Literary genres and genera: characteristics and classification. Genre originality of the drama “The Thunderstorm”
Creativity test by A.N. Ostrovsky.
1. What city was A.N. born in? Ostrovsky?
A) Moscow
B) St. Petersburg
B) Kostroma
D) Eagle
2. What did A.N. Ostrovsky’s contemporaries call him?
A) “Russian Moliere”
B) "Columbus of Zamoskvorechye"
B) “Russian Baudelaire”
D) “Russian Maupassant”
3.Indicate what type of literature most of them belong to
Works by A.N. Ostrovsky.
A) lyrics
B) drama
B) epic
D) lyro-epic
4.What was the name of the first work that brought
A.N. Is Ostrovsky famous?
A) “Picture of Family Happiness”
B) “Bankrupt or Our People - We’ll be numbered”
B) "Thunderstorm"
D) “Don’t sit in your own sleigh”
5 . What social class does most of them represent?
A play by A.N. Ostrovsky?
A) nobility
B) peasantry
B) merchants
D) philistinism
6. In what year was the play “The Thunderstorm” created?
A) in 1859
B) in 1860
B) in 1861
D) in 1865
7. Name the type literary hero, which became the discovery of A.N.
Ostrovsky.
A) type of “extra person”
B) “small person” type
B) type of tyrant
D) type of tramp
8. To what literary genre can the play “The Thunderstorm” be attributed (according to
A) tragedy
B) lyrical comedy
B) drama
D) comedy of masks
9. The play “The Thunderstorm” begins with a lengthy, somewhat confusing
Exhibitions for:
A) intrigue the reader
B) introduce characters not directly involved
In intrigue
C) create an image of the world in which the heroes live
D) slow down stage time
10. The city in which the action of “The Thunderstorm” took place was called
A) Kalinin
B) Kalinov
B) Kostroma
D) Samara
11. Which heroes are (from the point of view of the conflict) central
In the play?
A) Boris and Katerina
B) Katerina and Tikhon
B) Kabanikha and Katerina
D) Boris and Tikhon
12.Which scene in the play “The Thunderstorm” gives the key to understanding everything
Works?
A) scene of a date between Katerina and Boris in the garden
B) scene with the key (Katerina and Varvara)
B) the scene of Katerina’s farewell to Tikhon before his departure
D) the scene of Katerina’s confession of a perfect sin
13. What is the significance of the image of Feklushi in the play “The Thunderstorm”?
A) a parody of “wandering”
B) deepening the characteristics of the “dark kingdom”
B) Feklusha is the antipode of M.I. Kabanova
D) Feklusha protesting against the “dark kingdom”
Personality
14. N.A. Dobrolyubov called one of the heroes of the play “The Thunderstorm” “a ray
Sveta in dark kingdom".This:
A) Kuligin
B) Katerina
B) Boris
D) Marfa Ignatievna
15. What character trait is revealed in the last monologue?
Katerina?
“Live again? No, no, don't...not good! And people to me
They are disgusting, and the house is disgusting to me, and the walls are disgusting! Not
I’ll go there!... I wish I could die now!... but I can’t live! Sin!
Won't they pray? He who loves will pray...
A) piety
B) poetry
B) determination
D) humility
16. N.A. Dobrolyubov in the article “A Ray of Light in the Dark Kingdom” and
D.I. Pisarev in the article “Motives of Russian Drama” is very
They assessed Katerina’s action in a contradictory manner. This was caused
A) difference in views: D.I. Pisarev was a liberal,
N.A. Dobrolyubov-democrat
B) changes in the situation in Russia: article
D.I. Pisareva was written in 1864, after the recession
Revolutionary situation
C) misunderstanding of D.I. Pisarev’s idea of the work
Keys:
1. a
2. b
3. b
4. b
5. in
6. a
7. in
8. in
9. in
10. b
11. in
12. in
13. b
14. b
15. in
Description of the presentation by individual slides:
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Family Father Mother Stepmother Son of a priest; Official-lawyer; Titular Advisor; nobility Sexton's daughter; Died when Alexander was 8 years old Baroness Emilia von Tessin 4 children; a good education
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Zamoskvorechye Childhood and youth; Father's large library - the desire to become a writer; Observations on the life of merchants and minor officials;
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Education, service Faculty of Law, Moscow University (did not finish studying); Serving in court as a scribe (father's wish); Writes scenes from merchant life, conceives a comedy; Essay “Notes of a Zamoskvoretsky resident.”
