Open lesson on Russian language and literature on the topic "M.A. Bulgakov. Information from the biography of the writer
From that time until the end of his life, Bulgakov never abandoned drama. In addition to a dozen plays, the experience of intratheater life will lead to the birth of the unfinished novel “Notes of a Dead Man” (first published in the USSR in 1965 under the title “Theatrical Novel”). Main character, the aspiring writer Maksudov, who works for the Shipping Company newspaper and writes a play based on his own novel, is undisguisedly biographical. The play is being written by Maksudov for the Independent Theater, which is directed by two legendary personalities- Ivan Vasilievich and Aristarkh Platonovich. The reference to the Art Theater and two major Russian theater directors of the 20th century, Stanislavsky and Nemirovich-Danchenko, is easily recognizable. The novel is full of love and admiration for the people of the theater, but it also satirically describes the complex characters of those who create theatrical magic, and the intra-theater ups and downs of the country's leading theater.
Almost simultaneously with “Days of the Turbins,” Bulgakov wrote the tragic farce “Zoyka’s Apartment” (1926). The plot of the play was very relevant for those years. Enterprising Zoyka Peltz is trying to save money to buy foreign visas for herself and her lover by organizing an underground brothel in own apartment. The play captures the abrupt breakdown of social reality, expressed in a change in linguistic forms. Count Obolyaninov refuses to understand what a “former count” is: “Where did I go? Here I am, standing in front of you.” With demonstrative simplicity, he does not accept not so much “new words” as new values. The brilliant chameleonism of the charming rogue Ametistov, the administrator in Zoya’s “atelier”, forms a striking contrast to the count, who does not know how to adapt to circumstances. In the counterpoint of the two central images, Amethystov and Count Obolyaninov, the deep theme of the play emerges: the theme of historical memory, the impossibility of forgetting the past.
Zoya's Apartment was followed by the anti-censorship dramatic pamphlet The Crimson Island (1927). The play was staged by A. Ya. Tairov on the stage of the Chamber Theater, but it did not last long. The plot of “The Crimson Island” with the uprising of the natives and the “world revolution” in the finale is nakedly parodic. Bulgakov's pamphlet reproduced typical and characteristic situations: a play about a native uprising is being rehearsed by an opportunistic director, who readily alters the ending to please the all-powerful Savva Lukich (who in the play was made to resemble the famous censor V. Blum).
It would seem that luck was with Bulgakov: it was impossible to get to the “Days of the Turbins” at the Moscow Art Theater, “Zoykina’s Apartment” fed the staff of the theater. Evg. Vakhtangov, and only for this reason was the censorship forced to endure her; The foreign press wrote admiringly about the courage of the “Crimson Island”. In the theater season of 1927-28, Bulgakov was the most fashionable and successful playwright. But the time of Bulgakov the playwright ends just as abruptly as that of the prose writer. Bulgakov's next play, “Running” (1928), never appeared on stage.
If “Zoyka’s Apartment” told about those who remained in Russia, then “Running” spoke about the fates of those who left it. White General Khludov (he had a real prototype - General Ya. A. Slashchov), in the name of a high goal - the salvation of Russia - went to execution in the rear and therefore lost his mind; the dashing General Charnota, who rushes into attack with equal readiness both at the front and at the card table; soft and lyrical, like Pierrot, university private assistant professor Golubkov, saving his beloved woman Seraphim, ex-wife former minister - all of them are outlined by the playwright with psychological depth.
True to the precepts of classical Russian literature of the 19th century, Bulgakov does not caricature his heroes. Despite the fact that the characters were not at all portrayed as ideal people, they evoked sympathy, and among them there were many recent White Guards. None of her characters were eager to return to their homeland to “take part in building socialism in the USSR,” as Stalin advised to end the play. The issue of staging “Running” was considered four times at Politburo meetings. The authorities did not allow the second appearance of white officers on the stage. Since the writer did not listen to the leader’s advice, the play was first staged only in 1957 and not on the capital’s stage, but in Stalingrad.
1929, the year of Stalin’s “great turning point,” broke the fates not only of the peasantry, but also of any “individual peasants” still remaining in the country. At this time, all of Bulgakov's plays were removed from the stage. In despair, Bulgakov sent a letter to the government on March 28, 1930, which spoke of “deep skepticism regarding the revolutionary process” taking place in backward Russia, and admitted that “he had not even attempted to compose a communist play.” At the end of the letter, filled with genuine civic courage, there was an urgent request: either to be allowed to go abroad, or to be given a job, otherwise “poverty, the street and death.”
His new play was called "The Cabal of the Holy One" (1929). At its center is a collision: the artist and power. The play about Moliere and his unfaithful patron Louis XIV was lived by the writer from the inside. The king, who highly values the art of Moliere, nevertheless deprives the patronage of the playwright, who dared to ridicule the members of the religious organization “Society of the Holy Gifts” in the comedy “Tartuffe”. The play (called “Molière”) was rehearsed at the Moscow Art Theater for six years and at the beginning of 1936 it appeared on the stage, only to be removed from the repertoire after seven performances. Bulgakov never saw any of his plays on the theater stage.
