Lesson on the history of the creation of the Ostrovsky thunderstorm presentation. Presentation "history of the creation of the play "Thunderstorm"
1 slide
Drama by A.N. Ostrovsky “The Thunderstorm” Ideological and artistic originality
2 slide
Purpose of the lesson: To reveal the ideological and artistic originality of the play, the life positions of the characters, the spiritual tragedy of Katerina
3 slide
1. Creative history drama "The Thunderstorm" The play "The Thunderstorm" was written by Ostrovsky during the summer and autumn of 1859, staged on stage in the same year, and published in 1860. This is a period of social upsurge, when the foundations of serfdom were cracking. The name "Thunderstorm" is not just a majestic natural phenomenon, but a social upheaval. The drama reflected the rise of the social movement, the sentiments that lived the progressive people of the 50-60s of the 19th century.
4 slide
On the instructions of His Imperial Highness, Admiral General, Grand Duke Konstantin Nikolaevich, prominent Russian writers who already had travel experience and a taste for essayistic prose were sent around the country for new materials for the “Sea Collection”. They were supposed to study and describe folk crafts related to the sea, lakes or rivers, methods of local shipbuilding and navigation, the situation of domestic fisheries and the very state of Russian waterways.
5 slide
Ostrovsky inherited the Upper Volga from its source to Nizhny Novgorod. And he set to work with enthusiasm.
6 slide
In the ancient dispute between the Volga cities about which of them, by the will of Ostrovsky, was turned into Kalinov (the setting of the play “The Thunderstorm”), speculation is most often heard in favor of Kineshma, Tver, Kostroma. The debaters seemed to have forgotten about Rzhev, and yet Rzhev was clearly involved in the birth of the mysterious plan of “The Thunderstorm”.
7 slide
It is not known exactly where “The Thunderstorm” was written - at a dacha near Moscow or in Shchelykovo on the Volga, but it was created with amazing speed, truly by inspiration, in a few months of 1859. The year 1859 is hidden in Ostrovsky's life. But it is known that in the summer he often lived near Moscow - in Davydovka or Ivankovo, where a whole colony of Maly Theater actors and their literary friends settled in their dachas.
8 slide
Ostrovsky's friends often gathered at his home, and the talented, cheerful actress Kositskaya was always the soul of the party. Beautiful Russian performer folk songs, the owner of a colorful speech, she attracted Ostrovsky not only as a charming woman, but also as a deep, perfect character.
Slide 9
Listening to Kositskaya's stories about early years her life, the writer immediately drew attention to the poetic richness of her language, the colorfulness and expressiveness of her turns. In her “servile speech” Ostrovsky felt a fresh source for his creativity. Life path, personality, Kositskaya’s stories gave Ostrovsky rich material for creating the image of Katerina.
10 slide
In October 1859, at Kositskaya’s apartment, Ostrovsky read the play to the actors of the Maly Theater. The actors unanimously admired the composition, pretending to play roles for themselves. It was known that Osrovsky gave Katerina to Kositskaya in advance. The main director was Ostrovsky. Under his guidance, the actors searched for the right intonations and coordinated the tempo and character of each scene. The premiere took place on November 16, 1859.
11 slide
2. Theme, idea, conflict of the play In the most general formulation, the main theme of “The Thunderstorm” can be defined as a clash between new trends and old traditions, between the oppressed and the oppressors, between the desire of people to freely express their human rights, spiritual needs and those that dominated in the pre-reform period social and family order
12 slide
Particular topics: - with the stories of Kuligin, the remarks of Kudryash and Boris, the actions of Dikiy and Kabanikha, Ostrovsky gives a detailed description of the material and legal situation of all layers of society of that era; - outlining Kuligin’s views and dreams, the author introduces us to the views that dominated people’s lives, the level of cultural demands and the state of social mores;
Slide 13
Drawing life, interests, hobbies and experiences characters, the author reproduces from different sides the social, family and everyday life of the merchants and philistines. This highlights the problem of social and family relations. The position of women in the bourgeois-merchant environment is clearly depicted; - reflects the background and problems of that time. The characters talk about important social phenomena for their time: the emergence of the first railways, cholera epidemics, the development of industrial and commercial activities in Moscow; - along with socio-economic and living conditions, the author masterfully painted pictures of nature and the different attitudes of the characters towards it.
