1. Conflict of the comedy "Minor".
2. Traditions of classicism and innovation by D. I. Fonvizin.
3. "The Minor" is a realistic comedy.
Literature of the 18th century, during the general national upsurge, formed civic consciousness in society. The classicists propagated the ideas of equality of people, humanism, the principle of common benefit, and the responsibility of authorities to the people. They considered it their duty to benefit their fatherland. Classicists strove for a truthful depiction of life, talked about current problems society, they are characterized by civic pathos and patriotism. But the dramaturgy of that time was also enriched with works that went beyond classicism. This is the comedy by D. I. Fonvizin “The Minor”. The comedy was completed in 1781. Its pathos was determined by Fonvizin’s political acuity and commitment to the ideals of human freedom.
The main theme of the comedy, its conflict is indicated by the author at the very beginning, this is the arbitrariness of the landowners and the lack of rights of the serf. The struggle of the progressive nobility against the serfs is the dramatic conflict of the "Minor". On the side of the progressive nobility are Pravdin and Starodum, the serf owners - the Prostakovs and Skotinins. Fonvizin convinces us that serfdom is destructive and must be fought against. It corrupts the serf owners themselves, who lose their human qualities in dealing with serfs, they feel omnipotent. The author wanted to show in his work the actions and morals of serf owners, born of serfdom. It is serfdom's tyranny, and not the struggle for Sophia's hand, that is the main theme of "Undergrowth." The depiction of the contenders for her hand is another opportunity to carefully examine the representatives of the “noble class” depicted in a comic light. A love plot, according to Fonvizin, cannot be the basis of a dramatic work. It was based on the conflict of the era.
Literary critic G.P. Makogonenko believes that “Undergrowth” is a political comedy, since the innovative features in it were determined precisely by the political beliefs of the author. There is a plot here that conveys a real historical conflict; positive heroes with the features of noble enlighteners.
The play continues the traditions of classicism. According to G. A. Gukovsky, artistic thinking Fonvizin always “retained a clear imprint of this school.” “Undergrowth” is a phenomenon of late Russian classicism, which was influenced by Enlightenment ideology. This work combines the touching and the comic and destroys the usual genre forms. The characters of the heroes are complex, contradictory, they are not divided only into positive and negative, as required by the principles of classicism. But the positive heroes, following the canons of classicism, in "Minor" have one characteristic feature. The power of the traditions of classicism was preserved in speaking surnames heroes, in maintaining symmetry in the distribution of negative and positive characters. The speech of the characters in the play conveys the characters of the characters, but the hero-reasoner, in classic works - the bearer of the author's opinion, is also present, this is the noble Starodum. The main idea of classicism is the idea of enlightenment. In "The Minor" it receives a different interpretation: enlightenment is important, but virtue is more important than intelligence. The trinity of time, place and action is broken: instead of one problem, the author addresses whole line equally important.
Fonvizinsky realism - truthfulness, historical concreteness of images, especially clearly manifested itself in the creation of the characters of Eremeevna and Prostakova, showing the complexity of their nature. The images of Starodum and Pravdin are also living characters; readers even “recognized” their prototypes, noble enlighteners. Realism helped Fonvizin move away from literary cliches; the author was the first to take a step towards creating a leading figure hero. Starodum, Pravdin and Milon were discharged to general outline, without biographical details, inner world. But the image of Starodum is more significant in this regard.
Fonvizin created a new type of realistic comedy: he based it not on a ready-made plot, but on a real one historical conflict, which affects all heroes. Conflicts in the house, according to the author, are a reflection of conflicts in the country. Prostakova’s behavior, for example, comes from the decree on the liberties of the nobility. Condemning her means that serfdom is condemned in her person. But high content does not mean for the author a rejection of the comic. But this is an accusatory comedy, and sometimes with bitter irony. Russian social comedy begins with "The Minor." Fonvizin gave the comedy social depth and a sharp satirical orientation. The author denounces the vice - serfdom, noble "evil morality" and seeks to show its causes: improper upbringing, ignorance of people.
According to G. A. Gukovsky, “The Minor” is “half comedy, half drama.” Genre originality The work is that the basis of the play is a classic comedy, updated with serious and touching scenes: Pravdin’s conversation with Starodum, Starodum’s conversations with Sophia and Milo. The ending combines moralizing and touching. Prostakova suffered punishment, but I feel sorry for her.
