Moral problems in the play Thunderstorm. Moral problems in the plays of A.N.

Ostrovsky was once called the “Columbus of Zamoskvorechye,” emphasizing the artistic discovery of the world of merchants in the plays of the playwright, but his plays are interesting not only for specific historical issues, but also for moral, universal ones. Yes, exactly moral issues Ostrovsky's play "The Thunderstorm" makes this work interesting for the modern reader today. The action of Ostrovsky's drama takes place in the city of Kalinov, which is located among the greenery of gardens on the steep bank of the Volga. “For fifty years I’ve been looking at the Volga every day and I can’t take it all in. The view is extraordinary. My soul rejoices,” Kuligin admires. It would seem that the life of the people of this city should be beautiful and joyful. Especially considering the fact that Kabanikha, a woman who personifies the entire “dark kingdom,” constantly talks about high morality. But why didn’t life in the city become a kingdom of light and joy, but turned into “a world of prison and grave silence”?

There are moral laws that are not written down anywhere, but by following which, a person is able to comprehend spiritual happiness, find light and joy on earth. How are these laws implemented in a provincial Volga town?

1. The moral laws of people's lives are replaced in Kalinov by the law of force, power and money. Dikiy’s big money frees his hands and gives him the opportunity to swagger with impunity over everyone who is poor and financially dependent on him. People are nothing to him. “You are a worm. If I want, I’ll have mercy, if I want, I’ll crush,” he says to Kuligin. We see that the basis of everything in the city is money. They are worshiped. The basis of human relationships is material dependence. Here money decides everything, and power belongs to those who have more capital . Profit and enrichment become the goal and meaning of life for most Kalinov residents. Because of money, they quarrel among themselves and harm each other: “I’ll spend it, and it will cost him a pretty penny.” Even the self-taught mechanic Kuligin, who is advanced in his views, realizing the power of money, dreams of a million in order to talk on equal terms with the rich.

2. The basis of morality is respect for elders, parents, father and mother. But this law in Kalinov is perverted , because it is replaced by a ban on freedom, on respect. Katerina suffers the most from Kabanikha’s tyranny. A freedom-loving nature, she cannot live in a family where the youngest unquestioningly submits to the elder, the wife to the husband, where any desire for freedom and manifestation of self-esteem is suppressed. “Will” for Kabanikha is a dirty word. “Wait for it! Live in freedom! - she threatens the young people. For Kabanikha, the most important thing is not the real order, but its external manifestation. E She is outraged that Tikhon, leaving home, does not order Katerina how to behave, and does not know how to order, and the wife does not throw herself at her husband’s feet and does not howl to show her love. “That’s how you respect your elders...” Kabanova says every now and then, but respect in her understanding is fear. We should be afraid, she believes.

3. The great law of morality is to live in harmony with your heart, according to your conscience. But in Kalinov, any manifestation of sincere feeling is regarded as a sin. Love is a sin. But it’s possible to go on dates in secret. When Katerina, saying goodbye to Tikhon, throws herself on his neck, Kabanikha pulls her back: “Why are you hanging on your neck, shameless one! You are not saying goodbye to your lover! He’s your husband, your boss!” Love and marriage are incompatible here. Kabanikha remembers love only when she needs to justify her cruelty: “After all, parents are strict with you out of love.” She wants to force the younger generation to live by the laws of hypocrisy, arguing that what is most important is not the true manifestation of feelings, but the external keeping up appearances. Kabanikha is outraged that Tikhon, when leaving home, does not order Katerina how to behave, and the wife does not throw herself at her husband’s feet and does not howl to show her love

4.There is no place for sincere feelings in the city . The boar is hypocritical, she only hides behind virtue and piety, in the family she is an inhuman despot and tyrant.. Kabanikha hides her true essence under the mask of righteousness, while tormenting both her children and daughter-in-law with nagging and reproaches. Kuligin gives her an apt description: “Prude, sir! He gives money to the poor, but completely eats up his family.” Lies and deceit, having become an everyday occurrence in life, cripple people’s souls.”

These are the conditions in which the younger generation of the city of Kalinov is forced to live.

5. Only one person can stand out among those who humiliate and humiliate – Katerina. The very first appearance of Katerina reveals in her not a timid daughter-in-law of a strict mother-in-law, but a person who has dignity and feels like an individual: “It’s nice for anyone to endure lies,” says Katerina in response to Kabanikha’s unfair words. Katerina is a spiritual, bright, dreamy person; she, like no one else in the play, knows how to feel beauty. Even her religiosity is also a manifestation of spirituality. The church service was filled with special charm for her: in the rays of sunlight she saw angels and felt a sense of belonging to something higher, unearthly. The motif of light becomes one of the central ones in Katerina’s characterization. “But the face seems to glow,” Boris had only to say this, and Kudryash immediately realized that he was talking about Katerina. Her speech is melodious, figurative, reminiscent of Russian folk songs: “Violent winds, bear my sadness and melancholy to him.” Katerina is distinguished by her inner freedom and passionate nature; it is no coincidence that the motif of a bird and flight appears in the play. The captivity of the Kabanovsky house oppresses her, suffocates her. “Everything seems to be out of captivity with you. I’ve completely wilted with you,” says Katerina, explaining to Varvara why she doesn’t feel happy in the Kabanovs’ house.