Slide 14
So, in the words of Goncharov, in “The Thunderstorm” “a broad picture of national life and morals has settled down.”
15 slide
What is the conflict? A.N. Ostrovsky showed how “a protest against age-old traditions is brewing and how the Old Testament way of life begins to collapse under the pressure of the demands of life.” The conflict between the “dark kingdom” and the new man living according to the laws of conscience.
16 slide
Conflicts are added to it: Kuligin - Dikoy - Kabanikha, Tikhon - Kabanikha, Kudryash - Dikoy, Boris - Dikoy, Varvara - Kabanikha. The play is a truthful reflection of social relations, interests and struggles of its time.
Slide 17
3.System artistic images. « Dark Kingdom": Kabanova Marfa Ignatievna, Dikoy Savel Prokofich, wanderer Feklusha, tradesman Shapkin, maid Glasha. Victims " dark kingdom": Katerina, Boris, Kuligin, Varvara, Kudryash, Tikhon
18 slide
The meaning of names in drama. Ekaterina - colloquial Katerina, translated from Greek: pure, noble. Varvara - translated from Greek: foreigner, foreigner. Martha - from Aramaic: lady. Boris is an abbreviation of the name Borislav, from Bulgarian: struggle, from Slavic: words. Savel - from Savely, from Hebrew: asked (from God). Tikhon - from Greek: successful, calm.
Slide 19
4. Composition of the play. The exhibition contains pictures of the Volga expanse and the stuffiness of Kalinov’s customs. (D.I, phenomenon 1-4).
20 slide
The beginning is the mother-in-law’s nagging towards Katerina, Katerina replies with dignity and peacefulness: “You are talking about me, mamma, in vain. Whether in front of people or without people, I’m still alone, I don’t prove anything of myself.” First collision. (D.I, phenomenon 5).
The history of the creation of the play The work has a general meaning; it is no coincidence that Ostrovsky named his fictitious, but surprisingly real city with the non-existent name Kalinov. In addition, the play is based on impressions from a trip along the Volga as part of an ethnographic expedition to study the life of the inhabitants of the Volga region. Katerina, remembering her childhood, talks about sewing on velvet with gold. The writer could see this craft in the city of Torzhok, Tver province. The work has a general meaning; it is no coincidence that Ostrovsky named his fictitious, but surprisingly real city with the non-existent name Kalinov. In addition, the play is based on impressions from a trip along the Volga as part of an ethnographic expedition to study the life of the inhabitants of the Volga region. Katerina, remembering her childhood, talks about sewing on velvet with gold. The writer could see this craft in the city of Torzhok, Tver province.
The meaning of the title of the play “The Thunderstorm” A thunderstorm in nature (act 4) is a physical phenomenon, external, independent of the characters. A thunderstorm in nature (act 4) is a physical phenomenon, external, independent of the heroes. The storm in Katerina’s soul is from the gradual confusion caused by her love for Boris, to the pangs of conscience from betraying her husband and to the feeling of sin before people, which pushed her to repentance. The storm in Katerina’s soul is from the gradual confusion caused by her love for Boris, to the pangs of conscience from betraying her husband and to the feeling of sin before people, which pushed her to repentance. A thunderstorm in society is a feeling among people who stand up for the immutability of the world as something incomprehensible. Awakening of free feelings in a world of unfreedom. This process is also shown gradually. At first there are only touches: there is no proper respect in the voice, there is no decorum, then disobedience. A thunderstorm in society is a feeling among people who stand up for the immutability of the world as something incomprehensible. Awakening of free feelings in a world of unfreedom. This process is also shown gradually. At first there are only touches: there is no proper respect in the voice, there is no decorum, then disobedience. A thunderstorm in nature is an external cause that provoked both a thunderstorm in Katerina’s soul (it was she who pushed the heroine to confession) and a thunderstorm in society, which was dumbfounded because someone went against it. A thunderstorm in nature is an external cause that provoked both a thunderstorm in Katerina’s soul (it was she who pushed the heroine to confession) and a thunderstorm in society, which was dumbfounded because someone went against it.