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Literary fame comedy "Our people - let's be numbered!" (original title - “Bankrupt”), 1850. evoked approving responses from N.V. Gogol and I.A. Goncharov. It is prohibited to perform on stage; Influential Moscow merchants, offended by her entire class, complained to the “superiors”; and the author was dismissed from service and placed under police supervision by personal order of Nicholas I. The play was only allowed on the stage in 1861.
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Creativity and career Since 1853 (more than 30 years), his plays have appeared on the stage of theaters almost every season (Maly Theater in Moscow, Alexandrinsky Theater in St. Petersburg); In 1863 he was awarded the Uvarov Prize and elected a corresponding member of the St. Petersburg Academy of Sciences. Since 1866 he was the head of the repertoire department of Moscow imperial theaters;
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Ostrovsky Theater Creates a theater school and a holistic concept of acting in the theater (continued by Stanislavsky); absence of extreme situations and opposition to the acting gut; The stage depicts ordinary situations with ordinary people, whose dramas go into everyday life and human psychology; theater must be built on conventions; skill speech characteristics, expressing almost everything about the heroes; The bet is not on one actor.
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Ostrovsky's plays " Family picture" (1847) "Our people - let's be numbered" (1849) " Unexpected case" (1850) "Morning young man"(1850) "Poor Bride" (1851) "Don't sit in your own sleigh" (1852) "Poverty is not a vice" (1853) "Don't live the way you want" (1854) "There's a hangover at someone else's feast" (1856) “A Profitable Place” (1856) “A Festive Sleep Before Lunch” (1857) “The Characters Didn’t Get Along” (1858) “The Kindergarten” (1859) “The Thunderstorm” (1859) “ old friend better than the new two" (1860) "Your own dogs squabble, don't pester someone else's" (1861) "The Marriage of Balzaminov" (1861) "Kozma Zakharyich Minin-Sukhoruk" (1861) " Hard days"(1863) "Sin and misfortune does not live on anyone" (1863) "The Voivode" (1864) "Jokers" (1864) "In a lively place" (1865) "The Abyss" (1866) "Dmitry the Pretender and Vasily Shuisky" ( 1866) “Tushino” (1866) “Vasilisa Melentyeva” (1867) “Simplicity is enough for every wise man” (1868) “Warm Heart” (1869) “Mad Money” (1870) “Forest” (1870) “Not everything is Maslenitsa for cats” "(1871) "There wasn't a penny, but suddenly it was Altyn" (1872) "Comedian XVII century" (1873) "The Snow Maiden" (1873) " Late love" (1874) "Labor Bread" (1874) "Wolves and Sheep" (1875) "Rich Brides" (1876) "Truth is good, but happiness is better" (1877) "The Marriage of Belugin" (1877) " The last victim" (1878) "Dowry" (1878) "Good Master" (1879) "Heart is not a Stone" (1880) "Slave Women" (1881) "It shines, but does not warm" (1881) "Talents and admirers" (1882) " Handsome man" (1883) "Not of this world" (1885)
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The most famous plays: “We will be our own people” (1849) “The Thunderstorm” (1859) “The Marriage of Balzaminov” (1861) “Simplicity is enough for every wise man” (1868) “Mad Money” (1870) “Forest” (1870) “Snow Maiden” ( 1873) “Dowry” (1878) “Talents and Admirers” (1882)
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“The Thunderstorm” 1859 Type of literature: drama Genre: drama Literary direction: critical realism Criticism: N.A. Dobrolyubov “The Dark Kingdom”, “A Ray of Light in the Dark Kingdom”; DI. Pisarev "Motives of Russian drama".
