Literature lesson on the topic: “The search for the meaning of life is the lot of every thinking and conscientious person” using the example of a story by V.M. Shukshin "Alyosha Beskonvoyny".

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2. “On the meaning of life”

In the summer, in July, Knyazev received leave and went with his family to rest in the village. In the village lived his father-in-law and mother-in-law, silent, greedy people; Knyazev did not like them, but there was nowhere else to go, so he went to them. But every time he warned his wife that he would also work in the village - he would write. His wife, Alevtina, really wanted to go to the village in the summer, she didn’t swear or be sarcastic.

Write... At least sign up at all.

Like this. So that later there will be no: “Again for yours!” To prevent this from happening.

Write, write,” Alevtina said sadly. She painfully experienced this ineradicable, fireproof passion of her husband - to write, write and write in order to restore order in the state, she hated him for it, was ashamed, begged him - quit it! Nothing helped. Nikolai Nikolaevich hung over the notebooks, meddled with them everywhere, they told him that this was stupidity, nonsense, they tried to dissuade him... They tried to dissuade him many times, but to no avail.

Knyazev had acquaintances in the village, and as soon as they arrived, he went to visit them. And in his first family he met the person his irrepressible soul always wanted to meet. A certain Silchenko, also a son-in-law, also a city dweller and also somewhat bruised by general questions, came to that family - also to rest. And they immediately grappled.

It happened like this.

Knyazev, in a good, peaceful mood, walked around the village, watched the “collective farmers-state farmers” (that’s what he called rural people) returning home from work, greeted two or three... Everyone was in a hurry, so no one stopped with him, only one asked come watch TV.

Turn it on and it’s snowing...

Okay, then somehow,” Knyazev promised.

And so he came to the family where Silchenko was. He knew the old man there who they were talking to. That is, Knyazev usually spoke, and the old man listened, he knew how to listen, he even loved to listen. He listened, nodded his head, and sometimes was just surprised:

Look!.. - he said quietly. - This is serious. The old man was just in the fence, and that same Silchenko was also in the fence, they were setting up fishing rods.

Ahh! - the old man said cheerfully. - Don’t have the desire to fish? Otherwise, we are getting better with Yuri Viktorovich.

Don't like fishing? - asked Silchenko, a thin man about the same age as Knyazev - about forty. - Why so?

Waste of time.

Silchenko looked at Knyazev, noted his alien appearance - a tie, cufflinks with yellow circles... He said condescendingly:

Rest is rest, it doesn’t matter how you spend your time.

There is active rest,” Knyazev rebuffed this ridiculous attempt to teach him, “and passive rest.” Active involves some purposeful activity along with rest.

These events are already making my head spin,” Silchenko laughed.

I’m not talking about “these events,” but about expedient ones,” Knyazev emphasized. And he looked at Silchenko firmly and calmly. - Do you notice the difference?

Silchenka also didn’t like that they were talking to him instructively... He, too, was a man with thoughts.

No, I don’t get it, explain yourself, do me a favor.

What is your profession?

What does it matter?

Well still...

Make-up artist.

Here Knyazev became completely bolder; his blue eyes lit up with a cheerful, mocking fire; he became impudently condescending.

Are you aware of how burial mounds are filled? - he asked. One could feel the pleasure with which he approached the presentation of his thoughts.

Silchenko was not expecting these mounds; he was perplexed.

What do the mounds have to do with it?

Have you ever seen how they are poured?

Have you seen it?

Well, you saw it in the movies!

Let us suppose.

You have an idea. I want you to call up this picture with your mental gaze: how a mound is being poured. People walk, one by one, each taking a handful of earth and throwing it. First the hole is filled in, then the hill begins to grow... Can you imagine?

Let's say.

Knyazev became more and more inspired - these were precious moments in his life: there was a listener before his eyes who, although he hesitated, listened.

Then pay attention to this: the discrepancy between the size of the hill and the handful of earth. What happened? After all, here is a handful of earth,” Knyazev showed a palm folded into a handful, “and on the other side is a hill. What happened? Miracle? No miracles: accumulation of quantity. This is how states were created - from Urartu to modern supers. It's clear? What can a weak human hand do?.. - Knyazev looked around, a fishing rod caught his eye, he took it from the old man’s hands and showed it to both of them. - Fishing rod. This is also a product of human hands - a fishing rod. Right? - He returned the fishing rod to the old man. - This is when one person. But when they continuously follow each other and throw a handful of earth, a hill is formed. A fishing rod and a hill,” Knyazev looked triumphantly at Silchenko and at the old man too, but more at Silchenko. - Do you get it?

