Tragic collision. Aesthetic categories and Concepts Fourth Educational Situation - Intellectual Reflective

"At the bottom" is placed in hundreds of theaters. Directors and actors are looking for new and new paints for Gorky heroes, costumes and scenery change. But the Spirit captures when you realize that the play was written more than a hundred years ago. What has changed? There are still landfills and places where people who are doomed, broken by life, as well as a crushed youth dreams of clean love and is waiting for a prince who will take the hand and bring out of the nightmare, and dried up with progress and changes in the society workers and the same Go, offering illusory consolation, strange people who assure that they are open. And we all sooner or later, we are looking for the answer: What is the truth that a person needs is a brutal reality, consolation at any cost or something third?
Three truths in the play are opposed to each other. One is the truth of cruelty. There is a reality, you can not deceive a person
to regret it, humiliate this. "Human! It's great!" People should look in face facts, no matter how terrible. Who tells it in the play? Maybe a positive, strong, bold hero, a person who knows the purpose of life and fearlessly to her going? Alas, the entire pathos is reduced by the fact that Gorky gives this anthem to the glory of proud person to the gambler and Satina Schuler.
The truth of reality is that there is no work, no refuge, no hope or strength. Torn the right to life, and one way out: "I need to blow!" So tells the tick, the only one who first still hopes to break out of the pit, that this is not an end, but a temporary drop. It hopes that reality will give way to love, and a prostitute Natasha. The terrible hope of her husband Anna, which will die, finally, wife, and will become easier. The illusion of liberation will be warm at all, except for Baron, but it also has a thread: "Everything in the past." So it was the past, something is not ahead, so at least behind. Full redequance and indifference at Bubnov. This person is already on the other side of truth and hope, he is dead, and neither illusion nor real changes will resurrect him.
And here is the hell, where the sky is mocking over the man, depriving hopes, a strange character appears. Luka - Wanderer. Such people were also called "strange", from "Whether". He walks around the world, armed with the only commandment: all people are worthy of hope and pity. He turns to the cat in: "honest people." These are respectful words, not empty. So they greet workers, masters, people, albeit poor, but not rejected society. Somehow it echoes this with the appeal "Good man" of Bulgakovsky Ishua and his words: "There are no evil people in the world." Luke is set bitter as a lies carrier that gives alms instead of real help. But how can he help? Everything that the wanderer has, it is warm and pity for a person and a firm conviction that you can not live without hope. He can't help her by the Council or the case. But with the arrival of Luke in the pit appears light.
Heroes are not deceived, do not believe Luke. Bubnov says Luka everything is lying, but without benefit. But his kindness facing everything, without a question - and whether these people delete the good relationship, feel ashes, and Natasha, and Anna, and actor. So maybe this is a real truth? But the horror is that the locked hopes quickly dissipate, leaving behind even greater darkness and devastation. Luka gives temporary consolation as medicines that do not treat the disease, but only muffle pain. But Ricky does not condemn and does not support the philosophy of comfort. He is looking for a healthy side in it. A person really sounds proudly, and the power of a person is that, even in an incredible, he can change the reality itself by the power of faith.
It is impossible to kill a person to the truth, because in addition to the facts that are always changeable, there is another truth - the human soul, faith in itself, hope for the best, ideal and goal ahead, without which life is simply impossible and not needed.
Such is the third truth - the truth of the Great Realist and Humanist Gorky, the author's voice that sounds in the play, not drowning the voices of the characters, but giving the prospect and pointing out the output if not for the heroes of the play, then for us.

In the play "At the bottom", M. Gorky seeks not only to bring the picture of terrible reality to draw attention to the fate of disadvantaged people. He created a truly innovative philosophical and journalistic drama. The content at the first view of the scattered episodes is a tragic clash of three truths, three ideas about life.

The first truth is the truth of Bubnov, it can be called the truth fact. Bubnov is convinced that a person is born for death and there is no need to regret it: "Everything is like this: they are called, wait, die. And I die ... And you ... what to regret ... You are unnecessary everywhere ... and all people on earth are extra. " As you can see, the Bubnov completely denies itself, and others, his despair is generated by challenge. For him, the truth is a cruel, murderer blowing inhuman circumstances.

True Luke is the truth of compassion and faith in God. Looking at Bosyakas, he finds the word consolation for everyone. He is a bit, kind to those who need help, he instills in every hope: tells the actor about the hospital for alcoholics, advises ashes to go to Siberia, Anna talks about happiness in the afterlime world.

