Vorobieva Vlada, Mikhalkina Vasilisa

N.V. Gogol is a writer who wants to tell the truth about the time in which he lives. Despite the fact that 182 years have passed since the first production of the comedy "The Government Inspector" in 1836, this performance is staged the best theaters peace. Problems raised by N.V. Gogol, are modern and relevant for almost two centuries.

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municipal educational institution

"Secondary school of the Uralsky village"

Sverdlovsk region

Research work in literature

Performer: Vorobieva V.,

Mikhalkina V.,

8th grade students

Head: Salnikova M. V.,

teacher of Russian language and literature

Uralsky settlement

2018

1. Introduction…………………………………………………………..... 3
2. Main part. stage fate comedy nv Gogol

"Inspector" .................................................................... .............................................. 5

1. creative history plays "Inspector General" …………………………... 5
2. Pushkin's role in Gogol's creation of the comedy "Inspector General" ………. 5
3. Productions of the play "The Inspector General" in the 19th century.……………………….. 6
4. Productions of the play "Inspector General" in the 20-21 centuries.…………………… 8

III. Conclusion. ………………………………………………………… 12

Sources and literature………………………………………………… 14

Application………………………………………………………………... 15

I. Introduction.

N.V. Gogol conceived the idea of ​​writing the comedy The Inspector General in the 1830s. Then he worked on the poem "Dead Souls", and he had the idea to display the funny features of Russian reality in a comedy.

Gogol worked on the play for only two months - October and November 1835. He presented it for staging. And then perfected for 35 years.

“In The Inspector General, I decided to put together everything that was bad in Russia, which I then knew, all the injustices that are being done in those places and in those cases where justice is most required of a person, and at one time laugh at everything” , - this is how Gogol spoke about his play. So, the comedy was written, but the main thing that worried Gogol was how it would be presented on stage, what would be the audience's reaction to the play, and whether the audience would understand the author's intention.

The relevance of this research work is that H.V. Gogol belongs to the type of people who want to tell the truth about the time in which he lives. And despite the fact that 182 years have passed since the first production of the comedy The Inspector General in 1836, this performance is staged on the stages of the best theaters in the world. Problems raised by N.V. Gogol, are modern and relevant for almost two centuries.

The purpose of the research work:

To explore the stage fate of N.V. Gogol's "Inspector".

Research tasks:

Find out the creative history of the play "The Government Inspector";

Research the role of A.S. Pushkin in Gogol's creation of the comedy The Inspector General;

Collect information about stage performances comedy "The Government Inspector" from the 19th century to the 21st century;

- analyze featuresstage productions of the comedy "The Inspector General" from the 19th century to the 21st century.

Practical significance of this studyconsists in the possibility of using it in literature lessons devoted to the study of comedy by N.V. Gogol's "Inspector General" A presentation prepared to present a research work can also be used in literature lessons.

II. Main part. The stage fate of the comedy N.V. Gogol's "Inspector".

II.1. The creative history of the play "The Government Inspector".

To understand Gogol's intention when creating the comedy The Inspector General, one should first of all turn to the most important thought formulated by him in the 1847 article The Author's Confession: “I saw that in my writings I laugh for nothing, in vain, without knowing why. If you laugh, then it's better to laugh hard and at what is really worthy of universal ridicule. In The Government Inspector, I decided to gather together everything that was bad in Russia, which I then knew, all the injustices that are being done in those places and in those cases where justice is most required of a person, and to laugh at everything at once. But this, as you know, had a tremendous effect. Through laughter, which had never appeared in me in such strength, the reader heard sadness. I myself felt that my laughter was not the same as it was before. "

The comedy was begun in October and finished on December 4, 1835, in less than two months. In the spring of 1836, a separate edition of The Inspector General was published. Gogol repeatedly revised the text. In 1841, the comedy came out in a second edition with some changes. And only in 1842 the "Inspector General" appeared in its final form. In this edition, the text was significantly revised (Khlestakov’s lies were given an inspired hyperbolic character, the final scene was redone, the mayor’s appeal to the public was inserted: “What are you laughing at? - You are laughing at yourself! ..”, etc.). The text of the last edition, printed in all editions of Gogol, sounded from the stage only in 1870.

II. 2. The role of A.S. Pushkin in the creation of N.V. Gogol comedy "The Government Inspector".

A.S. Pushkin played a remarkable role in Gogol's creation of his famous play The Inspector General. N.V. Gogol was fond of the theater since childhood (in his childhood, his father, Vasily Afanasyevich, wrote plays, mostly comedies, which were staged in the courtyard theater of their relative, patron Troshchinsky, who lived not far from their Vasilyevka estate. N.V. Gogol dreamed of writing comedy and asked A. S. Pushkin to tell him the plot. And Pushkin prompted - he gave him the plot of the future famous comedy "The Inspector General", which he kept with himself. "However," the poet said, "I could not have written better. In Gogol, there is an abyss of humor and observation that others do not have," writes V. I. Shprok in his Materials for the Biography of Gogol. A. S. Pushkin was very interested in the fate of the play, the plot of which he presented to Gogol. He was present at the reading of the comedy by the writer .was at the play's premiere in Alexandrinsky theater In Petersburg. He persuaded Gogol to read the play to the artists of the Moscow Maly Theatre.

II. 3. Performances of the play "The Government Inspector" in the 19th century.

The play was not allowed to be staged right away. Vasily Andreevich Zhukovsky personally had to convince Emperor Nicholas I of the reliability of the comedy.