I don’t get it,” Silchenko said defiantly. This victory of Knyazev irritated him. - What does one have to do with it and what does the other have to do with it? We started talking about how to spend our free time... I expressed the idea that whatever you do, if you like it, then you had a good rest.

Nonsense, nonsense,” Knyazev said sternly and cheerfully. - Reasoning at the Stone Age level. As soon as you start thinking like this, you automatically leave that uninterrupted chain of humanity that goes on and accumulates quantity. I gave you a very clear example: how a hill is filled! - Although Knyazev was excited, he was also patient. - Just imagine: everyone walked by and threw a handful of earth... But you didn’t throw it! Then I ask you: what is the meaning of your life?

Some kind of nonsense. This is truly nonsense. What hill? I’m telling you, I came here to relax... Into nature. I like to fish... so I will fish. What's the matter?

And I also came to rest.

So what, are you going to build a hill here?

Knyazev laughed condescendingly, but not very patiently, angrily.

Sometimes we don’t understand when they think in categories, sometimes we don’t like it... Such a clear example! - Knyazev himself, apparently, really liked this example with a hill, he came across it by chance and rejoiced at it, its simplicity and striking clarity. - What is the meaning of our life in general? - he asked directly.

“It’s up to anyone,” Silchenko avoided.

No, no, you answer: what is the universal meaning of life? - Knyazev waited for an answer, but impatience had already completely taken possession of him. - In general statehood. If the state prospers, we prosper too. So? So or not?

Silchenko shrugged his shoulders... But he agreed - for now, waiting to see where Knyazev’s thought would go next.

Well, like this…

So. Figuratively speaking, again, we all carry a certain load on our shoulders... Just imagine,” Knyazev became even more worried at the new visual example, “the three of us - me, you, grandfather - are carrying a log. We carry it - we need to carry it a hundred meters. We carried fifty meters, suddenly you stop carrying and step aside. And say: “I’m on vacation, I’m resting.”

So, you don’t need vacations, or what? - Silchenko became worried. - This is also bullshit.

In this particular case, vacation is possible when we carry this log the required hundred meters and drop it - then rest.

I don’t understand what you want to say,” Silchenko spoke angrily. - Either a hill, or some kind of log... Have you come to rest?

I came to rest.

What does it mean that you threw a log along the road? Or what... do you think?

Knyazev looked at Silchenko soulfully and sternly for some time.

Do you not understand on purpose?

I seriously don't understand! Some kind of stupidity, nonsense!.. Some kind of stupidity! - Silchenko was nervous about something and therefore said a lot of unnecessary things. - Well, it’s complete stupidity!.. Well, honestly, it’s impossible to understand anything. Do you understand anything, grandfather?

The old man listened with interest to this intelligent exchange. He was caught off guard by the question.

A? - he perked up.

Do you understand at all what this... comrade is threshing here?

“I’m listening,” the grandfather said vaguely.

But I don’t understand anything. I don’t understand anything!

“Be calmer, calmer,” Knyazev advised condescendingly and unkindly. - Calm down. Why be nervous?

Why bother talking about nonsense here?!

But you haven’t even gotten to the heart of the matter, and it’s already nonsense. But why... When will we learn to reason logically!

Yes, you yourself...

If I don’t understand, it means it’s nonsense, nonsense. Great logic! How long will we continue to shrug it off like this?

“Okay,” Silchenko pulled himself together. And he even sat down on his grandfather’s workbench. - Well, clear, simple, precise - what do you want to say? Normal Russian. So?

Where do you live? - asked Knyazev.

In Tomsk.

No, wider... In general, - Knyazev showed his hands widely.

I don't understand. Well, I don't understand! - Silchenko began to get nervous again. - Which “in general”? What is it? Where?

“You live in the state,” Knyazev continued. - What are your main interests? What do they coincide with?

Don't know.

With state interests. Your interests coincide with the interests of the state. Am I clear now?

Well well well?

What then is your meaning in life?

Well well well?

Yes, not “well,” but a line is already needed: what is the meaning of the life of every citizen?

Well, what?.. To work, to be honest,” Silchenko began to list, “to defend the Motherland when necessary...

Knyazev nodded his head in agreement. But he was waiting for something else, and Silchenko could not grasp what again.

“This is all correct,” said Knyazev. - But these are all branches. What is the main point? Where is the main trunk, so to speak?

I'm asking you.

I do not know. Well, I don’t know what you want to do! You're just a fool! Damn... - and Silchenko cursed. And he jumped up from the workbench. - What do you want from me?! - he shouted. - What?! Can you tell me directly? Or I’ll trample you out of here with a log!.. You’re a fool! Cudgel!..