What Luke says cannot be called just a lie. Rather, he inspires faith in the fact that from any hopeless situation there is a way out. "Everyone is looking for people, everyone wants - how best, give them, Lord, patience!" - Luke sincerely says and adds: "Who is looking for - finds ... help only need them ..." Luka carries people a saving faith. He thinks that pity, compassion, mercy, attention to a person you can heal his soul, so that the last thief understands: "It is better to live! We must live like that ... so that you can ... it was respect ... "

The third truth is the truth of satin. He believes in a man, as in God. He believes that a person can believe in himself and hope for his strength. He does not see the meaning in pity and compassion. "What is the use of you if I regret you?" - He asks the tick. And then I says my famous monologue about a person: "There is only a person, yet the rest is the case of his hands and his brain! Human! It's great! It sounds - proud! " Satin is not just a strong personality. He talks about a person who is able to rebuild the world at his own discretion, create new laws of the universe - about a person.

Three truths in the play are tragically faced, which necessitates just such a final of the play. The problem is that in each of the truth there is a part of the lies and that the very concept of truth is multidimensively. A vivid example of this - and at the same time the time of the collision of different truth is a monologue of Satin about the proud person. This monologue utters a drunk man. And the question immediately arises: this drunk, the desired person is the same, which "sounds proudly"? A positive answer is doubtful, and if negative - how much to deal with what "there is only a person"? So satin talking to this monologue - does not exist? It turns out that in order to perceive the truth of the words of Satin about the Gordeau Man, it is necessary not to see satin, the appearance of which is also true.

It is terrible that inhuman society kills and cripples human souls. But the main thing in the play is that M. Gorky made contemporaries even sharper feel the injustice of the public device, made him think about man, his freedom. He says his own play: you have to live, not mirous with a false, injustice, but not to destroy kindness, compassion, mercy.

The two main thoughts of the Ostrovsky put the basis of the Piez "Thunderstorm": a powerful denial of stagnation and the oppression of a fixed "dark kingdom" and the emergence of a positive, light start, a real heroine from the folk medium. Conflict "Thunderstorm" is peculiar. It can be considered bicon. Ostrovsky himself determined his work as a drama, but this is a tribute to tradition. Indeed, on the one hand, the "thunderstorm" is a socially household drama, but on the other - the tragedy. As for the drama, this work is characterized by special attention to everyday life, the desire to transfer it "density". The writer in detail, specifically, the versatility outlines the city of Kalinov, who has a generalizing meaning. So, for example, Kuligin exclaims: "The kind of extraordinary! Beauty! The soul rejoices! ": Others looked at her and quite indifferent. Beautiful nature, the night-war body of youth, songs, Katerina's stories about childhood - all this is the poetry of the Kalinovsky world. But the Ostrovsky is encountered with the gloomy paintings of everyday life and life, with a cruel attitude of people to each other. In this city, the rudeness reigns in the poverty, here "honest labor never earn" "pressing bread", here the merchant "Trade from each other is undermined, not so much of the coarse, how much of the envy" is the center of this closed "Dark Kingdom" And ignorant checkpike - Kabaniha. She is a protector of the old basics of life. She dictates moral laws to the entire city, imposes its will to everyone around him, does not require unquestioning obedience. Soboda, according to heroine, leads a person to a moral drop. Another representative of the "Dark Kingdom" - wild. The main meaning of his life is enrichment. Thirst for money turned him into a reckless eye. Strong financially, it is weak spiritually. It acts in his whim, according to arbitrariness, not believing with others. He was rude, another can not be. But he retreats before those who are able to disgrace him. So, for example, it hops it in front of Kabanova. The only heroine that opposes the boa, and the whole Kalinovsky society, is Katerina. She can not take the life of the "Dark Kingdom" life, his laws. The poetic, enthusiastic, freedom-loving, is not capable of lies and falsehood, which reign in the Kalinovsky world. Katerina cannot more endure the continuation of infinite torture, decides to leave life, the more late in its imagination, and not dark paints: "Under the tree a grave ... as good." In this case, "thunderstorm" is a drama. But if you see that the fate of Katerina determined the collision of two historical eras, the tragic interpretation of her character is quite legitimate. Indeed, composite in the center of the play is boiled and Katerina. Both of them are maximalists, cannot reconcile with human weaknesses, both equally religious. Religion of their Surov and merciless. Only Kabani is chained to the ground, and Katerina is striving for the sky. Katerina embodies the spirit of this world, his impulse, dream. She was born and formed under the same conditions, that is, she is the reducing of this world. But the Ostrovsky believed in the renewing force of healthy nature, due to the attraction of freedom, in the creative starts of a folk nature, so he showed a woken sense of person in Katerina. This feeling does not accept the form of a social protest, but the form is individual, the form of personal love. Ostrovsky showed her heroine at the time of the emerging love for Boris, who in her eyes is distinguished from among other residents. Katerina loves much, deeply, selflessly. It is born and the passion is born, but this passion is extremely lightweight. Love causes an emotional lift in it, a passionate desire to become a free bird and fly, spreading the wings. The wokeering sense of love is perceived by Katerina as a huge, immentable sin, because the love of someone else's person for her, a married woman, there is a violation of moral debt. She understands that the catastrophe is almost inevitable, which for a long time she cannot withstand such a lifetime. Katerina is already coming in a play with the monitoring of trouble "I will die soon .."