The first edition of the play premiered in 1836 at the Alexandrinsky Theater in St. Petersburg. The premiere drew a full house. The fires in the huge chandeliers burned brightly, orders and diamonds shone in the boxes, young people rustled in the gallery - students, young officials, artists. The tsar and the heir to the throne settled down in the imperial box. Imperceptibly, the agitated author crept into his place.

The performance was a success. The emperor personally thanked the actors. There is a version that Nicholas I said after watching: “Well, and a play! Everyone got it, but I got it the most.” Since the sovereign liked the play, the comedy was allowed for further productions.

But all this did not please Gogol: upset by the shortcomings of acting, the shortcomings of his own text and the reaction of the public, who, as it seemed to him, was laughing at the wrong thing, he fled the theater. The painful impressions were aggravated by the individual critical reviews that appeared in the press, which Gogol took as outright persecution. “Everything is against me,” he complained to Shchepkin. - Officials, elderly and respectable, shout that nothing is sacred to me ... The police are against me, the merchants are against me, the writers are against me.

Gogol was disappointed with the production: the actors did not understand the satirical direction of the comedy or were afraid to play as required; The performance turned out to be primitively comical. The main reason for Gogol's dissatisfaction was not even in the farcical nature of the performance, but in the fact that, with the caricature manner of the game, those sitting in the hall perceived what was happening on the stage without applying to themselves, since the characters were exaggeratedly funny. Meanwhile, Gogol's plan was designed just for the opposite perception: to involve the viewer in the performance, to make it feel that the city depicted in the comedy does not exist somewhere far away, but to one degree or another anywhere in Russia. Gogol addresses everyone and everyone: “What are you laughing at? You're laughing at yourself!"

The author was also worried about the lack of rehearsals in costumes. So, the playwright wanted to see Shchepkin and Ryazansky in the roles of Bobchinsky and Dobchinsky, neat, plump, with decently smoothed hair. At the premiere, the actors took the stage with tousled hair pulled out by huge shirt-fronts, awkward, untidy. Actor N.O. Dur presented Khlestakov as a traditional rogue, vaudeville naughty. Only the mayor performed by I.I. Sosnitsky liked Gogol. Gogol was upset by the "silent scene". He wanted the numb facial expressions of the petrified group to hold the audience's attention for two or three minutes until the curtain closed. But the theater did not give this time to the "silent stage".

Confused and offended, the writer did not notice that all the progressive people of society were striving to get into the performance based on The Inspector General, and the publication of the text of the play became a real event in the cultural life of Russia. Throughout the 19th century the play never left the stage.

On May 25, 1836, the play was staged at the Maly Theatre. In Moscow, the first performance was to take place in Bolshoi Theater, but under the pretext of repairs, the performance was given the next day in Maly,where the role of the mayor was played by the famous Russian actorMikhail Semyonovich Shchepkin.Gogol joked that Shchepkin in his "Inspector General" could play at least ten roles in a row.Despite the absence of the author and the complete indifference of the theater management to the premiere production, the performance was a huge success. However, the Molva magazine described the Moscow premiere as follows: "The play, showered with applause in places, did not arouse a word or a sound when the curtain was lowered, as opposed to the St. Petersburg production."

On April 14, 1860, the "Inspector General" was appointed by a circle of writers in St. Petersburg in favor of the "Society for Assistance to Needy Writers and Scientists." This production is especially interesting because not professional actors were involved in it, but professional writers.Among them were Dostoevsky Fyodor Mikhailovich, Nikolai Alekseevich Nekrasov.

And the interpretation of images in their performance, of course, deserves interest.

There were other productions of the play in the 19th century: at the Polytechnic Exhibition in Moscow (1872), at the Korsh Theater (1882), inMoscow Art Theater. There were also many productions in theaters of different cities of Russia. Some of the premiere performances abroad were performances in Paris, at the theater "Porte Saint-Martin" in France, then - Berlin, Prague.

II. 4. Productions of the play "The Government Inspector" in the 20th-21st centuries.

In 1920, the play The Inspector General was staged at the Moscow Art Theater (staged by K.S. Stanislavsky). The role of Khlestakov was played by Mikhail Chekhov, a famous dramatic artist, theater teacher, director, nephew of A.P. Chekhov. Contemporaries spoke about this production with delight. In particular, the theater critic and playwright A. I. Piotrovsky wrote:
“Chekhov's Khlestakov is a real artistic feat, this is one of those roles that change the whole performance, break its usual understanding and established traditions. Perhaps, for the first time in all those eight decades that the stage history of The Government Inspector has, it has finally appeared on the Russian stage! - that Khlestakov, about whom Gogol himself wrote ... "

In the 20th century, in 1926, one of the most striking and unconventional productions of The Inspector General on the Russian stage was offered by the famous innovative directorVsevolod Emilievich Meyerhold. For the performance, he selected actors whose appearance corresponded to the characters of the play as much as possible and did not require makeup. Thus, he brought to the stage not just Gogol's images, but "people from life." The only place where Meyerhold deviated from the realism of the theatrical image was the “silent” stage: instead of people in it, not actors appeared before the public, but their puppets, made in life size, symbolizing the horror of the internal "inhumanity" of Gogol's characters. The dolls form a "petrified group" - an ironic embodiment of Nikolaev Rus, with its Derzhimords and "pig snouts" of bureaucracy and bureaucracy.