The result of the appeal to the government was the transformation of a free writer into an employee of the Moscow Art Theater (the writer was not released abroad, despite the fact that at the same time another dissident writer E.I. Zamyatin was allowed to leave). Bulgakov was accepted into the Moscow Art Theater as an assistant director, assisting in the production of his own adaptation of Gogol’s “ Dead souls" At night he writes a “novel about the devil” (this is how Bulgakov’s novel about “The Master and Margarita” was originally seen). At the same time, an inscription appeared in the margins of the manuscript: “Finish before you die.” The novel was already recognized by the author as the main work of his life.
In 1931, Bulgakov completed the utopia “Adam and Eve,” a play about a future gas war, as a result of which only a handful of people remained alive in the fallen Leningrad: the fanatical communist Adam Krasovsky, whose wife, Eve, goes to the scientist Efrosimov, who managed to create the apparatus, exposure to which saves from death; fiction writer Donut-Nepobeda, creator of the novel “Red Greens”; the charming hooligan Marquisov, devouring books like Gogol's Petrushka. Biblical reminiscences, Efrosimov’s risky assertion that all theories are worth one another, as well as the pacifist motives of the play led to the fact that “Adam and Eve” was also not staged during the writer’s lifetime.
In the mid-1930s, Bulgakov also wrote the drama “The Last Days” (1935), a play about Pushkin without Pushkin, and the comedy “Ivan Vasilyevich” (1934-36) about the formidable tsar and the foolish house manager, who exchanged positions due to an error in the time machine. over the centuries; the utopia "Bliss" (1934) about a sterile and ominous future with ironically planned desires of people; finally, a dramatization of Cervantes’ “Don Quixote” (1938), which under the pen of Bulgakov turned into an independent play.
Bulgakov chose the hardest way: the path of a person who firmly delineates the boundaries of his own, individual existence, aspirations, plans and does not intend to obediently follow rules and canons imposed from outside. In the 1930s, Bulgakov's dramaturgy was just as unacceptable for censorship as his prose had been before. In totalitarian Russia, the themes and plots of the playwright, his thoughts and his characters are impossible. "For seven recent years I made 16 things, and all of them died, except one, and that was a dramatization of Gogol! It would be naive to think that the 17th or 18th will go,” Bulgakov writes on October 5, 1937 to V.V. Veresaev.
Creativity M.A. Bulgakov represents a wide range of interactions and connections with predecessors. Bulgakov the playwright's commitment to the Chekhovian tradition during the creation of "Days of the Turbins" was first announced immediately after the premiere of the famous performance based on Bulgakov's play.
"Days of the Turbins"
The events of the play coincide in duration with those of the novel. But in the play, time is compressed to about three days, or more precisely, to three evenings and one morning. This corresponds to the four acts of the drama and increases the tension of the situation. The artistic space in the play has also shrunk.
In the play, the historical panorama is replaced by two scenes of the second act (in the hetman’s office in the palace and at the headquarters of the “1st Film Division”, at Bolbotun) and the first scene of the third act (Alexandrovskaya Gymnasium). The play thus retained the features of a historical chronicle, but its compositional center became the Turbins’ house. This entailed a change in the personal-psychological plane, required strengthening its connection with national-historical issues, and changed the nature of the dramatic conflict.
In Bulgakov, the hostility between the characters (Turbins and Talberg) or the outcome of the love situation (Elena, Talberg, Shervinsky) also do not acquire paramount importance in the play. But Chekhov's general state world" by Bulgakov invades the stage space. The playwright transfers the problem of a tragic collision with fate from the symbolic to the real plane, forcing the heroes to direct participation, to choice, to action (starting from such as Shervinsky’s proposal to Elena, and ending with the heroic death of Alexei Turbin) The presence of the typically Chekhovian klutz Lariosik only emphasizes the playwright’s deviation from Chekhov’s path.
The direct correlation of the characters with the plan of History forces Bulgakov to transform the Chekhovian type of psychologism. Like Chekhov, Bulgakov perfectly conveys the everyday well-being of the characters, their emotionally charged reflections, which, like Leo Tolstoy’s internal monologues, directly convey the work going on in human souls. But in Bulgakov’s play this work is not connected with impressions of small everyday events, as in Chekhov, but with a reaction to the course of History. At the same time, it takes the form of expression political position(in the monologues of Alexei Turbin, Myshlaevsky, in the statements of Studzinsky). History invades daily life Turbinykh, essentially becomes the main content of this life. As soon as the curtain opens, she makes herself known with Nikolka’s song (“Worse rumors every hour./Petliura is coming at us!”), with cannon shots somewhere near Svyatoshin, with the electricity going out all the time, passing along the street military unit; it penetrates into the speech of the characters, determines their behavior, manifests itself in the state of Elena, impatiently waiting for her husband, in the behavior of Talberg, Lariosik, in Myshlaevsky’s story about the situation at the front, becomes the essence of the conversation at the “last dinner of the division”, and then spills out into the epicenter - stage in the Alexander Gymnasium.
Thus, the House of Turbins takes on a more significant burden of national-historical issues than in the novel. To emphasize the special place of the Turbin House in the dramatic space of the play, Bulgakov refused to introduce the Lisovich family into the play. A successfully found plot device - Thalberg's return at the time of the announcement of the divorce and the upcoming wedding of Elena and Shervinsky - contributes to his shame and at the same time, enlarging Thalberg's line, makes the presence of the Lisovichs' duplicating line in the play unnecessary.
