the hero itself. From the point of view of the formation of the drama genre is very important "baur".

The formation of the personal moral dignity of poor workers, urban mass, awareness in this environment of the extravoice value of an individual person is attracted to the close interest of Ostrovsky. Caused by reform lifting sense of personality, who captured quite wide sections of the Russian population, gives material to create a drama. In the artistic world of Ostrovsky, this dramatic conflict has often, however, continues to be embodied in the comedy structure. One of the most expressive examples of the struggle of the actual dramatic and comedy - "True is good, and happiness is better" (1876).

The formation of drama was associated with the search for the hero, who, first of all, was able to enter into a dramatic struggle and, secondly, to cause sympathy of the viewer, having a worthy goal. The interest of such a drama should be focused on the act of action, on the peripetias of this struggle. In the context of the Russian clan reality, Ostrovsky, however, did not find a hero who could simultaneously and be a person of the case, able to enter into a serious vital struggle, and arouse the sympathy of the audience with their moral qualities. All heroes in the drams of Ostrovsky - either a stale succeeding dealers, vulgar, cynical lifesters of life, or beautiful idealists whose powerlessness is predetermined before the "business man". They could not become the center of dramatic action - they become a woman, which is explained by its position in modern island society.

Ostrovsky - family-family drama. The building of modern life, her social person he knows how to show, remaining in these scene frames, since it is as an artist interested in the refraction of all the problems of modernity in the moral sphere. Nomination in the center of a woman naturally transfers focus with action in his own sense to sense of characters, which creates conditions for the development of a psychological drama. The most perfect one is considered to be "Nonmennica" (1879).

In this play, there is no absolute confrontation of the heroine and the environment: unlike the heroine "Thunderstorms", Larisa is deprived of integrity. The spontaneous desire for moral purity, the truthfulness is everything that comes from her organo-gifted nature, highly raises the heroine over the surrounding. But the Larisa's everyday drama itself is the result of the fact that the bourgeois ideas about life have power over it. After all, the pararticle loved not without accidentally, but, according to her own words, because "Sergey Sergeich is ... the ideal of a man." Meanwhile, the motive of trade walking through the entire play and concentrating in the main storyline - bargaining due to Larisa - covers all men 'heroes, among which Larisa should make their own life choice. And the paratas here is not only no exception, but, as it turns out, the most cruel and dishonest participant of the bargaining. The complexity of characters (the inconsistency of their inner world, like Larisa, the inconsistency of the inner essence and the external drawing of the hero's behavior, as in pararticle) requires elected island genre solution - the form of a psychological drama. The reputation of Parathov is a large barin, a wide nature, reckless brave. And all these paints and gestures are Ostrovsky leaves him. But, with others. Parties, it is fine and, as if by the way, accumulates strokes and replicas, opening his true face. In the first stage of the appearance of Pararty, the viewer hears his recognition: "What is" pity ", I do not know. I have a mockery of Parmerych, there is nothing cherished; I will find benefits, so everything will sell anything. " And directly after this it turns out that it sells the parats not only the "swallow" of the lead, but also the bride with the golden fores. In the end, compromises the parathov and the scene in the house of Karandyshev, because the decoration of an apartment of the ill-fated groom Larisa and an attempt to arrange a luxurious lunch - caricature on the style, lifestyle Pararty. And the whole difference is measured in the amounts that each of the heroes can spend it.

The means of psychological characteristics of the Ostrovsky are not self-recognition of the heroes, not reasoning about the feelings and properties of them, but mainly their actions and household, and not an analytical dialogue. As it is typically for classical drama, characters do not change in the process of dramatic action, but only gradually reveal to the audience. Even with Larisa, you can say the same: she twists, finds out the truth about the people around it, takes a terrible decision to become a "very expensive thing." And only death frees it from everything that everyday experience has been given. At this moment, it is like returning to the natural beauty of his nature. The powerful finale of the drama is the death of the heroine among the festive noise, under the singing of Gypsies - amazes with his artistic audacity. The mental state of Larisa is shown by Ostrovsky in the style of "strong drama" style and at the same time with immaculate psychological accuracy. She is mitigated and reassured, all forgives, because happy that she finally caused an outbreak of human feeling - a reckless, suicidal act of Karandyshev, who freed her from the terrible life of the content. The rare artistic effect of this scene is the island building on a sharp clash of multidirectional emotions: the more softness and all-sucking at the heroine, the stricter of the audience.

In the work of the island psychological drama was the genre of becoming, so along with such significant plays, as the "last sacrifice" (1878), "talents and fans" (1882), "without guilt" (1884), such a masterpiece, like "Nestennica" , in this genre, the writer knew relative failures. However, the best works of Ostrovsky laid the foundations for the further development of the psychological drama. Having created a whole repertoire for the Russian theater (approx. 50 original plays), Ostrovsky sought to replenish it as world classics and plays of modern Russian and European playwrights. He translated 22 pieces, among them "Taming the Shrews" Shakespeare, "Coffee" Goldeni, Intermedia of Servantes and MN. Dr. Ostrovsky read many manuscripts of beginner playwrights, helped them with advice, and in the 70s and 80s wrote several plays in co-authorship with N. Ya. Solovyov ("Happy Day", 1877; "Marriage Belugina", 1878; "Dicking ", 1880;" shines, yes not heats ", 1881) and P. M. M. Mesh Him (" Blazham ", 1881;" Old in New ", 1882).