The director set himself the artistic task of showing the world of old Russia as a crooked mirror that reflects its ugliest moments. So, for example, all scenes with officials were performed on a darkened stage, by candlelight reflected in a mahogany-lacquered back partition with 15 doors. All female scenes are designed under the bright spotlight, with clearly defined details, exposing the unbridled impulse to the "flowers of pleasure" that owns the hearts of selfish ladies and young ladies of the corrupt official's family.

The production of the play The Inspector General at the Maly Theater in 1949 was a great success. The role of Khlestakov was played by Igor Ilyinsky. It is noteworthy that the actor was then already 48 years old. After three seasons, he will transfer this role to another performer and play the Governor.

In 1972, at the Leningrad BDT (Bolshoi Drama Theatre), The Inspector General was staged by Georgy Alexandrovich Tovstonogov.

The role of Khlestakov was played by Oleg Basilashvili, the role of the mayor was Kirill Lavrov.

On March 26, 1972, the premiere of the play "The Inspector General" took place at the Moscow Theater of Satire, staged by Valentin Pluchek. For ten years, the performance was a constant success, not least thanks to the stellar cast of performers, it entered the golden fund of the Soviet theater. In 1982, for the 10th anniversary, the performance was filmed. The role of Khlestakov is Andrei Mironov, the role of the mayor is Anatoly Papanov. As experts noted, the director looked at Gogol's textbook play as a modern play that denounces modern society.

According to theater criticAnatoly Smelyansky , for Valentin Pluchek, the appeal to Gogol's comedy became a way of "description of modernity", an opportunity to talk about actual problems of his time.

Each director of The Inspector General looked for his own ways to present the play. In 2002, at the E. B. Vakhtangov Theater, director Rimas Tuminas presented the finale of the performance: thunder rumbles, a downpour breaks out, Gogol's officials find themselves on a raft, and the postmaster is forced to catch up with them on a boat.

In the 21st century, in 2003, an innovative performance based on Gogol's immortal comedy surprised the public with a team of actors from Italy led by a well-known directorMatthias Langhoff. In the performance of this troupe, The Inspector General turned into a play about bureaucracy, corruption and fear of exposure. As the main scenery, the director used a strange construction, consisting of an unimaginable number of walls, doors, corridors, stairs, nooks and crannies, some of which can rotate around their axis. Collection of county officials of the 19th century, dressed in fashion 60-70-X years of the XX century., resembles a gathering of the Italian mafia. Merchants in good suits and dark glasses are talking in mobile phones and write out checks to Khlestakov, special signals of the escort of the authorities’ vehicles are flooded, police officers with brooms enter the hall, the mayor’s wife performs a dance with ribbons, a live dog runs around the stage, and two huge furry rats appear at the end of the play ... All these innovations are designed to emphasize the modern sound play, its obvious connection with today's life. It is no coincidence that at the press conference the director and actors unanimously stated that the Russian comedy, depicting a county town of the 19th century, is relevant for today's Italy. For in Italy, as in many other countries, there are Khlestakovs and governors, and, of course, fear of the auditor.

The stage fate of the comedy N.V. Gogol "Inspector"

III. Conclusion.

Nikolai Vasilyevich Gogol saw in the theater a tremendous educational, transforming force capable of rallying thousands of people and making them "suddenly tremble with one shock, sob with one tear and laugh with one universal laughter." Neither the theatre, nor the public, nor criticism in general understood the playwright's innovative poetics at once. In the theater of that time, a person used to feel, to worry about the heroes of historical dramas, to follow the deft development of the frivolous plot of vaudeville, to sympathize with the characters of tearful melodrama, to be carried away into the worlds of dreams and fantasies, but not to reflect, not to compare, not to think. Gogol, presenting to the performance the requirement to be based on important social conflicts, to truthfully and deeply reveal the phenomena of life, saturating his works with pain for a person, expected from the viewer an involuntary, unexpected laughter generated by the “dazzling brilliance of the mind” and turning to himself, recognizing himself in these "heroless" characters. He spoke in a different aesthetic language.

The theater of Gogol's contemporary did not set such tasks before itself. Therefore, it is not surprising that the first productions of The Inspector General caused a lot of controversy and ambiguous responses. The theater did not yet know such dramaturgy and did not understand how to play it. Actors, using the techniques of stage existence in vaudeville, tried to make the audience laugh with caricature grimaces or antics. At the same time, performances were staged in earnest, and wonderful actors were involved in them.

Gogol introduces to the theater real life, blows up the calm, conflict-free consciousness of the audience.

Each era saw N.V. Gogol's own reflection. How bold the theatrical figures were, how truthful the performance turned out to be: from the vaudeville-farcical performance of St. Petersburg in 1836 of the 19th century to the image of the modern bureaucratic machine, corruption and fear of exposure in the 21st century.

Gogol saw the meaning of art in serving one’s land, in cleansing oneself from “filth”, and the way to improve society was in the moral self-improvement of the individual: in a demanding attitude towards oneself, in the responsibility of each for one’s behavior in the world. And over time, this desire was seen by both the directors of the comedy "The Inspector General" and the audience of these productions.

Sources and literature.

Application.

A.A. Ivanova. 1841

Continuing our journey through the theatrical world, today we will get into the world behind the scenes and find out the meaning of such words as ramp, proscenium, scenery, and also get acquainted with their role in the play.

So, entering the hall, each spectator immediately turns his gaze to the stage.