But the change in the character system was expressed not only in the “removal” of the Lisovichs. Now in the center were not the young Turbins, but three White Guard officers: Alexey Turbin, Myshlaevsky and Studzinsky, personifying the three possible paths for an officer in a revolution. This is death, freeing one from choice, a step towards the Bolsheviks and a third road leading to a dead end. Studzinski, who chooses her, goes from being an episodic character to one of the main characters.
Alexey Turbin, a doctor, a restless intellectual, turned into a colonel in the play, the commander of an artillery division, displacing the novel Malyshev. Aleksey also embodies, especially in the last moments of his life, the purity and nobility of Nai-Tours.
Colonel Alexey Turbin reacts most consciously and sharply to the situation, and therefore his position is revealed directly. He is very concerned about the events in Ukraine, he is disappointed in the actions of the hetman, who began to “break this damn comedy with Ukrainization,” he sees the disintegration of the white officers led by the “guards staff horde,” and predicts the death of the white movement. In the last act, Myshlaevsky, with his decisive conclusions, seems to replace Colonel Turbin.
Thus, the play, unlike the novel, expresses the idea of the doom of the old world in general and the White Guard movement in the first place. The characters gain confidence in the occurrence of " new Russia". The best representatives of the White Guard recognize the historical correctness of the Bolsheviks. Therefore, it does not seem strange to Stalin’s opinion that the “Days of the Turbins” provide “more benefit than harm,” leaving the viewer with an impression “favorable for the Bolsheviks: “even if people like the Turbins , forced to lay down their arms means the Bolsheviks are invincible...”
The “pro-Soviet” ideological plan, directly outlined in the play, is softened by its special genre nature, which goes back to Chekhov’s innovations. We are talking about the constant adjustment of the ideological principle by the invasion of the comic and lyrical. Thus, the ideological self-determination of Alexei Turbin, imbued with tragic pathos, takes place against the backdrop of a drunken revelry. His toast to the meeting with the Bolsheviks is accompanied by a comic intermezzo by Lariosik (“I thirst for a meeting,/Oaths, speeches...”). The act ends with a lyrical scene (Elena's explanation with Shervinsky), but it is also interrupted by a comedic episode - the awakening of a drunken Lariosik. The motif of betrayal and flight that arose in the first act (Thalberg, the departure of German troops) is travestied by the operetta motif of cross-dressing (the flight of the hetman, who is “carried out” from the palace with his head bandaged in a German uniform; Shervinsky’s changing clothes).
The tragic beginning reaches its culmination in the first scene of the third act. This is a scene in the Alexander Gymnasium, where Alexei Turbin refuses to send people to their deaths, thereby recognizing that human life is more important than any idea, that it is valuable in itself. But he cannot recognize his right to life at any cost. A sense of honor makes him seek death. The tragic monotony of the scene is destroyed by the tragicomic appearance of the gymnasium guard Maxim, who was left alone to defend the gymnasium (“Mr. Director ordered”). His appearance brings Bulgakov's "strange caustic smile" into the tragedy of Colonel Turbin.
It would seem that the scene in the Alexander Gymnasium is not only the culmination, but also the denouement of the action, the finale of the drama. In Bulgakov, after it, another, fourth act appears, as if reproducing the situation of the first.
The ring composition is one of the signs that Bulgakov’s stage action, although it takes the form of a direct collision with History, is no less expressed in the sphere of “internal action”, as in Chekhov.
The first act is the eve of the tragic events, Thalberg's flight and a desperate feast before the battle with the Petliurites, when it turns out that tomorrow there will be battle, but it is unknown for whom and for what. The last act is an epilogue to some tragic events and the eve of new ones. Christmas tree, music is playing. This is Epiphany Christmas Eve, which came two months after the death of Alexei and the injury of Nikolka. Again a gathering of friends, the appearance of Thalberg and the announcement of the wedding of Elena and Shervinsky.
The beginning and end of the play are intertwined with repeating motifs. First of all, this is the motive for the inevitable meeting with the Bolsheviks. In Act 1, he is understandable only to Alexei Turbin. In the 4th act, the meeting looms before everyone and the attitude towards it is ambiguous: from Myshlaevsky’s readiness to serve with the Bolsheviks to Studzinsky’s intention to go to the Don, to Denikin. The situation is comically illuminated by the motive of dressing up, associated with Shervinsky, for whom the world is a theater, and he himself is an actor, easily moving from play to play (he takes off his burka, remains in a magnificent Circassian coat, exchanges his Circassian coat for civilian clothes, appears in a “non-party coat”, rented at the janitor's, takes it off and appears in a magnificent tailcoat).
The motive of the meeting with the Bolsheviks and its transformation are inseparable from the motive of the “God-bearing people.” It is associated with the understanding that ultimately the outcome of the meeting between “us” and “them” will depend on the position of “the nice little men from the works of Leo Tolstoy.” But in the 1st act a curse is addressed to the “God-bearers”, and in the 4th act the motive turns into recognition of the inevitability of tomorrow’s victory of the Bolsheviks, because behind them there are “clouds of little men”.
Such an everyday detail as a drinking binge takes on a symbolic character. The motif of drunken oblivion (“I should like to drink some vodka, some vodka”), which permeates the 2nd scene of the first act, is resolved in the 4th by another mistake by Lariosik, who drops the bottle - to the benefit of general sobering up, and not just the literal one.