Zhuravleva A.

Website materials are used Big Encyclopedia of the Russian People - http://www.rusinst.ru

Ostrovsky, Alexander Nikolaevich - the famous dramatic writer. Born on March 31, 1823 in Moscow, where his father served in the civilian chamber, and then engaged in private advocate. The island's mother lost in childhood and did not receive any systematic education. All his childhood and part of his youth passed in the very center of Zamoskvorechye, who was at that time, under the terms of his life, a completely special world. This world has populated his imagination by the ideas and types that he subsequently reproduced in his comedies. Thanks to the Big Library of the Father Ostrovsky, early familiarized himself with Russian literature and felt an inclination to the writer; But the father certainly wanted to make a lawyer from him. After graduating from the gymnasium, Ostrovsky entered the Faculty of Faculty of Moscow University. To finish the course, he failed due to some collision with one of the professors. At the request of the Father, he entered the desk of the scribe, first to the conscientious, then - to the commercial court. This was determined by the nature of his first literary experiments; In court, he continued to observe his friends from childhood as a kind of Zamoskvoretsky types, asked for literary processing. By 1846, they had already written a lot of scenes from the merchant life, and the comedy was conceived: "Insolvenient debtor" (later - "His people - to think"). A small excerpt from this comedy was printed in No. 7 "Moscow City List" 1847; Under the passage set letters: "A. O." And "D. G.", that is, A. Ostrovsky and Dmitry Gorez. The latter was a provincial actor (real name - Tarasenkov), the author of two or three plays, already played on stage, accidentally acquainted with Ostrovsky and offered him his cooperation. It did not go beyond one scene, and later served for the island source of great trouble, since he gave it to the unfair reinforcements to accuse him in the assignment of someone else's literary work. In No. 60 and 61, the same newspaper was, without signature, another, already quite an independent work of Ostrovsky - "Pictures of Moscow life. Picture of family happiness." These scenes were reprinted, in a corrected form and named the author, under the title: "Family Picture", in the "contemporary" of 1856, No. 4. "Family picture" Ostrovsky himself considered his first printed work and it was from it who began to start his literary activity. He recognized the most memorable and expensive day of his life on February 14, 1847. : On this day, he visited S.P. Shevyreva and, in the presence of A.S. Homyakova, professors, writers, employees of the Moscow City Lickey, read this play that appeared in print a month later. Shevyrev and Khomyakov, hugging a young writer, welcomed his dramatic talent. "From this day," says Ostrovsky, "I began to consider myself a Russian writer and no doubt and oscillations believed in your vocation." He tried the forces as well in narrative, in the Faketonian stories from Zamoskvoretsky life. In the same "Moscow City List" (No. 119 - 121), one of these stories is printed: "Ivan Erofeich", with a general title: "Notes of the Zamoskvoretsky resident"; Two other stories of the same series: "The legend about how the quarterly warder started to dance, or from the great to the funny only one step," and "two biographies" remain awakened, and the latter did not even be over. By the end of 1849, a comedy was already written under the title: "Bankrupt". Ostrovsky read it to his university comrade A.F. Pisemen; At the same time, he met the famous artist P.M. Sadovsky, who saw literary revelation in his comedy and began to read it in different Moscow circles, by the way - at the Countess E.P. Rostopchina, who usually gathered young writers, just started their literary activities (B.N. Almozov, N.V. Berg, L.A. Mei, T.I. Filippov, N.I. Shapovalov, E.N. . Edelson). All of them were in loved ones, friendly relations with Ostrovsky since the times of his student, and everyone accepted the proposal to work in the updated "Moskvatian", making the so-called "young version" of this magazine. Soon an outstanding position in this circle was taken by Apollo Grigoriev, who spoke to the proclaimer of identity in the literature and became a hot defender and the brave of Ostrovsky, as a representative of this identity. Ostrovsky's comedy, under the modified title: "His people - to think", after a long hassle with a censorship, accounted for before applying to the highest instance, was published in the 2nd Moskvatian Martov Book of 1850, but not allowed to be submitted; Censorship did not even even talk about this plays in print. On the stage, she was only in 1861, with the ended printed against the ending. Following this first comedy is Ostrovsky in the "Moskvatian" and other magazines, their other plays began to appear annually: in 1850 - "Morning of a young man", in 1851 - "An unexpected case", in 1852 - "Poor Bride", in 1853 - "Do not sit down in our sleigh" (the first of the Pieces of Ostrovsky, who fell on the stage of the Moscow Small Theater, January 14, 1853), in 1854 - "Poverty is not a vice", in 1855 - "not so living, as I want," in 1856 - "in someone else's hangover". In all these plays, the Ostrovsky was a pictorial of such as Russian life, which was almost completely affected by the literature and were not at all reproduced on the scene. Deep knowledge of the life of the image of the medium, the bright vitality and the truth of the image, a peculiar, lively and colorful language, clearly reflecting the real Russian speech of "Moscow Classroom", to learn whom Pushkin advised Russian writers - all this artistic realism with all simplicity and sincerity, to Which did not even rise Gogol, was met in our criticism with a stormy delight, others, with bewilderment, denial and ridicule. While A. Grigoriev, who proclaimed himself "Prophet Ostrovsky," tirelessly regrets that in the works of the young playwright, the expression "New Word" of our literature was found, which is "Nature", the criticism of the progressive direction reinforced the Ostrovsky for the Dopurerovskaya Starne, The "Slavophilism" of the bosomic sense, they saw in his comedies even the idealization of the nominations, called him the "guesthouse Koceb". Chernyshevsky sharply reacted to the play "Poverty is not vice", sawing in it some kind of sentimental suggestion in the image of the hopeless, allegedly "patriarchal", life; Other critics indignantly on Ostrovsky for being engaged in the degree of "heroes" of some chigs and boots with bottles. Free from the aesthetic and political bias theatrical public was irrevocably decided in favor of Ostrovsky. Talented Moscow actors and actresses - Sadovsky, S. Vasilyev, Stepanov, Nikulina-Kositskaya, Borozdin and others, - forced until then to perform, for single exceptions, or in vulgar water wakes, or in converted from French wanders, written, to The barbaric language, immediately felt in the plays of the Ostrovsky, the treachery of a living, close and native Russian life and gave all their forces to the true image on the scene. And the theater public saw in the execution of these artists a really "new word" of scenic art - simplicity and naturalness, saw people living on stage without any pretense. Ostrovsky has created a school of real Russian dramatic art, simple and real, as alien personality and affecting, how much alien to her all the great works of our literature. This of his merit was primarily understood and evaluated in the theater environment, the most free from biased theories. When in 1856, according to the thoughts of the Grand Duke Konstantin Nikolayevich, a campaign of outstanding writers was held to study and describe the various settlements of Russia in industrial and domestic relations, the Ostrovsky took over the study of the Volga from the upwards to the lower. A short report about this trip appeared in the "Maritime Collection" of 1859, full - remained in the author's papers and subsequently (1890) was processed by S.V. Maximov, but still awakened. A few months spent in close proximity to the local population were given a lot of live impressions, expanded and deepened the knowledge of Russian life in his artistic terms - in the mark of the word, a song, a fairy tale, a historical tradition, in the stained in the head of the nestlessness and customs of the antiquity. All this affected the later works of Ostrovsky and even more strengthened their national importance. Without limited to the life of the Zamoskvoretsky merchants, the Ostrovsky introduces the world of large and small bin, and then landowners in the circle of actors. In 1857, the "profitable place" and "festive sleep before dinner" (the first part of the "trilogy" about balsamine; two further parts - "their dogs gnaw, someone else's not stick" and "for what you come, then you will find", - appeared in 1861), in 1858 - "did not compare the characters" (it is originally written in the form of a story), in 1859 - "Pupil". In the same year there were two volumes of Ostrovsky's works, in the publication of Count G.A. Kusheleva-Bezborodko. This is the