Scene is: 1) a place where a theatrical performance takes place; 2) a synonym for the word "phenomenon" - a separate part of the action, act of a theatrical play, when the composition actors remains unchanged on stage.

Scene- from the Greek. skene - booth, stage. In the early days of Greek theater, the skene was a cage or tent built behind the orchestra.

Skene, orchectra, theatron are the three fundamental scenographic elements of the ancient Greek performance. The orchestra or playground connected the stage and the audience. The skene developed in height, including the theologeon or playground of the gods and heroes, and on the surface, along with the proscenium, an architectural façade, a forerunner of the wall decorum that would later form the proscenium space. Throughout history, the meaning of the term "stage" has been constantly expanded: the scenery, the playground, the scene of action, the time period during the act, and, finally, in a metaphorical sense, a sudden and bright spectacular event ("setting someone a scene"). But not all of us know that the scene is divided into several parts. It is customary to distinguish between: proscenium, rear stage, upper and lower stages. Let's try to understand these concepts.

Proscenium- the space of the stage between the curtain and the auditorium.

As a playground, the proscenium is widely used in opera and ballet performances. In drama theaters, the proscenium serves as the main setting for small scenes in front of a closed curtain that tie the scenes of the play. Some directors bring the main action to the fore, expanding the stage area.

The low barrier separating the proscenium from the auditorium is called ramp. In addition, the ramp covers the stage lighting devices from the side of the auditorium. Often this word is also used to refer to the system of theatrical lighting equipment itself, which is placed behind this barrier and serves to illuminate the space of the stage from the front and from below. Spotlights are used to illuminate the stage from the front and from above - a row of lamps located on the sides of the stage.

backstage- the space behind the main stage. The backstage is a continuation of the main stage, used to create the illusion of a great depth of space, and serves as a reserve room for setting the scenery. Furks or a revolving rolling circle with pre-installed decorations are placed on the backstage. The top of the rear stage is equipped with grates with decorative risers and lighting equipment. Warehouses of mounted decorations are placed under the floor of the rear stage.

top stage- a part of the stage box located above the stage mirror and bounded from above by a grate. It is equipped with working galleries and walkways, and serves to accommodate hanging decorations, overhead lighting devices, and various stage mechanisms.

lower stage- a part of the stage box below the tablet, where stage mechanisms, prompter and light control booths, lifting and lowering devices, devices for stage effects are located.

And the stage, it turns out, has a pocket! Side stage pocket- a room for a dynamic change of scenery with the help of special rolling platforms. Side pockets are located on both sides of the stage. Their dimensions make it possible to completely fit on the furka the scenery that occupies the entire playing area of ​​the stage. Usually decorative warehouses adjoin side pockets.

The “furka”, named in the previous definition, along with the “grids” and “shtankets”, is included in the technical equipment of the stage. furka- part of the stage equipment; a mobile platform on rollers, which serves to move parts of the decoration on the stage. The movement of the furca is carried out by an electric motor, manually or with the help of a cable, one end of which is behind the scenes, and the other is attached to the side wall of the furca.

- lattice (wooden) flooring, located above the stage. It serves to install blocks of stage mechanisms, is used for work related to the suspension of performance design elements. The grates communicate with the working galleries and the stage with stationary stairs.

Shtanket- a metal pipe on cables, in which the scenes, details of the scenery are attached.

IN academic theaters all the technical elements of the stage are hidden from the audience by a decorative frame, which includes a curtain, wings, a backdrop and a border.

Entering the hall before the start of the performance, the viewer sees a curtain- a piece of fabric suspended in the area of ​​the stage portal and covering the stage from the auditorium. It is also called "intermission-sliding" or "intermission" curtain.

Intermission-sliding (intermission) curtain is a permanent equipment of the stage, covering its mirror. Moves apart before the start of the performance, closes and opens between acts.

Curtains are sewn from dense dyed fabric with a dense lining, decorated with the emblem of the theater or a wide fringe, hemmed to the bottom of the curtain. The curtain allows you to make the process of changing the situation invisible, to create a feeling of a gap in time between actions. An intermission-sliding curtain can be of several types. The most commonly used Wagnerian and Italian.

Consists of two halves fixed at the top with overlays. Both wings of this curtain open by means of a mechanism that pulls the lower inner corners towards the edges of the stage, often leaving the bottom of the curtain visible to the audience.

Both parts Italian curtain move apart synchronously with the help of cables attached to them at a height of 2-3 meters and pulling the curtain to the upper corners of the proscenium. Above, above the stage, is paduga- a horizontal strip of fabric (sometimes acting as scenery), suspended from a rod and limiting the height of the stage, hiding the upper mechanisms of the stage, lighting fixtures, grate and upper spans above the scenery.

When the curtain opens, the viewer sees the side frame of the stage, made of strips of fabric arranged vertically - this backstage.

Closes the backstage from the audience backdrop- a painted or smooth background made of soft fabric, suspended in the back of the stage.

The scenery of the performance is located on the stage.

Decoration(lat. "decoration") - the artistic design of the action on the theater stage. Creates a visual image of action by means of painting and architecture.

Decoration should be useful, efficient, functional. Among the main functions of the scenery are the illustration and depiction of elements supposedly existing in the dramatic universe, the free construction and change of the scene, considered as a game mechanism.

The creation of scenery and decorative design of the performance is a whole art, which is called scenography. The meaning of this word has changed over time.