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Verification work Where did Ostrovsky spend his childhood and youth? What classes of life did he observe at this time? What kind of education did you receive? What play brought literary fame to Ostrovsky? Why was this play banned from being staged? 6. Features theater school Ostrovsky? 7. Ostrovsky’s most famous plays 8. What is the name of the village where Ostrovsky’s house was located? 9. Year of creation of the play “The Thunderstorm” 10. Type of literature 11. Genre 12. Literary direction 13. Main critical articles dedicated to "Thunderstorm"
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Who owns these words? “Miracles, truly it must be said, miracles!.. For fifty years I have been looking at the Volga every day, and I still can’t see enough.” No, I won’t slave to him (Wild).” “If I were alone, it would be fine! I would give up everything and leave. Otherwise I feel sorry for my sister.” “I understand that all this is Russian, native, but I still can’t get used to it.” " Cruel morals“Sir, there are cruel people in our city!” “You have to try to please somehow.” If I invented the perpeta mobile and got a million, “I would use all the money for society.” “How can I, Mama, disobey you!.. Do we dare, Mama, to think!” “Whether in front of people or without people, I’m still alone, I don’t prove anything of myself.”
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Who owns these words? 10. “I’ve seen for a long time that your wife is dearer than your mother. Since I got married, I don’t see the same love from you.” 11. “How frisky I was! I’ve completely withered away from you.” 12. “Why be afraid! He won’t be afraid of you, and he won’t be afraid of me either. What kind of order will there be in the house?” 13. “I’m going to die soon... something bad is happening to me, some kind of miracle... it’s as if I’m starting to live again.” 14. “You will all burn in unquenchable fire... Look, there, where beauty leads!” 15. “Everyone should be afraid. It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts.”
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The issue of genres has always been quite resonant among literary scholars and critics. Disputes around which genre to classify this or that work gave rise to many points of view, sometimes completely unexpected. Most often, disagreements arise between the author's and the scientific designation of the genre. For example, N.V. Gogol’s poem “Dead Souls”, from a scientific point of view, should be called a novel. In the case of dramaturgy, too, everything is not so simple. And we are talking here not about the symbolist understanding of drama or futuristic experiments, but about drama within the framework of the realistic method. Speaking specifically about the genre of “Thunderstorms” by Ostrovsky.
Ostrovsky wrote this play in 1859, at a time when theater reform was necessary. Ostrovsky himself believed that the performance of the actors is much more important to the audience, and you can read the text of the play at home. The playwright had already begun to prepare the public for the fact that plays for performance and plays for reading should be different. But the old traditions were still strong. The author himself defined the genre of the work “The Thunderstorm” as drama. First you need to understand the terminology. The drama is characterized by a serious, predominantly everyday plot, the style is close to real life. At first glance, The Thunderstorm has many dramatic elements. This is, of course, everyday life. The morals and way of life of the city of Kalinov are described incredibly clearly. One gets a complete impression not only of a particular city, but of all provincial towns. It is no coincidence that the author points out the conventionality of the setting: it is necessary to show that the existence of the inhabitants is typical. Social characteristics are also distinguished by their clarity: the actions and character of each hero are largely determined by his social position.
The tragic beginning is connected with the image of Katerina and, partly, Kabanikha. A tragedy requires a strong ideological conflict, a struggle that can end in the death of the main character or several characters. The image of Katerina shows a strong, pure and honest personality who strives for freedom and justice. She was married off early against her will, but she was able to fall in love with her spineless husband to some extent. Katya often thinks that she could fly. She again wants to feel that inner lightness that was before marriage. The girl feels cramped and stuffy in an environment of constant scandals and quarrels. She can neither lie, even though Varvara says that the entire Kabanov family rests on lies, nor hush up the truth. Katya falls in love with Boris, because initially both she and the readers think he is the same as her. The girl had last hope to save himself from disappointment in life and in people - escape with Boris, but the young man refused Katya, acting like other residents of a world alien to Katerina.
Katerina's death shocks not only readers and spectators, but also other characters in the play. Tikhon says that everything is to blame for his domineering mother, who killed the girl. Tikhon himself was ready to forgive his wife’s betrayal, but Kabanikha was against it.
The only character who can compare with Katerina in terms of strength of character is Marfa Ignatievna. Her desire to subjugate everything and everyone makes a woman a real dictator. Her difficult character ultimately led to her daughter running away from home, her daughter-in-law committing suicide, and her son blaming her for her failures. Kabanikha, to some extent, can be called Katerina’s antagonist.
The conflict of the play can also be viewed from two sides. From the point of view of tragedy, the conflict is revealed in the collision of two different worldviews: old and new. And from the point of view of drama, the contradictions of reality and characters collide in the play.