Fonvizin’s traditions were continued by his followers - A. S. Griboyedov with his “Woe from Wit” and N. V. Gogol with “The Inspector General”. Gogol called the comedies of Fonvizin and Griboyedov the most striking works: “They no longer contain light ridicule of the funny sides of society, but the wounds and illnesses of our society... Both comedies took two different eras. One was struck by illnesses from lack of enlightenment, the other from ill-understood enlightenment.”
and, including the famous comedy “The Minor,” are closely connected with a special trend in literature and art (painting, architecture), which arose in a number of European countries during the rise of absolutism (the personal power of monarchs who personified unity, integrity, sovereignty (independence ) states) in early XVII century and received the name of classicism (from Latin classcus - exemplary). The influence of classicism on artistic life Europe XVII-XVIII centuries was broad, long-term and generally fruitful.
In literature, classicism was most fully manifested in lyrics and in drama.
Classicism believed that it was necessary to rely on the norms of beauty in ancient art, that is, in art Ancient Greece And Ancient Rome, which were set out in the works of Aristotle, Horace and other thinkers and poets of antiquity and strictly observe them, without deviating from the creative rules. These norms and rules required from art, in particular from art, clarity of presentation, accuracy of expression of thoughts, order in the construction of works.
Classicism gave preference to culture over savagery and insisted that nature and life, transformed by man, are superior to nature and natural life, not yet subject to the noble efforts of the human mind, feelings, will and hands.
Before the gaze of the classicists there was always the ideal of a beautiful and exalted life, transformed by the art of man, and the opposing chaos of wild natural life, ruled by incomprehensible and seemingly bad laws. Consequently, classicism tended to reflect life in ideal images, gravitating towards the universal “norm”, the image in which classical antiquity appears in classicism as an example of perfect and harmonious art.
Since in real life When a conflict between reason and feelings emerged, classicism sought to resolve and overcome it through a harmonious and complete combination of a person’s personal interests with the dictates of reason and moral duty. At the same time, the interests of the state were considered the main ones and prevailing over the interests of the individual.
The greatest flowering in the literature of classicism was initially achieved by drama as a kind of verbal and stage art.
Drama (from Greek, drama - “action”), as is known, is one of the three types of literature, along with epic and lyric poetry. The basis of drama, according to the original meaning of the word, is action: In drama, the phenomena that make up the external world unfold before the viewer or reader.
Events are presented as a living action unfolding in the present time (before the viewer’s eyes!), shown through conflicts and in the form of dialogue. The playwright is excluded from the direct action and cannot speak on his own behalf, with the exception of remarks explaining the action or behavior of the characters (for example, when a particular character speaks a line in response to the words of another person, the playwright can mark - “to the side” i.e. . wanting to hide my opinion).
Classical drama has a number of features. In order for the action to maintain logical harmony, the classicists put forward the requirement of “three unities”: the unity of place, the unity of time and the unity of action.
The first two unities are very simple and were of a formal nature, which is why they were subsequently not retained in dramatic works.
Unity of place requires that the action take place in one room and not extend beyond it, for example in the same house, but in different rooms. Thus, the action of the comedy “Woe from Wit” takes place in Famusov’s house, but now in Famusov’s office, now in Sofia’s bedroom, now in the living room, now on the stairs, etc.
The unity of time suggests that the action must begin and end within one day. For example, the action begins with Chatsky’s arrival at the Famusovs’ house in the morning, and ends with his departure at night.
Unity of action is the most fundamental and profound requirement of the theory of classicism. The laws of drama require tension and concentration of action, determined, as a rule, by the characters of the characters, and special rigor in the conduct of the plot: the action in the drama and the behavior of the characters must be directed towards one goal, maintain the connection and harmony of the composition in all scenes and details and be united, connected with the main confrontation between the characters.
This rule for a dramatic plot is called “unity of action.” “The action of a drama,” wrote V. G. Belinsky, “should be focused on one interest and be alien to side interests...” This means that in a drama “everything should be directed towards one goal, one intention.”
Thanks to the unity of action in the drama, the three-part development of the plot is especially clearly and consistently traced: the beginning - the development of the action (including the climax) - the denouement. The external expression of the sequence of dramatic action is the division of drama into acts, each of which is a completed stage of the unfolding conflict.
