The value of Ostrovsky's creativity for modernity. "The value of the creativity of Ostrovsky for ideological and aesthetic development of literature

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

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

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

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

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

("Balagan", 1906)

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

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

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

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

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

In the early romantic stories, Maxim Gorky expressed his attitude towards life and people, his eyes on the era. The heroes of many of these stories are the so-called bosias. The writer depicts their courageous people, strong soul. The main thing for them is the freedom that Bosyaki, like we all understand in their own way. They passionately dream of some special life, far from everyday life. But it can not find it, so they leave to vagabond, drink, cum by suicide. One of these people is depicted in the story "Chelkash". Chelkash - "Old etched wolf, familiar to Havanovsky people, an avid drinker and l

In Feta poetry, the feeling of love Wakes out of contradictions: it is not only joy, but also flour, and suffering. In the Fetovo "Songs of Love", the poet is so fully given to the love feeling, the help of the beauty of the beloved woman, which is already in itself brings happiness, in which even sorrowful experiences make up great bliss. From the depths of world being, love grows, which has become the subject of feta inspiration. The innermost sector of the poet is love. In his poems, he invested various shades of a love feeling: not only a bright love, admiring beauty, admiration, delight, happiness of reciprocity, but also

In the late 90s of the XIX century, the reader was struck by the appearance of three volumes "essays and stories" of a new writer - M. Gorky. "Large and original talent", it was the general judgment about the new writer and his books. The discontent growing in society and waiting for decisive changes caused the strengthening of romantic trends in the literature. Especially brightly, these trends were reflected in the work of the young bitter, in such stories like "Chelkash", "Old Man Izergil", "Maka Miranda", in revolutionary songs. The heroes of these stories are people "with the sun in the blood", strong, proud, beautiful. These heroes - the dream of a gorky

More than a hundred years ago, in the small provincial town of Denmark - Odense, on the island of Funen, there were extraordinary events. Quiet, slightly sleepy streets Odense suddenly announced the sounds of music. The procession of artisans with torches and signs passed by a brightly illuminated old town hall, welcoming a high blue-eyed man standing by the window. In honor of the same residents of Odense, they lit their lights in September 1869? That was Hans Christian Andersen, who was chosen shortly before that the honorary citizen of his hometown. Honoring Andersen, fellow countrymen challenged his heroic feat of a person and writer,

The playwright almost did not put political and philosophical problems in his work, facial expressions and gestures, through the bearing of the details of their costumes and the household setting. To strengthen the comic effects, the playwright was usually introduced into the plot of secondary persons - relatives, servants, counseling, random passers-by - and side circumstances of everyday help. Such is, for example, Khlynova's retinue and a barin with a mustache in the "hot heart", or Apollo Murzanetsky with his Tamerlane in the comedy "Wolves and Sheep", or actor lucky in unfortunate and paratov in the "Forest" and "Nonperdant", etc. The playwright was still sought to reveal the characters of the characters not only in the course of the event itself, but in at least through the features of their household dialogues - "characteristic" dialogues, aesthetically mastered in "their own people ...".
Thus, in the new period of creativity, Ostrovsky acts as a prevailing master with a complete system of dramaturgical art. His glory, his public and theatrical ties continue to grow and complicate. The abundance of plays created in the new period was the result of the increasing demand for the plays of the Ostrovsky on the part of magazines and theaters. In these years, the playwright, not only worked tirelessly, but found the forces to help less gifted and beginner writers, and sometimes actively participate with them in their work. So, in the creative community with Ostrovsky, a number of Pieces N. Solovyov (the best of them is the "marriage of Belugina" and "Dickard"), as well as P. Mind.
Constantly contributing to the production of its plays on the scenes of the Moscow Small and St. Petersburg Alexandrian theaters, the Ostrovsky knew the state of theatrical affairs, which are mainly in the jurisdiction of the bureaucratic state apparatus, and with bitterness they were aware of their crying flaws. He saw that he did not depict the noble and bourgeois-discharge intelligentsia in its ideological quests, as did Herzen, Turgenev, and in part and gonchars. In his plays, he showed the daily social and domestic life of ordinary representatives of merchants, officials, nobility, life, where in personal, in particular love, conflicts were created by clashes of family, monetary, property interests.
But the ideological and artistic awareness of these parties to Russian life had a deep national historical meaning from an island. Through the household relations of those people who were the gentlemen and owners of life, their common social condition was revealed. Just like, by Metakov, the remark of Chernyshevsky, the cowardly behavior of the young liberal, the hero of the Turgenev Tag "Asya", on a date with the girl was a "symptom of the disease" of the whole noble liberalism, his political weakness and household nominities and the predation of merchants, officials, the nobles The symptom of a more terrible disease of their complete inability at least to some extent to give its activities a nationwide-progressive value.
It was quite natural and natural in the predefree period. Then Samodoria, Chvanism, the predation of volt, Vysnenevsky, Ulabeckov was a manifestation of the "Dark Kingdom" of serfdom, already doomed on the layer. And the Dobrolyubs correctly indicated that, although the Ostrovsky comedy could not give a key to explaining the many bitter phenomena, in it depicted ", nevertheless," it can easily bring to many similar considerations related to the everyday life. And the critic explained it by the fact that the "types of" self-timers, bred by Ostrovsky, "not. Rarely conclude not only extremely merchant or officials, but also nationwide (i.e. nationwide) features. In other words, the plays of the Ostrovsky 1840-1860. Indirectly exposed all the "dark kingdoms" of an autocably-serfdom.
The position has changed in the flame decades. Then "everything was drowned" and began to gradually "fit" the new, bourgeois stroke of Russian life. And a huge, national importance was the question of how it was "stacked" this new building, to what extent the new dominant class, the Russian bourgeoisie, could take part in the struggle for the destruction of the remnants of the "Dark Kingdom" of serfdom and the entire autocratic landlord.
Almost twenty new Pieces of Ostrovsky on modern topics gave a clear negative response to this fatal question. The playwright is still, portrayed the world of private socio-household, family-property relations. He himself was not all clearly in general trends in their development, and his "Lira" sometimes published in this regard not quite, "faithful sounds." But as a whole, the Ostrovsky's plays concluded a certain objective orientation. They exposed the remnants of the old "dark kingdom" despotism, and the newly emerging "dark kingdom" of bourgeois predatoryness, money excitement, the death of all moral values \u200b\u200bin the atmosphere of universal purchase and sale. They showed that Russian delints and industrialists are not able to rise to aware of the interests of nationwide development, that some of them, such as hlyops and Akhs, are able to only indulge in rude pleasures, others like Knurov and Berkutov can only obey all around their predatory "Wolf" interests, and, third, such as cornflowers or frets of profit, the interests of the accompanying are only covered with external decency and very narrow cultural requests. Ostrovsky's plays, in addition to the intentions and intentions of their author, objectively planned a certain perspective of national development - the prospect of the inevitable destruction of all the remnants of the old "dark kingdom" of an autocrete-frostal despotism not only without the participation of the bourgeoisie, not only through her head, but together with the destruction of her own predatory "Dark Kingdom."
The reality depicted in the household plays of Ostrovsky was a form of life, devoid of national and progressive content, and therefore easily discovered internal comic contradictions. Its disclosure and dedicated to Ostrovsky his outstanding dramaturgical talent. Based on the tradition of Gogol Realistic comedies and leaders, rebuilding it in accordance with new aesthetic requests, put forward by the "genuine school" of the 1840s and formulated Belinsky and Herzen, the Ostrovsky traced the comic contradiction of the socio-household life of the dominant layers of Russian society, deepening in the "World Details ", considering the thread for the thread" Weather of the daily relationship ". This was the basic achievements of a new dramatic style created by Ostrovsky.