But the correlation of the motives of the 1st and 4th acts, which is most important for Bulgakov’s concept, is connected with the image of the House. The house in Lariosik’s perception appears first as the embodiment of peace in a raging world, then as a symbol of a future better life (“We will rest, we will rest!”). References to Chekhov, provoked by the literal reproduction of Chekhov's text, should precisely draw attention to the discrepancy in the interpretation of the image of the House. For Chekhov's heroes, home is a closed space, a triumph of everyday life that fetters a person. In Bulgakov, the motif of the House in Act 1 is associated with the motif of a sinking ship, chaos penetrating inside sacred space (bogey). In the 4th act, the motive of the return of life, indestructible everyday life as the basis of the world, sounds. The idea of the intrinsic value of life, the human right to live despite any circumstances, is affirmed. As in Act 1, these circumstances are realized in the motif of unsleeping fate (a soldier’s march to the words of Pushkin’s “Song of the Prophetic Oleg”). This motif tragically frames the celebration of resurgent life, revealing its defenselessness.
From the point of view of internal action, Lariosik occupies an important place in the system of characters in the play. From a secondary or even tertiary character in a novel, he became one of the heroes of the foreground. By introducing a character into the Turbins’ house already in the first scene of Act 1, “as if sewn on a living thread from the most common quotes of Russian literature,” Bulgakov creates a “theatrical equivalent” of the Turbins’ former life, the former worldview. The expansion and deepening of Lariosik's role with his helplessness, indecisiveness, and awkwardness should have set off psychological changes in Chekhov's environment. The thunder of six-inch batteries, to which Lariosik pronounces the classic words in the finale: “We will rest, we will rest,” becomes the conclusion, a travesty of the Chekhov theme of the play.
So, in the play “Days of the Turbins,” Bulgakov, turning to the image of “Russian strife,” managed to rise above the mood of class strife and affirm the idea of humanity, the intrinsic value of life, the immutability of traditional moral values. Inheriting the achievements of Chekhov's drama, Bulgakov created a work that was original in terms of genre, combining a historical chronicle with a psychological drama that organically included a tragicomic element.
“Days of the Turbins” connected the dramaturgy of modern times with the Chekhov era and at the same time revealed the author’s desire to write in a new way. The play was a huge success, but in 1929. Opponents of the play ensured that it disappeared from the Moscow Art Theater poster for three years. In February 1932, by government decision, the performance was resumed.
The great theatrical success of "Days of the Turbins" and the tragic farce "Zoyka's Apartment" prompted Bulgakov to work on a new play. It began in 1926. In March 1928 the play "Run" was handed over to the Art Theater.
The originality of the play is already determined by its subtitle “Eight Dreams”. Traditionally, a dream in literature is a method of artistic and psychological analysis, a path to understanding the innermost in a person or a motivation for a fantastic turn of events. Bulgakov's designation of the play as a collection of “dreams” is ambiguous.
Deciphering the concept of “sleep” must begin by establishing what type of sleep Bulgakov has in mind. In "Running" a dream is a synonym for a mirage, obsession, deviation from the norm, distortion of reality, and at the same time a synonym for the reaction of consciousness to the madness of reality. What is happening seems like a dream to those two young heroes, whose fate was originally supposed to become the plot basis of the play - the St. Petersburg lady Serafima Korzukhina and her knight, who met her under the lantern of the car - at the moment of their run to the south to the one who seemed to them to be the savior of Russia, but was unable to change the course of history and became a punisher, a hangman - to the army commander Khludov, another figure holding together the dream scenes. Khludov himself is tormented by dreams-obsessions as a reflection of his confused consciousness, his sick conscience, embodied in the figure of his conventional interlocutor - the messenger Krapilin, who dared to throw the truth about his atrocities in his face and was hanged on his orders. The destinies of Khludov and Seraphima with Golubkov are fantastically intertwined, and none other than Khludov, having almost killed the young couple, saves her.
Dreams in “Running” are not only the “dreams” of the characters, but first of all the “dream” of the author (“...I dreamed of a monastery...”, “...My dreams are becoming more and more difficult...”). “Running” is the version of his own destiny that Bulgakov saw, its emigrant version, which failed, in particular, due to typhus that overtook Bulgakov in the foothills of the Caucasus. Hence the highly personal intonation in the depiction of events, leading to a violation of the principles of constructing canonical drama. Bulgakov creates a new drama, where it is not the figures of the characters and the relationships between them that come to the fore, but the author himself. The moods of the characters represent possible options for the intellectual and psychological state of the author. The author declares himself in such a non-traditional form for drama as epigraphs (to the play as a whole and to individual dreams), in stage directions, which become a kind of author’s digressions, introducing the landscape, musical accompaniment and offering a detailed description of the characters and interior.
The author’s “dream” is a sign of the conventionality of the dramatic form he created, a manifestation of the right to freely re-create reality, allowing one to emphasize its “dislocated” character, the absence in it of a boundary between sleep and reality, mirage and reality.