Gorky M.

Writing on the work on the topic: three truths and their tragic clashes (on the play M. Gorky "at the bottom")

Piece M. Gorky "At the bottom" is placed in hundreds of theaters. Directors and actors are looking for new and new paints for Gorky heroes, costumes and scenery change. But the Spirit captures when you realize that the play was written more than a hundred years ago. What has changed? There are still landfills and places where people who are doomed, broken by life, as well as a crushed youth dreams of clean love and is waiting for a prince who will take the hand and bring out of the nightmare, and dried up with progress and changes in the society workers and the same Go, offering illusory consolation, strange people who assure that they are open. And we all sooner or later, we are looking for the answer: What is the truth that a person needs is a brutal reality, consolation at any cost or something third?

Three truths in the play are opposed to each other. One is the truth of cruelty. There is a reality, you can not deceive a person

to regret it, humiliate it. "Human! It's great!" People should look in face facts, no matter how terrible. Who tells it in the play? Maybe a positive, strong, bold hero, a person who knows the purpose of life and fearlessly to her going? Alas, the entire pathos is reduced by the fact that Gorky gives this anthem to the glory of proud person to the gambler and Satina Schuler.

The truth of reality is that there is no work, no refuge, no hope or strength. Torn the right to life, and one way out: "I need to blow!" So tells the tick, the only one who first still hopes to break out of the pit, that this is not an end, but a temporary drop. It hopes that reality will give way to love, and a prostitute Natasha. The terrible hope of her husband Anna, which will die, finally, wife, and will become easier. The illusion of liberation will be warm at all, except for Baron, but it also has a thread: "Everything in the past." So it was the past, something is not ahead, so at least behind. Full redequance and indifference at Bubnov. This person is already on the other side of truth and hope, he is dead, and neither illusion nor real changes will resurrect him.

And here is the hell, where the sky is mocking over the man, depriving hopes, a strange character appears. Luka - Wanderer. Such people were also called "strange", from "Whether". He walks around the world, armed with the only commandment: all people are worthy of hope and pity. He turns to the cat in: "honest people." These are respectful words, not empty. So they greet workers, masters, people, albeit poor, but not rejected society. Somehow it echoes this with the appeal "Good man" of Bulgakovsky Ishua and his words: "There are no evil people in the world." Luke is set bitter as a lies carrier that gives alms instead of real help. But how can he help? Everything that the wanderer has, it is warm and pity for a person and a firm conviction that you can not live without hope. He can't help her by the Council or the case. But with the arrival of Luke in the pit appears light.

Heroes are not deceived, do not believe Luke. Bubnov says Luka everything is lying, but without benefit. But his kindness facing everything, without a question - and whether these people delete the good relationship, feel ashes, and Natasha, and Anna, and actor. So maybe this is a real truth? But the horror is that the locked hopes quickly dissipate, leaving behind even greater darkness and devastation. Luka gives temporary consolation as medicines that do not treat the disease, but only muffle pain. But Ricky does not condemn and does not support the philosophy of comfort. He is looking for a healthy side in it. A person really sounds proudly, and the power of a person is that, even in an incredible, he can change the reality itself by the power of faith.

It is impossible to kill a person to the truth, because in addition to the facts that are always changeable, there is another truth - the human soul, faith in itself, hope for the best, ideal and goal ahead, without which life is simply impossible and not needed.

