In 1845, Ostrovsky worked in the Moscow Commercial Court as a desk clerk “for cases of verbal violence.”

A whole world of dramatic conflicts unfolded before him, and all the diverse richness of the living Great Russian language sounded. I had to guess a person's character by his

Speech style, intonation features. The talent of the future master of speech characterization of characters in his plays was nurtured and honed. Ostrovsky in the drama "The Thunderstorm" very clearly shows the global difference between positive and

Negative heroes of their work. All the most important character traits and their reactions to developing events are clearly visible. Let's consider the speech characteristics in the description of Katerina's character and morals. The epigraph of "The Thunderstorm" is a song about the tragedy of goodness and beauty: the richer spiritually and the more morally sensitive a person is, the more dramatic his existence. The song anticipates the fate of the heroine with her human restlessness (“Where can I rest my heart when the storm rises?”), with

Her vain aspirations to find support and support in the world around her (“Where can I, poor thing, go? Who can I grab onto?”). In a difficult moment of life, Katerina will complain: “If I had died little, it would have been better... to fly from cornflower to cornflower in the wind, like

Butterfly." Ancient myths of Slavic culture come to life in Katerina’s mind. It is necessary

Feel the freshness of Katerina’s inner world. The people's principle triumphs in it,

Moral folk peasant culture. “How playful I was!” Katerina turns to Varvara, but then, wilting, she adds: “I’ve completely withered with you.” Katerina’s soul really fades in the hostile world of the Wild and Kabanovs.

Katerina's betrayal is undoubtedly a crime, and Katerina understands the gravity of her act, but she cannot live without the normal, natural love that she

Found it in Boris. And how, justifying herself to herself, repenting, Katerina says: “Well,

All the same, I’ve already ruined my soul.” The source of the heroine’s repentance is in her sensitive

Her conscientiousness. “It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins.” “Fear” has always been understood by the Russian people as a heightened moral consciousness. Katerina is a very religious woman.

She endures too much spiritual torment in this terrible society: ridicule and

Kabanikha's bullying, her husband's cold attitude and Boris's disappointment in love. Katerina hopes that God will forgive her her sins due to torment in this society. Ostrovsky expresses Katerina’s attitude towards family and society in the words: “...And people are disgusting to me, and the house is disgusting to me and the walls are disgusting! I won’t go there! No, no, I won’t go... You come to them - they walk, they say, - and what do I need this for?..." Ostrovsky clearly shows that Katerina agrees to death without hesitation: "So quiet, so good... But I don’t even want to think about life... To live again? No, no, no need. .. not good...".

But when Katerina rushes into the Volga, she reveals herself as a courageous woman. After all, only a courageous person can decide to take such a terrible step. With her death, Katerina shows all the inhabitants of the “Dark Kingdom” that she is not just tired of the terrible life in this world. She doesn’t want to put up with it, doesn’t want to exchange her living soul for a miserable existence. Katerina protests against Kabanov’s concepts of

Morality. This is the deep tragedy of Katerina, But Kabanov only

At the very end of this terrible tragedy, he feels something similar to protest within himself:

“Mama, you ruined her! You, you, you...”

The departure of Katerina is perceived by the Russian people as the death of something bright and beautiful. “That’s right, guys, it looks like she’s alive!...” says the man, looking at the dead Katerirga.

Essay “The skill of playwright A. N. Ostrovsky in depicting the conflict” in the drama “The Thunderstorm”