The genre of Ostrovsky's play "The Thunderstorm" cannot be determined precisely. Some are inclined to the author’s version - social drama, others propose to reflect the characteristic elements of both tragedy and drama, defining the genre of “Thunderstorms” as an everyday tragedy. But one thing cannot be denied for sure: this play contains both features of tragedy and features of drama.
Work test
Genre originality of the drama “The Thunderstorm”
“The Thunderstorm” is a folk social and everyday tragedy.
N. A. Dobrolyubov
“The Thunderstorm” stands out as the main, landmark work of the playwright. “The Thunderstorm” was supposed to be included in the collection “Nights on the Volga,” conceived by the author during a trip to Russia in 1856, organized by the Ministry of the Navy. True, Ostrovsky then changed his mind and did not unite, as he initially intended, the cycle of “Volga” plays under a common title. “The Thunderstorm” was published as a separate book in 1859. During Ostrovsky's work on it, the play underwent great changes - the author introduced a number of new characters, but the main thing is that Ostrovsky changed his original plan and decided to write not a comedy, but a drama. However, the strength social conflict in “The Thunderstorm” is so great that one can talk about the play not even as a drama, but as a tragedy. There are arguments in defense of both opinions, so the genre of the play is difficult to determine unambiguously.
Of course, the play was written on a social and everyday theme: it is characterized by the author’s special attention to depicting the details of everyday life, the desire to accurately convey the atmosphere of the city of Kalinov, its “cruel morals.” Fictional city described in detail and in many ways. The landscape concept plays an important role, but a contradiction is immediately visible here: Kuligin speaks of the beauty of the distances beyond the river, the high Volga cliff. “Nothing,” Kudryash objects to him. Pictures of night walks along the boulevard, songs, picturesque nature, Katerina’s stories about childhood - this is the poetry of Kalinov’s world, which collides with the everyday cruelty of the inhabitants, stories about “naked poverty.” The Kalinovites have preserved only vague legends about the past - Lithuania “fell from the sky to us”, news from big world The wanderer Feklusha brings them. Undoubtedly, such attention by the author to the details of the characters’ everyday life makes it possible to talk about drama as a genre of the play “The Thunderstorm”.
Another feature characteristic of drama and present in the play is the presence of a chain of intra-family conflicts. At first it is a conflict between the daughter-in-law and mother-in-law behind the locks of the house gate, then the whole city learns about this conflict, and from an everyday one it develops into a social one. The expression of conflict in the actions and words of the characters, characteristic of drama, is most clearly shown in the monologues and dialogues of the characters. So, we learn about Katerina’s life before marriage from a conversation between young Kabanova and Varvara: Katerina lived “not worried about anything,” like a “bird in the wild,” spending the whole day in pleasures and household chores. We know nothing about the first meeting of Katerina and Boris, or how their love began. In his article, N.A. Dobrolyubov considered the insufficient “development of passion” to be a significant omission, and said that this is why the “struggle between passion and duty” is designated “not quite clearly and strongly” for us. But this fact does not contradict the laws of drama.
The originality of the “Thunderstorms” genre is also manifested in the fact that, despite the gloomy, tragic general color, the play also contains comic and satirical scenes. Feklushi’s anecdotal and ignorant stories about the Saltans, about lands where all the people “have dog heads,” seem ridiculous to us. After the release of “The Thunderstorm,” A.D. Galakhov wrote in a review of the play that “the action and the catastrophe are tragic, although many places excite laughter.”
The author himself called his play a drama. But could it have been otherwise? At that time, speaking about the tragic genre, we were accustomed to dealing with a historical plot, with the main characters, outstanding not only in character, but also in position, placed in exceptional life situations. Tragedy was usually associated with images historical figures, even legendary ones, like Oedipus (Sophocles), Hamlet (Shakespeare), Boris Godunov (Pushkin). It seems to me that on Ostrovsky’s part calling “The Thunderstorm” a drama was only a tribute to tradition.
The innovation of A. N. Ostrovsky lay in the fact that he wrote a tragedy based on exclusively life-like material, completely uncharacteristic of the tragic genre.