The status of women in Russia in the 1st half of the 19th century. The status of women in Russia in the 1st half of the 19th century. In the first half of the 19th century, the position of women in Russia was dependent in many respects. Before marriage, she lived under the unquestioned authority of her parents, and after the wedding, her husband became her master. The main sphere of activity of women, especially among the lower classes, was the family. According to the rules accepted in society and enshrined in Domostroi, she could only count on a domestic role - the role of a daughter, wife and mother. The spiritual needs of most women, as in pre-Petrine Rus', were satisfied folk holidays and church services. In the first half of the 19th century, the position of women in Russia was dependent in many respects. Before marriage, she lived under the unquestioned authority of her parents, and after the wedding, her husband became her master. The main sphere of activity of women, especially among the lower classes, was the family. According to the rules accepted in society and enshrined in Domostroi, she could only count on a domestic role - the role of a daughter, wife and mother. The spiritual needs of most women, as in pre-Petrine Rus', were satisfied by folk holidays and church services. "Domostroy" - a monument of Russian writing of the 16th century, representing "Domostroy" - a monument of Russian writing of the 16th century, representing a set of rules family life. is a set of rules for family life.
The era of change The play “The Thunderstorm” was created in the pre-reform years. It was an era of political, economic and cultural change. The transformations affected all layers of society, including the merchants and philistines. The old way of life was collapsing, patriarchal relations were becoming a thing of the past - people had to adapt to new conditions of existence. The play “The Thunderstorm” was created in the pre-reform years. It was an era of political, economic and cultural change. The transformations affected all layers of society, including the merchants and philistines. The old way of life was collapsing, patriarchal relations were becoming a thing of the past - people had to adapt to new conditions of existence. Changes also occurred in the literature of the mid-19th century. Works whose main characters were representatives of the lower classes gained particular popularity at this time. They interested writers primarily as social types. Changes also occurred in the literature of the mid-19th century. Works whose main characters were representatives of the lower classes gained particular popularity at this time. They interested writers primarily as social types.
System of characters in the play Speaking surnames Speaking surnames Age of heroes Age of heroes “Masters of Life” “Masters of Life” “Victims” “Victims” What place does Katerina occupy in this system of images? What place does Katerina occupy in this system of images?
The system of characters in the play “Victims” by Varvara: “And I was not a liar, but I learned.” “In my opinion, do whatever you want, as long as it’s safe and covered.” Tikhon: “Yes, Mama, I don’t want to live by my own will. Where can I live by my own will!” Kuligin: “It’s better to endure it.”
Peculiarities of revealing the characters of Katerina's characters: poetic speech, reminiscent of a spell, lament or song, filled with folk elements. Katerina’s poetic speech is reminiscent of a spell, lament or song, filled with folk elements. Kuligin is the speech of an educated person with “scientific” words and poetic phrases. Kuligin is the speech of an educated person with “scientific” words and poetic phrases. Wild speech is replete with rude words and curses. Wild speech is replete with rude words and curses.
The role of the first remark, which immediately reveals the character of the hero: Kuligin: “Miracles, truly it must be said: miracles!” Kuligin: “Miracles, truly it must be said: miracles!” Curly: “What?” Curly: “What?” Dikoy: “What the hell are you, you came to beat the ships! Parasite! Get lost!" Dikoy: “What the hell are you, you came to beat the ships! Parasite! Get lost!" Boris: “Holiday; what to do at home!” Boris: “Holiday; what to do at home!” Feklusha: “Bla-alepie, dear, blah-alepie! The beauty is wonderful." Feklusha: “Bla-alepie, dear, blah-alepie! The beauty is wonderful." Kabanova: “If you want to listen to your mother, then when you get there, do as I ordered you.” Kabanova: “If you want to listen to your mother, then when you get there, do as I ordered you.” Tikhon: “How can I, Mama, disobey you!” Tikhon: “How can I, Mama, disobey you!” Varvara: “I won’t respect you, of course!” Varvara: “I won’t respect you, of course!” Katerina: “For me, Mama, everything is the same as my own mother, as you are, and Tikhon loves you too.” Katerina: “For me, Mama, everything is the same as my own mother, as you are, and Tikhon loves you too.”