The scenography of the ancient Greeks is the art of decorating the theater and the picturesque scenery resulting from this technique. During the Renaissance, scenography was the technique of painting a canvas backdrop. In modern theatrical art, this word represents the science and art of organizing the stage and theatrical space. Actually the scenery is the result of the work of the set designer.

This term is increasingly being replaced by the word "decoration" if there is a need to go beyond the concept of decoration. Scenography marks the desire to be writing in a three-dimensional space (to which the temporal dimension should also be added), and not just the art of decorating the canvas, which the theater was content with up to naturalism.

In the heyday of modern scenography, decorators managed to breathe life into space, enliven time and the actor's performance in the total creative act, when it is difficult to isolate the director, lighting, actor or musician.

The scenography (decorative equipment of the performance) includes props- the objects of the stage setting that the actors use or manipulate during the course of the play, and props- specially made objects (sculptures, furniture, utensils, jewelry, weapons, etc.) used in theatrical performances instead of real things. Props are notable for their cheapness, durability, emphasized expressiveness of the external form. At the same time, props usually refuse to reproduce details that are not visible to the viewer.

The manufacture of props is a large branch of theatrical technology, including work with paper pulp, cardboard, metal, synthetic materials and polymers, fabrics, varnishes, paints, mastics, etc. The range of props that require special knowledge in the field of stucco, cardboard , finishing and locksmith works, painting of fabrics, embossing on metal.

Next time we will learn more about some theatrical professions, whose representatives not only create the performance itself, but also provide its technical support, work with the audience.

The definitions of the terms presented are taken from the websites.

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If the actors were just standing or sitting on chairs on the stage, while talking about the subject of the production - would you call it theater? Even though modern Art accustomed us to everyone - no. Dramatic art is action, representation, activity of images, feelings, play of passions. The theater has changed over time, but the meaning inherent in the word itself by the ancient Greeks has not changed. Theater is a spectacle, and its basis is action.

Stage action is the cornerstone and basis of acting and theatrical art, which combines all the components of the actor's game. In it, they are combined into an integral system of thoughts, feelings, movements. In this article, we offer you a small explanation of this important and voluminous concept.

The nature of stage action

Art as a figurative understanding of reality exists in different forms and forms. hallmark each, giving out its specificity, is the material that, in order to create artistic images. For a musician it is a sound, for a writer it is a word. For an actor, this material is action. In the broadest sense, action is an act of will aimed at achieving a specific goal. Acting or stage action is one of the main means of expression, a single psychophysical process of achieving a goal in the fight against the proposed circumstances of a small circle, expressed in some way in time and space. Through it, the artist embodies his stage image, reveals the goals, inner world character and ideological concept of the work.

talking in simple terms, stage action is the ability to see, hear, move, think and speak in the given circumstances in order to realize the image. This definition seems to be more understandable, but at the same time it refers us to the conclusion about the complexity of the structure of the constituent parts. In fact, action implies their coordinated work and is a synthesis,.

Mental actions are characterized by a directed influence on the psyche (feelings, consciousness, will) of both another person and one's own. Already from this definition it is clear that mental actions in the profession of an actor are one of the main categories, because the role is realized through it. They are also varied - request, joke, reproach, warning, persuasion, confession, praise, quarrel - these are just a short list of examples.

Mental actions, depending on the means of implementation, are verbal and mimic. They apply in the same way in different situations. For example, a person has disappointed you. You can reprimand him, or you can look reproachfully and shake your head without saying a word. The difference is that facial expressions are more poetic, but not always understandable from the outside, while the word is more expressive.

As mentioned above, a physical action is impossible without a mental one, just like vice versa. In order to console a person, express support for him, you must first approach him, put your hand on his shoulder, hug him. Mental action in this case leaves an imprint on the performance of the physical. After all, no one will run, bouncing, to a person in order to console him in grief.

But the physical action also affects the mental. Let's imagine such a situation. Wanting to persuade a person to some action, you want to talk to him alone. You choose the moment, bring him into the room, and so that no one bothers you, you want to close the door with a key. But you can’t find it either in your pockets or on the coffee table nearby. This leads to irritation, fussiness, leaves an imprint on the conversation.

From all this, a simple conclusion suggests itself - a good actor should pay equal attention to both the physical and mental side of the intended role and, accordingly, develop the necessary skills.

Organic stage action

From the very definition it is clear that the actions of the actor must be harmonious, natural, believable, only in this case it is possible to achieve an organic role and performance. To be authentic, the stage action of the artist must have such qualities as:

Individuality. Personal character and its originality are one of those qualities that give credibility to the stage action. K. S. Stanislavsky wrote: “Let the actor not forget that one must always live from his own being, and not from the role, taking from the latter only its proposed circumstances.”

Uniqueness. We have already written about the need for improvisation, which makes each performance unique. This best reflects the requirement of K. S. Stanislavsky to play “today, here, now” every time.

Emotionality. The action must not only be logical and consistent, which is necessary for a sense of truth, but also take on a coloring that conveys impulse and passion, affecting the viewer.

Multidimensionality. As in life, on the stage, the coexistence of various behavioral tendencies, their change, gives a sense of authenticity.

How to develop the described abilities? These questions have been answered in previous blog posts. Let's remember the main points.

First, the actor must “be on stage” all the time. Do not think about the audience, do not notice them, focusing on the proposed circumstances of the production. To do this, you need to develop.