6. Another one is connected with the image of Katerina the moral problem of the play is the human right to love and happiness. Katerina’s impulse to Boris is an impulse to joy, without which a person cannot live, an impulse to happiness, which she was deprived of in Kabanikha’s house. No matter how hard Katerina tried to fight her love, this fight was doomed from the very beginning. In Katerina’s love, like in a thunderstorm, there was something spontaneous, strong, free, but also tragically doomed; it is no coincidence that she begins her story about love with the words: “I will die soon.” Already in this first conversation with Varvara, the image of an abyss, a cliff appears: “There will be some kind of sin! Such fear comes over me, such and such fear! It’s as if I’m standing over an abyss, and someone is pushing me there, but I have nothing to hold on to.”

7. The title of the play takes on the most dramatic sound when we feel a “thunderstorm” brewing in Katerina’s soul. The central moral problem play can be called the problem of moral choice. The collision of duty and feeling, like a thunderstorm, destroyed the harmony in Katerina’s soul with which she lived; She no longer dreams, as before, of “golden temples or extraordinary gardens”; it is no longer possible to ease her soul with prayer: “If I start to think, I won’t be able to gather my thoughts, if I’ll pray, I won’t be able to pray.” Without agreement with herself, Katerina cannot live; she could never, like Varvara, be content with thieving, secret love. The consciousness of her sinfulness weighs on Katerina, torments her more than all of Kabanikha’s reproaches. Ostrovsky's heroine cannot live in a world of discord - this explains her death. She made the choice herself - and she pays for it herself, without blaming anyone: “No one is to blame - she did it herself.”

We can conclude that it is precisely the moral problematics of Ostrovsky’s play “The Thunderstorm” that makes this work interesting for the modern reader even today.

2. “A poet in Russia is more than a poet” (according to the lyrics of N. A. Nekrasov). Reading by heart one of the poet's poems (at the student's choice).

The theme of the poet and poetry is traditional for Russian lyrics. It is this theme that is one of the main ones in Nekrasov’s lyrics.

N. A. Nekrasov’s ideas about the essence and purpose of poetry developed in the process of creative communication with the ideologists of revolutionary democracy N. G. Chernyshevsky, N. A. Dobrolyubov, as well as such progressive writers as M. E. Saltykov-Shchedrin, L. N. . Tolstoy. Nekrasov believes that the role of the poet in the life of society is so significant that it requires from him not only artistic talent, but also citizenship, activity in the struggle for civic beliefs.

1. Nekrasov repeatedly states his views for the purpose of your creativity . Thus, in the poem “Yesterday, at about six o’clock...” he says that his muse becomes the sister of all the humiliated and insulted:

There they beat a woman with a whip,

Young peasant woman...

...And I said to the Muse: “Look!

Your dear sister!

The same idea is heard in a later poem, “Muse” (1852). The poet sees from the very beginning my calling is to glorify the common people, sympathize with their suffering, express their thoughts and aspirations, and attack their oppressors with censure and merciless satire . Nekrasov's muse, on the one hand, is a peasant woman. But on the other hand, this is the fate of this gender itself, persecuted and persecuted by the powers of this world. Nekrasov’s muse is suffering, chanting the people and calling them to fight.

2..In a poem “The Poet and the Citizen” (1856) Nekrasov polemicizes with representatives of the “pure art” movement, who, in his opinion, lead the reader away from the acute social problems. The poem is structured as a dialogue. This dialogue in Nekrasov is an internal dispute, a struggle in his soul as a Poet and a Citizen. The author himself tragically experienced this internal rupture and often made the same claims against himself as the Citizen did against the Poet. The citizen in the poem shames the Poet for inaction; in his understanding, the immeasurable sublimity of civil service overshadows the previous ideals of freedom of creativity, the new high goal is to die for the Fatherland: “... go and die blamelessly.”

A poet who truly loves his homeland must have a clear civil position , without hesitation to expose and condemn the vices of society, as did Gogol, on the day of whose death the poem was written. Nekrasov emphasizes that the life of a poet who has chosen such a path is immeasurably more difficult than the life of one who avoids social problems in his work. But this is the feat of a true poet: he patiently endures all adversity for the sake of his high goal. According to Nekrasov, such a poet will be appreciated only by future generations, posthumously:

They curse him from all sides,

And just seeing his corpse,

They will understand how much he has done,

And how he loved - while hating!

According to Nekrasov, Without civic ideals, without an active social position, a poet will not be a true poet . The Poet agrees with this - actor poem "Poet and Citizen". The dispute ends not with the victory of the Poet or the Citizen, but with a general conclusion: the role of the poet is so significant that it requires civic convictions and the fight for these convictions .