publication and served as a reason for the brilliant assessment that the Ostrovsky Dobrolyubs gave and which fastened the glory of the image of the Dark Kingdom. Performed now, after half a century, in Dobrolyubov's article, we cannot not see their journalistic nature. Ostrovsky himself was not at all satiri, not even a humorist; with truly epic objectivity, taking care only about the truth and vitality of the image, he "quietly ripe on the right and guilty, without conducting no pity, nor anger" and Nimalo without hiding his love for a simple "rustache", in which even among ugly manifestations is always I knew how to find certain attractive features. Ostrovsky and himself was such a "rusty", and all Russians found in his heart sympathetic szvuk. According to his own words, he cared primarily to show on the stage of the Russian man: "Let him see himself and rejoicing. The corrections will have it without us. To have the right to correct the people, it is necessary to show him what you know for him and good." Dobrolyubov, however, did not think to impose by island certain trends, but simply used his plays, as the truthful image of Russian life, for his own, very independent conclusions. In 1860, he was in the press "Thunderstorm", which caused the second wonderful article Dobrolyubov ("Light of Light in the Dark Kingdom"). In this play, the impressions of the Volga trips were reflected and, in particular, attending the author to the author. An even more brighter reflection of the Volga impressions was printed in No. 1 "Contemporary" of 1862 Dramatic Chronicle: "Kozma Zahariech Minin-Sukhuk". In this play, Ostrovsky first took up the processing of the historical topic, suggested to him as Nizhny Novgorod legends, and attentive to the study of our history of the XVII century. A sensitive artist managed to notice the living features of the people's life in the dead monuments and to master the language of the studied era, on which he subsequently, for the joke, wrote entire letters. "Minin", who received the approval of the sovereign, was, however, is prohibited by a dramatic censorship and could appear on the stage only 4 years later. On the stage of the play was not successful due to its stretching and not always successful lyrism, but the criticism could not not notice the high dignity of individual scenes and figures. In 1863, Ostrovsky printed a drama from a folk life: "Sin yes there is no one for anyone" and then returned to the pictures of Zamoskvorechye in Comedies: "Heavy Days" (1863) and "Joker" (1864). At the same time, he was occupied by the processing started even during a trip to the Volga large play in verses, from the life of the XVII century. She appeared in the number 1 of the "contemporary" of 1865 under the title: "of the voivode, or a dream on the Volga." This excellent poetic fantasy, something like dramatized epics, enters into itself a number of bright domestic paintings of the long-lasting, through the haze of which is felt in many places proximity to everyday life, and Dynun has not yet left the passed in the past. The Volzhsky impressions of insight and the comedy "on a lobby place", printed in No. 9 of the "contemporary" of 1865. From half the 60s, Ostrovsky was diligently engaged in the history of troubled time and entered into a lively correspondence with Kostomarov, who studied the same era at that time. The result of this work was two-printed dramatic chronicles in 1867: "Dmitry Immozan and Vasily Shuisky" and "Tushino". In No. 1 "Bulletin of Europe", 1868 there was another historical drama, from the time of Ivan the Terrible, "Vasilis Melentyev", written in collaboration with the director of theaters Gedeonov. From this time, a series of Ostrovsky's plays, written, according to his expression, in the "new manner" begins. Their item is an image of no longer merchant and mesh, and the noble life: "On all sages of pretty simplicity," 1868; "Mad money", 1870; "Forest", 1871. Household comedy "old manner" are traveled to them: "Hot heart" (1869), "Not all Cool carnival" (1871), "There was no penny, yes suddenly Altyn" (1872). In 1873, two plays were written, among the works of Ostrovsky, a special position: "comedian XVII century" (by the 200th anniversary of the Russian theater) and a dramatic tale in the verses of "Snow Maiden", one of the wonderful creatures of Russian poetry. In the further works of the 70s and 80s, Ostrovsky appeals to everyday life of various layers of society - and the noble, and the official, and merchant, and in the latter notes the change of views and the situation caused by the requirements of new Russian life. To this period, Ostrovsky's activities include: "Late Love" and "Labor Bread" (1874), "Wolves and Sheep" (1875), "Rich Brides" (1876), "True - good, and happiness is better" (1877) "Last Sacrifice" (1878), "Nonferdannica" and "Good Barin" (1879), "Heart is not a stone" (1880), "slave" (1881), "Talents and fans" (1882), "Handsome man" (1883), "no guilt guilt" (1884) and, finally, the last, weak intention and execution, play: "not from this world" (1885). In addition, several plays are written by Ostrovsky in collaboration with other persons: with N.Ya. Solovyov - "Marriage Belugin" (1878), "Dicking" (1880) and "shines yes not heats" (1881); With P.M. Inthi - "Blazhe" (1881). Ostrovsky also owns a number of translations of foreign play: "DEMARE OF AIRLY" Shakespeare (1865), "Great Banker" Italian Frank (1871), "Lost Sheep" Theobaldo Chiconi (1872), "Coffee" Goldoni (1872), "Coffee" Jacketti (1872), alteration from the French "slavery of men" and, finally, the translation of the 10 intermitria of the servants, published separately in 1886. The original plays is written in only 49. All these plays give the gallery of a wide variety of Russian types in their vitality and truthfulness, With all the peculiarities of their habits, language and character. With respect to the actual dramatic technique and the composition of the Ostrovsky's play, the artist, deeply truthful by its nature, and he himself was aware of his powerlessness in the invention of the plot, in the location of the strings and junction; He even said that "the playwright and should not come up with what happened; his case - write, as it happened or could happen; here all his work; if he appears in this direction, he will have live people and will speak." Arguing about his plays from this point of view, the Ostrovsky was aware that he had the most difficult thing - "fiction", because every lie is fighting him; But without this conditional lie, it is impossible to do the dramatic writer. That "the new word" island, for which Apollo Grigoriev so hotly ratified, essentially it is not so much in the "nationality", as in truthfulness, in the direct relationship of the artist to the surrounding life with the goal of its real reproduction on the scene. In this direction, Ostrovsky made a further step forward compared to Griboedovo and Gogol and for a long time approved the "natural school" on our scene, which at the beginning of its activities has already dominated other departments of our literature. The talented playwright, supported by no less talented artists, caused a competition in his peers, which came the same way: the playwright of the homogeneous direction was the letters, A. Potekin and others, less noticeable, but at one time the writers who had well-deserved success were successful. All soul devotee and his interests, the Ostrovsky paid a lot of time and labor as well as practical concerns about the development and improvement of dramatic art and to improve the material situation of dramatic authors. He dreamed of the possibility of transforming the artistic taste of artists and the public and create a theater school, equally useful both for the aesthetic education of society and to prepare worthy scene figures. Among all sorts of griefs and disappointments, he remained before the end of his life, Verne to this cherished dream, whose implementation was partly created by him in 1866 in Moscow the artistic circle, who later, who later, who later gave the Moscow scene of many talented figures. At the same time, Ostrovsky took care of the facilitation of the material situation of Russian playwrights: the company of Russian dramatic writers and opera composers (1874) was formed by his works (1874), whose permanent chairman he remained until his death. In general, by the beginning of the 80s, the Ostrovsky firmly took the place of leader and teachers of Russian drama and scenes. Working in 1881 in 1881 under the Directorate of the Commission's Imperial Theaters "to revise the rules in all parts of theatrical management", he achieved many transformations that significantly improved the position of artists and have given the opportunity to more appropriate formulation of theatrical education. In 1885, Ostrovsky was appointed head of the repertoire of Moscow theaters and the head of theatrical school. His health, by this time already shaken, did not meet the extensive plans of activity, which he put himself. Strengthened work quickly exhausted the body; On June 2, 1886, the Ostrovsky died in his Kostroma scholars, did not have time to implement its conversion assumptions.