Classicism strictly adhered to the so-called hierarchy of genres. Tragedy, ode, and epic belonged to the “high genres.” Comedy, fable, satire- to “low”.
In the genre of tragedy, France produced two major playwrights - Pierre Corneille and Jean Racine. Their works are based on the clash of personal interests and civic duty. La Fontaine became famous in the fable genre, and Moliere in the comedy genre. They laughed at the vices of people, at unjust social and social conditions and relationships.
Over time, the contradictions between the individual and the state became increasingly aggravated. Not only the lower strata of the population, unenlightened and not affected by the activities of the powerful mind, began to be criticized, but also the nobility and clergy, standing at a high level of society. It's comedy time.
At the heart of comedy (and laughter) is the law of incongruity: the imaginary is the opposite of the true, the illusion is the opposite of reality, the expected is the opposite of the result. Inconsistency can be easily detected between words and deeds, as in fable x Krylova, between an unjustifiably understated or overly exaggerated event, a discrepancy between the character’s claims, as in the case of Mrs. Prostakova, and her actual essence. It is on the basis of inconsistency that such properties of comedy as hyperbole, pointedness, absurdity, grotesqueness and its “high” laughter, often mixed with tears of despair, grow. The more absurd the incongruity, the more fantastic it is, the more realistic and life-like the setting of the action should be. Only in this case will comedy, with its wise and uplifting laughter, be convincing and morally effective.
All these comments apply fully to Russia and to Russian classicism, which had a number of national characteristics.
In Russia, classicism arose in the 1730-1750s. For Russian classicism, national-patriotic themes and civic pathos, which were based on the growing power of the Russian state and were associated with the transformations of the Petrine era, are most important.
Questions in assignments
1. What were the basic rules, the laws of classicism?
2. Can you determine which properties of classicism Fonvizin inherits and which he rejects or transforms?
3. Do you agree with the following statement by P. A. Vyazemsky:
“In the comedy “The Minor,” the author already had a most important goal: the disastrous fruits of ignorance, bad upbringing and abuses of domestic power were exposed by him with a bold hand and painted with the most hateful colors. In "The Brigadier" the author fools the vicious and foolish, stings them with arrows of ridicule; in “The Minor” he no longer jokes, does not laugh, but is indignant at the vice and brands it without mercy... Ignorance... in which Mitrofanushka grew up) and home examples should have prepared a monster in him, like his mother, Prostakova " .
The roles of Milo and Sophia are pale... The official is truthful: he cuts with the sword of the law the web of action, which should be unleashed by the considerations of the author, and not by the police measures of the governor. Kuteikpn, Tsifirkin and Vralman are funny caricatures; the latter is too caricatured, although, unfortunately, it is not entirely a pipe dream that in the old days a German coachman became a teacher in the Prostakovs’ house...”
The success of the comedy "Minor" was decisive. Its moral action is undeniable. Some of the names of the characters became household names and are still used in popular circulation. There is so much reality in this comedy that provincial legends still name several persons who allegedly served as the author’s originals. I myself happened to meet in the provinces with two or three living copies of Mitrofanushka, that is, as if they served as a model for Fonvizin... If it is true that Prince Potemkin, after the first performance of “The Minor,” said to the author: “Die, Denis, or don’t write anything else!” “It’s a pity that these words turned out to be prophetic and that Fonvizin no longer wrote for the theater” (Vyazemsky P. A. Aesthetics and literary criticism. M., 1984. S. 197-198, 211-222).
4. Why, from Vyazemsky’s point of view, did Fonvizin’s positive characters turn out to be less artistically convincing than the negative ones?
5. Comment on the opinion of the Russian historian V. O. Klyuchevsky from his reflection “Fonvizin’s Minor (An Experience in Historical Explanation of an Educational Play)”:
“We can say without risk that Nedorosl has not yet lost a significant share of his former artistic power over either the reader or the viewer, despite his naive dramatic construction, which at every step reveals the threads with which the play is sewn, neither in outdated language, nor in the dilapidated stage conventions of Catherine's theater, despite the fragrant morality of the optimists of the last century poured into the play. ...one must carefully laugh at Mitrofan, because Mitrofan is not very funny and, moreover, is very vindictive, and they take revenge with uncontrollable reproduction and the elusive insight of their nature, akin to insects or microbes.