The principle of sleep, and also a bad dream, as a way of organizing the artistic world allows one to mix the tragic version of the situation (the “Russian gambling game” with shooting, interrogations, gallows, loss of one’s place in the world, its destruction) and the farcical one (the sweepstakes of the “cockroach king” Arthur, "cockroach races" in Constantinople with their no less dramatic influence on the destinies of people). “The Dream” allows the author to abandon the cause-and-effect relationship between scenes: a monastery, a train station, counterintelligence in Sevastopol, an abandoned palace, the outskirts of Constantinople and a prosperous mansion in Paris are united only by the crazy logic of history, and people are united by the Lord Great Chance: he brings Seraphima and Golubkov together , divorces Serafima from her husband, forces Golubkov and Charnota to find Lyuska next to Korzukhin, who is prospering in Paris, and now Mademoiselle Frejoles, who abandoned Charnota in Constantinople, etc. The ghost of a hanged man is introduced into the circle of characters, becoming practically the main person determining Khludov’s behavior, pushing him to suicide. The characters themselves lose the definiteness of their faces, try on all sorts of fantastic masks and attire (Charnota plays the role of a pregnant woman, comes to Korzukhin at his Parisian mansion in lemon-colored underpants; private assistant professor Golubkov plays the barrel organ, General Charnota sells “mother-in-law tongues”).
The grotesque permeates all levels of dramatic structure. The musical themes accompanying the action are absurdly combined: the prayers of the monks and the whooping of the soldiers; the whistles of steam locomotives, the crackling of telephones and the “gentle fashionable waltz” to which they danced at gymnasium balls, the lyrical part from “The Barber of Seville” and the touting of the salesman, the sweet voice of the muezzin and the rollicking sounds of the accordion...
In general, the stage directions play the role of a unifying principle in the play, permeating the dream scenes with cross-cutting images and motifs (dreams, moments of non-existence, illness, gambling, cockroach races, a vain desire for peace, guilt and retribution) and completing the impression of a split reality.
Including the heroes in an absurd situation, Bulgakov demonstrates the different paths that they can choose: this can be the path of Evil, which a person commits in the name of Good (transforming army commander Khludov into a punisher), this can be the readiness to stop Evil, even at the cost own life(messenger Krapilin, Seraphim and Golubkov); this desire for self-elimination even despite the misfortunes of others (Seraphima Korzukhin’s husband, Archbishop African, Lyuska); ability for knightly service (Golubkov, Charnota); this is an “autumn flight” into the calm of oblivion, into “snow on the Caravan” (Serafima and Golubkov), this is a game with Fate in defiance of fate (General Charnota). The author's extensive remarks create a polyphonic emotional accompaniment to what is happening: the author sympathizes, ironizes, mocks, smiles bitterly, shudders, sharing suffering and distancing himself from shameful well-being.
Through the use of remarks, the chronotope is stratified: the time of Eternity (the faces of saints, the singing of monks, the image of St. George slaying the serpent, one of the eternal cities of the world - Constantinople, music that expressed the spirituality inherent human life) is paradoxically combined with signs of destruction in the spatio-temporal and sound spheres (disturbed monastic life, counterintelligence, abandoned palace, gunfire, clatter of cavalry). Landscape directions (autumn, rain, twilight, sunset, an October evening with rain and snow, fading day) not only indicate the circumstances of the action, but thanks to persistent repetition they acquire the character of a leitmotif, symbolizing the gradual immersion of the world in darkness, the approach of people walking different paths, to the point of oblivion. They create a tragic atmosphere, illuminated and voiced by the invasion of a booth, a farce.
Section I. Works of M. A. Bulgakov ………………………………………………………………..4
Lessons 1-2 (62-63). M. A. Bulgakov. Life and art. Satire……………………………………..4
Lesson option 2 (63). Analysis of the story " dog's heart" ………………………………………...…10
Lessons 3-7 (64-68). Novel “The White Guard” …………………………………………………………….12
Option for lessons 3-7 (64-68). Novel “The Master and Margarita” ………………………………………….23
Section II Works of A. N. Tolstoy ………………………………………………………………...33
Lessons 8-10 (69-71). Novel “Peter the Great” ……………………………………………………………33
Section III. Creativity of A. A. Akhmatova …………………………………………………………….43
Lessons 11-13 (72-74). The late stage of creativity of A. A. Akhmatova.