3.. In 1874 Nekrasov creates a poem "Prophet". This work, of course, continued the series in which the works of Pushkin and Lermontov already stood. . It again talks about the difficulty of the chosen path, about the divine beginning of creativity :

He hasn't been crucified yet,

But the time will come - he will be on the cross,

4. But N. A. Nekrasov sees the highest purpose of the poet in selfless service to the people . The theme of the people, the homeland becomes one of the most important themes of the poet’s entire work. He is sure: as long as the theme of the suffering of the people is relevant, the artist has no right to forget it. This selfless service to people is the essence of N. A. Nekrasov’s poetry. In a poem “Elegy”, (1874) In one of his most beloved poems, Nekrasov seems to sum up his work:

I dedicated the lyre to my people.

Perhaps I will die unknown to him,

But I served him - and my heart is calm...

The poet creates poems not for the sake of fame, but for the sake of conscience... Because you can only live in service to the people, and not to yourself.

« A poet in Russia is more than a poet,” these words do not belong to Nekrasov, but can rightfully be attributed to his work. A poet in Russia is, first of all, a person with an active life position. And all of Nekrasov’s work affirmed the thought: “You may not be a poet, but you must be a citizen.”

Moral issues in Ostrovsky's play "The Thunderstorm"

Ostrovsky was once called the “Columbus of Zamoskvorechye”, emphasizing the artistic discovery of the world of merchants in the plays of the playwright, but today such works as “Dowry”, “Our People - Let’s Number”, “Talents and Admirers”, “Forest” and other plays are interesting not only specific historical issues, but also moral, universal ones. I would like to talk in more detail about the play “The Thunderstorm”.

It is symbolic that in 1859, on the eve of the social upsurge that would lead in 61 to the abolition of serfdom, a play called “The Thunderstorm” appeared. Just as the name of the play is symbolic, its moral issues are also multifaceted, at the center of which are the problems of external and internal freedom, love and happiness, the problem of moral choice and its responsibility.

The problem of external and internal freedom becomes one of the central ones in the play. “Cruel morals, sir, in our city, cruel,” says Kuligin already at the beginning of the play.

Only one person is given the ability to stand out from the background of those who humiliate and humiliate – Katerina. The very first appearance of Katerina reveals in her not a timid daughter-in-law of a strict mother-in-law, but a person who has dignity and feels like an individual: “It’s nice for anyone to endure lies,” says Katerina in response to Kabanikha’s unfair words. Katerina is a spiritual, bright, dreamy person; she, like no one else in the play, knows how to feel beauty. Even her religiosity is also a manifestation of spirituality. The church service was filled with special charm for her: in the rays of sunlight she saw angels and felt a sense of belonging to something higher, unearthly. The motif of light becomes one of the central ones in Katerina’s characterization. “But the face seems to glow,” Boris had only to say this, and Kudryash immediately realized that he was talking about Katerina. Her speech is melodious, figurative, reminiscent of Russian folk songs: “Violent winds, bear with him my sadness and melancholy.” Katerina is distinguished by her inner freedom and passionate nature; it is no coincidence that the motif of a bird and flight appears in the play. The captivity of the Kabanovsky house oppresses her, suffocates her. “Everything seems to be out of captivity with you. I’ve completely wilted with you,” says Katerina, explaining to Varvara why she doesn’t feel happy in the Kabanovs’ house.

Another moral problem of the play is connected with the image of Katerina - human right to love and happiness. Katerina’s impulse to Boris is an impulse to joy, without which a person cannot live, an impulse to happiness, which she was deprived of in Kabanikha’s house. No matter how hard Katerina tried to fight her love, this fight was doomed from the very beginning. In Katerina’s love, like in a thunderstorm, there was something spontaneous, strong, free, but also tragically doomed; it is no coincidence that she begins her story about love with the words: “I will die soon.” Already in this first conversation with Varvara, the image of an abyss, a cliff appears: “There will be some kind of sin! Such fear comes over me, such and such fear! It’s as if I’m standing over an abyss, and someone is pushing me there, but I have nothing to hold on to.”

The title of the play takes on the most dramatic sound when we feel a “thunderstorm” brewing in Katerina’s soul. The central moral problem play can be called the problem of moral choice. The collision of duty and feeling, like a thunderstorm, destroyed the harmony in Katerina’s soul with which she lived; She no longer dreams, as before, of “golden temples or extraordinary gardens”; it is no longer possible to ease her soul with prayer: “If I start to think, I won’t be able to gather my thoughts, if I’ll pray, I won’t be able to pray.” Without agreement with herself, Katerina cannot live; she could never, like Varvara, be content with thieving, secret love. The consciousness of her sinfulness weighs on Katerina, torments her more than all of Kabanikha’s reproaches. Ostrovsky's heroine cannot live in a world of discord - this explains her death. She made the choice herself - and she pays for it herself, without blaming anyone: “No one is to blame - she did it herself.”

We can conclude that it is precisely the moral problematics of Ostrovsky’s play “The Thunderstorm” that makes this work interesting for the modern reader even today.

Reflections on the moral dimension of the problem of relationships between generations (based on the drama by A.N. Ostrovsky “The Thunderstorm”).