Such is the third truth - the truth of the Great Realist and Humanist Gorky, the author's voice that sounds in the play, not drowning the voices of the characters, but giving the prospect and pointing out the output if not for the heroes of the play, then for us.

Purpose: show students how the genre peculiarity of the play "At the bottom" is reflected in conflicts; identify the life position of the heroes of the play, characterizing their images; Create a problem situation and help students form an opinion about Luke, his role in the play and its influence on the fate of heroes; continue the formation of skills to work in a group, public speech, the ability to defend their point of view; Promote the formation of your own point of view, an active life position, the ability to empathize.

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Dispute about the appointment of a person: "Three truths" in the play m. Gorky "at the bottom", their tragic collision

Purpose: show students how the genre peculiarity of the play "At the bottom" is reflected in conflicts; identify the life position of the heroes of the play, characterizing their images; Create a problem situation and help students form an opinion about Luke, his role in the play and its influence on the fate of heroes; continue the formation of skills to work in a group, public speech, the ability to defend their point of view; Promote the formation of your own point of view, an active life position, the ability to empathize.

Equipment: text Pieces, RM to work in groups, recording on the board (or photo presentation).

Forecast

Results: Students know the content of the play; comment on the fragments of it, revealing the life of the inhabitants of the night; Analyzing the scenes of the characters of the play of the play, revealing the copyright position; give their own assessment of heroes; draw conclusions about the humanism of the plays and how to express it; comment on the fragments of the play, revealing the mindset of the characters; characterize heroes, disclosing the meaning of their statements; Make conclusions about ideological plays.

Form of carrying out: Lesson-study.

DURING THE CLASSES

I. Organizational stage

II. Actualization of reference knowledge

Conversation

♦ What is the cause of the quarrel between the inhabitants of the night in the play m. Gorky "at the bottom"?

♦ whose fate did you especially shocked and why?

♦ Determine the main content and note the stage of development of the conflict in the play "At the bottom".

III. Setting the purpose and tasks of the lesson.

Motivation of training activities

Teacher. In the play m. Gorky sought not only to the image of terrible reality to draw attention to the fate of disadvantaged people. He created a truly innovative philosophical and journalistic drama. The content at first glance of scattered episodes is a tragic clash of three truth, three ideas about life.

Piece m. Gorky "on the bottom" is relevant in the XXI century; It is put in many theaters of the CIS countries. Directors and actors are looking for new and new paints for Gorky heroes, change costumes and scenery. But the Spirit captures when you are aware that in the play, written more than a hundred years ago, reflects our reality: there are landfills and places where people who broken by life are lived; Where the crushed youth dreams of pure love and is waiting for a prince who takes his hand and led out of the nightmare; Where they drink the workers discarded by progress and changes in society and go, offering illusory consolation, strange people who assure that they are open. And we are looking for the answer: what is the obstacle to what a person needs is a brutal reality, consolation at any cost or something third? This will come about the conversation today at the lesson.

IV. Work on the lesson

1. Analytical conversation

♦ m. Gorky determined the genre of his work as social

But philosophical drama. Let's see where it happens

The action of the play, get acquainted with the heroes and take a look at from

We mean in their world.

Bubnov, Cartuznik, 45 years

Reference. The nickname of Tuben was given: 1) a master making a shock musical instrument; 2) to the one who continuously chats, inadvertently tapping, govorun, mandate, fraudster; 3) who traded or lost to the card (metonimium based on the name of the card suit) or a broken poor feast; 4) Fool (tambourines in the head - without a king in the head), lazy, having a halter. Cf. Also, the expression "Bubble Head", that is, a disappearance man.

Š Bubnova and Anna Spectator sees only within the crutch at night. Even in the III act, when all other nightnits are "on the will" (on the "wasteland"), he remains in the basement, looking out from there in the window. Why?

Š "In the loved one's whole soul" - with this statement, Luke can be agreed. The Kartuznik Bubnova "Favorite" - an in -uret song that he selflessly sings with Krivoy Goob, is the one that "spoiled" the actor. What can you say about the soul of Bubnova, judging by this song?

Š In response to Luke's remark: "I will see for you, brothers, - Your life - Oh! .." - Bubnov answers: "Such a live that in the morning I got up and for the outlet." Cartuznik at the same time reinpecates the proverb: "Without the truth, living - insert, and for the extract." What is the meaning of such a change?