Knyazev has already encountered such nervous people. He wasn’t afraid of this psychopath himself, but he was afraid that people would come running, they would stare, they would... Ugh!

Quiet, quiet, quiet,” he said, stepping back. He looked sadly and hopelessly at the neurasthenic make-up artist. - Why is that so? Why shout?

What do you want from me?! - Silchenko kept shouting. - What?

People came out of the house onto the porch...

Knyazev turned and walked out of the fence.

Silchenko shouted something else after him.

Knyazev did not look back, walked at a brisk pace, and there was sadness and pain in his eyes.

"Humlo," he said quietly. “What a rude man... He opened his mouth,” he paused and said bitterly: “We won’t understand - we don’t need it.” We'd better yell. What a rude thing!

The next day, in the morning, the local chairman of the village council came to the Nekhoroshevs (Knyazev’s father-in-law). The old men Nekhoroshev and Knyazev and his wife were having breakfast.

“Bon appetit,” said the chairman. And he looked carefully at Knyazev. - Welcome to your arrival.

Thank you,” replied Knyazev. His heart sank with foreboding. - With us... don't you want to?

No, I had breakfast,” the chairman sat down on the bench. And again he looked at Knyazev.

Knyazev finally understood: this was to his liking. He got out from behind the table and went outside. A minute or two later the chairman followed him out.

“I’m listening,” said Knyazev. And he smiled sadly.

What happened there? - asked the chairman. Once (last year, in the summer too) the chairman already discussed something similar. Then they also complained about Knyazev that he was “propaganda.” - They’re telling me something again...

What can I tell you?! - Knyazev exclaimed. - My God! What is there to tell! I wanted to give my friend... a clearer idea...

Why should I? What am I?.. I don’t understand, by God, what did I do? I just wanted to explain to him... but he screamed like crazy. I don’t know... Is he normal, this Silchenko?

Comrade Knyazev...

Well, okay, okay. Fine! - Knyazev spat nervously. - I won’t do it anymore. To hell with them, let them live as they want. But, my God!.. - he was amazed again. - What did I tell him?! Suggested that he understand his tasks in life more clearly!.. What's wrong with that?

The man came to rest... Why bother him? No need. No need, Comrade Knyazev, I beg you.

Good good. Let them do what they want... After all, he’s a make-up artist!

I wanted to bring him to the idea of ​​speaking at the club and talking about his work...

It's interesting! I would love to listen myself. He probably does the artists’ makeup... I would tell you about the artists.

And what does this have to do with... life's tasks?

He would have done something useful! That’s how I started yesterday: a line of people walks, everyone takes a handful of earth and throws it - a hill is formed. Hill dash is an expedient state. If we assume that the meaning of every citizen’s life is, figuratively speaking...

“Comrade Knyazev,” the chairman interrupted, “I don’t have time now: I have a meeting at nine... I’ll be happy to listen to you someday.” But once again I want to ask...

“Okay, okay,” Knyazev said hastily and sadly. - Go to the meeting. Goodbye. I don't need you to listen.

The chairman was surprised, but didn’t say anything and went to the meeting.

Knyazev looked after him... And said quietly, as he was in the habit of speaking to himself:

He will be happy to listen! I'm glad... Go sit down! Wipe your pants at your meetings, assessors. He will do a favor - listen...

Composition

Everyone who wrote and spoke about the work of Vasily Shukshin could not help but mention his almost incredible versatility without surprise and some feeling of confusion.

Shukshin the cinematographer organically penetrates Shukshin the writer, his prose is visible, his film is literary in the best sense of the word, it cannot be perceived “in sections”; reading his books, we see the author on the screen, and looking at the screen, we remember his prose.

This fusion of the most diverse qualities and talents not only into a whole, but also into a very specific, completely complete one, pleases and surprises us today, and will always delight and surprise us.

Shukshin belonged to Russian art in that tradition, due to which the artist not only humiliated himself, but did not notice himself in the face of the problem that he raised in his work, in the face of the object that became for him the subject of art.

Shukshin was not only uncharacteristic of, but also contraindicated in, any demonstration of himself, any indication of himself, although he had something to demonstrate to anyone. It was this attitude towards himself that made him unforgettable for others.

The last years of Shukshin's life were a period when everything that surrounded him became a subject of art for him - whether it concerned a quarrel with a janitor at the hospital or studying the biography and deeds of Stepan Razin.

One thing can be said: to live among people, incidents, impressions, each of which demands its own, and rightful place in art, each of which, pushing away everything else, rushes through you onto paper, onto the stage, onto the screen, urgently demanding and complaining - It is very difficult.