Writing on literature on the topic: The value of the creativity of Ostrovsky for ideological and aesthetic development of literature

Other writings:

1. In the history of Russia, A. S. Pushkin entered as an extraordinary phenomenon. This is not only the greatest poet, but also the founder of the Russian literary language, the investigator of the new Russian literature. "Musa Pushkin", according to V. G. Belinsky, "was fed and raised by the creations of previous poets." On read more ......
2. Alexander Nikolaevich Ostrovsky ... This phenomenon is unusual. His role in the history of the development of Russian drama, scenic art and all domestic culture is difficult to overestimate. For the development of Russian drama, he made such a lot like Shakespeare in England, Lona de Vega in Spain, Moliere Read more ......
3. Tolstoy very strictly belonged to artisan writers, writing their "works" without real hobbies and without conviction that they need people. Passionate, self-safe passion to the work of Tolstoy has retained until the last days of life. In the course of the work on the novel "Resurrection" he confessed: "I read more ......
4. A. N. Ostrovsky is rightfully considered a singer of a merchant environment, the father of the Russian household drama, the Russian theater. His Peru belongs to about sixty plays, of which the most famous "wildliness", "Love Love", "Forest", "on every sages of pretty simplicity," "His people - to think", "Thunderstorm" and read more ..... .
5. Arguing about the "Strachniferous Human" by the strength of the Sieve, Onemeliness, "A. Ostrovsky noted:" I did not call this power to Zamoskvoretsky without reason: there, for the Moscow River, her kingdom, there is her throne. She drives a man into a stone house and locks the iron gate behind him, she dresses read more ......
6. In European culture, the novel embodies ethics, as church architecture - the idea of \u200b\u200bfaith, and Sonnet is the idea of \u200b\u200blove. An outstanding novel is not only a cultural event; It means much more than just a step forward in the literary craft. This is a monument of the era; Monumental monument, read more ......
7. The merciless truth said by Gogol about the modern society, the hot love of the people, the artistic perfection of his works - all this defined the role that the great writer played in the history of Russian and world literature, in the approval of the principles of critical realism, in the development of democratic Read more .. ....
8. The wings belonged to Russian enlighteners of the XVIII century, at the head of which was Radishchev. But the wings failed to rise to the idea of \u200b\u200ban uprising against autocracy and serfdom. He believed that it was possible to improve the social system by morally re-education of people that social issues should be resolved Read more ......

Introduction

Alexander Nikolaevich Ostrovsky ... This phenomenon is unusual. The meaning of Alexander Nikolayevich for the development of domestic dramatic and scene, its role in the achievements of the whole Russian culture is indisputable and huge. Continuing the best traditions of Russian progressive and foreign drama, Ostrovsky wrote 47 original plays. Some are constantly going on the scene, are shielded to the movies and on television, others are almost not put. But a certain stereotype of perceptions lives in the consciousness of the public and theater in relation to the fact that the "Plays of Ostrovsky" is called. Ostrovsky's plays are written at all times, and the audience is not much difficult to see our today's problems and vices.

Relevance: His role in the history of the development of Russian drama, scenic art 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.

Ostrovsky spoke in the literature in the very difficult conditions of the literary process, there were favorable and not favorable situations on his creative way, but not looking at what, he became an innovator and an outstanding master of dramatic art.

Influence of dramatic masterpieces A.N. Ostrovsky was not limited to the area of \u200b\u200bthe theater scene. It concerned other types of art. People's peculiar, musical poetic element, coloring and clarity of large characterists, the deep vitality of the plots caused and cause the attention of outstanding composers of our country.

Ostrovsky, being an outstanding playwright, a wonderful connoisseur of scenic art, showed itself as a public figure of a large scale. This was quite promoted by the fact that the playwright throughout his life path was "with a century of alongside."
Purpose: Influence of Dramaturgia A.N. Ostrovsky in creating a national repertoire.
A task: Trace the creative path of A.N. Ostrovsky. Ideas, path and innovation A.N. Ostrovsky. Show value of theatrical reform A.N. Ostrovsky.

1. Russian dramaturgy and playwrights preceding A.N. Ostrovsky

.1 Theater in Russia to A.N. Ostrovsky

The origins of Russian progressive dramaturgy, in line with which the creativity of Ostrovsky has arisen. The Domestic People's Theater has a wide repertoire consisting of spherical players, intermedia, comedy adventures of parsley, boalan, "bearish" comedies and dramatic works of a wide variety of genres.

The folk theater is characterized by socio-pointed topics, freeing, impregnably satirical and heroic-patriotic ideologicalness, deep conflict, are not very rare grotesque characters, a clear, clear composition, colloquial language, skillfully using a wide variety of means of comicing: shortcoming, confusion, ambiguity, Omonimi, oxuumors.

"In the nature and manner of the game, the People's Theater is the theater of sharp and clear movements, squeezed gestures, marginal loud dialogue, mighty songs and delete dances, and here everything is heard and visible far. At its very nature, the People's Theater does not tolerate not a noticeable gesture, the words rendered in a low voice, everything that can easily be perceived in the theater hall with a full silence of the audience. "

Continuing the tradition of oral folk drama, Russian written drama made huge successes. In the second half of the XVIII century, in the presence of an overwhelming role of translation and imitative dramaturgy, writers of various directions appear, striving for the image of domestic morals, which take care of the creation of a national-distinctive repertoire.

Among the places of the first half of the XIX century, such masterpieces of realistic drama, as "grief from the mind" of Griboedov, "Lady" Fonvizin, "Auditor" and "Marriage" of Gogol are especially allocated.

Pointing to these works, V.G. Belinsky said they "would have done the honor of any European literature." The most appreciated comedy "grief from the mind" and "Auditor", critic believed that they could "enrich any European literature."

The outstanding realistic plays of Griboyedov, Fonvizin and Gogol, the innovative tendencies of domestic drama were clearly outlined. They consisted in a relevant-topical social topics, in a pronounced public and even socio-political pathos, in a waste from traditional loving dining, which defines all the development of the action, in violation of the plot-composite canons of the comedy and drama intrigues, in the installation for the development of typical And at the same time of individual characters, closely related to the social environment.

These innovative tendencies, manifested in the best plays of progressive domestic drama, writers and critics began to be aware of theoretically. So, Gogol binds the emergence of domestic progressive drama with satir and sees the originality of the comedy in its true public. He rightly noticed that "such an expression ... did not take another comedy from any nations."

By the appearance of A.N. Ostrovsky Russian progressive dramaturgy has already placed world-class masterpieces. But these works were even up to extremely small, and therefore did not define the face of the then theater repertoire. The big level for the development of progressive domestic drama was that the plays of Lermontov and Turgenev, detained by censorship, could not appear in a timely manner.

The overwhelming number of works filled with the theatrical scene was transfers and alterations of Western European plays, as well as the scenic experiments of domestic writers of the guardianship.

The theatrical repertoire was created not spontaneously, but under the active impact of the gendarm corps and the underacted Okok Nicholas I.

Having preventing the appearance of nature-drying plays, the theatrical policy of Nicholas I in every way patronized by the formulation of dramatic works of purely entertainment, autocably-patriotic. This policy was unsuccessful.

After the defeat of the Decembrists in the theater repertoire, the Waterville, which has long been losing its social sharpness and turned into a light, thoughtless, withered comedy for a long time.

Most often, one-act, comedy was distinguished by an anecdotal story, joking, topical, and often frivolous couplets, punctual language and ingenious intrigue, woven from funny, unexpected incidents. In Russia, Waterville gained strength in the 10ths of the XIX century. The first, though unsuccessful, the "Cossack-poem" (1812) A.A. is considered unsuccessful Shakhovsky. Following him, a whole swarm of others appeared, especially after 1825.

Waterville used the special love and the patronage of Nicholas I. and his theater policy had its own action. The theater - 30-40s of the XIX century became the kingdom of the Waterville, in which predominantly attention was given to love situations. "Alas," Belinsky wrote in 1842, "like a great building, the scene has mastered the scene of vulgar comedy with gingerbread love and the inevitable wedding! This is called the "plot". Looking at our comedies and watering and taking them for the expression of reality, you will think that our society is just doing that love, just lives and breathes that it! ".