The tragedy of “The Thunderstorm” is revealed by a conflict with the environment not only of the main character, Katerina, but also of other characters. Here “the living envy... the dead” (N. A. Dobrolyubov). So, the fate of Tikhon, who is a weak-willed toy in the hands of his powerful and despotic mother, is tragic here. About final words Tikhon N.A. Dobrolyubov wrote that Tikhon’s “grief” is in his indecision. If life is sickening, what is stopping him from throwing himself into the Volga? Tikhon cannot do anything at all, not even that “in which he recognizes his goodness and salvation.” Tragic in its hopelessness is the situation of Kuligin, who dreams of the happiness of the working people, but is doomed to obey the will of the rude tyrant - Dikiy and repair small household utensils, earning only “his daily bread” by “honest labor”.
A feature of the tragedy is the presence of a hero, outstanding in his spiritual qualities, according to V. G. Belinsky, “a man of the highest nature,” according to N. G. Chernyshevsky, a person “with a great, not petty character.” Turning from this position to “The Thunderstorm” by A. N. Ostrovsky, we certainly see that this feature of the tragedy is clearly manifested in the character of the main character.
Katerina differs from Kalinov’s “dark kingdom” in her morality and willpower. Her soul is constantly drawn to beauty, her dreams are full of fabulous visions. It seems that she fell in love with Boris not the real one, but the one created by her imagination. Katerina could well adapt to the morality of the city and continue to deceive her husband, but “she doesn’t know how to deceive, she can’t hide anything,” honesty does not allow Katerina to continue pretending in front of her husband. As a deeply religious person, Katerina had to have enormous courage to overcome not only the fear of physical death, but also the fear of “being judged” for the sin of suicide. Katerina’s spiritual strength “...and the desire for freedom, mixed with religious prejudices, create a tragedy” (V.I. Nemirovich-Danchenko).
A feature of the tragic genre is the physical death of the main character. Thus, Katerina, according to V. G. Belinsky, “is a real tragic heroine" Katerina's fate was determined by the collision of two historical eras. It’s not just her misfortune that she commits suicide, it’s a misfortune, a tragedy of society. She needs to free herself from the heavy oppression, from the fear weighing down her soul.
Another one characteristic The tragic genre lies in its cleansing effect on the audience, which arouses in them noble, sublime aspirations. So, in “The Thunderstorm,” as N.A. Dobrolyubov said, “there is even something refreshing and encouraging.”
The general coloring of the play is also tragic, with its gloom and every second feeling of an impending thunderstorm. Here the parallelism of a social, public thunderstorm and a thunderstorm as a natural phenomenon is clearly emphasized.
If there is no doubt tragic conflict the play is imbued with optimism. Katerina’s death testifies to the rejection of the “dark kingdom”, resistance, and the growth of forces called upon to replace the Boars and Wild Ones. The Kuligins may still be timid, but they are already beginning to protest.
So, the genre uniqueness of “The Thunderstorm” lies in the fact that it, without a doubt, is a tragedy, the first Russian tragedy written on social and everyday material. This is not just a tragedy for Katerina alone, it is a tragedy for the entire Russian society, which is at turning point its development, living on the eve of significant changes, in a revolutionary situation that contributed to the individual’s awareness of self-esteem. One cannot but agree with the opinion of V.I. Nemirovich-Danchenko, who wrote: “If some merchant’s wife cheated on her husband and hence all her misfortunes, then it would be a drama. But for Ostrovsky this is only the basis for high life theme... Here everything rises to tragedy.”
Bibliography
To prepare this work, materials were used from the site http://www.ostrovskiy.org.ru/
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Alexander Nikolaevich Ostrovsky (1823-1886)
Ostrovsky devoted all his time to drama and the Maly Theater. Out of 63 years of his life, he devoted 40 years to the theater. Over the years, he wrote 47 original plays, which are now considered world classics. He co-wrote 7 plays with other playwrights, translated 22 plays from foreign languages. He created 728 characters who have a name.
O. (Ostrovsky) had a deep understanding of Russian life and a great ability to depict sharply and vividly its most significant aspects.
O. depicted all layers of Russian society, gave a realistic picture of Russian life in the 40-80s of the 19th century, and in historical plays showed the distant past
The behavior of actors is determined by their social and marital status, each has its own individual characteristics
The socially acute and psychological drama of O. was a great achievement in the history of theater
Particular attention to the love conflict, because, from O.’s point of view, through the image of love one can assess the state of modern society
Created a gallery female images, heroines with a rich inner world.
Dobrolyubov called O.’s plays “plays of life.”