Morality is the rules that determine people's behavior. Behavior (action) expresses internal state of a person, manifested through his spirituality (intelligence, development of thought) and the life of the soul (feeling).

Morality in the lives of the older and younger generations is associated with the eternal law of succession. Young people adopt life experience and traditions from old people, and wise elders teach young people the rules of life - “wit and reason”. However, young people are characterized by courage of thought, an unbiased view of things without reference to established opinions. It is because of this that conflicts and differences of opinion often arise between them.

Actions and life assessments of the heroes of the drama by A.N. Ostrovsky's "The Thunderstorm" (1859) reflects their morality.

Representatives of the merchant class of Dikaya and Kabanov are those people whose wealth and importance among the residents of the city of Kalinov determine their high position. Those around them feel the power of their influence, and this power is capable of breaking the will of dependent people, humiliating the unfortunate, and realizing their own insignificance in comparison with the “powers of this world.” Therefore, Savel Prokofievich Dikoy, “a significant person in the city,” does not encounter any contradictions in anyone. He holds his family in awe, who hide “in attics and closets” during the days of his anger; loves to instill fear in people who do not dare to make a murmur about their salary; holds Boris’s nephew in a black body, having robbed him and his sister, brazenly appropriating their inheritance; denounce, insult, meek Kuligin.

Marfa Ignatievna Kabanova, known in the city for her piety and wealth, also has her own ideas about morality. For her, the desire of the younger generation for “freedom” is criminal, because what good is it that both her son’s young wife and her daughter, the “girl,” will stop “afraid” of both Tikhon and herself, the omnipotent and infallible. “They don’t know anything, there’s no order,” the old woman gets angry. “Order” and “old times” are the basis on which the Wild and Kabanovs rely. But their tyranny loses self-confidence; it is not able to stop the development of young forces. New concepts and relationships inevitably come into life and crowd out old forces, obsolete standards of life and established morality. So Kuligin, a naive man, wants to ennoble Kalinov by building a lightning rod and a sundial. And he, impudent, dares to read Derzhavin’s poems, glorifying “the mind,” before “his dignity,” the all-powerful merchant, who is on friendly terms with the mayor himself, the head of the city. And Marfa Ignatievna’s young daughter-in-law, when saying goodbye, “throws herself on her husband’s neck.” And you have to bow at your feet. And he doesn’t want to “howl” on the porch - “to make people laugh.” And the resigned Tikhon will blame his mother for his wife’s death.

Tyranny, as the critic Dobrolyubov asserts, “is hostile to the natural demands of humanity... because in their triumph it sees the approach of its inevitable death.” “Wilds and Kabanovs are shrinking and shrinking” - this is inevitable.

The younger generation is Tikhon, Katerina, Varvara Kabanov, this is Dikiy’s nephew Boris. Katerina and her mother-in-law have similar concepts about the morality of younger family members: they should be God-fearing and honor their elders - this is in the traditions of the Russian family. But further, the ideas of both of them about life, in their moral assessments, differ sharply.

Brought up in the atmosphere of a patriarchal merchant's house, in conditions of parental love, care and prosperity, young Kabanova has a character that is “loving, creative, ideal.” But in her husband’s family she faces a formidable prohibition “to live by her own will,” which comes from her stern and soulless mother-in-law. It is then that the demands of “nature,” a living, natural feeling, acquire an irresistible power over the young woman. “That’s how I was born, hot,” she says about herself. Katerina’s morality is not guided, according to Dobrolyubov, by logic and reason. “She is strange, crazy, from the point of view of those around her,” and, fortunately, the oppression of her mother-in-law with her despotic disposition did not kill the desire for “will” in the heroine.

Will is a spontaneous impulse (“I would run up like that, raise my arms and fly”), and the desire to ride along the Volga singing, hugging each other, and fervent prayers, if the soul asks for communication with God, and even the need to “throw out the window, She’ll throw herself into the Volga” if she gets “sick of” captivity.

Her feelings for Boris are uncontrollable. Katerina is ruled by love (he is not like everyone else - he is the best!) and passion (“If I was not afraid of sin for you, will I be afraid of human judgment?”). But the heroine, a woman with integrity, strong character, does not accept lies, and she considers split feelings, pretense, an even greater sin than her own fall.

The purity of moral feeling and pangs of conscience lead her to repentance, public recognition and, as a result, to suicide.

The conflict between generations due to different moral assessments acquires tragic features if it ends in the death of people.

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Methodological development of an open lesson

Subject:

Teacher: Iutinskaya Galina Ivanovna

Topic of the training session To be or not to be? To do or not to do? Moral problems in the play by A.N. Ostrovsky "Thunderstorm"

Didactic purpose: developing the skill of analyzing a literary text, working with dramatic images; expanding ideas about the relevance of classical works.

Developmental goal: improving the ability to compare facts, reason logically and express one’s thoughts, and draw conclusions; extension vocabulary; development of linguistic flair and speech culture; development of creative abilities.