The spread of watervilles contributed to the existing system of benefits. For benefit, which was a material award, the artist chose more often a narrowly entertaining play, calculated cash success.

The theatrical scene was filled with flat, hurriedly sewn works, in which the main place was occupied by flirting, farce scenes, anecdot, error, randomness, surprise, confusion, dressing, hiding.

Under the influence of public struggle, Waterville changed in its content. According to the nature of the plots, its development went from loving-erotic to domestic. But composite it remained the advantage of a standard, based on primitive means of an external comium. Describing the waterville of this pore, one of the characters of the Gogol "Theater Travel" said Metko: "Go only to the theater: Every day you will see a play, where one hid under the chair, and the other pulled him out from there."

The essence of the mass water waters of the 30-40s of the 19th century is revealed by such titles: "confusion", "Cut, messed up and drove." Highlighting the playful frivolous properties of waterville, some authors began to call them water wake-farce, joke-waterville, etc.

Posted by "Unlike" as the basis of the content, waterville became an effective means of distracting viewers from indigenous questions and contradictions of reality. Tesha viewers with stupid provisions and cases, water waters "from the evening in the evening, from the play to the spectrum produced the viewer by vaccinating the same ridiculous serum, which was supposed to protect it from the contagion of extra and unrealized thoughts." But the authorities sought to turn him into the direct Slavs of Orthodoxy, autocracy, serfdom.

Waterville, who mastered the Russian scene of the second quarter of the XIX century, was usually not domestic and original. In its most, these were plays, according to Belinsky's expression, "forcibly dragged" from France and somehow proven to the Russian nravam. We observe a similar picture in other genres of dramaturgy of the 40s. Dramatic works considered original, in a large part turned out to be disguised translation. In pursuit of a sharp word, for the effect, behind the lightweight and funny plot, the water-comedy play of 30-40s was most often very far from the image of the genuine life of his time. People of real reality, household characters were most often absent in it. It was repeatedly indicated by the then criticism. Touching the content of water waters, Belinsky wrote with discontent: "The place of action is always in Russia, the actors are marked with Russian names; But nor Russian life, nor Russian society, or Russian people you will not know here and will not see. " Pointing to the contentedness of the Windows of the second quarter of the XIX century from a particular reality, one of the later critics rightly noticed that it would be a "stunning misunderstanding" on it.

Waterville, developing, completely naturally showed a desire for the characterity of the language. But at the same time, in it, the speech individualization of the characters was carried out purely externally - the bounding of unusual, funny morphologically and phonetically distorted words, the introduction of incorrect expressions, ridiculous phrases, sayings, proverbs, national emphasis, etc.

In the middle of the XVIII century, a melodrama was greatly popular in the theater repertoire, along with hydroevil. Its becoming as one of the leading dramatic species occurs at the end of the XVIII century in the preparing and implementation of Western European bourgeois revolutions. The moral and didactic essence of the Western European melodrama of this period is determined mainly by common sense, practicalism, didactism, the moral code of the bourgeoisie coming to power and opposing its ethnic principles of the depravity of the feudal nobility.

And the waterville and melodrama in the overwhelming majority were very distant from life. Nevertheless, they were not the phenomena of only a negative property. In some of them, progressive trends have made their own tendencies - liberal and democratic. Subsequent dramaturgy undoubtedly used the art of water devices in conducting intrigue, external comicing, sharply depotable, elegant canalybur. She did not pass by the achievements of melodramaticists in the psychological profile of characters, in the emotionally intense development of action.

While in the West, the melodrama historically preceded the romantic drama, in Russia these genres appeared simultaneously. At the same time, most often they acted in relation to each other without a fairly accurate emphasis of their singularities, merging by moving one to another.

On the rhetoricity of romantic drams using melodramatic, falselyopathic effects, many times expressed dramatically Belinsky. "And if you," he wrote, "We want to look at the" dramatic ideas "of our romanticism, then you will see that they will take the same recipes for which pseudoclassical dramas and comedies were compiled: the same beaten strings and violent junctions, The same unnaturalness, the same "decorated nature", the same images without persons instead of characters, the same monotony, the same vulgarity and the same decrease. "

Melodramas, romantic and sentimental, historical and patriotic dramas of the first half of the XIX century were most advantageous not only in their ideas, plots, characters, but also the language. Compared to classicists, sentimentalists and romance did, undoubtedly a big step in the sense of democratization of the language. But this democratization, especially the Sentimentalists, did not more often on the conversational language of the noble living room. The speech of unprivileged layers of the population, the wide working masses seemed to them too rude.

Along with the domestic conservative plays of the romantic genre at this time on the theater scene, close to them in their spirit, translated plays: "Romantic Opera", "Romantic Comedy" are commonly connected to ballet, "romantic performances". The translations of the works of progressive playwrights of Western European romanticism, such as Schiller and Hugo, enjoy great success. But rethinking these plays, translators have reduced their work "Translation" to cause sympathy from the audience to those who, experiencing life strikes, retained the meek humility to fate.

In the spirit of progressive romanticism, Belinsky and Lermontov were created during these years, but not one of them was in the first half of the XIX century in the theater. The repertoire of the 40s does not satisfy not only advanced criticism, but also artists and viewers. The wonderful artists of the 40s of the Moochalov, Shcheckin, Martynov, Sadovsky had to waste her strength on trifles, on the game in the unknown plays-one-day. But, recognizing that in the 40s the plays "the wines are like insects", and "to see nothing", Belinsky, like many other progressive figures, did not look at the future of the Russian theater hopelessly. Not satisfied with the flat humor of the water waters and a false pategory of melodramas, the advanced viewer has long lived in the dream that the original realistic plays become defining and leading in the theater repertoire. In the second half of the 40s, the discontent of the front viewer of the repertoire began to separate the mass visitor from noble and bourgeois circles in one way or another. At the end of the 40s, many viewers even in Waterville "were looking for hints in reality." They have no longer satisfied melodramatic and water-wing effect. They eased the plays of life, they wanted to see on the stage of ordinary people. Otzvuk his aspirations progressive viewer found only in a few, rarely appearing productions of the Pieces of Russian (Fonvizin, Griboedov, Gogol) and Western European (Shakespeare, Moliere, Schiller) of dramatic classics. At the same time, any word associated with the protest, free, the slightest hint for the disturbing feelings and thoughts was acquired in the perception of the viewer.

The statement in the theater of realistic and national identity, Gogol Principles, especially those who affected the "Natural School" were particularly affected. The brightest expressive of these principles in the field of dramaturgy and was Ostrovsky.

1.2 from early creativity to mature

Ostrovsky Alexander Nikolaevich, Russian playwright.

Ostrovsky back in childhood addicted to reading. In 1840 at the end of the gymnasium, he was enrolled at the Faculty of Faculty of Moscow University, but in 1843 he left. 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.

The literary field entered the second half of the 1840s. As a follower of Gogol tradition, focused on creative principles of a genuine school. At this time, the Ostrovsky was created by the prose essay "Notes of the Zamoskvoretsky Resident", the first comedies (the play "Family Painting" was read by the author on February 14, 1847 in the circle of Professor S.P. Shevyreva and approvingly adopted to them).

Satyrian comedy "bankrupt" brought wide fame ("His people", 1849). The basis of the plot (false bankruptcy of the merchant Bolshova, the Deceit and the soused members of his family - the daughters of the sticky and the clerk, and then the son-in-law of Podkhaluzin, who did not bother the old man from the debt pit, later the epiphany of the majority) were the observations of Ostrovsky over the analysis of family litigation Services in the conscientious court. The rapid mastery of Ostrovsky, the new word, which sounded in the Russian stage, was affected, in particular, in combination of spectacularly developing intrigues and bright belligent inserts (speeches of the Swami, Mother and Daughter's speech), which slowed down, but also to sense the specifics of life and morals of the merchant medium. A special role was played by unique, at the same time the estate, and individual-psychological painfulness of speech of characters.