Using the technique of contrast and comparison: Feklushi's monologue, Kuligin's monologue, Feklushi's monologue, Kuligin's monologue, life in the city of Kalinov, Volga landscape, life in the city of Kalinov, Volga landscape, Katerina Varvara, Katerina Varvara, Tikhon Boris Tikhon Boris
Homework Kuligin's monologues - act 1, yavl. 3; action 3, yavl. 3 Kuligin's Monologues - Act 1, Rev. 3; action 3, yavl. 3 Monologues of Feklushi - act 1, yavl. 2; action 3, yavl. 1 Monologues of Feklushi - act 1, yavl. 2; action 3, yavl. 1 Residents action 3, yavl. 1; action 2, yavl. 1; action 4, yavl. 4; action 4, yavl. 1. Residents action 3, yavl. 1; action 2, yavl. 1; action 4, yavl. 4; action 4, yavl. 1. How is it different from the residents of the city of Kuligin? How is it different from the residents of the city of Kuligin? Wild and Kabanikha. Wild and Kabanikha.
Lesson on the topic: “Life and customs of the “dark kingdom” based on Ostrovsky’s drama “The Thunderstorm.”
Goals:
1) educational - a deeper acquaintance with the work of A.N. Ostrovsky using the example of the play “The Thunderstorm”; get to know the city of Kalinov and its inhabitants, their morals and customs;
2) developmental - improve the ability to analyze what you read, highlight the main thing, taking into account the features dramatic work;
3) educational - make students think about life principles, which determine the behavior and actions of the heroes.
Lesson type – a lesson in learning new material
Lesson type – lesson – analysis
Equipment: computer presentation.
During the classes.
Org moment.
Teacher's word.
From the first pages of the play we pay attention to the skill of Ostrovsky the playwright.
Let us turn to Levitan’s painting “Evening. Golden Reach." Finding ourselves on the banks of the Volga, in those places where the drama took place, we would see the following picture: fog rises over the river. The lush greenery of the bushes, bathed in the rays of the setting sun, and the golden colors of the water. Church. Peace and quiet...
The role of landscape :
Enjoying the landscape can soften the morals of the residents of the city of Kalinov (according to Kuligin);
Show cruel morals by contrast;
Through their attitude to nature, show the different worldviews of city residents. (D. I appearance 1; D. III appearance 3, Kuligin’s monologues).
Let us now turn to the text of the drama.
The cruel morals of the city of Kalinov.
Characteristics of the Wild (D. I. 2.3; D. III 2; D. IV 2).
The merchant Savel Prokofievich Dikoy is known in the city as a rude and cruel man. The tradesman Shapkin gives him the following description: “Look for another scolder like ours, Savel Prokofich! There's no way someone will be cut off ».
Sometimes Dikoy himself is not happy with his character: having once scolded a man who came to him for money during Lent, he then kneels and asks for his forgiveness. It is noteworthy that Dikoy acts as a “hero” only in front of his subordinates: by nature he is cowardly and cowardly. "And there’s little honor, because you’ve been fighting with women all your life “- Kabanikha rightly says. Of all the characters in the play, it is to Diky that the definition of “tyrant” is most suitable.
Characteristics of Kabanova (D.I revelation 3.5; D.II revelation 3.5)
Merchant's wife Marfa Ignatievna Kabanova (Kabanikha) is the keeper of the foundations of the “dark kingdom”. She believes in the justice of patriarchal laws that justify fear and violence in the family: “After all, out of love your parents are strict with you, out of love they scold you, everyone thinks to teach you good ", she tells her children.
Kabanikha feels that her time is running out and is trying with all her might to delay the end, forcing her loved ones to formally observe the “rules of decency.” "Prude, sir! He gives money to the poor, but completely eats up his family “Kuligin says to Boris about her.