Educational purpose: improve students’ ideas about moral values; to form a respectful attitude among students towards other people’s opinions.

: “Advanced lecture” (Technology for developing critical thinking through reading and writing)

Methodological goal: show a set of approaches, techniques and means possible when working with artistic material

: handouts (model of an “advanced lecture”; text of A.N. Ostrossky’s play “The Thunderstorm”); multimedia projector + presentation.

Interdisciplinary connections

Intrasubject connections

During the classes

Stage classes		Teaching methods and principles	Teacher's activities

I. Organizational stage of the lesson	Preparing students for work in class		Presentation of uniform pedagogical requirements: Greetings; Identifying those absent from class; Checking appearance (compliance with the requirements of the internal regulations of the college).	They answer the greeting. The headman reports on attendance for class. Bring into compliance with requirements appearance, workplace.
	Psychological orientation to the perception of lesson material		Organizing attention and readiness for the lesson (eliminating distractions: extraneous noise, unnecessary objects in the workplace).	Prepare to understand the topic of the lesson.
II. Stages of progress in the problem.	Preparation for the main stage of the lesson.
	Arouse interest in the topic, update students’ existing knowledge and structure the process of further study of the problem	Developing critical thinking through reading and writing: Hourglass technique; analytical conversation	(involves individual work of students with the material) . *1) Analytical conversation* . – Look at the topic of our lesson: “To be or not to be? To do or not to do? Moral problems in the play by A.N. Ostrovsky "The Thunderstorm" What questions does it raise for you? What would you like to know about the identified problem? Write the answers to these questions at the top of the hourglass. – - Which literary character asked the question “to be or not to be?” What did he doubt? What choice did the hero make? Can this question be considered the beginning of Hamlet's moral conflict? – Look at the epigraph to the lesson: “ . How do you understand this epigraph? Do you agree with the above statement? Prove your point. – Let’s see how “morality” was understood in different times. The “lecture model” provides definitions of morality. Underline the words that seem most significant to you. Based on the material provided and your own experience, give your definition of the concept of “morality”.	Working with the lesson topic and the hourglass (Advanced Lecture layout) Working with the literary context, identifying the range of relevant classical literature and the modern world of problems. Work in a lecture layout with definitions of the concept of “morality”. Creative thinking this concept and search for your own meanings.
2 Understanding.	Ensuring self-awareness through goal setting.	Development of critical thinking through reading and writing: analysis of literary text, filling out a comparative table « Moral values of residents of the city of Kalinov" Working with the coordinate value plane Discussion of the data obtained	1. Search for new knowledge. – Let’s try to determine the range of values that guide the representatives of the city of Kalinov in their lives. When filling out the table, you need to remember which social class is dominant in the play, which set of laws and rules regulates their life. Pay attention to how the characters relate to the church, how often they talk about God, about sin; do they help the poor, do they think about family. Answer the question about what most of the characters in the play dream about. – Can we say that these values are generally accepted, eternal, unshakable? – Are the listed values equally significant for all the characters in the play? Do they perceive these values in the same way? – Specify how each character understands moral values. Group 1: Katerina and Kabanikha; Group 2: Dikoy, Boris and Tikhon; Group 3: Varvara and Kudryash. – Are the values compatible in inner world every hero? Which of these values are in conflict? What is this conflict leading to? *3) Analytical conversation.* – Arrange the characters of the work in coordinate planes in the circle of values in the “ideal” of the characters (in the world of their ideas and desires). How the “position” of the characters in the circle of values changes at the end of the play (in artistic reality). – Why did you arrange the characters this way? Prove your opinion. What moral standards does each character violate?	Students comprehend the problem. Analyze the text (in small groups). Analyze the text and prove your point of view.
Reflection.	To form students’ own attitude to the problem posed, literary text, modern reality	Developing critical thinking through reading and writing: organizing independent creative work(answers to problematic questions, syncwine)	– Reflect on these questions: · Is a moral conflict an external or internal conflict? · What moral problems does A.N. address? Ostrovsky in the play "The Thunderstorm"? · Can we say that the playwright in “The Thunderstorm” depicts the “decline of morals”? Why do you think he does this? Justify your answer. Write down your thoughts. 2) Sinkwine. (1 line – 3 synonymous nouns for the concept “morality; 2 line – 3 adjectives characterizing the concept in question, 3 line – 3 verbs; 4 line – a synonym for the meaning of the concept in one phrase; 5 line – a synonym for the meaning in one phrase). Each student comes to an individual understanding of this philosophical category. For example: Moral Law, kindness, soul Frank, responsive, sincere Live, feel, be better The Key to Human Happiness Moral Purity, spirituality, limitation Spiritual, open to people, demanding of oneself Live, do good, think Live in harmony with yourself Harmonious Personality Moral Honesty, challenge, firmness Hearty, moral, virtuous Instructs, helps, donates Human inner world *3) Analytical conversation.* - Let's return to the epigraph of our lesson. How does it relate to the content of the lesson? – Problems of morality were raised in his works by the English writer W. Shakespeare in the 14th century, the French writer L. Vauvenargues in the 18th century, A.N. Ostrovsky in the 19th century. Are these questions relevant now? What is the relevance of the play today? Write down your thoughts and give reasons for them. - Let's go back to the hourglass. Fill out the bottom triangle: write what results you got, what you learned.	Individual written answers to problematic questions Discussion of Sinkwine's results Individual written answers to the problem posed about the relevance of moral values in our lives
Homework.	Ensuring that the goal is understood homework. Ensuring an understanding of the content and methods of completing homework.		Watch a video of the performance “The Thunderstorm” (Magnitogorsk Theatre of Drama them. A. S. Pushkin). Compare the plan of A.N. Ostrovsky and the author's decision of the stage director of the play.	Self-awareness of ways to do homework.