Already in "bankrupt", the end-to-end topic of the dramatic creativity of Ostrovsky was designated: Patriarchal, traditional life, which he remained in the merchant and mesh, and his gradual rebirth and collapse, as well as complex relationships, in which the person comes with gradually by modified entry.

Having created fifty plays (some in collaboration), which was the repertoired basis of the Russian publicly available, democratic theater, the Ostrovsky at different stages of his creative way, presented differently the main theme of his creativity in various stages of his creative way. So, becoming in 1850 employees of the Moskvatwsentian journal (editor M.P. Pogodin, employees A.A. Grigoriev, T.I. Filippov, etc.), Ostrovsky, which was included in the so-called "young edition", I tried to give the magazine a new direction - to focus on the ideas of national originality and identity, but not the peasantry (unlike the "old" Slavophiles), and the patriarchal merchants. In his subsequent play "Do not sit down in our sleeves", "Poverty is not a vice", "I don't like how you want" (1852-1855), as you want "(1852-1855), the playwright and tried to reflect the poetry of the people's life:" To have the right to correct the people, not offending him , I need to show what you know behind him and good; This is now engaged in this, connecting high with comic, "he wrote to the" Moskvatansky "period.

At the same time, the playwright agreed with the girl Agafei Ivanovna (who had four children from him), which led to the rupture of relations with his father. According to eyewitnesses, it was a kind, a hearty woman, whom the Ostrovsky was largely obliged to know the Moscow life.

For "Moskvatian" plays characterized by famous utopism in resolving conflicts between generations (in the comedy "Poverty is not a vice", 1854, happy chance frustrating the marriage imposed by the father and hated for his daughter, arranges the marriage of the rich bride - Mitya's love) . But this feature of the "Moskvatian" Island Dramaturgia does not cancel the high realistic quality of the works of this circle. Complicated, dialectically connect the opposite, it would seem, the quality of the Love of Torotov, the spoken of the brother of the merchandise self-self-made Gordee Torotov in the "hot heart" (1868) written later. At the same time, we love - the prostate of the truth, the carrier of the folk morality. He makes it proud of a prickly sober look at life because of his own vanity, hobbies with false values.

In 1855, the playwright, which is not satisfied with its position in the "Moskvatian" (permanent conflicts and meager fees), left the magazine and became close to the editors of the Petersburg "Contemporary" (N.A. Nekrasov considered the Ostrovsky "undoubtedly the first dramatic writer"). In 1859, the first meeting of the works of playwright, which brought him and glory, and human joy.

Subsequently, two trends in the lighting of the traditional structure - critical, accusatory and poetic - fully manifested themselves and united in the tragedy of the island "thunderstorm" (1859).

The work written in the genre framework of socio-household drama is simultaneously endowed with the tragic depth and historical significance of the conflict. The collision of two female characters - Katerina Kabanova and her mother-in-law Marfa Ignatievna (Kabanihi) - on its scale far exceeds the traditional for the theater is an island conflict between generations. The nature of the main character (called N.A. Dobrolyuboy "Light Light in the Dark Kingdom") is made up of several dominant: the ability to love, aspiration for freedom, a sensitive, vane conscience. Showing the naturalness, the inner freedom of Katerina, the playwright at the same time emphasizes that it is nonetheless - flesh from the Patriarchal Uklade flesh.

Living with traditional values, Katerina, having changed her husband, giving his love to Boris, becomes the path of gap with these values \u200b\u200band is acutely aware of it. The drama of Katerina, the defendant in front of everyone who committed suicide, turns out to be endowed with the tragedy of the whole historical structure, which gradually collapses, goes into the past. The seal of eschatology, the feeling of the end is also marked and the worldview of Martha Kabanova, the main antagonist Katerina. At the same time, the Ostrovsky's play deeply imbued with the experience of the "Poetry of National Life" (A. Grigoriev), the song-folklore elements, the feeling of natural beauty (the landscape features are present in the remarks, they get up in the replicas of characters).

The subsequent high period of creativity of the playwright (1861-1886) discovers the proximity of the search for Ostrovsky to the paths of development of the modern Russian novel - from the "Lord Golovna" M.E. Saltykov-Shchedrin to psychological novels of Tolstoy and Dostoevsky.

Powerfully sounds in the comedies of "Poreframe" years the theme of "mad money", the raggy, a non-free careerism of representatives of the impoverished nobility in combination with the wealth of the psychological characteristics of the characters, with the ever-increasing art of the plotting of the playwright. So, the "anti-hegery" of the play "On all sages of pretty simplicity" (1868), Egor Glumov is similar to Griboedovsky Molchalin. But this is the silence of the new era: the inventive mind and the cynicism of the Gluchov to the pores before the time contribute to it began to be a dizzying career. The same qualities, hinting the playwright, in the final of the comedy will not give the Gluma abyss and after its exposure. The topic of the vitality of life benefits, the emergence of a new social and psychological type - Deltsi ("Mad Money", 1869, Vasilkov), and the Delta predator from the nobles ("Wolves and Sheep", 1875, Berkuts) existed in the work of Ostrovsky to the end of his writing path. In 1869, Ostrovsky entered into a new marriage after the death of Agafa Ivanovna from tuberculosis. From the second marriage, the writer was born five children.

The genre and composite complex, saturated with literary alluses, hidden and direct quotes from Russian and foreign classical literature (Gogol, Servantes, Shakespeare, Moliere, Schiller) Comedy "Forest" (1870) summarizes the first flame decade. The play is raised by the topics developed by Russian psychological prose, - the gradual ruin of the "noble nests", the spiritual decline of their owners, the separation of the second estate and the moral collisions in which people are involved in new historical and social conditions are involved. In this social, domestic and moral chaos, the human body is provided by the man of art - a declamic nobleman and a provincial actor of unhappiness.

In addition to the "People's Tragedy" ("Thunderstorm"), a satirical comedy ("Forest"), the Ostrovsky at the later stage of its work creates exemplary works in the genre of psychological drama ("Nonmennica", 1878, "talents and fans", 1881, "without Guilt guilt ", 1884). The playwright in these plays expands, psychologically enriches the scenic characters. Corresponding to traditional stage roles and with common dramatic strokes, characters and situations are capable of changing the unforeseen way, thereby demonstrating the ambiguity, the inconsistency of the internal life of a person, the unpredictability of every everyday situation. Paraty is not only a "fatal man", the fatal beloved Larisa Ogudallova, but also a man of simple, rough everyday settlement; Karandyshev is not only a "small person", a cynical "owners of life", but also a person with an immense, painful pride; Larisa - not only suffering from the love of the heroine, ideally different from the environment surrounding it, but also under the influence of false ideals ("Nonmennica"). Equally psychologically ambiguously resolved by the playwright character of nongin ("Talents and fans"): the young actress does not just elect the path of serving the art, preferring his love and personal happiness, but also agrees to the fate of the content, that is, "practically reinforces" his choice. In the fate of the famous artist Kruchinina ("without guilt") intertwined and climbing the theater Olympus, and a terrible personal drama. Thus, the Ostrovsky goes along the path that concludes with the ways of modern Russian realistic prose to him is the path of increasingly deep awareness of the complexity of the internal life of the personality, the paradoxicality of the choice.

2. Ideas, themes and social characters in the dramatic works of A.N. Ostrovsky

.1 Creative Start (Democratic Island)

In the second half of the 50s, a number of the largest writers (Tolstoy, Turgenev, Goncharov, Ostrovsky) concluded a contract with the magazine "the contemporary" of the preferential provision of his works. But soon this agreement was violated by all writers, except Ostrovsky. This fact is one of the evidence of the big ideological proximity of the playwright with the editors of the revolutionary-democratic magazine.

After the closure of the "contemporary" island, fastening its alliance with revolutionary democrats, with Nekrasov and Saltykov-generous, almost all their plays prints in the journal "Domestic Notes".