Nevertheless, at the end of the play, Kabanikha loses her power: Varvara runs away from home, Katerina commits suicide, and Tikhon publicly accuses her of his wife’s death.
Analysis of Kuligin's monologues,
1. Highlight the words that especially vividly characterize life in the city.
"Cruel morals"; “rudeness and naked poverty”; “You can never earn more than your daily bread through honest work”; “trying to enslave the poor”; “to make even more money from free labor”; “I won’t pay a penny extra”; “trade is undermined out of envy”; “they are at enmity”, etc. - these are the principles of life in the city.
2. Highlight the words that especially clearly characterize life in the family.
“They made the boulevard, but they don’t walk”; “the gates are locked and the dogs are down”; “so that people don’t see how they eat their own family and tyrannize their family”; “tears flow behind these constipations, invisible and inaudible”; “behind these castles there is dark debauchery and drunkenness”, etc. - these are the principles of family life.
How can you evaluate Feklushi’s monologues (d. 1, yavl. 2; d. 2, yavl. 1; d. 3, yavl. )
1). How does the city appear in her perception?Bla-alepye, wondrous beauty, promised land, paradise and silence .
2). What role does this image play? What are the people like who live here?
(Brings darkness and ignorance, her stories inspire fear and distortion of ideas about the world. For the first time in her monologues the thought of the near end of this time is heard.The residents are ignorant and uneducated, they believe Feklusha’s stories, which show her darkness and illiteracy: the story of the fiery serpent; about someone with black face; about time that is becoming shorter (d. 3, yav. 1); about other countries (d. 2, yavl. 1). Kalinovites believe that Lithuania fell from the sky (d. 4, yavl. 1.), they are afraid of thunderstorms (d. 4, yavl. 4).
Let's turn to the image of Kudryash. (D. I, phenomenon 1). What can you say about him?
Mirror image of the Wild.
"Masters of Life"
"Victims"Wild . You are a worm. If I want, I will have mercy, if I want, I will crush.
Kabanikha . I’ve been seeing for a long time that you want freedom. This is where the will leads.
Curly. Well, that means I’m not afraid of him, but let him be afraid of me.
Feklusha . And the merchants are all pious people, adorned with many virtues.
Kuligin. It's better to endure it.
Varvara. And I wasn’t a liar, but I learned... But in my opinion, do whatever you want, as long as it’s done well and covered.
Tikhon. Yes, Mama, I don’t want to live by my own will. Where can I live by my own will!
Boris. I’m not eating of my own free will: my uncle sends me.
How the characters of Wild and Kabanikha are revealed in their speech characteristics?
Wild
KabanikhaAbout him:
"scolder"; "Like I'm off the chain"
About her:
“all under the guise of piety”; “a prude, he gives money to the poor, but completely eats up his family”; "swears"; "sharpenes iron like rust"
Himself:
"parasite"; "damn"; "you failed"; "foolish man"; "go away"; “what am I to you - even or something”; “it’s with the snout that he tries to talk”; "robber"; "asp"; "fool" etc.
She herself:
“I see that you want freedom”; “He won’t be afraid of you, and even less so of me”; “you want to live by your own will”; "fool"; "order your wife"; “must do what the mother says”; “where the will leads”, etc.
Conclusion . Wild - abusive, rude, tyrant; feels his power over people
Conclusion . Kabanikha is a prude, does not tolerate will and insubordination, acts out of fear
General conclusion. The Boar is more terrible than the Wild One, since her behavior is hypocritical. Wild is a scolder, a tyrant, but all his actions are open. Kabanikha, hiding behind religion and concern for others, suppresses the will. She is most afraid that someone will live in their own way, according to their own will.
IN human society, in contrast to the natural world, arbitrariness, rudeness, robbery, money-grubbing, despotism, family despotism, and tyranny operate.
What is the tyranny of the wild based on?
On power;
Material dependence;
On Domostroevsky family laws, illuminated by the church and antiquity, patriarchal traditions;
On the traditional obedience and ignorance of people.
Are there forces that oppose the tyrant power of the masters of life?