Ostrovsky Ostrovsky was published many times; Last and more complete edition - Partnership "Enlightenment" (SPB., 1896 - 97, in 10 volumes, edited by M.I. Pisarev and with a biographical essay of I. Nosov). Separately published "Dramatic Translations" (M., 1872), Intermedia Servantes (St. Petersburg, 1886) and "Dramatic Composition of A. Ostrovsky and N. Solovyov" (SPB., 1881). For the biography of Ostrovsky, the most important difficulty is the book of the French scientist J. Patouillet "O. ET SON THEATRE DE MOEURS RUSSES" (Paris, 1912), where all the literature about Ostrovsky is also indicated. See memories S.V. Maksimova in the "Russian thought" of 1897 and Kropachev in "Russian Review" 1897; I. Ivanov "A.N. Ostrovsky, his life and literary activities" (SPB., 1900). The best critical articles about Ostrovsky are written by Apollo Grigoriev (in "Moskvatian" and "Time"), Edelson ("Library for reading", 1864), Dobrolyubov ("Dark Kingdom" and "Light of Light in the Dark Kingdom") and Boborakin ("Word ", 1878). - cf. Also books A.I. Unklenova "Ostrovsky in his works" (St. Petersburg, 1888), and OR. F. Miller "Russian Writers after Gogol" (SPB., 1887).