A. N. Ostrovsky was convinced that the public viewer
in dramas and tragedies you need “a deep breath, for the whole theater, you need
unfeigned, warm tears, hot speeches that would flow straight
In the soul".
The play "The Thunderstorm" was written in 1859. I. S. Turgenev characterized
her as “the most amazing, magnificent work
Russian mighty talent." The date the play was written causes the performance
about the revolutionary situation, about the abolition of serfdom,
about the problem of human freedom.
The action of the play develops in a fictional, but very typical
and the recognizable town of Kalinov. The author shows family
relations in the Kabanovs' house - a provincial merchant family.
The playwright reveals social relations, and behind the usual,
somewhat sleepy course of life, human and social life arises
tragedy. As is known, at the heart of every dramatic
the work lies in conflict, these are the laws of this literary
kind. We explore the nature of the conflict in The Thunderstorm.
First of all, let's look at the side of the conflict that
It is commonly called social: between a person and society. In that
All the characters are drawn into the conflict. Are in difficult relationships
Kabanikha and Katerina (mother-in-law and daughter-in-law). The first heroine is not just
an evil person, she also represents a certain social
moral phenomenon. Kabanikha defends certain laws
life, so she offends Katerina not only out of personal hostility.
Kabanikha herself apparently went through the same school of life as
Katerina (from a free girl to a married woman), and considers
Katerina's humiliated position is natural. In conflicting relationships
Mother and daughter (Kabanikha and Varvara) are also present. With one
On the other hand, Kabanikha lets her go out all night with Kudryash.
This is also, by the way, a socially conditioned model of behavior, because
Varvara is not yet married, therefore, she is free. On the other side,
Such relative freedom does not suit even the crafty Varvara. This
the heroine is spoiled by the atmosphere of the “dark kingdom”, trained to lie,
hypocritical, but escape with Kudryash from the city after Katerina’s death
is her protest against her mother’s despotism and general tyranny.
The weak-willed Tikhon also strives for freedom. His impulse for independence
as ugly and weak as he himself - a victim of the “dark kingdom
". But the important thing is that this impulse is there, and by the end of the play it increases
before the accusations thrown at Kabanikha.
Another conflict social group is lining up nearby,
the center of which is Dikoy. Dikoy is a typical Russian tyrant:
He is unusually rude to his family, mocks those who are away from him
depends. His nephew Boris lives in his house, an educated man,
decent, but resigned to circumstances. Boris and Dikoy
in conflict relationships - like a poor man and a rich man, a dependent person
and the owner. Dikoy is in a difficult relationship with Kudryash.
But this is already a conflict between the owner and the hired worker,
Therefore, Dikoy is apparently afraid of the independent clerk. And with
Boris's side, and (to a greater extent) from Kudryash's side we see
protest against existing arbitrariness. Wild, like Kabanikha,
the focus of evil in modern Ostrovsky society. These heroes are not just
cruel, but also extremely ignorant. Against this inherent
They are the poor self-taught mechanic Kuligin. He's almost
a beggar, but if he had money, he would spend it on an invention
perpetual motion machine, it’s not for nothing that he asks Dikiy for some
money for a sundial for the city. Dikoy and Kuligin are opposed
like limitation and enlightenment, acquisitiveness and generosity,
dark and light. For the Wild, the beautiful is inaccessible, in principle
spirituality is alien. Kuligin is not only a mechanic, he is also a poet at heart,
no wonder he reads Lomonosov's poems
An abyss full of stars has opened,
The stars have no number, the abyss - the bottom ...
As you can see, all the most significant characters are divided into
two hostile camps. But no matter how the young heroes resist
old, everyone: Boris, and Varvara, and Tikhon, and even Kuligin - in some
they compromise as much as possible. Everyone except Katerina. She will develop
the situation of "Thunderstorm" to the tragic. Although Katerina herself is also a “particle
» of the "dark kingdom" (deeply religious, undeveloped), she
the most complete, brightest and most poetic character in “The Thunderstorm”.
Naturally, it is precisely such a sincere and pure person who enters
with society into irreconcilable contradictions. Exacerbates the conflict
Katerina’s “dark kingdom” is her love for Boris. She
now she is not just indifferent to her husband and is burdened by the oppression of her mother-in-law,
she fell in love... In love, the best qualities were revealed to the end
heroines. Deep emotional shock causes desire
be free and happy.
From this moment on, the social conflict intensifies psychologically,
internal, occurring in the soul of the heroine herself. Katerina
couldn't stop herself from loving Boris, but she could admit
a right to this feeling. Besides, Katerina is so conscientious
man that she cannot deceive, live with sin in her soul,
combine love with lies. The consequence of this complex internal
struggle is the heroine’s public repentance, which is even more
complicates her position in society.
Further events develop rapidly. Society is shocked
recognition of Katerina, striving for purification through suffering or
even death. The conflict becomes insoluble and tragic.
Katerina can no longer live in a suffocating, airless
“dark kingdom”, her sin weighs even more, which she realizes
as a violation of morality and social norms, but she cannot
don't like Boris. The only way out is death.
But the death of a character in a work of fiction is not
only the end of a concrete life. This is also the cleansing of the heroine from sin,
and the author's philosophical concept, and the power of enormous influence on
reader or viewer.
In ancient Greek literature, tragedy as a leading genre was
designed to shape the soul of the viewer, there was even a term:
“catharsis” (purification through suffering). There is also catharsis in “The Thunderstorm”.
Contemporaries report that the merchants who were in the visual
hall during the performance, rushed to the stage to save the drowning Katerina,
some even committed suicide afterwards.
Such was the power of suffering and the depth of insight that
more than a relevant performance. Ostrovsky explained by means
art, that it is impossible to be a Human and live in the “dark kingdom”.
The personality will certainly enter into a fierce battle with the ugly
social foundations that are doomed to die out due to
its inhumanity and inhumanity.