Idean Zreye, the playwright reaches the end of the 60s of the peaks of his democratism, alien walksternity and Slavophilia. According to his ideological pathos, the island drama is the drama of peace-democratic reformity, the hot promotion of the enlightenment and humanity, the protection of people's people.

The Democratic of Ostrovsky explains the organic connection of his work with oral folk poetry, the material of which he so wonderfully used in his artistic creations.

The playwright is very highly appreciated by the nature of the potential dating M.E. Saltykov-Shchedrin. He responds about him "the most enthusiastic way, stating that he considers him not only an outstanding writer, with incomparable receptions of satire, but also a prophet in relation to the future."

Tightly connected with Nekrasov, Saltykov-generous and other figures of revolutionary peasant democracy, Ostrovsky, however, was not in his socio-political views of the revolutionary. In his works there are no appeals to the revolutionary transformation of reality. That is why Dobrolyubov, completing the article "Dark Kingdom", wrote: "We must confess: we did not find the exit from the" Dark Kingdom "in the works of Ostrovsky." But the entire totality of its works is Ostrovsky gave rather clear answers to questions about the transformation of reality from the position of peaceful reform democratism.

Sophisticated island democratism identified a huge force of his acutely satirical accumulation of nobility, bourgeoisie and bureaucracy. In some cases, these pretties rose to the very decisive criticism of the dominant classes.

The integrity-satirical strength of many Island's plays is such that they objectively serve the case of a revolutionary transformation of reality, which other Dobrolyubs spoke: "The modern aspirations of Russian life in the most extensive sizes find their expression in Ostrovsky, as in the comic, from a negative side. Drawing to us in a bright picture of false relations, with all their consequences, he serves as the echoes of the aspirations that require the best device. " Completing this article, he said and even more definitely: "Russian life and Russian power are caused by the artist in the" thunderstorm "for a decisive thing."

In the very recent years, the island has a trend towards the correction, which affects the substitution of clear social characteristics by abstract morality, in the emergence of religious motives. With all the volume, the trend of the correction does not violate the foundations of the creativity of Ostrovsky: it is manifested in the borders of the democracy and realism inherent in him.

Each writer is distinguished by its curiousness and observation. But Ostrovsky possessed these qualities to the highest degree. He watched everywhere: on the street, on a business meeting, in a friendly company.

2.2 NOVATURE A.N. Ostrovsky

The innovation of Ostrovsky manifested itself in the subject. He turned sharply to the drama for life, to her everyday life. It is with his play with the content of domestic drama, life has become like.

Working out a very wide range of three of its time, the Ostrovsky enjoyed the advantage of the material of life and the morals of the Upper Volga region and Moscow in particular. But regardless of the place of action of the Ostrovsky's play disclose the essential features of the main public classes, classes and groups of Russian reality at a certain stage of their historical development. "Ostrovsky - rightly wrote Goncharov," he wrote the whole life of Moscow, that is, the Great-Russian state. "

Along with the coverage of the most important parties to the life of merchants, the drama of the XVIII century did not pass by and such private phenomena of merchant life, as a passion for the dowry, which was preparing in monstrous sizes ("Bride under Fata, or a Meshchanskaya Wedding" of the Unknown author 1789)

Expressing the socio-political requirements and aesthetic tastes of the nobility, Waterville and melodrama, who flooded the Russian theater of the first half of the XIX century, strongly muffled the development of household drama and comedy, in particular dramas and comedies with merchant theme. The theater's gap to the plays with merchant theme was marked only in 30s.

If at the end of 30s and at the very beginning of the 40s, life of merchants in dramatic literature was perceived as a new phenomenon in the theater, then in the second half of the 40s he becomes already a literary stamp.

Why did Ostrovsky come from the very beginning to merchant theme? Not only because the merchant life literally reached it: he met merchandise in his father's house, in service. On the streets of Zamoskvorechye, where there lived for many years.

In the context of the disintegration of feudal-serfdom of landlocities, Russia turned into a rapid pace to Russia capitalist. A trade and industrial bourgeoisie was rapidly put forward on the social scene. In the process of transformation of landlord in capitalist Moscow, it becomes a trade and industrial center. Already in 1832, most of the houses in it belong to the "middle class", i.e. merchants and breasts. In 1845, Belinsky argued: "The core of the indigenous population is merchants. How many vintage noble houses passed now to the property of merchants! "

A significant part of the historical Pieces of Ostrovsky is dedicated to the events of the so-called "troubled time". This is not by chance. The turbulent time "Dischaught", brightly indicated by the national liberation struggle of the Russian people, is clearly echoes with the growing peasant movement of the 60s for the 60s for their freedom, with an acute struggle of the reactionary and progressive forces, which unfolded during these years in society in journalism and literature.

Depicting a distant past, the playwright meant and the present. Exposing the ulcers of the socio-political system and dominant classes, he beat the modern autocratic order to him. Drawing in the plays about the past images of people, infinitely devoted to their homeland, reproducing the spiritual greatness and moral beauty of the simple people, he thus expressed sympathy to the employment of his era.

The historical plays of Ostrovsky are an active expression of his democratic patriotism, the effective implementation of his struggle against the reactionary forces of modernity, for its progressive aspirations.

The historical plays of Ostrovsky, which appeared in the years of the fierce struggle between materialism, idealism, atheism and religion, revolutionary democratism and reaction, could not be raised to the shield. Ostrovsky's plays emphasized the importance of the religious principle, and the revolutionary democrats led an irreconcilable atheistic propaganda.

In addition, the advanced criticism perceived the negative and most care of the playwright from modern times in the past. Ostrovsky's historical plays began to find a more or less objective assessment later. Their genuine ideological and artistic value begins to be realized only in Soviet criticism.

Ostrovsky, depicting modernity and past, worn with his dreams and to the future. In 1873. He creates a wonderful play-tale "Snow Maiden". This is a social utopia. It is fabulous and plot, and heroes, and furnishings. Deeply excellent in their form from the socio-domestic play of the playwright, it is organically enformed into the system of democratic, humanistic ideas of his creativity.

In the critical literature on the "Snow Maiden", it was rightly indicated that the Ostrovsky paints here the "Men's Kingdom", the "peasant community", once again emphasizing his democracy, its own organic connection with Nekrasov, idealizing the peasantry.

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 "Thunderstorms", being very displeased by the author of the play.

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

.3 Socio-Ethical Dramaturgia Ostrovsky

Dobrolyubov said that the Ostrovsky "Extremely fully exhibited two kinds of relations - relations family and property relations." But these relationships are always given to them in a wide socio-moral frame.

Ostrovsky's playwright is socio-ethical. It is assigned to the problems of morality, human behavior. This rightly drew the attention of Goncharov: "Ostrovsky is commonly called the life writer, morals, but this does not exclude the mental side ... he does not have a single play, where he would not be touched by a purely human interest, feeling, vitality." The author of "thunderstorms" and "Nonmenviannitsa" was never a narrow household. Continuing the best traditions of Russian progressive dramaturgy, it organically spoke in his plays family-household, moral and domestic motives with deep social or even socio-political.

At the heart of almost any of his play - the main, the leading theme of a large social sound, revealing with the help of individuals subordinated to it, by the benefit of household. This most of his plays acquire thematically complex complexity, polyhedral. So, for example, the leading comedy theme "His people will consider!" - the unbridled predation, which led to malicious bankruptcy, is carried out in an organic plexus with subordinate private topics: the upbringing, relations of senior and younger, fathers and children, conscience and honor, etc.

Shortly before the appearance of "thunderstorms" N.A. Dobrolyubov spoke with articles "Dark Kingdom", in which he argued that the Ostrovsky "has a deep understanding of Russian life and the Great to portray sharply and vividly the most essential parties."