P. Morozov.

Requires from the address: http://www.rulex.ru/

Ostrovsky Alexander Nikolaevich (03/31/1823-2.06.1886), an outstanding Russian playwriter. Son of a judicial official.

At the end of the 1st Moscow Gymnasium (1840), Ostrovsky entered the Faculty of Law Moscow University,but a year before his end, it was forced due to the conflict with teachers to leave their studies and determine the "office minister" - first in the Moscow Consilment Court (1843), and two years later - to the Moscow commercial court.

With youth, Ostrovsky experienced passionate passion theater, was closely familiar with artists Small Theater: P. S. Moochalov, M. S. Shchepkin, P. M. Sadovsky.In 1851, he left the service and fully dedicated himself to literary and theater activities. Working in Moscow courts, studying merchant lawsuits, which was often engaged in the Ostrovsky's father, provided the future playwright with a rich life material related to the life and the businesses of the Russian merchants,and they subsequently allowed to create works in which the artistic brightness of characters is closely intertwined with their realism.

January 9, 1847 In the newspaper "Moscow Listok" a scene was published from the Comedy of the Ostrovsky "careless debtor", named later "his people - to tear." In the same year, a comedy "Picture of family happiness" was written. These works created in the spirit of "Natural School" N. V. Gogol,brought the author first fame. The following dramatic experiments of the Ostrovsky, who secured the first successes, were the plays 1851-54: "Poor Bride", "Do not sit down in our sleeves," "Poverty is not a vice", "not so live, as I want," whose heroes are people from Non-voluminous medium - act as carriers of truth and humanity.

In 1856-59 published Oral Pieces: "In someone else's a hangover", "revenue", "pupil" and caused a wide public resonance Drama "Thunderstorm", for which in 1859 Ostrovsky was awarded the Uvarovskaya Prize.

In the 1860s, the Ostrovsky were created by socio-household comedies and dramas - "Sin yes there is no one who does not live", "joker", "on a brisk place", "bai", as well as a series of plays on historical stories: about the era Ivan Grozny("Vasilis Melentievna") and about Time of time("Kozma Zahorić Minin-Sukhuk", "Dmitry Immozvana and Vasily Shuisky", "Tushino"). In the 1870s, well-known plays appeared: "Wolves and Sheep", "Forest", "Handsome man," "on every sage is pretty simplicity" - from the life of the provincial nobility;"Talents and fans", "without guilt guilt" - about the parties of actors; "Snow Maiden" - the embodiment of fabulous folklore motifs; "Dustpannica" is a peculiar top of the creativity of the Ostrovsky, who stands out in a number of other works by its deep socio-psychological disclosure of images.

All Ostrovsky Peru belongs to 47 literary and dramatic works, as well as 7 more plays written in collaboration with other authors. Ostrovsky's plays held a leading place in the Moscow repertoire Small theaterwith which the writer was closely connected: repeatedly performed as a director of his own play, was a creative mentor of many wonderful actors of this theater. Based on the works of Ostrovsky, a series of operas was created, among which the most famous "Snow Maiden" N. A. Rimsky-Korsakov,"Voevoda" P. I. Tchaikovsky,"Emintures force" A. N. Serov.