Collection "White Flock". Theme of the Motherland. Poem “Requiem”……………………………………43
Section IV. Creativity of M. I. Tsvetaeva …………………………………………………………….56
Lessons 14-15 (75-76). Stages of biography and creativity. Analysis of works………………………56
Lesson 16 (77). M. I. Tsvetaeva and A. A. Akhmatova ……………………………………………………….65
Section V. Works of N. A. Zabolotsky …………………………………………………………....68
Lesson 17 (78). Man and nature in the works of N. A. Zabolotsky …………………………………..68
Section VI. Works of M. A. Sholokhov ……………………………………………………………..77
Lesson 18 (79). Stages of a writer’s biography and creativity………………………………………………77
Lessons 19-26 (80-87). Novel “Quiet Don” ……………………………………………………………..80
Section VII. Literature of the Great Period Patriotic War ………………………………102
Lesson 27 (88). General review of literature during the Second World War……………………………………………...102
Lesson 28 (89). War poetry………………………………………………………………………………….105
Lesson 29 (90). The story of V. Nekrasov “In the trenches of Stalingrad”……………………………………...108
Lesson 30 (91).“Lieutenant's Prose” …………………………………………………………………………………112
Lesson 31 (92). The story of V. Kondratiev “Sashka” ……………………………………………………..116
Lesson option 31 (92). The story of V. P. Astafiev “The Shepherd and the Shepherdess” …………………………..119
Section VIII. Creativity of A. T. Tvardovsky ……………………………………………………...123
Lessons 32-36 (93-97). Creativity and destiny. Poems: “The Country of Ant”,
“By right of memory”, “Vasily Terkin”. Lyrics…………………………………………...123
Section IX. The works of B. L. Pasternak …………………………………………………………..135
Lessons 37-42 (98-103). Creative path. Lyrics. Novel “Doctor Zhivago”……………………….135
Section X. Literature of the “Thaw”. Works of A. I. Solzhenitsyn …………………………..153
Lesson 43 (104)."Thaw". The story “The Fate of a Man” by M. A. Sholokhov …………………………153
Lessons 44-47 (105-108). The fate and work of A. I. Solzhenitsyn. Analysis
stories “One day in the life of Ivan Denisovich”, “Matrenin’s yard” ……………………………156
Section XI. Features of the development of poetry and prose in the 60-70s. XX century …………………………...170
Lesson 48 (109)."Village Prose". Heroes of V. Shukshin …………………………………………..170
Lesson 49 (110). Man and nature in “The Tsar Fish” by V. P. Astafiev……………………………..175
Lesson 50 (111). Problems of morality in the story
V. Rasputin “Deadline” (Option “Farewell to Mothers”) ……………………..182
Lessons 51-52 (112-113). Essay (Option - Seminar) on “village prose” ……………...187
Lesson 53 (114). Problems and features of the story “Exchange” ……………………………………188
Lesson 54 (115). Themes, problems, images of poetry of the “Thaw” period……………………………...193
Lesson 55 (116).“Silent Lyrics” by Nikolai Rubtsov ……………………………………………………195
Lesson 56 (117). Drama by A. Vampilov. “Eldest son”…………………………………….199
Lessons 58-59 (119-120). Essay on literature of the 60-70s ………………………………………….203
Section XII. Works of V.V. Nabokov …………………………………………………………….203
Lessons 60-61 (121-122). Review of creativity. Story “Circle” …………………………………………203
Option for lessons 60-61 (121-122).“Invitation to Execution”………………………………………...208
Section XIII. Literature of recent decades ………………………………………………...213
Lessons 62-63 (123-124). Literature on modern stage …………………………………………213
Lesson 64 (125). Prose of T. Tolstoy…………………………………………………………………………………219
Lesson 65 (126). Creativity of V. Pelevin ………………………………………………………………220
Lesson 66 (127).“New autobiography” by S. Dovlatov …………………………………………….227
Lesson 67 (128). Poetry of I. Brodsky………………………………………………………………..229
Lesson 68-69 (129-130). Newest Russian poetry…………………………………………………….232
Section XIV. Exam preparation………………………………………………………………..244
Lessons 70-74 (131-135). Preparing for the final essay……………………………………..244
Option for lessons 70-74 (131-135). Repetition of what has been learned, preparation for the exam………………261
Lesson 75 (136). Test on literature of the twentieth century………………………………………………………267
Applications
Letter from the Ministry of Defense of the Russian Federation on conducting certification in literature in 2003/04……………………………..267
Test based on the novel by M. A. Bulgakov “The Master and Margarita” …………………………………………...269
Test based on the novel “The White Guard” by M. A. Bulgakov …………………………………………………..270
Creativity test by A. A. Akhmatova and M. I. Tsvetaeva. Options I and II …………………………271
Test based on the novel “Quiet Don” by M. A. Sholokhov. Options I and II…………………………………...273
Test and Verification work based on the works of A. T. Tvardovsky ………………………………………………………..275
Test on the lyrics of B. Pasternak ……………………………………………………………………………………277
Literature…………………………………………………………………………………………...278
Dear Colleagues! The manual offered to you is the third edition of detailed lesson plans for the second half of the 11th grade and is aimed primarily at working in conjunction with textbooks:
- Russian literature of the twentieth century in 2 parts, edited by V. P. Zhuravlev(M.: Prosveshcheniye) and the textbook-workshop integrated with it by A. A. Kunarev.
- Russian literature of the twentieth century. Textbook in 2 parts edited by V. V. Agenosov and a reader with the same name. (M.: Bustard).
This edition adds:
New options for lessons on the works of modern writers; information on the preparation and conduct of a unified state exam(Unified State Exam);
Lessons related to preparing and conducting a final essay in 11th grade.
In addition, information and lessons regarding preparation for the final essay have been updated in accordance with the latest data. The main topics are additional material-workshop for conducting lessons and seminars. Options for lessons and additional information on the latest Russian literature of the twentieth century (80-90s) are provided.
The authors of the book were faced with the task of making both preparation for the lesson and work during the lesson as easy as possible. A special feature of our manual is its multifunctionality. The teacher can borrow complete lesson scenarios from it or use them partially, integrating them into his own lesson plan. Regardless of the nature of the use of the manual, every teacher will find in it a lot of interesting and informative articles on various topics. The manual presents several options for organizing each lesson, which significantly increases the teacher’s capabilities, makes it possible to adapt the material in the manual to his own pedagogical system, and choose the best option for conducting the lesson.
The manual corresponds to the actual course of the lesson and is autonomous in nature: in principle, it alone is sufficient for the qualified preparation of the teacher for the lesson. In addition, the book contains extensive additional material that greatly facilitates the teacher’s preparation for the lesson. Additional literature is provided for in-depth study of individual topics.
Civil war in the dramas "Days of the Turbins" and "Running".
Bulgakov is a comedian ("Zoyka's Apartment").