Here is the film story by V. Shukshin "Kalina Red", written in 1973. The main character is Yegor Prokudin. Yegor is inconsistent: now he is touchingly lyrical and hugs one birch tree after another, now he is rude, now a ruffian, now a drunkard, a lover of drinking, now a good-natured man, now a bandit. And now some critics were very confused by this inconsistency, and they took it for a lack of character and “truth of life.”

Criticism did not immediately notice that until now, perhaps, no one had been able to create such an image - not a single writer, not a single director, not a single actor, but Shukshin succeeded because he - Shukshin, piercingly saw the people around him, their destinies, their life's vicissitudes, because he is a writer, a director, and an actor all rolled into one.

Prokudin's inconsistency is not at all so simple, spontaneous and unconditioned; it is by no means an empty place or a lack of character.

Prokudin is consistently inconsistent, and this is something else. This is already logic. His logic is not our logic, it cannot, and probably should not, be accepted and shared by us, but this does not mean at all that it does not exist, that it is not able to open up and be understood.

Not quickly and not quietly, but with an even step, Yegor moves across the arable land he has just plowed towards his death.

He goes, knowing where he is going.

He goes, first sending away his assistant at the plowing, so that he would not be a witness to what is now inevitably going to happen, so that the person who was in no way involved in Prokudin’s fate would not be in any danger, some kind of trouble as a witness.

The blows of Prokudin’s tarpaulin boots on the wooden walkways are loudly and continuously heard when he leaves prison to freedom, but now he almost inaudibly, but in the same rhythm, walks across the arable land from freedom to his death, and the circle closes, and everything becomes clear to us.

It is then that we understand that this is the only way this person should have acted - this is where all of his previous inconsistency began to speak.

Prokudin would not accept pity, love, patronage, or help from us, but he needs our understanding. It is necessary in his own way - after all, he resists this understanding all the time, it is not for nothing that he was so inconsistent and threw out his knees. But all this is because he needed our understanding.

And then you involuntarily begin to think that Prokudin gives us an understanding not only of himself, but also of his artist - Vasily Shukshin.

Time does not stand still, and those born in the year of Shukshin’s death today become his readers. For them, he is the name of the classic series. But the years that passed after his death in no way erased the original meaning of the words that he wrote with a capital letter: People, Truth, Living Life.

LITERATURE

TOPIC: “The search for the meaning of life by the heroes of Shukshin’s stories”

Lesson Plan
Topic: Search for the meaning of life by the heroes of Shukshin's stories.

Lesson type: Combined lesson

Educational:

introduce Shukshin’s work;

improve text analysis skills.
Educational:

nurturing sensitivity, kindness, humane attitude towards people, a sense of justice, honesty, truth, conscience;

nurturing a sense of love for the Motherland and patriotism.

Developmental:

developing the ability to analyze information;

compare and draw conclusions;

establish connections with contemporary events;

development of students' creative abilities;

coherent monologue speech.

Equipment:

1. Wall newspaper dedicated to the work of Shukshin.

2. Statements by V. M. Shukshin, written on the board.

Interdisciplinary connections:

History, Russian language.

During the classes
1. Organizational moment.
2.Motivation for educational activities.

Teacher's opening speech.

Today in class we will talk about the questions that Vasily Shukshin posed and which he bequeathed to us to solve. We will also talk about Shukshin’s lessons: about the way to live in art, about the position of the artist. His work invites debate and discussion. Our lesson will include memories of the writer, his letters, excerpts from articles, and poems.
3.Communication of new knowledge.
3.1. A student reads a poem:
The village scattered in the foothills,

Where the Katun splashed brightly,

Known enough of both hardship and grief

This is an ancient village.
Here the boy tore the path,

The drunken wind breathed from the meadows,

I was eating potatoes in the garden,

On Katun I pulled chebaks.
Siberian region. The landscape is discreet.

A wave hits the shore of the Katun.

Everyone in Russia knows that Srostki is

This is the birthplace of Shukshin.