About the theater. Notes, speech, letters. L.; M., 1947;

On literature and theater / Sost., Intr. Art. and comments. M. P. Lobanova.

Literature:

Lotman L.M. A.N. Ostrovsky and Russian playwright of his time. Ml. 1961.

Alexander Nikolaevich Ostrovsky - Great Russian Dramaturgure. His numerous works have made a considerable contribution to the formation of the Russian theater. Ostrovsky was a member of the St. Petersburg Academy of Sciences.

Youth years Alexander Ostrovsky

In Moscow, Alexander Nikolaevich Ostrovsky was born in Moscow on March 31 (April 12 for a new style) of 1823, Alexander Nikolaevich Ostrovsky was born. His father - Nikolai Fedorovich was the son of a priest, and decided to follow the footsteps of the Father and becomes a court strength, but was able to reach the title adviser, which is why in 1839 he received the title of nobleman. Mother Alexandra - Lyubov Ivanovna Savvina - was a daughter of a little daughter, early left of his life when young playwright was only 8 years old. Alexander's family was quite large, but quite secured due to the efforts of the head of the family. Much attention was paid to the formation of children, most classes were held at home.

After the death of Spouse Nikolai Fedorovich decides to marry Baronness Emily Andreevna von Teszin. The girl was from the noble family of the Swedish nobleman. The woman did not hurt the adoptive children, and even the opposite was able to surround them with limitless caress and care. Steph also contributed to the receipt of children of competent and high-quality education. All childhood and even a little youth, Alexander spent in Zamoskvorechye. His family has a significant library in which children could be all day. Alexander with Eustice readed by books and finally realized that his calling was to write. However, Nikolai was against the passion of his son and insisted on the profession of a lawyer. Father was still able to achieve Alexander in 1835 to enroll in the 1st Moscow Gymnasium, and in 1840 he became one of the students of the Faculty of Law of the Moscow University. However, Alexander did not graduate from the full course, since he was able to give the enemy in the teacher. He left the university in 1943. The father did not give up his son and recorded him to the service of the scribe to court. Alexander continued to remain in this position until 1851.

Creativity Ostrovsky

Despite the peripetics of fate, Alexander was never able to refuse to write his addiction. He completely plunged into creativity, and in 1846 he was able to write not one scene from the life of merchants. In the same year, he began to develop the plot of the comedy "Insolvent Debtor." A little later, the name was changed to "their people - we'll think!". During the writing period, Alexander was falsely accused of plagiarism Dmitry Gorene. The well-deserved glory in the world of literature comes to the playwright with the release of the play "His people will take way!". The work was published in 1850. Ostrovsky received positive feedback on this product from such great writers as N. V. Gogol and I. A. Goncharov. It is worth considering that new life tests come with glory to the writer. The play was banned by Nikolai I, and Alexander himself was deprived of his posts and gave under the supervision of the police. With the arrival of Alexander II, the work was again admitted to the production of C1861. The next recognized by the Piece of Ostrovsky was the work "not sitting in their sleeves." It was written back in 1852, and to the formulation admitted in January 1854 in the city of St. Petersburg. Starting from 1853, the works of Ostrovsky for almost 30 years each season were put in the small and St. Petersburg Alexandria theaters.

In 1856, Ostrovsky take on a permanent job to the contemporary magazine. According to the approval of the Grand Prince Konstantin Nikolayevich Ostrovsky goes to a long journey through the lands of Russian. The playwright describes the life of the people on the expanses of Tsarist Russia. He managed to carefully examine the Volga and its length to Lower Novgorod. In 1859, Count G. A. Kushhelov - Bezborodko contributed to the rest of the collection of the works of Ostrovsky in two volumes, which was able to get wonderful reviews and approval of Dobrolyubov himself. After that, Ostrovsky began to be called the founder of the "Dark Kingdom".
The popular work of "Thunderstorm" could see the world in 1860, the writer has released the article "Light of Light in the Dark Kingdom".
Later, Ostrovsky begins to engage in the history of troubled time. His first award, namely, the Uvarov playwright received in 1863. At the same time, he was taken as members of the St. Petersburg Academy of Sciences. Ostrovsky was able to establish a circle called Artistic, who laid the career of many outstanding artists in Russia. Alexander had excellent relations with many writers of that time as Turgenev, Saltykov - Shchedrin, Tolstoy, Dostoevsky and many others.

Ostrovsky was the chairman of the famous society of Russian dramatic writers and composers, which originates back in 1874. He was able to stay in this position until the death. With his assistance, the conditions for artists were much simplified. He was heading since 1885 in the repertoire of Moscow theaters, as well as the head of theatrical school.
Throughout the life, Ostrovsky had problems in the material plan, although his plays brought significant income. In 1883, the emperor of the Russian Empire, Alexander III, was able to comply with a significant pension of 3 thousand rubles for playwright, however, it did not allow to improve the material well-being of the writer. Ostrovsky wished to realize many creative ideas, but his health from constant hard work was only worse. The death of the playwright on June 14, 1886. He died in his estate Cherchevo, was buried beard his father Nicholas. Later, his spouse and daughter was buried next to Alexander.