Dystopian code in the play “Adam and Eve”
Literature:
Sokolov B.V. Bulgakov Encyclopedia. M., 1996. S. 156-168, 222-225, 288-325.
The works of Mikhail Bulgakov. St. Petersburg, 1991-1995. Vol. 1-3.
Chudakova M. Biography of Mikhail Bulgakov. - 2nd ed., add. - M.: Book, 1988. - 669, p. - (Writers about writers).
Ninov A. About the drama and theater of Mikhail Bulgakov (Results and prospects of study) / A. Ninov // M.A. Bulgakov the playwright and art culture his time.
M., 1988. P. 6-39.
Nikolina 2003 - Nikolina N.A. Philological analysis of text / N.A. Nikolina. -M.: Publishing house. Center "Academy", 2003. - 256 p.
6. Titkova N.E. The problem of the Russian literary tradition in the dramaturgy of M.A.
Bulgakov: Diss. Ph.D. Philol. Sci. / NOT. Titkova. Nizhny Novgorod, 2000. 7. Chudakova M.O. Some problems of source study and reception of Bulgakov's plays about civil war
8. / M.O. Chudakova // M.A. Bulgakov: playwright and artistic culture of his time. M.: STD RSFSR, 1988. - P. 57-95. Zerkalov A.
Ethics of Mikhail Bulgakov / Alexander Zerkalov. - M.: Text, 2004
9. Kim Ji Han, Molchanova S.V. Remarks in the Plays of M. Bulgakov “Days of the Turbins”
and “Running” / C.H. Kim, S.V. Molchanova // Russian speech. - M.: 2004. - No. 1. P. 28-33.
10. Nalepina M. The fate of M.A. Bulgakov’s play “Running” / M. Nalepina // Literary
studies. - 2004. No. 2. - P. 155-177.
Independent work of students on module 3
3. Tasks that ensure the student achieves the complex goal of the module
3.1 Abstract
3.1.1 Topics
The system of characters in M. Bulgakov’s play “Running”.
Dystopian code in M. Bulgakov’s play “Adam and Eve.”
Bulgakov - comedian: “Zoyka’s apartment.”
Pushkin traditions in the works of M. Bulgakov
The concept of the hero in “Quiet Don” by M. Sholokhov.
“Don Stories” by M. Sholokhov: features of the conflict and poetics.
Folklore beginning in “Quiet Don” by M. Sholokhov.
Poetics of landscapes in “Quiet Don” by M. Sholokhov.
Features of M. Sholokhov's realism.
“The Language of Meaning” by A. Platonov.
The concept of the hero in A. Platonov’s story “Epiphanian Gateways”.
Poetics of A. Platonov’s stories (“Epifansky locks”, “The Hidden Man”, “Yamskaya Sloboda”)
Science fiction by A. Platonov: “Moon Bomb”, “Ethereal Path”, “Descendants of the Sun”.
Mythological discourse in A. Platonov’s play “Noah’s Ark.”
The symbolism of the title in A. Platonov’s novel “Happy Moscow”.
The concept of the hero in V. Nabokov’s novel “Invitation to Execution.”
Modernist aesthetics in V. Nabokov’s novel “Invitation to Execution.”
The phenomenon of Russian prose by V. Nabokov.
Soviet satire of the 1920s-1930s (based on the works of V. Mayakovsky, M. Bulgakov, A. Platonov)
3.1.2. The purpose and objectives of completing the abstract - present the basic methodological principles and methodological techniques for researching this area of literary history;
3.1.3. Description
Collect the necessary literary and critical material (in accordance with the topic of the creative task), systematize and analyze literary texts and criticism in a given manner. Present in your work an independent analysis of a literary text. Analyze the features of poetics.
3.1.4. Requirements for completing an abstract (see guidelines)
The work must contain an independent analysis of several literary and literary-critical sources, based on the example of which the stated topic will be revealed. They must be indicated at the end of the abstract, in the “List of used literature” section. Coverage of the chosen topic must be specific, supported by quotations. When quoting, references to the source are required.
Coverage of the chosen topic should be scientific, specific, supported by citations. When quoting, references to the source are required.
The report is presented in the form of an abstract of 10 pages.
3.1.5. Criteria for evaluating a creative assignment
In the process of working on a creative task, the student must demonstrate the ability to navigate literary and literary critical material, but at the same time develop his own view of the problem. The main criteria are independence, scientific character, depth of immersion in the problem
Module 4. Russian prose 1950-1980: genre and style searches
1. The comprehensive goal of the module is improve skills in interpreting and analyzing works of Russian literature created in the era of modernism; to develop the ability to use literary and cultural categories in which the fiction and culture of this period are comprehended; based on an in-depth analysis of the most significant literary works created during this period, to identify and characterize the main trends in the development of literature of the twentieth century.
.So, in the summer of 1930, after telephone conversation with Stalin, Bulgakov gets a job at the Moscow Art Theater, which he loved immensely. He liked this work extremely, and, in general, one could say that the worst was behind him. Because work gave him prosperity and confidence in today and tomorrow. No one criticized Bulgakov particularly strongly anymore, no one slandered him. His enemies somehow hid their heads, or dispersed, or took up other victims. One could say that a calm, boundless strip of life was opening up before Mikhail Afanasyevich.