The 23-year-old O.’s literary fame comes from the comedy “The Bankrupt” (the original title was “The Insolvent Debtor”), which he worked on in 1846-1849 and published in 1850 in Zhur. “Moskvitian” entitled “Our people - we will be numbered!” Nicholas I forbade the play to be staged; the play saw the light of the stage only in 1859.
Living in the merchant district of old Moscow, in Zamoskvorechye, O. for the first time in Russian literature “discovered” the “Zamoskvoretsk residents”, for which he was nicknamed “Columbus of Zamoskvorechye”.
Many of the titles of O.'s plays have become proverbs:“Our people – we’ll be numbered!”
“Don’t live the way you want”
“Don’t sit in your own sleigh”
"An old friend is better than two new ones"
“Truth is good, but happiness is better”
"Guilty without guilt"
“Simplicity is enough for every wise man” and etc.
The play "The Thunderstorm".
The play “The Thunderstorm” was written by O. during the summer and autumn of 1859, staged on stage in the same year, and published in 1860. This was a period of social upsurge, when the foundations of serfdom were cracking. The drama reflected the rise social movement, those moods by which we lived advanced people era of the 50-60s.
A thunderstorm is not just a majestic natural phenomenon, it is a tense state of society, it is a feeling in the souls of people.
Composition:
Exposition - pictures of the Volga open space and stuffiness of Kalinovsky morals D I, yavl. 1-4)
The beginning – to her mother-in-law’s nagging, Katerina replies with dignity and peacefully: “You’re talking about me, Mama, in vain. Whether in front of people or without people, I’m still alone, I don’t prove anything of myself.” (DI, phenomenon 5)
Next comes development of the conflictbetween the heroes, a thunderstorm gathers twice in nature (D I yav.9) Katerina admits to Varvara that she fell in love with Boris - and the prophecy of the old lady, a distant clap of thunder. The thundercloud crawls as if alive; a half-mad old woman threatens Katerina with death in the pool and hell, and Katerina confesses to sin (first climax), falls unconscious. But the thunderstorm never hit the city, only pre-storm tension.
Second climax– Katerina says last monologue when he says goodbye not to life, which is already unbearable, but with love: “My friend! My joy! Goodbye! (DV phenomenon 4)
Denouement - Katerina’s suicide, the shock of the inhabitants of the city, Tikhon, who, being alive, envies his dead wife: “Good for you, Katya! Why did I stay to live and suffer!..” (D V Rev. 7)
Genre . O. called the play a drama, thereby emphasizing the widespread nature of the play’s conflict and the everyday nature of the events depicted in it.
Conflict – between old social and everyday principles and new, progressive aspirations for equality, for the freedom of the human person.
This collision defines the main theme of "The Thunderstorm", which entails a number of sub-themes:
With the stories of Kuligin, the words of Kudryash and Boris, the actions of Dikiy and Kabanikha, O. gives detailed description the material and legal situation of all layers of society of that era;
Outlining Kuligin's views and dreams, the author introduces us to the level of cultural demands and the state of social mores;
Author with different sides reproduces the social and family lifestyle of the merchants and philistines. Thus, the problem of social and family relations is highlighted. The position of women in the bourgeois-merchant environment is clearly depicted;
The life background and problems of that time are depicted. Heroes talk about important things for their time social phenomena: about the emergence of the first railways, about cholera epidemics, about the development of commercial and industrial activities;
So, in the “Thunderstorm” it “calmed down” big picture national life and morals” (Goncharov) Pre-reform Russia is represented by its socio-economic, cultural, moral, and family and everyday appearance.
Heroes:
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1.Indicate the type of literature to which Ostrovsky’s “The Thunderstorm” belongs.
2. To which literary direction belongs to "The Thunderstorm" by Ostrovsky.
3.Name the genre of Ostrovsky’s play “The Thunderstorm”.
4. In what city do the events depicted in the play take place?
5. Name the river on the banks of which the characters in the play like to walk.
6. How does the play “The Thunderstorm” begin?
7.Who says the final line in “The Thunderstorm”?
8.Which social environment portrays O. in the play “The Thunderstorm”?
9.Name the artistic type that became Ostrovsky’s discovery in the play “The Thunderstorm” and to which Dikoy and Kabanikha belong.
10. According to critics, the action of O.’s play “The Thunderstorm” reaches its highest tension in the scene of Katerina’s repentance in act 4. What is a moment like this called in the development of a dramatic plot?