Personal life island

It is known that the writer was passionate about the beauty of the actress L. Kositsky, but the girl categorically rejected the feelings of the playwright. Also, Ostrovsky was in civil relations with a girl from a simple family - Agafei Ivanovna. Despite the fact that this woman was not formed, she could always listen to the writer and divide his experiences and feelings. They were destined to live together for 20 years. Later is the island married to actress Maria Bakhmetyeva. He was able to give birth to the playwright of four sons and two daughters.

Ostrovsky Alexander Nikolaevich appeared on March 31, 1823. In the big city - Moscow. In a merchant family. At the age of 8, his mother dies. The dream of his father was to see his son a lawyer, but he began to show interest in literature. After graduating from the gymnasium, he enters the university to the Faculty of Law, but because of his love for the theater and literature he did not throw him. At the Father's pointer, he works as a writer in court.

Creative activity

The work "His people will tear!" Brought fame to the novice writer, this creation appreciated the great writers of that time. Despite censorship, at that time a lot of books and plays were released under his authorship.

The writer himself loved the theater very much. He even created an artistic circle (1866), which helped develop many promising artists. He loved the theater very much and everything connected with him.

Ostrovsky was the head of the community of Russian dramatic and opera writers (1874).

Ostrovsky was the head of the theater school, and also managed the theaters in Moscow.

Death

All the life is Ostrovsky lived in the lack of finance. He wanted to revive acting skills, but did not have time.

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Biography

Alexander Nikolaevich Ostrovsky was born on March 31 (April 12) of 1823 in Moscow at the Small Ordinke. His father, Nikolai Fedorovich, was the son of a priest; He graduated from the Kostroma seminary himself, then the Moscow Theological Academy, but began to practice as a court strength, engaged in property and commercial affairs; Related to the rank of the titular adviser, and in 1839 he received a nobility. Mother, Love Ivanovna Savvina, Daughter of Lonar, early left of his life when Alexander walked only the eighth year. The family had four children. The family lived in good luck, paid great attention to the studies of children who received a home education. Five years after the death of Mother, the father married the Baroness of Emily Andreevna von Tessin, the daughter of the russian Swedish nobleman. With a stepmother, children were lucky - she surrounded them care and continued to study them.

Alexander, in childhood, addicted to reading, gets a good home education, knows Greek, Latin, French, German, subsequently - English, Italian, Spanish. When Alexander passed thirteen years, his father married the second time on the daughter of the russian Swedish Baron, which was not too engaged in raising children from her husband's first marriage. With her arrival, his homework changes, the official life is rebated to the noble manner, the environment changes, new speeches in the house. By this time, the future dramatur is re-reading almost the entire father's library.

History of personal life

History of personal life 2

The first wife: Agafia Ivanovna. According to eyewitnesses, it was a kind, a hearty woman, whom the Ostrovsky was largely obliged to know the Moscow life. According to the law of that time, the unprecedented marriages in Russia were officially legally not recognized (only from the twentieth century actual marriages are recognized, regardless of their registration), but they were quite recognized as such in society. The playwright lived in a civil marriage with Proshirotina Agafei Ivanovna, with which there were common children, but they still died by children. Not had the formation, but the woman is smart, with a thin light-upful soul, she understood the playwright and was the most first reader and criticism of his works. With Agafei Ivanovna Ostrovsky lived about twenty years, before her death

Childhood

Childhood and early youth is the Ostrovsky in Zamoskvorechye - a special corner of Moscow with his well-established merchant - Meshchansky residents. It was easier for him to fulfill the Council of Pushkin: "It's not thin to us sometimes listen to Moscow Considers. They say amazingly clean and right languages." Grandmother Natalia Ivanovna lived in the island family and served as a seeker in parish. Nyanushka Avdota Ivanovna Kutuzov was famous as a big master of tales. His godfather is a titular adviser, his godfather is a surviving adviser. From them and from the existing in the house of the colleagues of the Father, the future author of the "profitable place" could have been widged by official conversations. And since the Father leaves the service and becomes private attorney on business firms, merchants are not transferred to the house.

Alexander, in childhood, addicted to reading, gets a good home education, knows Greek, Latin, French, German, subsequently - English, Italian, Spanish. When Alexander passed thirteen years, his father married the second time on the daughter of the russian Swedish Baron, which was not too engaged in raising children from her husband's first marriage. With her arrival, his homework changes, the official life is rebated to the noble manner, the environment changes, new speeches in the house. By this time, the future playwright is re-reading almost the entire father's library

Study

From 1835-1840. - Ostrovsky is studying in the first Moscow gymnasium. In 1840, at the end of the gymnasium, he was enrolled at the Faculty of Faculty of Moscow University. At the University of the Faculty of Law, the Ostrovsky is lucky to listen to the lectures of such experts of history, jurisprudence and literature, such as the so-called. Granovsky, N.I. Wings, M.P. Pogodin. Here, the future author of "minin" and "governor" is first revealed by the wealth of Russian chronicles, the language appears before him in the historical perspective. But in 1843, Ostrovsky leaves the university, not wishing to renovate the exam. At the same time he entered the office of the Moscow Council court, later served in the commercial court (1845-1851). This experience played a significant role in the work of Ostrovsky.