In fact, everything was deeply wrong. Bulgakov by nature was a very conflicted, very complex person, besides, morphine does not go away without a trace, there are no former drug addicts. His psyche was very broken. Another thing that seems very important to me: before his conversation with Stalin, Bulgakov was a very sober person, very realistic about himself and his fate. In a sense, I think, he lived by the principle that was later formulated by Soviet political prisoners: “Don’t believe, don’t be afraid, don’t ask.” But the conversation with Stalin, to one degree or another, destroyed his autonomy and sowed in his heart the illusion that he now definitely had a supreme patron. Moreover, their conversation with Stalin ended on such a note that Stalin said:
– We should meet with you, Mikhail Afanasyevich, and talk.
“Yes, yes, we will definitely meet,” Bulgakov seized on this thought.
But they never met. And Bulgakov was looking forward to this meeting very much, he was very eager for it. So, he works at the Moscow Art Theater. He is offered to become the director of a dramatization of Gogol's Dead Souls. He offers his staging, but the theater does not accept it. Very soon he begins to have conflicting relationships with both Stanislavsky and Nemirovich-Danchenko. It is quite obvious that Bulgakov, by his nature, could not be a second director, could not be an assistant or assistant to directors. He was Bulgakov - he could have been the main director in his own theater. He could be Moliere. In fact, Moliere was a genius figure for Bulgakov, because he was the owner, master, and director of his own theater.
Fate did not give Bulgakov such a chance; he simply worked at the Moscow Art Theater. Later, all this will be described in the “Theatrical Novel” - one of his most amazing works. And he, in fact, dreamed of experiencing the theatrical success that he experienced in the mid-20s. Bulgakov was poisoned by this theatrical success, he loved theatrical fame, loved his name printed on the poster. He loved his plays. He didn't want to be in the past or the future. Sometimes they told him: “Don’t worry, Mikhail Afanasyevich, after your death everything will be published.” He was furious at these words, he didn’t want it that way. He wanted to work for a modern viewer, a contemporary reader.
Bulgakov would not have been in the least surprised by the fame that befell him a quarter of a century after his death, but he would most likely have been offended by this fame. He would like to exchange this huge continent of posthumous recognition for some pieces of lifetime glory. But fate was very cruel to him and did not give him any of this. And he fought, wanted and wrote plays. At some point, Bulgakov realized a very important thing for himself: he would make his way in the theater more surely than in literature. And if everything had gone well in the theater, he, perhaps, would not have written prose anymore, he would have written plays. And he wrote them.
In the first half of the 30s, Bulgakov wrote plays. One, two, three... But the theaters don’t take them. These plays are not suitable. It’s not even censorship that prohibits them. The situation has changed. If in the 20s Bulgakov's plays sold like hot cakes, and only sometimes censorship intervened and interfered, then in the 30s everyone got scared. Bulgakov had some kind of mark of rejection on him; it was dangerous to deal with him. And the artistic councils, directors, and actors did not want to play what he brought to them. But he was stubborn, he wanted to break this scene, write something that would eventually pass, and by 1936 he had written three such plays and accepted them for production in Moscow theaters.
One of these plays was called “Alexander Pushkin” and was dedicated to Pushkin’s duel. This is a very interesting play because Pushkin is not in it. It has a wife, Pushkin’s friends, the Tsar, Benckendorff, Dantes, Danzas - everything is there, and Pushkin “just came out”, “will come now.” Very interesting artistic technique– write about Pushkin without showing him. Write about Pushkin without inventing any lines that he could say. This was Bulgakov's greatest chastity, even reverence for Pushkin. And the Vakhtangov Theater accepted this play for production and began rehearsing.
Then Bulgakov wrote a play called “Ivan Vasilyevich” and which most modern viewers are well aware of from Leonid Gaidai’s film “Ivan Vasilyevich Changes Profession” - this is Bulgakov’s plot, another thing is that it is slightly altered and adapted to Soviet Moscow in the 70s. But in Bulgakov the action took place when it happened - during the time of Ivan the Terrible. This play was accepted for production by the Satire Theater. And everything was very good.
But there was a third play - the most important, the most important for Bulgakov - which was called “Molière”. The author's name was “The Cabal of the Holy One,” but the theater did not want such a dangerous name and it was replaced with “Molière.” This play was rehearsed at the Moscow Art Theater, the same one where Bulgakov worked.
We rehearsed the play for four years and exhausted Bulgakov at the end. “Days of the Turbins” were rehearsing less than a year, and here – four. Bulgakov was really looking forward to the premiere, he was waiting for the year to finally come when people would start talking about him again. Let them scold him, curse him - it doesn’t matter. The main thing is that it will come back to him, recognition will overtake him, and he will again experience the feeling of theatrical glory, applause, posters, tickets, and everything that accompanies the theater. He was really looking forward to this.
The first was a play about Moliere. In February 1936, the premiere took place on the small stage of the Moscow Art Theater. The responses were mixed: some liked the play, others did not. But the worst thing happened on March 9, when the newspaper Pravda published a so-called editorial article, that is, an article without a signature, and, therefore, reflecting the point of view of not one person, but an entire editorial team. It was called “External Shine and False Content,” and this article killed Bulgakov’s play. After it, the theater canceled the play.
Everything turned out like a house of cards: the Vakhtangov Theater was afraid to stage the play “Alexander Pushkin”. The Satire Theater was afraid to stage “Ivan Vasilyevich.” The curtain fell again on Bulgakov. The situation of the year 29 was repeated, when Sisyphus pushed and pushed his stone, and it all rolled down.