Yes, I don’t even know who’s funnyUnderage
. Mr. Prostakov? He is just a stupid, completely helpless poor fellow, not without the conscientious sensitivity and directness of a holy fool, but without a drop of emotion and with a pathetic excess of cowardice that makes him be mean to even his son. Taras Skotnnin is also not very comical: in a man... for whom a pig barn replaces both the temple of science and the hearth - what is comical in this noble Russian nobleman, who, from educational competition with his beloved animals, has evolved to
all fours? Isn't the mistress of the house herself, Mrs. Prostakova, née Skotinina, comical? This is a face in a comedy, unusually well conceived psychologically and excellently sustained dramatically... she is stupid and cowardly, that is, pathetic - for her husband, like Prostakova, godless and inhuman, that is, disgusting - for her brother, like Skotinina. Minor is a comedy not of faces, but of situations. Her faces are comical, but not funny, comical as roles, and not at all funny as people. They can amuse when you see them on stage, but they are disturbing and upsetting when you meet them outside the theater, at home or in society. Fonvizin made sad, bad and stupid people play funny, cheerful and often smart roles.
The strength of the impression is that it is made up of two opposing elements: laughter in the theater is replaced by heavy thought upon leaving it” (Klyuchevsky V. O. Historical portraits: Figures of historical thought. - M., 1990. - P. 342-349) .
What is the difference between the judgments of Vyazemsky and Klyuchevsky and which of them, in your opinion, is more right? Or perhaps you have a different point of view?
6. By what signs can one determine that the comedy “The Minor” belongs to classic works (unity of time, place...)?
Literature, 8th grade. Textbook for general education institutions. At 2 o'clock/automatic state. V. Ya. Korovin, 8th ed. - M.: Education, 2009. - 399 p. + 399 pp.: ill.
The ideology of enlightenment formed the basis of the main method of Russian literature of the 18th century (30-80s) - classicism. How artistic method originated in European art in the 17th century. From the point of view of classicists, the task of art is to get closer to the ideal. The shape was determined by the samples, the norm.
The aesthetics of classicism is called normative:
Rule of three unities (time, place, action); a norm requiring purity of the genre/rule of purity of the genre (which determined the issues, type of hero, plot and style); language norm (defined by Lomonosov’s “Russian Grammar” in 1755); typical conflicts: between duty and feeling, reason and emotions, public and personal - social issues; the requirement for a straightforward depiction of heroes.
The principles of classicism were brought to Russia by A.P. Sumarokov. In 1747, he published two treatises - Epistola on poetry and Epistola on the Russian language, where he sets out his views on poetry. In fact, these epistles were translated from French, prephrasing for Russia Nicolas Boileau's treatise on Poetic Art. Sumarokov predetermines that main theme Russian classicism will become a social theme, dedicated to the interaction of people with society.
Later, a circle of aspiring playwrights appeared, led by I. Elagin and theater theorist V. Lukin, who proposed a new literary idea - the so-called. theory of declinations. Its meaning is that you just need to clearly translate a Western comedy into Russian, replacing all the names there. Many similar plays appeared, but in general the idea was not very implemented. The main significance of Elagin’s circle was that it was there that D.I.’s dramatic talent first manifested itself. Fonvizin, who wrote the comedy Nedorosl as an example of Russian classicism.
In this comedy, Fonvizin tries to implement main idea classicism - to re-educate the world with rational words. Positive heroes They talk a lot about morality, life at court, and the duty of a nobleman. Negative characters become an illustration of inappropriate behavior. Behind the clash of personal interests, the public positions of the heroes are visible.
Denis Ivanovich Fonvizin was born in 1745 in Moscow. He came from an old noble family, studied at the university gymnasium, then at the university's Faculty of Philosophy. Once among the “selected students” in St. Petersburg to the university curator Count Shuvalov, Fonvizin met Lomonosov and prominent figures Russian Theater F. G. Volkov and I. A Dmitrievsky. Already in the early period literary activity While translating, Fonvizin acts as a progressively thinking person who has been influenced by educational ideas. Along with translations appear original works Fonvizin, painted in sharply satirical tones.
A feature of Fonvizin’s work is the organic combination in most of his works of satirical wit with a socio-political orientation. Fonvizin's strength lies in his literary and civic honesty and directness. He courageously and directly spoke out against social injustice, ignorance and prejudices of his class and his era, exposed the landowners and autocratic bureaucratic tyranny.