Second University - Small Theater. Painting to the scene back in the gymnasium, the Ostrovsky becomes the regulance of the oldest Russian theater.
1847 - In the "Moscow City List", Ostrovsky publishes the first sketch of the future comedy "His people will find" under the title "Insolvent Debtor", then the comedy "Picture of Family Happiness" (later "Family Painting") and essay in prose "Notes of the Zamoskvoretsky Resident" .

Creation

"Columbus Zamoskvorechye"

Piece "Poverty is not a vice" (1853) for the first time put on stage on January 15, 1869 in the Small Theater in the Benefis Prov Mikhailovich Sadovsky.

Ostrovsky Theater

It is from the Ostrovsky that the Russian theater begins in his modern understanding: the writer has created theatrical school and the holistic concept of the game in the theater.

The essence of the Ostrovsky Theater is the lack of extreme situations and countering the acting partition. In the Pieces of Alexander Nikolayevich, the usual situations with ordinary people are depicted, the dramas of which go into life and human psychology.

The main ideas of the reform of the theater:

the theater should be built on convention (there is a 4th wall separating viewers from actors);

the invariability of the relationship to the language: the skill of speech characteristics expressing almost everything about heroes;

the rate is not one actor;

"People walk to watch the game, and not the play - it is possible to read it."

Ostrovsky Theater demanded a new stage aesthetics, new actors. In accordance with this, Ostrovsky creates the acting ensemble, which includes such actors as Martynov, Sergey Vasilyev, Evgeny Samoilov, Prov Sadovsky.

Naturally, the innovations met opponents. It was, for example, Shchepkin. Ostrovsky's dramaturgy demanded from the actor of the abundance from his personality, which M. S. Shchepkin did not. He, for example, left the general rehearsal of "thunderstorms" being very displeased by the author of the play.

The ideas of Ostrovsky were brought to the logical end of Stanislavsky.

Folk Myths and National History in Ostrovsky's Dramaturgies

In 1881, a successful premiere of Opera N. A. Rimsky-Korsakov "Snow Maiden", which the composer called his best work took place on the stage of the Mariinsky Theater. A. N. Ostrovsky himself appreciated the creation of Roman Corsakov: "Music to my" Snow Maiden "amazing, I could never imagine more than her suitable and so vividly expressing the whole poetry of the Russian pagan cult and this first snow-cold, And then irrepressible passionate heroine fairy tales. "

"The most memorable day for me in my life," recalled Ostrovsky, "February 14, 1847 ... From that day, I began to consider myself a Russian writer and without a doubt and oscillations believed in your vocation."
The recognition of the island brings the comedy "their people will find" (the initial name - "bankrupt" is completed at the end of 1849). Even before the publication, it became popular (in reading the author and P.M. Sadovsky), caused approving responses H.V. Gogol, I.A. Goncharova, T.H. Granovsky.
"He began unusual ..." - testifies to I.S. Turgenev. His first big play "His people - to think" made a huge impression. She was called the Russian "Tartuf", "Brigadier" of the XIX century, merge "grieving from the mind," compared with the "auditor"; Yesterday, another unknown name of Ostrovsky was set next to the names of the greatest comediagraphs - Moliere, Fonvizin, Griboedov, Gogol.

In 1863, Ostrovsky was awarded the Uvarov Prize and elected a corresponding member of the St. Petersburg Academy of Sciences. In 1866 (according to other information - in 1865) in Moscow, he created an artistic circle, which later, who later gave the Moscow scene of many talented figures. In the house of Ostrovsky, I.A. Goncharov, D.V. Grigorovich, I.S. Turgenev, A.F. Pisemsky, F.M. Dostoevsky, I.E. Turchaninov, P.M. Sadovsky, L.P. Kositskaya-Nikulina, Dostoevsky, Grigorovich, M.E. Saltykov-Shchedrin, L.N. Tolstoy, I.S. Turgenev, P.I. Tchaikovsky, Sadovsky, M.N. Yermolov, G.N. Fedotova. From January 1866 he was the head of the repertoire of Moscow Imperial theaters. In 1874 (according to other information - in 1870), a society of Russian dramatic writers and opera composers, the permanent chairman of which Ostrovsky remained to death was formed. Working in the Commission "To revise the rules in all parts of the theatrical management", established in 1881 at the Directorate of Imperial Theaters, he achieved many transformations that significantly improved the position of artists. In 1885, Ostrovsky was appointed head of the repertoire of Moscow theaters and the head of the theater school. Despite the fact that his plays did good fees and that in 1883, Emperor Alexander III complained his annual pension of 3 thousand rubles, the monetary problems did not leave Ostrovsky to the last days of his life. Health has not answered the plans as he put in front of him. Strengthened work quickly exhausted the body; June 14 (according to old style - June 2) 1886 Ostrovsky died in his Kostroma dressing. I buried the writer in the same place, the sovereign from the amount of the Cabinet of 3000 rubles, the widow, inseparably with 2 children, was appointed a pension of 3,000 rubles, and for the upbringing of three sons and daughter - 2400 rubles a year.