11.Name the type of oral extended statement characteristic of drama, to which Kuligin’s story about the “cruel morals” of the city of Kalinov belongs.
12. The first act of O.’s drama “The Thunderstorm” opens with the author’s explanation: “A public garden on the high bank of the Volga; beyond the Volga there is a rural view; there are two benches and several bushes on the stage.” What is the name of the author's explanation that precedes or accompanies the course of action in a play?
13.What is the exchange of remarks between characters in a dramatic work called in literary criticism?
14. In his remarks, Dikoy uses the words “fool”, “snout”, “elestry”, etc., indicating his ignorance and rudeness. What is the name of everyday speech that can be distorted? literary language, elements of which are present in Dikiy’s speech?
15.Dikoy, in a conversation with Kuligin, mentions the mayor, who does not take a direct part in the play. What is the name of such a character?
16. The characters and views on life of Dikiy and Kuligin are opposite. How in dramatic work Irreconcilable contradiction between heroes is called?
17.What is a single phrase of an interlocutor in a stage dialogue called in dramaturgy?
18. In the play, in the speech of individual characters (for example, Boris), there are exclamations aimed at attracting the attention of listeners. What are these exclamations called?
19.What phrase is the poetic leitmotif of the image of Katerina?
20.Which of the heroes of the play “The Thunderstorm”...
A) ... dreamed of inventing a perpetual motion machine, getting a million for it and providing jobs for poor people?
B)…claimed that there are people with dog heads, that “they began to harness the fiery serpent... for the sake of speed”?
Q)…at the mention of the fact that you owe someone a debt, did you become angry and curse?
D)…claimed that Lithuania fell from the sky on us?
D)…being an educated person, did you unquestioningly obey the tyrant?
E)…promises to send Kuligin to the mayor for Derzhavin’s poem “I decay with my body in dust, I command thunder with my mind”?
E)…drove her son to absolute lack of will, her daughter to run away from home, her daughter-in-law to commit suicide?
F) ... he said that he would drink away his last mind, and then let his mother suffer with him, with the fool?
C) came to Kalinov from Moscow?
21. Who said about whom:
Which one then good man! He dreams for himself and is happy.”
B) “Look for another scolder like ours, Savel Prokofich! There’s no way he’ll cut someone off.”
B) “Shrill man”
D) “But the trouble is when he is offended by such a person whom he does not dare to scold: then, stay at home!”
D) “Prude, sir! He gives money to the poor, but completely eats up his family.”
E) “She crushed me... she made me sick of the house; the walls are even disgusting"
E) “Yes, of course, tied up! As soon as he leaves, he starts drinking. Now he’s listening, and he’s thinking about how he can get out as quickly as possible.”
G) “You are villains! Monsters! Oh, if only there was strength!
H) “She’s shaking all over, as if she’s suffering from a fever; so pale, rushing around the house, as if looking for something. Eyes like those of a madwoman! Just this morning I started crying, and I’m still sobbing.”
22. Who said
A) “Here, my brother, for fifty years I’ve been looking across the Volga every day and I can’t get enough of it.”
B) “Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and naked poverty...”
C) “Yes, Mama, I don’t want to live by my own will. Where can I live by my own will?
D) “I have a lot of people every year; You must understand: I won’t pay them a penny extra per person, but this makes up thousands for me.”
D) “And in my opinion: do what you want, as long as it’s safe and covered.”
E) “How not to scold! He can't breathe without it. Yes, I don’t let it go either: he is the word, and I am ten; he'll spit and go. No, I won’t be a slave to him.”
e) “What does youth mean! It’s funny even to look at them!.. They don’t know anything, there’s no order... What will happen, how will the old people die, how will the light stay on? I really don’t know. Well, at least it’s good that I won’t see anything.”
G) “...And if I get really tired of being here, they won’t hold me back by any force. I’ll throw myself out the window, throw myself into the Volga. I don’t want to live here, I won’t do this, even if you cut me!”
24. Why were the plays of A.N. Ostrovsky called “plays of life”?
25. How do you understand the title of the play “The Thunderstorm”?
26.Why does the play “The Thunderstorm” take place in a provincial town?
27.What distinguishes Katerina from the inhabitants of the city of Kalinov?
28.Why main character the play "The Thunderstorm" - a woman?