Secondly, it is important for a novice artist to be able to control his body. - an important component. It not only makes the game expressive, but also contributes to the reliability of the whole action.

Thirdly, the actor must learn to live with repeated feelings, to evoke these feelings in himself, despite the conventionality of the scenery and the whole work.

Fourthly, action as a psychophysical act is impossible without mastery of the word. is a necessary and useful skill.

For the development of acting skills, look for training on our website and blog.

An open literature lesson on the topic: “The creative and stage history of the creation of N.V. Gogol’s comedy“ The Inspector General ”. 8th grade.

Lesson Objectives:

 Repetition of known information about the life and work of N.V. Gogol

Acquaintance with the creative and stage history of the creation of comedy, the development of students' perception of a literary work.

 Education of love for the writer's work, the moral qualities of students, familiarization with art, theater.

Decoration, equipment

 Computer, multimedia projector, presentation, an excerpt from the play "Inspector General", an excerpt from the film by Leonid Parfyonov "Bird-Gogol", illustrations for a comedy.

Lesson type introductory

Type of lesson mixed (combination of different types of lesson - lesson-lecture, film lesson, etc.)

Methods informational, partially exploratory, illustrative and explanatory, visual teaching methods.

preliminary homework individual messages.

During the classes.

1. teacher's word

In previous lessons, we studied the works of Pushkin and Lermontov. And today we will get acquainted with the work of another writer. I invite you to watch a fragment of the film, and you yourself will try to determine the topic of our lesson.

(Video "Gogol" Inspector General "beginning")

Yes, you are not mistaken. We will talk about N.V. Gogol and his famous comedy The Inspector General. This comedy has left an indelible mark on the history of drama and theater. The work was written almost two centuries ago, but still does not leave the stage.(Slide 1)

2. The teacher's story about some biographical data of N.V. Gogol.

Teacher. Nikolai Vasilievich Gogol often called himself a traveler and considered the road his home. But still, there are several places on earth that were dear to him.

Gogol cannot be imagined without Vasilievka, without Dikanka, without Sorochinets, where he was born, without St. Petersburg, where he became a writer...

Let's go on a journey through the pages of the life of the great writer, peer into the living features of those places that remember him.(Slide 2)

N.V. Gogol was born in the town of Velikie Sorochintsy, Mirgorod district, Poltava province

Maria Ivanovna, the mother of Nikolai Vasilyevich, came here to save the child, because her two previous children were born dead. The boy was unusually weak and thin, but he survived. Fearing for his life, the doctor observed little Nikolai for 6 weeks, and two months later the mother and child went to their native Vasilievka. About the newborn, the doctor said: “The son will be glorious!” Of course, he meant life and health, but it turned out that the words took on a different meaning, and the son of Maria Ivanovna and Vasily Afanasyevich became a glorious son of Russia.(Slide 3.4)

Gogol spent his childhood on the estate of his parents Vasilievka.(Slide 5)

The cultural center of the region was Kibintsy, the estate of D. P. Troshchinsky (1754-1829), a distant relative of the Gogols; Gogol's father acted as his secretary. In Kibintsy there was a large library, there was a home theater for which Father Gogol wrote comedies, being also its actor and conductor.(Slide 6)

In May 1821 he entered the gymnasium of higher sciences in Nizhyn. Here he paints, participates in performances - as a decorator and as an actor, and with particular success performs comic roles.(Slide 7, 8)

After graduating from high school, Gogol dreams of public service, dreams of being a lawyer in order to eradicate the injustice that reigned around. In 1828 he went to Petersburg. In St. Petersburg, Gogol is trying to find a place to serve, but to no avail. At the same time, he began to write. He tries himself both in the poetic genre and in the prose.(Slide 9, 10)

What works of Gogol do you know?

It was here, in St. Petersburg in 1835, that Gogol planned to write the famous comedy The Inspector General. This is a dramatic piece.(Slide 11)

What is the purpose of a dramatic work? (Staging on the stage of the theater)

Why did Gogol decide to turn to the theatre?

What facts of Gogol's biography speak about his interest in the theater?

( Father, V.A. Gogol-Yanovsky, wrote comedies for home theater, a rich nobleman Troitsky, Gogol played them with his parents.

Gogol also performed on stage at the gymnasium in Nizhyn. On a small stage, lyceum students liked to play comic and dramatic plays on holidays. They played plays both ready-made and self-written. Gogol and Prokopovich were the first authors and performers.)

Teacher. We have librarians in the classroom. The children received an advanced task: to find interesting information about Gogol's attitude to the theater.

Bibliographer 1 .Here once they composed a play from the Little Russian life, in which Gogol undertook to play the silent role of the decrepit old man of the Little Russian. Learned the role and did a few rehearsals. The evening of the performance came, which was attended by many relatives of lyceum students and outsiders. The play consisted of two acts; the first act went well, but Gogol did not appear in it, but had to appear in the second. The public did not yet know Gogol at that time. In the second act, a Little Russian hut is on stage. There is a bench near the hut; there is no one on stage.

Here is a decrepit old man in a simple jacket, in a ram's hat and oiled boots. Leaning on a stick, he barely moves, grunts, giggles, coughs. And finally, he giggled and coughed with such a choking, hoarse, senile cough, with an unexpected addition that the whole audience roared and burst into uncontrollable laughter. And the old man calmly got up from the bench and trudged off the stage, killing everyone with laughter.