The playwright managed to outline all the essential aspects of life and morals of the feudal-serf society of the second half of the 18th century. He created expressive portraits of representatives of the serf owners, contrasting them, on the one hand, with the progressive nobility, and on the other, with representatives of the people.
Trying to give brightness and persuasiveness to the characters, Fonvizin endowed his heroes, especially the negative ones, with an individualized language.
Thus, the distinctive features of the comedy "The Minor" are the relevance of the topic and the denunciation of serfdom. The realism of the created picture of life and customs of the depicted era and the lively spoken language. In terms of the sharpness of its satirical teaching of the serfdom, this comedy is rightfully considered the most outstanding dramatic work of Russian literature of the second half of the 18th century.
The era of enlightenment ends with Fonvizin: disappointment in educational ideas.
Russian classicism and creativity of M.V. Lomonosov
The main slogan of classicism is imitation of nature, where everything is clear, precise, and subject to rules. Heroes are clearly divided into positive and negative. Each hero is a bearer of some trait (virtue or vice), which is reflected in the speaking surnames. The principle of three unities: time, place and action. (for 1 day in the same place, the number of actors is limited). A clear division of genres into high (tragedy, epic, ode) and low (comedy, satire, fable).
M.V. Lomonosov wrote 20 solemn odes. They laid the foundation for the poetry of public service. Lomonosov's ideal was an enlightened monarchy, and his ideal hero was Peter A.
"Ode on the Day of Ascension..." is a typical work in the spirit of classicism. It was written on the occasion of the 5th anniversary of Elizabeth’s accession to the throne, as well as on another specific occasion: the Russian Academy of Sciences was granted a new charter. Lomonosov had great hopes for him in spreading education in Russia.
The main theme for the ode was Russia, its prosperity. Peace is the main condition for the prosperity and enlightenment of the state. For Lomonosov, Peter 1 was a national hero, famous for his victories on land and sea, who recognized the need for the development of science and education. In Elizaveta, Lomonosov wants to see the successor to his father’s affairs. The great riches of Russia can be discovered and mastered with the help of science, the study of which Russian youth should turn to. This is the guarantee of the well-being of the Russian state.
The civic content of the ode corresponds to a majestic, monumental and at the same time simple and harmonious composition.
Traditional gratitude to the monarch for her actions for the benefit of Russia.
The high solemn style of the ode is created by the use of Old Slavonicisms, words with incomplete agreement (this, this, this, this), truncated forms of adjectives, and changing the order of words in a sentence.
In the text of the ode we find metaphors, archaic words and expressions, personifications, hyperboles, rhetorical questions and exclamations characteristic of the style of the classical ode.
In Russia, classicism arose in the 18th century, after the reforms of Peter I. Lomonosov carried out a reform of Russian verse, developed the theory of the “three calms”¹, which was, in fact, an adaptation of French classical rules to the Russian language. The images in classicism are devoid of individual features, since they are designed primarily to capture stable generic characteristics that do not pass over time, acting as the embodiment of any social or spiritual forces.
Classicism in Russia developed under the great influence of the Enlightenment - the ideas of equality and justice have always been the focus of attention of Russian classic writers.
“The cycle of poems written by Lomonosov is interesting not only for the exemplary translations of Anacreon, but also because it reflects the poetic credo of Lomonosov himself. The Russian state, Russia, is declared to be the highest value. The poet sees the meaning of life in serving the public good. In poetry, he is inspired only heroic deeds. All this characterizes Lomonosov as a classicist poet. Moreover, “Conversation with Anacreon” helps to clarify Lomonosov’s place in Russian classicism and, above all, to establish his differences. civic position from Sumarokov's position. In Sumarokov’s understanding, serving the state was associated with the preaching of asceticism, with the renunciation of personal well-being, and carried a pronounced sacrificial principle. These principles were especially clearly reflected in his tragedies. Lomonosov chose a different path. The stoicism of Seneca and the spectacular suicide of Cato are equally alien to him. He believes in the blissful union of poetry, science and enlightened absolutism."
Kartashova Vera Petrovna
8th grade
DI. Fonvizin and his time.
Lesson objectives:
DI. Fonvizin "Undergrowth".
Equipment:
During the classes.
1. Introduction (slides 1-4)
Satire is a brave ruler,
… Excellent satirist
video).