Kuligin, characteristics:
An educated man, a self-taught mechanic, his surname resembles the surname of the Russian inventor Kulibin. The hero subtly senses the beauty of nature and aesthetically stands above other characters: he sings songs, quotes Lomonosov. Kuligin advocates for the improvement of the city, tries to persuade Dikiy to give money for a sundial, for a lightning rod, tries to influence the residents, educate them, explaining the thunderstorm as a natural phenomenon. Thus, Kuligin personifies the best part of the city’s residents, but he is alone in his aspirations, so he is considered an eccentric. Embodied in the image of a hero eternal motive crazy .
He advises “somehow to please” tyrants.
It brings culture and enlightenment to the people, demonstrating the development and independence of thinking.But he is a dreamer, not a fighter: his projects are not feasible. It is characteristic that he spends his energy on inventionperpetual motion machine.
Varvara, characteristics:
And I wasn’t a liar, but I learned... But in my opinion, do what you want, as long asit was sewn and covered.
Tikhon, characteristics:
He loves Katerina, but is a tool in the hands of his mother, weak-willed, characterless, and cannot protect his wife.
“Yes, Mama, I don’t want to live by my own will. Where can I live by my own will!”
Boris, characteristics:
“I’m walking around completely devastated... driven, beaten, and then I’ve foolishly decided to fall in love.”
“I’m not eating of my own free will: my uncle sends me.”
“If they wouldn’t find us here... it’s time for me, Katya.”
“You villains! Monsters! Oh, if only there was strength!
Lesson summary:
The city of Kalinov, in which the events in the play “The Thunderstorm” unfold, is a collective image of Russian provincial cities. Rudeness, cruelty, violence, hypocrisy, and ignorance flourish among its inhabitants. Sensitivity to the beauty of nature, a poetic, imaginative perception of reality, a desire to change life in the city for the better are characteristic of a few. And yet the foundations of the “dark kingdom” are gradually crumbling. Even his “supporters” feel this:
Kabanova. And it will be worse than this, dear.
Feklusha. We just wouldn't live to see this.
Kabanova. Maybe we'll survive
D/z:
D/z: Characteristics of the image of Katerina.
1). Episodes for analysis: D II, yavl. 2, 3, 4, 5; D. II, yavl. 10, D. III, appearances 6-8; D.IV, yavl. 3, 4, 5; D. V, yavl. 2, 4.
2). One of Katerina's monologues by heart.
Slide presentation
Slide text: The history of the creation of the drama “The Thunderstorm”.
Slide text: The creation of “The Thunderstorm” was preceded by Ostrovsky’s trip along the Upper Volga, undertaken on instructions from the Maritime Ministry. The result of this trip was Ostrovsky’s diary, which reveals much in his perception of life in the provincial Upper Volga region. “Merya begins from Pereyaslavl,” he writes in his diary, “a land rich in mountains and waters, and a people who are tall, and beautiful, and intelligent, and frank, and obliging, and a free mind, and a wide-open soul.
Slide text: “We are standing on the steepest mountain, the Volga is under our feet, and along it ships go back and forth, sometimes with sails, sometimes in barge haulers, and one charming song pursues us irresistibly... And there is no end to this song... Impressions from the Volga cities and villages, from the most beautiful nature, meetings with interesting people from the people accumulated in the soul of the playwright and poet for a long time before such a masterpiece of his work as “The Thunderstorm” was born.
Slide text: For a long time it was believed that Ostrovsky took the plot of the drama “The Thunderstorm” from the life of the Kostroma merchants, and the basis of the work was the sensational case of the Klykovs. Until the beginning of the 20th century, many Kostroma residents pointed with sorrow to the site of Katerina’s suicide - a gazebo at the end of a small boulevard, which in those years literally hung over the Volga. They also pointed to the house where she lived.