Satin, years under 40

Reference. Satin - from Sati, Sartie - Abbreviated options named after Satir (in Greek Mythology Satira - the gods of fertility from Dionysus Sweet, God of winemaking; they are zadirists, lustful, in love, brazen, love wine).

Š What do you think, why surnamehero Pieces are formed from the dimensional, "home" (street) version of the Divine name? Satin surname also links with "Prince of Darkness" - Satan. Do you consider such an approach justified if "yes", then why?

Š literary critic a. Novikova calls Satina "New Danko, who turned from romance in a realist", which "cannot lead people by covering the road to the rays of his own heart," for "he has no strength." Is it legitimate?

Š There is an opinion that satin is an ideologist like a split-nikov for whichNapoleon And Magomet - samples of people, the right of having, including on the shedding of blood. What point of view seems more fair and why? Is it possible otherwise to explain the fact of the conversion of satin to these historical figures? Š How do you understand the words of satina: "What is a person? .. that's not you, not me, not they ... No! - That's you, I, they, old man,Napoleon , Magomet ... In one! "?

Luke, Wanderer, 60 years

Reference. Luka - Lucian (Lat. - Light, Glowing). Luka was called one of the 70 students of Christ sent to him "in every city and place where he wanted to go," the author of one of the canonical gospels and "Acts of Apostles", a skilled doctor. In the Gospel of Luke underlined the love of Christ to the poor, the harlot, in general, sinners. The sly - cunning, intentatory, cunning, secretive and evil, deceptive, pretended. The type of wanderer "passed" in Russian literature for a long time. Remember, for example, a fecusha from drama a. N. Ostrovsky "Storm ».

Š Can we talk about the typological similarity of these characters? The appearance of Luke is described quite detailed: the author reports his things: stick, kittomke, bowler and kettle, however, about growth, physique, etc., he is silent. How do you imagine a wanderer, what external data should this character be posted, what should be wearing?

Š How would you "simulated" the biography of Luke? Why, for example, the wanderer does not tell the fairy tales (in the literal sense of the word) to the nightnings? What do you think there was love in his life? Why does he call himself that begging, then passersby? Is it possible to call Luka "former man"?

Š Try to explain why Luke older than other characters play. The crutch is closer to all onions by age. How do you think both of the "elders" are called the shelms, and Vasilisa makes her husband a convict? Would you noticed that in the last conversation, the crutch shaves onions: "Not everyone is needed"?

Š What does it talk about the character of the wanderer of his "rattling laughter"? Remember how Vaska Sadel characterizes the singing of Luke, as well as the author's remark, accompanying the phenomenon of Luke in the scene of the collision of the ashes with the crutch: "Warning Calling".

Š How do you think - Is Luka really regrets people? How do you understand the word "pity"?

Š Can I say that the wanderer indifferently looks at death, the abomination, darkness around him? "Laying" is he self-awareness in each person, his own truth? Is passivity really can be active? Š What then the secret of his charm, why the nightnits are still stretching - after all, they are "trampled Kalachi", "shooting sparrows", who will not spend the ball, and they know the price of the price?

2. "Brainstorming" (in groups)

Task for the 1st group. Bitterly sometimes spoke about Luke as parodies on Plato Karataev and wondered that this was not noticed. Try to decide whether it is possible to consider the parody of the Tolstsky Character. Think: Are there any "useless" people for Luke?

Task for the 2nd group. Let's watch the monologues of Luke are located in the play in the play, and try to bring a certain algorithm for its "stories":

Y Story about the afterlife, promise of calm;

Y story about the hospital for alcoholics;

Y Story about Siberia, Golden side;

Y story about the case under the Tobolsk city;

Y story about "righteous land";

Y A story about what people live. "

Š What pattern did you find? In which of the story-tested, in your opinion, believes Luka himself? Imagine that Luke returns to the night a few months after the suicide of the actor. How will it meet "former people"?

Task for the 3rd group. Probably, you have already noticed that one of the main (if not the most important) items, in which, perhaps, all the arguments of the heroes of the play are, is a question about the goal of human life (or humanity). It is characteristic that the point of view of Luke is coming satin (the latter even tries to imitate the wanderer's manner). What do you think, why?

3. Presentation of the results of work by representatives of groups

4. Generalization of the teacher (showing photo presentations or appeal to the record on the board) - the first truth - the truth of Bubnova, it can be called true