"Thunderstorm" served as new proof of the justice of the provisions expressed by a revolutionary-democratic critic. In the "thunderstorm", the playwright with exceptional force showed a clash between old traditions and new trends between the desires of oppressed people to the free manifestation of their spiritual needs, inconsistencies, interests and ownership of the predeframic life of social and family-owned orders.

Solving the actual problem of illegitimate children, their social constant, Ostrovsky in 1883 created the play "without guilt,". This problem was affected in the literature and before and after Ostrovsky. Especially much attention was paid to democratic fiction. But not in one work, this topic was not sounded with such a heartlessness, as in the play "Without guilt". Reaffirming its relevance, the contemporary of the playwright wrote: "The question of the fate of illegitimate is the question inherent in all classes."

In this play loudly sounds and the second problem is art. Ostrovsky masterfully, justified them in a single node. He turned the mother looking for his child, actress and all events unfolded the artistic environment. So two heterogeneous problems merged into an organically inseparable life process.

Ways to create an artistic work are very diverse. The writer may go from the actual fact or excited his problem, ideas, from overstaturing by life experience or from imagination. A.N. Ostrovsky, as a rule, was sent from the specific phenomena of real reality, but at the same time defended a certain idea. The playwright fully divided the judgments of Gogol that "the idea of \u200b\u200bthe play rules. Without her there is no unity in it. " Guided by this Regulation, on October 11, 1872 wrote his co-auto author N.Ya. Solovyöv: "I worked on the" dicarka "all summer, and I thought two years, I have not only a single nature or position, but there is no one phrase that would not have flowed out of the idea ..."

The playwright was always an opponent of the frontal didactics, so characterized by classicism, but at the same time they defended themselves the need for full clarity of the author's position. In his plays, a citizen is always felt, the patriot of his country, the son of his people, a champion of social justice, who speaks by a passionate defender, a lawyer, then the judge and the prosecutor.

Social, ideological, the ideological position of Ostrovsky is clearly detected in relations to various depicted public classes and characters. Showing merchants, Ostrovsky with a special fullness reveals his predatory egoism.

Along with the egoism, the essential property of the island depicted by the island of the bourgeoisie is acquainted, accompanied by insatiable greed and loose-free soul mate. The acquisitive greed of this class of all-consuming. The money is exchanged here related feelings, friendship, honor, conscience. Gold glitter overshadows in this medium all the usual concepts of morality and honesty. Here, a wealthy mother gives the only daughter for the old man only because he does not have any chickens from him "(" Family Picture "), and a rich father is looking for his own, too, the only daughter of the groom, thinking only so that he is" The money was found yes dowry less lomil "(" His people will find! ").

In a trading environment, depicted by Ostrovsky, no one is considered to have other people's opinions, desires and interests, believing the basis of their activities only their own will and personal arbitrariness.

An integral trading trading and industrial bourgeoisie depicted by Ostrovsky is a hypocus. Its fraudulent essence merchants sought to hide under the mask of the powerful and piousness. The religion of the hypocrisy, the professionable merchants, became their essence.

Predatory egoism, acquisition of greed, narrow practicality, complete lack of spiritual requests, ignorance, self-smuggling, hypocrisy and the hypocrisy are those of the leading moral and psychological features of the preefracted trading and industrial bourgeoisie, its essential properties.

Reproducing the pre-reform trade and industrial bourgeoisie with its Domostroevsky construction, the Ostrovsky clearly showed that the strength opposing her already grew, inexorably inflation her bases. The soil under the legs of self-engaged despots became more and more pod, foreshadowed their inevitable end.

The flame reality has changed a lot in the vehicle position. The rapid development of industry, the growth of the domestic market, the expansion of trade relations with abroad has turned the trade and industrial bourgeoisie not only into economic, and in political force. The type of old expensive merchant began to replace the new one. I changed him came the merchant of another fold.

Obligating the new thing that made a flame reality in the life and morals of merchants, the Ostrovsky is even more acute in his plays the struggle of civilization with patriarchalism, new phenomena with ancient.

Following the changing course of events, the playwright in a number of his plays draws a new type of merchant, which has formed after 1861. By purchasing a European gloss, this merchant hides its self-predatory essence under external faithfulness.

Drawing representatives of the trade and industrial bourgeoisie of the flamesorial pore, the Ostrovsky exposes their utilitarianism, dealer limitations, spiritual poverty, the absorption of the interests of the accumulation and consumer comfort. "Bourgeoisie," We read in the Communist Manifesto, "their touching-sentimental cover with family relationships and brought them to a purely monetary relations." We see convincing confirmation of this provision in family and domestic relations as expensive and, in particular, the colors of the Russian bourgeoisie depicted by Ostrovsky.

The marriage-family relationships are subordinate to the interests of entrepreneurship and profit.

Civilization undoubtedly streamlined the technique of professional relationships of the trade and industrial bourgeoisie, grafted her a LCD of an external culture. But the essence of public practice is the pre-reform and the clan bourgeoisie remained unchanged.

Signing the bourgeoisie with the nobility, the Ostrovsky gives the preference of the bourgeoisie, but nowhere, apart from three plays, "not in my sleeves do not sit", "poverty is not a vice", "not so live, as I want," does not idealize it as an estate. Ostrovsky It is clear that the moral foundations of representatives of the bourgeoisie are determined by the conditions of their environment, their social being, which is a private expression of the system, is based on despotism, the power of wealth. The trade and business activities of the bourgeoisie cannot serve as a source of spiritual growth of human personality, humanity and morality. The public practice of the bourgeoisie is capable only to urge the human person, putting it individualistic, antisocial properties. The bourgeoisie is historically replacing the nobility, vicious in its being. But it turned into force not only economic, but also political. While the merchants of Gogol were afraid of governing as a fire and were lying around in his feet, the merchants of Ostrovsky appeal to the Gingerbird Panibrates.

Depicting the business and days of the commercial and industrial bourgeoisie, its old and the younger generation, the playwright showed the gallery of images, full of individual originality, but, as a rule, without soul and heart, without shame and conscience, without pity and compassion.

The Russian bureaucracy of the second half of the XIX century, with the properties of careerism, treasures, bribery, and bribery, was tasty criticism. Expressing the interests of the nobility and the bourgeoisie, it was actually dominant socio-political force. "Tsarist autocracy is," Lenin argued, "the autocracy of officials."

The power of the bureaucracy aimed against the interests of the people was uncontrolled. Representatives of the Bureaucratic World Vosnevsky ("Profitable Place"), Potroach ("Labor Bread"), Gnevzevy ("Rich Bride") and Benevolensky ("Poor Bride").

The concepts of justice and human dignity exist in the bureaucratic world in the egoistic, to the extremes of the prosperous understanding.

Revealing the mechanics of bureaucratic Vsevlistia, the Ostrovsky draws a picture of terrible formalism, which caused such dark deltsi, as Zakhar Zakharych ("In someone else's hangover") and wise ("hard days").

It is quite natural that representatives of the autocarete-bureaucratic alliance are fragrants of all free political thoughts.

Casnokratovy, bribery, false witness, buying black and drowning the right thing in a paper stream of casuistic trickle, these people are morally empty, all human in them is illuminated, there is nothing cherished in them: conscience and honor are sold for profitable places, ranks, money.

The Ostrovsky convincingly showed the organic fighting of the bureaucracy, bureaucracy with the nobility and the bourgeoisie, the unity of their economic and socio-political interests.

Reproducing the heroes of conservative bureaucratic-blessing life with their vulgarity and impassable ignorance, carnivorous greed and rudeness, the playwright creates a magnificent trilogy about Balzamin.

Runing in your dreams to the future when he marries the rich bride, the hero of this trilogy says: "First, she would have sewed a blue raincoat on a black velvet lining ... I would buy a gray horse and running yeasts and drove along the hook, Mama, And the rules himself ... ".

Balsamines - the personification of the vulgar mesh-ranp limitity. This is a type of huge generalizing force.