Slide text: A.P. Klykova was handed over at the age of sixteen to a gloomy merchant family, consisting of old parents, a son and a daughter. The mistress of the house, a stern Old Believer, forced her young daughter-in-law to do any menial work and refused her requests to see her relatives. At the time of the drama, Klykova was 19 years old. In the past, she was raised by her beloved grandmother, she was a cheerful, lively, cheerful girl. Her young husband, Klykov, a carefree, apathetic man, could not protect his wife from her mother-in-law’s nagging and treated them indifferently. The Klykovs had no children. And then another person stood in Klykova’s way, Maryin, an employee of the post office. Suspicions and scenes of jealousy began. It ended with the fact that on November 10, 1859, the body of A.P. Klykova was found in the Volga. A noisy trial ensued and received wide publicity.
Slide text: Many years passed before researchers of Ostrovsky’s work established for sure that “The Thunderstorm” was written before the Kostroma merchant Klykova rushed into the Volga. But the very fact of such a coincidence speaks of the brilliant foresight of the playwright, who deeply felt the growing pressure in the merchant life of the Upper Volga dramatic conflict between the old and the new, a conflict in which Dobrolyubov saw “something refreshing and encouraging” for a reason.
Slide text: Ostrovsky began writing “The Thunderstorm” in June - July 1859 and finished on October 9 of the same year. The play was first published in the magazine “Library for Reading” in the January issue of 1860. The first performance of “The Thunderstorm” on stage took place on November 16, 1859 at the Maly Theater during a benefit performance by S.V. Vasilyeva with L.P. Nikulina-Kositsina as Katerina
Slide text: Thank you for your attention!
Slide 2
The creation of “The Thunderstorm” was preceded by Ostrovsky’s trip along the Upper Volga, undertaken on instructions from the Maritime Ministry. The result of this trip was Ostrovsky’s diary, which reveals much in his perception of life in the provincial Upper Volga region. “Merya begins from Pereyaslavl,” he writes in his diary, “a land rich in mountains and waters, and a people who are tall, and beautiful, and intelligent, and frank, and obliging, and a free mind, and a wide-open soul.
Slide 3
“We are standing on the steepest mountain, the Volga is under our feet, and along it ships go back and forth, sometimes with sails, sometimes in barge haulers, and one charming song haunts us irresistibly... And there is no end to this song... Impressions from the Volga cities and villages , from the most beautiful nature, meetings with interesting people from the people accumulated in the soul of the playwright and poet for a long time before such a masterpiece of his work as “The Thunderstorm” was born.
Slide 4
For a long time, it was believed that Ostrovsky took the plot of the drama “The Thunderstorm” from the life of the Kostroma merchants, and the basis of the work was the sensational case of the Klykovs. Until the beginning of the 20th century, many Kostroma residents pointed with sorrow to the site of Katerina’s suicide - a gazebo at the end of a small boulevard, which in those years literally hung over the Volga. They also pointed to the house where she lived.
Slide 5
A.P. Klykova was extradited at the age of sixteen to a gloomy merchant family, consisting of old parents, a son and a daughter. The mistress of the house, a stern Old Believer, forced her young daughter-in-law to do any menial work and refused her requests to see her relatives. At the time of the drama, Klykova was 19 years old. In the past, she was raised by her beloved grandmother, she was a cheerful, lively, cheerful girl. Her young husband, Klykov, a carefree, apathetic man, could not protect his wife from her mother-in-law’s nagging and treated them indifferently. The Klykovs had no children. And then another person stood in Klykova’s way, Maryin, an employee of the post office. Suspicions and scenes of jealousy began. It ended with the fact that on November 10, 1859, the body of A.P. Klykova was found in the Volga. A noisy trial ensued and received wide publicity.
Slide 6
Many years passed before researchers of Ostrovsky’s work established for sure that “The Thunderstorm” was written before the Kostroma merchant Klykova rushed into the Volga. But the very fact of such a coincidence speaks of the brilliant insight of the playwright, who deeply felt the growing dramatic conflict between the old and the new in the merchant life of the Upper Volga, a conflict in which Dobrolyubov saw “something refreshing and encouraging” for a reason.
- What documents should an individual entrepreneur have?
- Accounting for individual entrepreneurs - rules and features of independent reporting under different tax regimes Primary documentation for individual entrepreneurs
- Accounting for individual entrepreneurs: features of accounting in individual entrepreneurs?
- How to privatize an apartment, everything about privatization List of documents for privatization of an apartment