2. Repetition of what has been covered(slides 5)
checking the work with cards)
3. Explanation of something new.
slide 7 of the presentation)
(slide 8)
5. Conversation.
student statements)
between Prostakova and Trishka)
- (Starodum)
6. Work in groups.
1st group (strong students
2nd group (average students
4th and 5th groups (
(slides 9-14)
(slide 15)
"Russian comedy started started
Features of classicism
|
Canons of classical comedy | Fonvizin's innovation |
|
Features of classicism
- Appeal to the samples and forms of antiquity as an ideal
- The principle of rationalism, the cult of reason
- Strict adherence to the rules, the canon in the construction of a work of art
- Observance of the unity of place, time and action in drama
- The desire to capture the essential properties of life phenomena
- Addressing public issues
- Approval of the ideas of absolutism, patriotism, citizenship
- Straightforward presentation of human characters
- Idealization of heroes
Exercise
Preview:
State educational institution of the Omsk region
“Secondary school No. 4 (full-time and part-time)”
Teacher of Russian language and literature
Kartashova Vera Petrovna
Literature lesson plan
8th grade
DI. Fonvizin and his time.
Traditional elements of classicism and innovation in the comedy “Minor.”
Lesson objectives:
- Introduce students to the personality of D.I. Fonvizina.
- Review the types of literature and features of drama.
- Create conditions for the formation of an initial concept of various trends in literature.
- Create conditions for identifyingtraditional elements of classicism and innovation in comedy
DI. Fonvizin "Undergrowth".
5. To identify students’ reading perception of comedy.
Equipment: computer, multimedia projector, computer presentation for the lesson, task cards.
During the classes.
1. Introduction (slides 1-4)
Magic land! There in the old days,
Satire is a brave ruler,
Fonvizin, friend of freedom, shone...
A.S. Pushkin. "Eugene Onegin"
… Excellent satirist
Ignorance was executed in folk comedy.
A.S. Pushkin. "Message to the Censor"
What contributed to Pushkin appreciating Fonvizin’s work so highly, calling him an excellent satirist? Probably, first of all, Fonvizin was a master who, using traditions in his creativity, created an innovative work. What is innovative about the playwright and what traditions he adhered to in his work, we have to find out today.
Getting to know the biography of D.I. Fonvizina ( video).
Fonvizin's literary activity began in the 60s of the 18th century. An inquisitive and witty person, he was created to become a satirist. And there were enough reasons for bitter laughter in the Russian reality of that time.
DI. Fonvizin is a representative of Russian classicism, one of the literary movements.
What is a literary movement? Attention to the screen.
What information did you get from this table?
In connection with what are literary trends distinguished? (when there is a coincidence of creative attitudes, themes, genres and style in the writer’s work)
- List the named literary trends.
DI. Fonvizin is a representative of classicism. What is characteristic of this literary direction? Working with a spreadsheet.
Do you understand all the features of classicism? Print this table on your desk. This is card number 1. In the future, you can use it as reference material. Mark on the card what you don’t understand with a question mark.
Today's lesson is ahead individual task prepared by Kopina Veronika and Breeva Sveta. They will try to answer your questions. What features of classicism do you not understand?
2. Repetition of what has been covered(slides 5)
- Let us remember the types of literature. What type of literature does the work of Fonvizin you read belong to?
What are the features of a dramatic work? Each of you has card number 2, which indicates the features of the drama. But there are errors in the card. Correct them.
So what are the features of drama? (checking the work with cards)
3. Explanation of something new.
Classic comedy was built according to certain canons (slide 7 of the presentation)
Today we have to find out whether Fonvizin adheres to these rules in his comedy.
But first, let’s explain the name of the comedy and get acquainted with the characters.
Who was called an undergrowth in the 18th century?
What features of character names attract attention? Can surnames and names be called speaking? (Yes.) Mitrofan from Greek. “mother-like”, Sophia – “wisdom”, etc..)
4. Dramatizing comedy episodes(slide 8)
Comedy heroes are visiting us today.
5. Conversation.
There is almost no commentary on the list of characters in the comedy. Did your initial idea of the characters in the play match what you saw? What features of the comedy heroes did the drama club actors try to embody? (student statements)
Already from the first pages of the comedy, a conflict flares up. What is conflict in a work? (collision underlying the development of action)
Between whom does the clash occur in the first appearance? (between Prostakova and Trishka)
What phrase does Prostakova use to drive Trishka into a dead end? And how does Trishka counter this remark?(“So is it really necessary to be a tailor in order to be able to sew a caftan well. Such bestial reasoning. - But a tailor studied, madam, but I didn’t.”)