graduate work

1.3 Basic principles of Ostrovsky’s dramaturgy

Decision of A.N. Ostrovsky, the problems of the aesthetic principles of Russian theater in general can be traced in a number of theoretical works of the playwright of different years: “Circumstances hindering the development of dramatic art in Russia” (1863), “Memorandum on the copyright of dramatic writers” (1869), “Response speech to the troupe’s greeting provincial artists March 14, 1872", "Note on the situation of dramatic art in Russia at the present time" (1882). The special attention that the playwright pays to the problem of the public, and first of all, the democratic one, allowed us to conclude that the dramaturgy of A.N. Ostrovsky was created with a view to a wide democratic audience; his plays were intended mainly for the “fresh public.” A.N. Ostrovsky argues that the theater should be a national, democratic and educational artistic institution. The playwright considered the creation of such a theater to be the work of his whole life Leonov N.M. Literary and aesthetic principles in the drama of A.N. Ostrovsky "Snow Maiden". Abstract of the dissertation.. - Samara, 2001// http://dissertation1.narod.ru/avtoreferats3/b16.htm.

Ostrovsky repeatedly emphasized that the repertoire needed to be collected not ephemeral, but certainly “from plays with significant merits and artistic ones,” mainly by Russian authors. At the same time, Ostrovsky does not at all deny foreign drama. Particular attention is paid to A.N. Ostrovsky produces performances for ordinary audiences and demands for them plays that are more educational, more moral.

The playwright's contemporaries (N. Dobrolyubov, L. Novsky, I. Gorbunov, V. Botkin), as well as researchers of Ostrovsky's work, allow us to come to an understanding of Ostrovsky's views on realism and truthfulness in art.

Ostrovsky distinguishes between the concepts of “truth in art” and “truth in life.” He understands the truthfulness of details as a special artistic truthfulness, often far from everyday and scientific truthfulness. Therefore, in search of ways to depict the essence of phenomena A.N. Ostrovsky turns to the sharpening of the image, to the violation of its real scale, as well as to the symbol (“Thunderstorm”, “Dowry”, “Forest”, “Snow Maiden”), leitmotif, lyrical or humorous transformation of reality. They use the means of “major comedy” - hyperbole, grotesque, caricature - and strong drama, designed for the widest audience (“We’ll count our own people!”, “A festive nap before lunch”, “Your dogs are fighting, don’t pester someone else’s”, “ Whatever you go for, you will find”, “Simplicity is enough for every wise man”). It is this specific artistic truth, which has its cognitive analogue in life truth, that Ostrovsky emphasized in realism.