Bibliographer 2. From that evening on, the public recognized and became interested in Gogol as a wonderful comedian. Another time Gogol tries to play the role of an old miser. In this role, Gogol practiced for more than a month, and the main task for him was to make his nose converge with his chin. For whole hours he sat in front of the mirror and pressed his nose to his chin. Until you finally get what you want. He played the satirical part of the uncle, the miser, excellently, bled the audience with laughter and gave it great pleasure. Everyone thought then that Gogol would enter the stage, because he had an enormous stage talent.

Teacher . Which interesting stories from the life of N. V. Gogol!

Yes, everyone thought then that Gogol would be an actor. But he had a great desire to write for the stage.Besides,According to Gogol, the theater was of great educational importance. This is a pulpit from which a living lesson is read at once to the whole crowd.He dreamed of comedy.

Comedy - one of the types of drama depicting such life situations and characters that cause laughter.

Look at the slide, there are 2 masks,which of them can be attributed to comedy, why? (laughs).

Why did Gogol decide to turn specifically to comedy?

(laughter helps to expose the vices of society (vulgarity, obsequiousness, servility, bribery, lies, adventurism, indifference to official duty), a person is most afraid of laughter).(Slide 12)

3. Creative history of the comedy "Inspector". Fragment of the film by Leonid Parfyonov "Bird - Gogol".

What formed the basis for the creation of N.V. Gogol's comedy?

4. Stage history of comedy.

Teacher. There is a plot, the comedy is ready in a surprisingly short time, it took Gogol two months to create the play. The Inspector General was accepted for staging at the Alexandrinsky Theater in St. Petersburg.

biographer 3. Gogol came to grips with directing work. Before the start of rehearsals, Gogol himself read the text to the actors, took care of the costumes, the scenery, and the manner of the game. His remarks are precise, the demands are definite. Gogol does not want the comedy to look like a cheerful trifle. Not to entertain the audience, but to disturb it with caustic and sharp laughter, exposing the absurdities and ugliness of reality - this is Gogol's goal.(Slide 13)

The premiere was scheduled for April 19, 1836. Gogol was very worried. Fans of theatrical news gathered at the posters and box offices. “Petersburg is a big theater hunter. If you walk along Nevsky Prospekt on a fresh frosty morning ... go at this time into the hallway of the Alexandrinsky Theater: you will be amazed at the stubborn patience with which the assembled people besiege the ticket distributor with their breasts, ”Gogol wrote.

And finally, the first performance. The magnificent hall of the best theater in St. Petersburg is full. The boxes and the first rows of the stalls shine with the stars of the dignitaries and the jewels of the ladies. In the royal box, Nicholas 1 with his heir, the future Alexander 2. Representatives of the democratic circle are crowded in the gallery. There are many acquaintances of Gogol in the theater: Zhukovsky, Krylov, Glinka.(Slide 14)

Annenkov spoke about the first performance as follows: “Already after the first act, bewilderment was written on all faces, as if no one knew how to think about the picture that had just been presented. This bewilderment grew with each act. There was almost no applause, but intense attention, convulsive intensified following of all shades of light, sometimes dead silence showed that the action taking place on the stage terribly captured the hearts of the audience.

The king at the performance laughed and applauded a lot, wanting to emphasize that the comedy is harmless and should not be taken seriously. He perfectly understood that his anger would be another confirmation of the veracity of Gogol's satire. Leaving the box, NikolaiIsaid: “Well, play! Everyone got it, but I got it more than anyone!”

5. Parade of actors.

Teacher: Let's go to the premiere of Gogol's comedy The Inspector General. Theater begins with a poster. On the slide we see a poster for the first performance of The Government Inspector at the Alexandrinsky Theatre.It's time to get acquainted with the actors of the comedy.

Attention: "parade" of heroes. (Slide 15-22)

(photo slides famous actors in roles from The Inspector General or drawings from an anthology). Textbook p.19-21

“The mayor is Anton Antonovich Skvoznik-Dmukhonovsky. Already aged in the service and a very intelligent person in his own way. Although he is a bribe-taker, he behaves very respectably; quite serious; somewhat even a reasoner; speaks neither loudly nor quietly, neither more nor less. His every word is significant. His features are rough and hard, like those of anyone who has begun a hard service from the lower ranks. The transition from fear to joy, from baseness to arrogance is quite quick, like a person with a crudely developed inclination of the soul. He is dressed, as usual, in his uniform with buttonholes and boots with spurs. His hair is cropped, with gray hair.

"Anna Andreevna, his wife, a provincial coquette, not yet quite old, brought up half on novels and albums, half on chores in her pantry and girl's room. very curious andat case shows vanity. Sometimes she takes power over her husband only because he does not find what to answer her; but this power extends only to trifles and consists in reprimands and ridicule. She changes into different dresses four times during the play.Maria Antonovna - daughter of Anton Antonovich Skvoznik-Dmukhanovsky (Gorodnichy)

« Khlestakov, a young man of about twenty-three, thin, thin; somewhat stupid and, as they say, without a king in his head - one of those people who are called empty in the offices. He speaks and acts without any thought. He is unable to stop the constant focus on any thought. His speech is abrupt, and words fly out of his mouth quite unexpectedly. Dressed in fashion."

« Osip, servant , such as servants of a few older years usually are. He speaks seriously, looks down a little, a reasonerAnd he likes to read his morals to himself for his master. His voice is always almost even, in conversation with the master it takes on a stern, abrupt and even somewhat rude expression. He is smarter than his master and therefore guesses more quickly, but he does not like to talk much and is a rogue in silence. His suit is a gray or blue shabby frock coat.