Does Prostakova understand the importance and necessity of education?
Why does she hire teachers?(firstly, she declares: “We are no worse than others,” and secondly, there is a decree of Peter 1 on the nobility, according to which every nobleman had to learn different sciences before entering the civil service, since educated people can bring more benefits to the state)
- What is the theme of Fonvizin’s comedy?(theme of education and upbringing)
- Which other character in the play opposes Prostakova?(Starodum) . Write it down homework. Copy quotes about education and education from the comedy heroes' remarks. Now let’s work in groups and individually.
6. Work in groups.I remind you of the rules for working in groups. We conduct the discussion in a low voice. We express all your opinions. The group commander, who has the right to entrust the answer to any of you, sums up and answers.
1st group (strong students ) You will conduct research and answer the question: “Which of the rules and techniques of classical comedy, in your opinion, were preserved by D.I. Fonvizin, which ones did he violate?” You have card No. 3 - a table of the canons of constructing a classic comedy. + note the traditions that Fonvizin follows. In the second column, enter the playwright's innovation.
2nd group (average students ) will select quotes from the comedy for these illustrations.
The 3rd group (drama club participants) will remember the text and try to restore aphorisms from the comedy, which, unfortunately, fell apart.
4th and 5th groups ( other students, mixed groups). You have the most serious and responsible task. You work individually with control test, built according to the Unified State Examination type. Please mark the answer options in the boxes next to the question.
7. Summing up the lesson (group reports on the work done, except for the 4th and 5th groups, which hand over completed tests to the teacher)(slides 9-14)
8. Teacher's final words(slide 15)
Today we met D.I. Fonvizin, made the first attempt to penetrate the secrets of his immortal comedy"Undergrown." We will continue the conversation about its heroes, about the problems raised by the author in the following lessons. For this work, highly appreciated by Russian criticism, requires careful reading.
"Russian comedy began long before Fonvizin, but started only from Fonvizin. His “Minor” and “Brigadier” made a terrible noise when they appeared and will forever remain in the history of Russian literature, if not art, as one of the most remarkable phenomena. Indeed. These comedies are the products of a strong mind. A gifted person."
So highly appreciated the work of Fonvizin V.G. Belinsky in the article “Woe from Wit”. Let's try to comprehend the secret of the immortal work of D.I. Fonvizina.
Features of classicism
| Classicism as a literary movement Classicism arose in the first half of the 18th century. During this period, the autocratic system strengthened in Russia. The main support of the autocracy was the nobility. The literature of classicism served the needs of the absolute state. She preached the ideas of citizenship associated with this form of social structure, the idea of an enlightened monarchy. Translated from Latin, “classicism” means “exemplary”, “first-class”. In the 17th and 18th centuries, works of ancient Greco-Roman art were considered exemplary and worthy of imitation. The study of works of ancient art allowed the theorists of classicism to derive canons that writers had to follow in their artistic creativity. Classical writers believed that human feelings are deceptive that only with the help of reason can one understand life and harmoniously reflect it in literature. The rules of classicism provided for the division of literature into strictly defined genres: high (ode, poem, tragedy) and low (comedy, satire, fable). Human characters were depicted one-sidedly, the characters usually were the bearers of any one trait. Characters clearly divided into carriers of good or evil. Dramatic works were subject to the rules of three unities. The events took place over the course of one day, in one place, the plot was not complicated by side episodes. |
Canons of classical comedy | Fonvizin's innovation |
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Features of classicism
- Appeal to the samples and forms of antiquity as an ideal
- The principle of rationalism, the cult of reason
- Strict adherence to the rules, the canon in the construction of a work of art
- Observance of the unity of place, time and action in drama
- The desire to capture the essential properties of life phenomena
- Addressing public issues
- Approval of the ideas of absolutism, patriotism, citizenship
- Straightforward presentation of human characters
- Idealization of heroes
Exercise : find errors in the features of drama as a type of literature.
- The basis of drama is the narration of events
- A portrait of a hero is the main means of creating an image
- The drama contains a detailed narrative-descriptive image
- The role of landscape and artistic details is important
- The author's position is expressed through a lyrical digression