What is the principle of artistic typification in Ostrovsky’s understanding? First of all, in the playwright, the phenomenon of real life and its direct perception acquire a higher degree of generalization in art. On this theoretical basis, Ostrovsky opposes naturalism. Criticizing naturalism in a dramatic work, Ostrovsky proceeds from the very nature of artistic and aesthetic perception, which requires that a work of art should not be a copy that does not contain the author’s emotional attitude to reality and his ideal Leonov N.M. Literary and aesthetic principles in the drama of A.N. Ostrovsky "Snow Maiden". Abstract of the dissertation.. - Samara, 2001// http://dissertation1.narod.ru/avtoreferats3/b16.htm.

Ostrovsky not only continues and develops the traditions of pan-European and Russian realism (he is, as a rule, attracted not to exceptional personalities, but to ordinary, ordinary characters); he creates socio-psychological portraits that have the dignity of persistent typicality; in developing images, the playwright follows the principle of diversity and versatility of characters ), but also introduces its own special, new motives into the understanding of the real.

In his understanding of the nationality, Ostrovsky proceeds from the ideas of Belinsky and Dobrolyubov, which state that theater for the vast majority of the public has educational value. Therefore, one must write not for a select circle, but for the whole people. This statement applies to a greater extent to dramatic literature, since it is closer to the people than all other branches of literature: a people's writer, from Ostrovsky's point of view, is one who reproduces the thoughts, interests and aspirations of the people.

Ostrovsky, following N. Dobrolyubov, sees nationality in turning to the leading ideas and types of the era, which would touch upon the most significant aspects of the life of the people. Moreover, the playwright directly connects the artist’s ability to dramatically reproduce reality with the properties of the Russian people themselves. Nationality thus becomes an integral feature of dramatic literature.

Considering dramaturgy as a means of civil service, Ostrovsky affirmed its nationality. The struggle for folk drama, for the ideological and aesthetic education of the mass audience, for the organization of a public theater became the basis for all his subsequent literary and social activity Revyakin A.I. Dramaturgy A.N. Ostrovsky. - M.: Knowledge, 1973, p. 9..

Thus, we can assert that A. N. Ostrovsky, from the very beginning of his creative career, was guided by the principles of democratic ideology, nationality and realism.

As a democratic artist, he saw drama as a civilizing ideological and moral force and strove to respond to the most pressing demands of his time, to write about what affected and worried the broadest masses of people. He considered it the duty of every honest writer to explain moral and social phenomena and issues, outdated ideals and types, and to affirm positive ideals as the highest expression of modern life.

Ostrovsky believed that the first condition for a dramatic work was the clarity of the idea and the certainty of the author’s position. This clarity, characteristic of all his plays, from “The Family Picture” to “Not of This World,” was achieved through hard work. “I,” he wrote to his employee N. Ya. Solovyov, “worked on “Savage” all summer, but thought about it for two years. In it I not only have not a single character or position, but there is not a single phrase that would not strictly follow from the idea” See Makeev M.S. Creativity of A.N. Ostrovsky. - M.: Education, 1987, p. 52..

In Ostrovsky’s understanding, the nationality of drama is manifested both in the protection of the interests of the most vulnerable sections of the population, and in its intended use for mass audiences. Ostrovsky thought of folk drama as realistic. But he never identified realism with naturalistic copying, with petty everydayism. In his opinion, faithful reproduction of social characters and morals, if it does not go beyond simple copying, is anti-artistic. Ostrovsky was not a writer of everyday life in the restrictive sense that was given to him and, unfortunately, is still given by some researchers. In his plays, the everyday is an expression of the deeply social. Explaining the essence of realism, he persistently emphasized that what is realistic is not petty, ordinary and base, but vitally truthful and creatively generalized. Realistic truthfulness requires, he declared, the reproduction of more characteristic national types, the fullness of their internal appearance, including “lyricism”, and “sublime feelings”, and lofty thoughts. As we can see, we are talking specifically about the psychologism of dramatic works.

So, as the basic principles of dramaturgy A.N. Ostrovsky can be distinguished as follows: nationality, ideology, realism, psychologism.

It is the last of the principles that will be considered in the next part of the work using the example of the play “Dowry”.

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