But a significant part of small officials, being socially between the hammer and an anvil, herself tolerated the nest from the autocratic-despotic system. Among the minor officials, there were a lot of honest workers, flex, and often fell under the unbearable burden of social injustices, deprivation and needs. Ostrovsky treated these workers with hot attention and sympathy. He dedicated a series of plays to small people of the official world, where they act as they were in reality: good and evil, smart and stupid, but also those and others - disadvantaged, devoid of opportunities to reveal their best abilities.

The sharper felt their social progressiveness, people in one degree or another uncomplicable were deeper. And therefore their life was tragic.

Representatives of the employment intelligentsia in the image of Ostrovsky - people of spiritual vigor and light optimism, goodwill and humanism.

The principal directness, moral purity, solid faith in the truth of their affairs and the bright optimism of labor intelligentsia find hot support from the island. Depicting representatives of the employment intelligentsia as true patriots of their fatherland, as a carrier of light, designed to dissipate the dark kingdom, based on the power of capital and privileges, arbitrariness and violence, the playwright invests in their speeches and their cherished thoughts.

Sympathy of Ostrovsky belonged not only to the employment intelligentsia, but also by ordinary people of labor. They found them among the meshness - a pedestrous, complex, controversial estate. The proprietary aspirations are brutal to the bourgeoisie, and the labor entity to the simple people. Ostrovsky depicts from this class by the benefit of people of labor, showing it clear sympathy.

As a rule, simple people in the plays of Ostrovsky are carriers of natural mind, spiritual nobility, honesty, simpleness, kindness, human dignity and heart sincerity.

Showing the labor people of the city, Ostrovsky penetrates deep respect for their spiritual advantages and hot sympathy to a difficult situation. He acts as a direct and consistent defender of this social layer.

To deepen the satirical trends of Russian drama, the Ostrovsky performed with a merciless accusation of the exploitative classes and thereby is an autocratic building. The playwright depicted a social system, in which the value of the human personality is determined only by its material wealth, in which poor workers are experiencing gravity and hopelessness, and careerists and bribes are gracious and triumph. Thus, the playwright pointed to his injustice and vanity.

That is why in his comedies and dramas all positive heroes are most advantage in dramatic positions: they suffer, suffer and even die. Their happiness - by chance or imagine.

Ostrovsky was on the side of this growing protest, seeing in it a sign of time, the expression of a common movement, the rigid of what had to change the lifetime in the interests of people's people.

Being one of the brightest representatives of Russian critical realism, Ostrovsky not only denied, but also argued. Using all the possibilities of his skill, the playwright fell on those who oppressed the people and urged his soul. Peripping his creativity by democratic patriotism, he said: "I as Russian is ready to sacrifice everything for the Fatherland than I can."

Comparing the plays of Ostrovsky with modern liberal-accusatory novels and the leaders, Dobrolyubov in the article "Light of Light in the Dark Kingdom" rightly wrote: "It is impossible not to confess that the Ostrovsky case is much fruitful: he captured such common aspirations and needs that all Russian society imbued with whom the voice is heard in all the phenomena of our life, which satisfaction is the necessary condition for our further development. "

Conclusion

Western European dramaturgy of the XIX century in the overwhelming part reflected the feelings and thoughts of the bourgeoisie, which mastered in all spheres of life, praised her morality and heroes, argued the capitalist order. Ostrovsky expressed mood, moral principles, ideas of labor layers of the country. And it determined that height of his idea, the power of his public protest, the truthfulness in the image of the types of real reality, which he is so brightly distinguished against the background of the entire world dramaturgy of his time.

Creative activity of Ostrovsky had a powerful impact on the further development of progressive Russian drama. It was from him that he studied the best of our playwrights. It was to him that beginner dramatic writers stretched at one time.

Ostrovsky had a huge impact on the further development of Russian drama and theatrical art. IN AND. Nemirovich-Danchenko and K.S. Stanislavsky, founders of the Moscow Art Theater, sought to create "People's Theater approximately with the same tasks and in those plans as the Ostrovsky dreamed." The dramatic innovation of Chekhov and Gorky would be impossible without mastering them the best traditions of their wonderful predecessor. Ostrovsky became an ally and associate of playwrights, directors, actors in their struggle for the peoples and high ideologicalness of Soviet art.

Bibliography

ostrovsky Dramatic Ethical Piece

1.Andreev I.M. "Creative path of A.N. Ostrovsky "M., 1989

2.Zhuravleva A.I. "A.N. Ostrovsky - Comediographer "M., 1981

.Zhuravleva A.I., Nekrasov V.N. "Theater A.N. Ostrovsky "M., 1986

.Kazakov N.Yu. "Life and creativity A.N. Ostrovsky "M., 2003

.Kogan L.R. "The chronicle of life and creativity A.N. Ostrovsky "M., 1953

.Lakshin V. "Theater A.N. Ostrovsky "M., 1985

.Malygin A.A. "The art of Dramaturgia A.N. Ostrovsky "M., 2005

Internet resources:

.# "Justify"\u003e 9. Lib.ru/ classic. Az.lib.ru.

.Schelike WWW. Shelykovo.ru.

.# "Justify"\u003e. # "Justify"\u003e. http://www.noisette-software.com

Similar works on - the role of Ostrovsky in creating a national repertoire

Page 1 of 2

Life and creativity A.N. Ostrovsky

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

Life and creativity A.N. Ostrovsky 5.

Childhood and youthful years 5

First passion theater 6

Training and service 7

First passion. The first plays 7.

Beep with father. Ostrovsky wedding 9.

Start creative way 10

Traveling around Russia 12

"Thunderstorm" 14

The second marriage of Ostrovsky 17

The best work of Ostrovsky - "Dustpannica" 19

Death of great playwright 21

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

Literature 24.

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

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

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

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

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

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

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

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

And the sun bright caresses us and warms ...

There is a live speech of simple, living people,

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

And just a man ... Happy guide

Hurry to quickly smash heavy shackles

Conventions and lies. Words and feelings of the new

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

And whisper all of the mouth: Blessed poet,

Dilapidated, Mishful Covers

And in the kingdom Dark shed bright light

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

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

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

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

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

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

Life and creativity A.N. Ostrovsky

Childhood and Youth Years

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

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

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

Nikolay Fedorovich liked all this. And by having received an offacarious nobility at the service in the service, then he had previously been "from the spiritual title," the Banebard's Papenbard was painted by a cake and took a merchant only in the office, sitting behind the extensive table, littered with papers and chubby volumes from the Code of Laws of the Russian Empire.

First passion theater

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

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

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

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

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

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

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

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

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

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

Training and service

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

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

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

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

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

First passion. First plays

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

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

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

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

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

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

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

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

They hugged ...

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

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

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

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

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

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

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

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

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

Beep with father. Wedding Ostrovsky

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

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

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

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

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

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

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

Start of a creative path

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Traveling in Russia

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Storm"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

So much was decided. But much remained unresolved.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The second marriage is Ostrovsky

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

Alexander Nikolaevich Ostrovsky (1823-1886) on the right takes a worthy place in a number of the largest representatives of world dramaturgy.

The meaning of Ostrovsky's activity, for more than forty years annually in the best magazines of Russia and the play on the scenes on the scenes of the imperial theaters of St. Petersburg and Moscow, many of whom was an event in the literary and theatrical life of the era, briefly, but accurately characterized in the famous letter I. A . Goncharov addressed to the drama itself.

"The 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 Fononovin, Griboedov, Gogol laid. But only after you we are Russian, we can say with pride: "We have our own Russian, the national theater." He, in fairness, should be called "Ostrovsky Theater". "

Ostrovsky began its creative path in the 40s, during the life of Gogol and Belinsky, and completed him in the second half of the 80s., At the time, when A. P. Chekhov has already been firmly in the literature.

The belief that the work of the playwright, creating a repertoire of the theater, is a high public service, permed and directed the activity of Ostrovsky. It was organically connected with the life of literature.