FULL NAME. student

To be or not to be? To do or not to do?

Moral problems in the play by A.N. Ostrovsky "Thunderstorm"

Luc Vauvenargues

Moral– these are the internal, spiritual qualities that guide a person, ethical standards; rules of behavior determined by these qualities. (" ).

Moral Wikipedia).

Moral “Psychology” by V. Starkovsky).

Morality – it is an eternal attempt to reconcile our personal needs. (I. Goethe).

Moral is the science of the relations existing between people and of the duties arising from these relations. (P. Holbach).

Morally only what coincides with your sense of beauty and the ideal in which you embody it. (F.M. Dostoevsky).

Ultimately, the basis of all human values is moral. (A. Einstein).

Using dictionary entries and sayings famous people, as an epigraph to the lesson, based on your own experience, define the concept of “morality”.

Moral

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Moral values of residents of the city of Kalinova

	Katerina	Kabanikha	Wild	Boris	Tikhon	Varya, Kudryash
General range of values of citizens
Character's circle of values

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The relevance of the play by A.N. Ostrovsky's "Thunderstorm" modern world thing is_______________________________________________________________________________

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Topic of the training sessionTo be or not to be? To do or not to do? Moral problems in the play by A.N. Ostrovsky "Thunderstorm"

Didactic purpose: developing the skill of analyzing a literary text, working with dramatic images; expanding ideas about the relevance of classical works.

Developmental goal: improving the ability to compare facts, reason logically and express one’s thoughts, and draw conclusions; expansion of vocabulary; development of linguistic flair and speech culture; development of creative abilities.

Educational purpose: improve students’ ideas about moral values; to form a respectful attitude among students towards other people’s opinions.

Organizational form of the lesson: “Advanced lecture” (Technology for developing critical thinking through reading and writing)

Methodological goal: show a set of approaches, techniques and means possible when working with artistic material

Methodological support for the lesson: handouts (model of an “advanced lecture”; text of A.N. Ostrossky’s play “The Thunderstorm”); multimedia projector + presentation.

Interdisciplinary connections

Intrasubject connections

During the classes

Stage classes	Didactic tasks of the lesson stage	Teaching methods and principles	Teacher's activities	Reflective activity of students