« Bobchinsky And Dobchinsky, both short, short, very curious; extremely similar to each other; both with small bellies; both speak in shortAnd help a lot with gestures and hands. Dobchinsky is a little taller and more serious than Bobchinsky, but Bobchinsky is more cheeky and livelier than Dobchinsky.

« Lyapkin-Tyapkin, judge, a man who has read five or six books and is therefore somewhat freethinking. The hunter is great at guessing, and therefore he gives weight to his every word. On the face is always a significant mine. He speaks in a bass with an oblong drawl, wheezing and glanders - like an old clock that hisses first, and then beats.

« Strawberry, trustee of charitable institutions , a very fat, clumsy and clumsy person, but for all that a sly and a rogue. Very helpful and fussy."

Teacher:

These are our main characters in the comedy "The Government Inspector".

Exercise:

 Scroll through the play “The Inspector General”, determine how many acts (actions) are in it and how many phenomena each act consists of? (5 actions, each from 6 to 16 events)

 How many actors? Who didn't we name? (25 specific acts. Persons of various ranks and positions, many guests, merchantsAlready reading the posters makes it possible to assume that the comedy shows a broad picture of life, a peculiar anatomy of a county town: here is the head of the administration - the mayor, and officials: the superintendent of schools, the judge, the trustee of charitable institutions, the police chief; county doctor, police officials, city landlords and city ladies, and merchants, and burghers, and servants.)

After staging The Inspector General on stage, Gogol is full of gloomy thoughts. He was not entirely satisfied with the acting. He is frustrated by the general misunderstanding. In these circumstances it is difficult for him to write, it is difficult to live. He decides to go abroad, to Italy. Informing Pogodin about this, he writes with pain: “A modern writer, a comic writer, a writer of morals should be farther from his homeland. The prophet has no glory in the fatherland.” But as soon as he leaves the borders of his homeland, the thought of her, great love for her with new strength and sharpness arises in him: “Now I have a foreign land in front of me, a foreign land around me, but in my heart Rus', not nasty Rus', but only beautiful Rus' ".

Why do you think Gogol was full of gloomy thoughts? (Gogol was not understood by the public, dissatisfied with the staging of the play: “I was angry both at the audience, who did not understand me, and at myself, who was to blame for not being understood.” The comedy did not fit into the framework of ordinary vaudeville, so Gogol from the actors demanded naturalness and plausibility on stage)

Laughter is the only “honest, noble face in comedy” (if we have time)

Teacher: Today N. V. Gogol is one of the most popular writers. His work is in 3rd place in the world after the Bible and the works of F. M. Dostoevsky. First of all, he is known to the general public as the author of the comedy The Inspector General. She was staged on the stage of different theaters hundreds of times. And today, if we look at the posters of various theaters of the country and the world, we will certainly see The Inspector General. This is one of the most successful and popular performances today.

What is the secret of her immortality? Why are the problems raised by the author still relevant today? Do we not recognize among the actors the heroes of today's century? What does the great satirist teach us? We will have to answer these and other questions in the course of studying comedy.

6. Announcement homework. (Slide 23)

1. Prepare a message: “The image of the Governor”, ​​“The image of Khlestakov” (according to the table).

Table “Characteristics of the image”

Appearance

Character

Speech

deeds

The Alexandrinsky Theater was overcrowded on the first day of the production of The Government Inspector. The privileged public, accustomed to looking at theatrical performances as light entertainment, was stunned by the profound truth of Gogol's comedy. Gogol's comedy "made a lot of noise" (so the censor A. V. Nikitenko wrote in his diary) and caused wide talk in society. Reactionary circles viciously accused the author of slandering officials. Gogol invented “some kind of Russia and some kind of town in it, into which he dumped all the abominations that are occasionally on the surface real Russia you find ... "- wrote the reactionary Vigel.

Gogol's brilliant comedy was perceived in a completely different way by progressive public circles. V.V. Stasov recalled that all the youth of that time were delighted with the “Inspector General”. “We then repeated by heart to each other, correcting and replenishing one another, whole scenes, long conversations from there.” But most of the actors did not understand the depth and vitality of the comedy and played it like a stereotyped vaudeville, while reactionary criticism and government circles irritated by the play viciously attacked the author of the "stupid farce." Subsequently, Gogol, in Theatrical Journey, spoke with bitter irony about this attitude of the ruling circles, passing on the words of a certain “master”: “To ridicule! Yes, you can't joke with laughter. It means destroying all respect, that's what it means. After all, after that, everyone will beat me up in the street, saying: “But they are laughing at you; and you have the same rank, so here’s a crack for you! “After all, this is what it means.” His interlocutor replies: “Sure! This is a serious thing! they say: bauble, trifles, theatrical performance. No, these are not mere trinkets; you need to pay close attention to this. They send people to Siberia for such things. Yes, if I had the power, the author would not have uttered a peep from me. I would put him in such a place that he would not even see the light of God.

The writer was deeply shocked both by the performance of the play itself and by the attitude of the hostile privileged audience towards it: “...“ The Inspector General ”was played,” Gogol wrote about the first performance of the comedy, “and my heart is so vague, so strange .. I expected, I knew in advance how things would go, and for all that, a sad and vexatious feeling enveloped me.