In the young years, the playwright wrote critical articles and participated in the editorial business of Moskvatian, trying to change the direction of this conservative magazine, then, printed in the "contemporary" and "domestic notes", friendly came out with N. A. Nekrasov, L. N. Tolstiv , I. S. Turgenev, I. A. Goncharov and other writers. He watched their work, discussed with them their work and listened to their opinion about his plays.

In the era, when state theaters were officially considered "imperial" and were managed by the Ministry of the courtyard, and the provincial spectacular institutions were given to the fulfillment of entrepreneurs to entrepreneurs, Ostrovsky advanced the idea of \u200b\u200bfull restructuring of theatrical case in Russia. He proved the need to replace the court and commercial theater folk.

Without limiting the theoretical development of this idea in special articles and notes, the playwright has practically fought for its implementation for many years. The main spheres, acting in which he implemented his views on the theater, were his work and work with actors.

Dramaturgia, the literary basis of the play is the Ostrovsky considered it decisive it element. The repertoire of the theater, giving the viewer with the opportunity to "see the Russian life and Russian history on stage", according to his concepts, was addressed primarily to the democratic public, "for which they want to write and are obliged to write folk writers." Ostrovsky defended the principles of the author's theater.

The exemplary experiments of this kind, he considered the theaters of Shakespeare, Moliere, Goethe. The connection in one person of the author of dramatic works and their interpreter on stage - teacher of actors, director - presented to the island pledge of artistic integrity, the organicity of the theater.

This thought in the absence of director, with the traditional orientation of the theater spectacle to the performance of individual, "soling" actors was innovative and fruitful. Its value is not exhausted and nowadays when the director has become the main figure in the theater. It is enough to remember the theater B. Brecht "Berliner Ensemble" to make sure that.

Overcoming the cosnosis of the bureaucratic administration, literary and theatrical intrigues, the Ostrovsky worked with actors, constantly leading the productions of its new plays in the Small Moscow and the Alexandrinsky Petersburg theaters.

The essence of his ideas was to implement and consolidate the effect of literature on the theater. In principle and categorically, he condemned everything more thanking himself from the 70s. Submission of dramatic writers tastes of actors - scene favorites, their prejudices and whims. At the same time, Ostrovsky did not think dramaturgy without the theater.

His plays were written with direct calculation on real performers, artists. He emphasized: in order to write a good play, the author must fully own the knowledge of the laws of the scene, the purely plastic side of the theater.

Not every playwright, he was ready to give power over the artists of the scene. He was confident that only a writer who created his unique peculiar playwrith, his special world on stage, had something to say artists, which had to teach them. The attitude of the island to the modern theater was determined by its artistic system. The hero of the isoysky drama was the people.

Society and, moreover, the socio-historical life of the people appeared in his plays. No wonder the criticism of N. Dobrolyubov and A. Grigoriev, approaching the work of Ostrovsky with the mutually opposite positions, saw in his works a holistic picture of the existence of the people, although in different ways the life depicted by the writer.

This orientation of the writer on the mass phenomena of life corresponded to the principle of an ensemblon game, which he defended the consciousness of the importance of unity, the integrity of the creative aspirations of the team of actors participating in the play.

In his plays, Ostrovsky depicted public phenomena with deep roots - conflicts, the origins and the reasons for which they often immediately go to remote historical epochs.

He saw and showed fruitful aspirations arising in society, and a new evil that rises in it. The carriers of new aspirations and ideas in his plays are forced to conduct a serious struggle with old, consecrated conservative conservative customs and glances, and a new evil faces them with the eyed victims of the ethical ideal of the people, with strong traditions of resistance to social injustice and moral not true.

Each character in the Pieces of Ostrovsky is organically connected with his environment, his era, the history of their people. At the same time, the ordinary person, in the concepts, habits and speeches of which captured his relationship with the social and national world, is the focus of interest in the Pieces of Ostrovsky.

The individual fate of the person, the happiness and misfortune of a separate, ordinary person, his needs, his struggle for her personal well-being worry the audience to the drama and comedy of this playwright. The position of a person serves in them by the measure of the state of society.

Moreover, the typical of the personality, the energy of the people in the individual characteristics of a person "affects" is an important ethical and aesthetic value in the island drama. Characteritude is beautiful.

Similarly, in the drama of Shakespeare, the tragic hero, whether it is beautiful or terrible in terms of ethical evaluation, belongs to the sphere of the beautiful, in the play of the Ostrovsky characteristic hero in the measure of its typicality is the embodiment of aesthetics, and in general, a number of cases and spiritual wealth, historical life and culture of the people .

This feature of Ostrovsky's drama predetermined his attention to the game of each actor, to the ability of the Contractor to submit a type on stage, brightly and fascinating an individual, original social character.

This ability is Ostrovsky especially valued in the best artists of his time, encouraging and helping to develop it. Turning to A. E. Martynov, he said: "... from several traits sketched by inexperienced hand, you created final types full of artistic truth. That's what you and the road to the authors. "

His argument about the theater's nationality, that Drama and Comedies are written for the whole people, Ostrovsky ended in words: "... Dramatic writers should always remember it, they should be clear and stronger."

The clarity and the strength of the author's creativity, in addition to those created in its plays, finds its expression in conflicts of its works built on simple life incidents, reflecting, however, the main collisions of modern public existence.

In an early article, a positive assessment of the story of A. F. Pisemsky "Typhid", Ostrovsky wrote: "Intrigue is simple and instructive as life. Due to the original characters, because of the natural and highly dramatic stroke of events, the noble and extremely mined thought is thought.

This story is truly artistic. " The natural dramatic course of events, the original characters, the image of the life of ordinary people - lists these signs of true artistic in the story of the letter, the young Ostrovsky undoubtedly walked from his reflection on the tasks of dramaturgy as art.

It is characteristic that the Ostrovsky attaches the importance of adequateness of the literary work. Publicity of art gives him the basis to compare and bring together art with life.

Ostrovsky believed that the theater, collecting a numerous and heterogeneous public in his walls, connecting it with a feeling of aesthetic pleasure, should raise society, helping the simple, unprepared audience "to understand for the first time in life", and formed to give "a whole prospect of thoughts that are not separated by" (ibid.).

At the same time, the island was alien to the distracted didactics. "To have good thoughts can anyone, and to own minds and hearts are given only to the chosen," he reminded, ironizing the writers, replacing serious artistic problems as edging tirades and a naked trend. Cognition of life, its truthful realistic image, thinking over the most relevant to society and complex issues - this is what the theater must be presented to the public, that's what makes the school scene.

The artist teaches the viewer to think and feel, but does not give him ready-made solutions. The didactic drama, which does not reveal the wisdom and adequateness of life, and replacing it with declaratively pronounced capital truths, is dishonest, since it is not artistic, meanwhile, as for the sake of aesthetic impressions, people come to the theater.

These ideas of Ostrovsky found a kind of refraction in its relation to historical drama. The playwright argued that "historical dramas and chronicles<...> They develop folk self-knowledge and raise conscious love for the Fatherland. "

At the same time, he emphasized that not a distortion of the past in favor of a tendentious idea, not calculated on the external stage effect of melodrama on historical plots and not transferring into the dialogue form of scientists of monographs, and truly artistic recreation of the live reality of the past centuries on the stage may appear the basis Patriotic performance.

A similar performance helps to society to know ourselves, encourages reflections that attach a conscious nature to the immediate feeling of love for the Motherland. Ostrovsky understood that the plays, which he annually creates, make up the basis of the modern theatrical repertoire.

Determining the types of dramatic works, without which there can be no exemplary repertoire, it, in addition to the drama and comedies, drawing modern Russian life, and the historical chronicles, called the extravagania, play fairy tales for festive performances, accompanied by music and dances, decorated as a colorful national spectacle.

The playwright created in this kind of masterpiece - the spring fairy tale "Snow Maiden", in which poetic fiction and picturesque setting are combined with deep lyrical philosophical content.

History of Russian literature: in 4 volumes / edited by N.I. Protkova and others - L., 1980-1983.