I. Organizational stage of the lesson	Preparing students for work in class		Presentation of uniform pedagogical requirements: Greetings; Identifying those absent from class; Checking appearance (compliance with the requirements of the internal regulations of the college).	They answer the greeting. The headman reports on attendance for class. Bring the appearance and workplace into compliance with the requirements.
	Psychological orientation to the perception of lesson material		Organizing attention and readiness for the lesson (eliminating distractions: extraneous noise, unnecessary objects in the workplace).	Prepare to understand the topic of the lesson.
II . Stages of progress in the problem.	Preparation for the main stage of the lesson.
Call	Arouse interest in the topic, update students’ existing knowledge and structure the process of further study of the problem	Developing critical thinking through reading and writing: Hourglass technique; analytical conversation	1. Goal setting by the lecturer and the audience(involves individual work of students with the material). 1) Analytical conversation. – Look at the topic of our lesson: “To be or not to be? To do or not to do? Moral problems in the play by A.N. Ostrovsky "The Thunderstorm" What questions does it raise for you? What would you like to know about the identified problem? Write the answers to these questions at the top of the hourglass. 2) Determining the context for understanding the problem, topic, concept. – Reproductive conversation (updating basic knowledge + creating a situation of success). – Which literary character asked the question “to be or not to be?” What did he doubt? What choice did the hero make? Can this question be considered the beginning of Hamlet's moral conflict? – Look at the epigraph to the lesson: “The rules of morality, like people, change with each generation: they are prompted either by virtue or by vice” (Luc Vauvenargues, French writer 1715 - 1747). How do you understand this epigraph? Do you agree with the above statement? Prove your point. 3) Constructing a hypothesis of your understanding. – Let’s see how “morality” was understood at different times. The “lecture model” provides definitions of morality. Underline the words that seem most significant to you. Based on the material provided and your own experience, give your definition of the concept of “morality”.	Working with the lesson topic and the hourglass (Advanced Lecture layout) Working with the literary context, identifying a range of issues relevant to classical literature and the modern world. Work in a lecture layout with definitions of the concept of “morality”. Creative understanding of this concept and search for your own meanings.
2 Understanding.	Ensuring self-awareness through goal setting.	Development of critical thinking through reading and writing: analysis of literary text, filling out a comparative table« Moral values of residents of the city of Kalinov" Working with the coordinate value plane Discussion of the data obtained	1. Search for new knowledge. 1) Analytical conversation with filling out the first line of the table “Moral values of residents of the city of Kalinov.” – Let’s try to determine the range of values that guide the representatives of the city of Kalinov in their lives. When filling out the table, you need to remember which social class is dominant in the play, which set of laws and rules regulates their life. Pay attention to how the characters relate to the church, how often they talk about God, about sin; do they help the poor, do they think about family. Answer the question about what most of the characters in the play dream about. – Can we say that these values are generally accepted, eternal, unshakable? – Are the listed values equally significant for all the characters in the play? Do they perceive these values in the same way? 2) Independent work students in groups (filling out the second row of the table). – Specify how each character understands moral values. Group 1: Katerina and Kabanikha; Group 2: Dikoy, Boris and Tikhon; Group 3: Varvara and Kudryash. – Are the values in the inner world of each hero compatible? Which of these values are in conflict? What is this conflict leading to? 3) Analytical conversation. – Arrange the heroes of the work in coordinate planes in the circle of values in the “ideal” of the characters (in the world of their ideas and desires). How the “position” of the characters in the circle of values changes at the end of the play (in artistic reality). – Why did you arrange the characters this way? Prove your opinion. What moral standards does each character violate? 2. Enrichment of ideas about the qualitative characteristics of a concept or problem.	Students comprehend the problem. Analyze the text (in small groups). Analyze the text and prove their point of view.
Reflection.	To form students’ own attitude to the problem posed, literary text, modern reality	Development of critical thinking through reading and writing: organization of independent creative work (answers to problematic questions, syncwine)	1) Individual written understanding of the problem raised by A.N. Ostrovsky. Problem conversation – Reflect on these questions: Is a moral conflict an external or internal conflict? What moral problems does A.N. address? Ostrovsky in the play "The Thunderstorm"? Can we say that the playwright in “The Thunderstorm” depicts the “decline of morals”? Why do you think he does this? Justify your answer. Write down your thoughts. 2) Sinkwine. Students are asked to write a five-line sentence for the concept “morality”(1 line – 3 synonymous nouns for the concept “morality; 2 line – 3 adjectives characterizing the concept in question, 3 line – 3 verbs; 4 line – a synonym for the meaning of the concept in one phrase; 5 line – a synonym for the meaning in one phrase). Each student comes to an individual understanding of this philosophical category. For example: Moral Law, kindness, soul Frank, responsive, sincere Live, feel, be better The Key to Human Happiness Happiness Moral Purity, spirituality, limitation Spiritual, open to people, demanding of oneself Live, do good, think Live in harmony with yourself Harmonious Personality Moral Honesty, challenge, firmness Hearty, moral, virtuous Instructs, helps, donates Human inner world Life 3) Analytical conversation. - Let's return to the epigraph of our lesson. How does it relate to the content of the lesson? Written understanding of the problem. – Problems of morality were raised in his works by the English writer W. Shakespeare in the 14th century, the French writer L. Vauvenargues in the 18th century, A.N. Ostrovsky in the 19th century. Are these questions relevant now? What is the relevance of the play today? Write down your thoughts and give reasons for them. - Let's go back to the hourglass. Fill out the bottom triangle: write what results you got, what you learned. (At the end of the lesson, “lecture models” are collected by the teacher and analyzed. Each student receives a grade.)	Individual written answers to problematic questions Discussion of Sinkwine's results Individual written answers to the problem posed about the relevance of moral values in our lives
Homework.	Ensuring that the purpose of homework is understood. Ensuring an understanding of the content and methods of completing homework.		Watch a video recording of the play “The Thunderstorm” (Magnitogorsk Drama Theater named after A. S. Pushkin). Compare the plan of A.N. Ostrovsky and the author's decision of the stage director of the play.	Self-awareness of ways to complete homework.

FULL NAME. student

To be or not to be? To do or not to do?

Moral problems in the play by A.N. Ostrovsky "Thunderstorm"

The rules of morality, like people, change with each generation: they are prompted either by virtue or by vice.

Luc Vauvenargues

Read the proposed definitions of the concept of “morality”, underline the key words in them.

Moral – these are the internal, spiritual qualities that guide a person, ethical standards; rules of behavior determined by these qualities. ("Explanatory Dictionary" by S. I. Ozhegova).

Moral - this is the internal attitude of the individual to act according to his conscience and free will ( Wikipedia).

Moral - the most subtle, purely personal behavioral code, determined by the measure of a person’s self-criticism and conscientiousness, based on moral responsibility to oneself (“Psychology” by V. Starkovsky).

Morality –it is an eternal attempt to reconcile our personal needs.(I. Goethe).

Moral is the science of the relations existing between people and of the duties arising from these relations.(P. Holbach).

Morally only what coincides with your sense of beauty and the ideal in which you embody it.(F.M. Dostoevsky).

Ultimately, the basis of all human values is morality. (A. Einstein).

Using dictionary entries, statements of famous people, an epigraph to the lesson, based on your own experience, define the concept of “morality”.

Moral - This _____________________________________________________________________

+ + + +

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Is a moral conflict an external or internal conflict? What moral problems does A.N. address? Ostrovsky in his play? Can we say that he depicts the “decline of morals”, the disappearance of morality? For what purpose do you think the playwright does this?

The relevance of the play by A.N. Ostrovsky’s “Thunderstorm” in the modern world is that _______________________________________________________________________________

Moral problems in the plays of A.N. Ostrovsky. Drama "Thunderstorm"

The people of “Thunderstorm” live in a special state of the world: crisis, catastrophic. The supports holding back the old order were shaken, and the disturbed life began to shake. The first action introduces us to the pre-storm atmosphere of life. Outwardly, so far everything is going well, but the restraining forces are too fragile: their temporary triumph only increases tension. It thickens towards the end of the first act: even nature, as in folk song, responds to this with a thunderstorm approaching Kalinov. Kabanikha- a man of a crisis era, like other heroes of the tragedy. This is a one-sided zealot for the worst aspects of the old morality. Believing that everywhere and in everything Kabanikha follows the rules of “house building”, that she is knightly faithful to its formal regulations, we succumb to the deception inspired by the strength of her character. In fact, she easily deviates not only from the spirit, but also from the letter of Domostroev’s instructions . “...If they offend, do not take revenge; if they blaspheme, pray, do not repay evil for evil, do not judge those who sin, remember your sins, take care of them first of all, reject advice evil people, be equal to those who live in truth, write down their deeds in your heart and do the same yourself,” says the old moral law. “We must forgive our enemies, sir!”— Kuligin exhorts Tikhon. What does he hear in response? "Go talk to Mama, what will she tell you about this.” The detail is significant! Kabanikha is terrible not because of her loyalty to antiquity, but because of her tyranny "under the guise of piety." The old morality is largely denied here: the most rigid formulas that justify despotism are extracted from the “domostroy”. Self-will wild unlike Kabanikha’s tyranny, it is no longer supported by anything, not justified by any rules. The moral foundations in his soul are thoroughly shaken. This “warrior” is not happy with himself, a victim of his own self-will. He is the richest and most famous man in the city. Capital frees his hands, gives him the opportunity to freely swagger over the poor and financially dependent on him. The more Dikoy gets rich, the more unceremonious he becomes. “So, are you going to sue me or something?- he declares to Kuligin. So you know that you are a worm. If I want mercy, if I want, I’ll crush it.”. Boris's aunt, leaving a will, in accordance with custom, set the main condition for receiving the inheritance respectfulness nephew to uncle. As long as moral laws stood firm, everything was in Boris’s favor. But their foundations were shaken, the opportunity arose to twist the law this way and that, according to famous proverb: “The law is that the drawbar: wherever you turn, that’s where it comes out.”. “What should we do, sir!- Kuligin says to Boris. We must try to please somehow.” "Who will please him?, - the knowledgeable person reasonably objects the soul of Wild Curly, - if his whole life is based on swearing?..” “Again, even if you were respectful to him, who will forbid him to say that you are disrespectful?” But strong materially, Savel Prokofievich Dikoy is weak spiritually. He can sometimes give up before someone who is stronger than him in law, because the dim light of moral truth still flickers in his soul: “Once I was fasting about fasting, about great things, and then it’s not easy and you slip a little man in; He came for money and carried firewood. And it brought him to sin at such a time! I did sin: I scolded him, I scolded him so much that I couldn’t ask for anything better, I almost killed him. This is what my heart is like! After he asked for forgiveness, he bowed at his feet, really. Truly I tell you, I bowed at the man’s feet. I bowed to him in front of everyone.” Of course, this “insight” of the Dikiy is just a whim, akin to his tyrant whims. This is not repentance for Katya rins, born of guilt and painful moral torment. Against fathers Young forces of life are rising in the city. These are Tikhon and Varvara, Kudryash and Katerina. Trouble Tikhon is born dark kingdom lack of will and fear in front of mommy. Essentially, he does not share her despotic claims and in no way than he doesn't believe her. In the depths of his soul Tikhon curled up into a ball kind and generous person, loving Katerina able to forgive her any offense. He tries to support his wife at the moment of repentance and even wants hug her. Tikhon is much more subtle and morally insightful than Boris, who at this moment, guided fainthearted nom “sewn-covered”, it turns out from the crowd and bows to Kabanov, thereby aggravating the suffering Katerina. But Tikhon's humanity is too timid and inactive. Only at the end of the tragedy wakes up it has something similar to protest: “Mama, you ruined her! you, you., you...” Tikhon evaded the oppressive tyranny happens at times but even in these evasions there is no freedom. Revelry and drunkenness are akin to self-forgetfulness. As Katerina rightly notes, “and he is definitely bound at will.”

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