(Kondakov)
Vasily Makarovich Shukshin, while working on a novel about Stepan Razin “I came to give you freedom,” found in Russian history the history of his peasant family. It turns out that the Sura River, a tributary of the Volga, has its own small tributary - the Shuksha River. From here, from the Volga region, the writer’s ancestors, the Shukshins, moved to Altai in the 19th century.
And he was born on July 25, 1929 in the village of Srostki, Biysk District, Altai Territory. And he was still very young when his father was arrested on charges of aiding the enemies of Soviet power. In 1956, Makar Shukshin was posthumously rehabilitated - like many who innocently suffered at that time. Vasya and his sister Natalya were raised by their mother, Maria Sergeevna. For a short time, the children had a stepfather, according to Shukshin’s recollections, a kind man. My stepfather died in the war. Shukshin carried his tenderest love for his mother throughout his entire life.
In 1943, the war year, he graduated from the rural seven-year school and entered the Biysk Aviation Technical School, but he did not like it there, and he returned to Srostki, became an ordinary collective farmer, a jack of all trades. However, in 1946, Maria Sergeevna had to lead her son into an independent life.
From the age of 17, Shukshin worked at a construction site in Kaluga, at a tractor plant in Vladimir, at construction sites in the Moscow region - workers were then needed everywhere. He tried to enter the military aviation school, and the automobile school through the military registration and enlistment offices. Did not work out. In 1949, Shukshin was called up for military service - the navy. He served first in the Baltic, then in Sevastopol: senior sailor, radio operator by profession. Enrolled in the officer's library. Shukshin wrote that books build entire destinies, having already become a famous writer.
After demobilization, he returned to Srostki - obviously with well-thought-out plans. I passed the matriculation exams as an external student, having struggled quite a bit with mathematics, and considered this my small feat: “I have never experienced such a strain of strength.” In Srostki, obviously, there were not enough teachers - Shukshin taught Russian language and literature at the evening school there for a short time and retained a fond memory of how gratefully his students listened to him - the village boys and girls who worked hard for the day.
(From V. Shukshin’s article “Monologue on the Stairs”) “I was, frankly speaking, an unimportant teacher (no special education, no experience), but I still can’t forget how well, gratefully the guys and girls who worked hard during the day looked at me when I managed to tell them something important and interesting. I loved them at such moments. And in the depths of my soul, not without pride and happiness, I believed: now, in these moments, I am doing a real, good thing. It's a pity that we don't have such moments in our lives. Happiness is made of them.”
In the spring of 1954, Maria Sergeevna, in order to raise money for her son to travel to Moscow, sold a heifer. There are many legends about how Shukshin entered the Institute of Cinematography.
(From Shukshin’s memoirs) “It was 1954. Entrance exams to VGIK were underway. My preparation left much to be desired, I did not shine with special erudition and with my whole appearance I caused bewilderment of the selection committee... Then I met Mikhail Ilyich Romm. The applicants in the corridor painted a terrible picture of a man who would now look at you and incinerate you. And surprisingly kind eyes looked at me. I started asking more about life and literature.”
“The horror of the exam resulted in a very humane and sincere conversation for me. My whole fate was probably decided here, in this conversation. True, there was still a selection committee to come, which was also apparently amazed at who Mikhail Ilyich was recruiting.
The chairman of the commission ironically asked:
- Do you know Belinsky?
- Yes talking.
-Where does he live now?
Everyone in the commission fell silent.
Vissarion Grigorievich? “He died,” I say, and began to prove too ardently that Belinsky “died.” Romm was silent and listening all this time. The same infinitely kind eyes looked at me. I was lucky to have smart and kind people.”
While still a student, Shukshin filmed his course work based on his own script, acted and directed it himself. As a student, he received his first big film role - soldier Fyodor in Marlen Tsukhiev’s film “Two Fyodors” (1959). His last role was Lopakhin in Sergei Bondarchuk’s film “They Fought for the Motherland” (1974). His first directorial work in cinema was the film “There Lives Such a Guy” (1964). The last one is “Kalina Krasnaya” (1973). The first story to appear in print was “Two on a Cart” (1958). The first book is a collection of stories “Village People” (1964).
Vasily Makarovich Shukshin died on the night of October 2, 1974 from a heart attack in the cabin of the ship, which served as a floating hotel for participants in the filming of the film “They Fought for the Motherland.” In 2002, Shukshin’s admirers saved the old ship from being scrapped, repaired it and gave it a name - “Vasily Shukshin”.
I want to read the poems of Leonid Popov. It seems to me that the poet’s position basically echoes the life line of the writer V. Shukshin:
Late: learn to “sing and dance”,

Scrape your sole around the hot circle.

It’s a shame to give out bows for future use,

Fall passionately in love with the capital's blizzard.
Believe with a handshake of the official hand,

Honor to pay for strained mercy,

Time: to sum up your debts,

fortunately enough of them have accumulated.
Time: remember past sins,

So that the soul does not be proud in vain.

So that your head doesn’t spin.
Time: last to rake out the copper,

But to pay for everything to the penny

And before dawn have time to die,

To be born free at dawn!
And now we will talk about the problems that the writer poses to readers.

3.2. The problem of city and countryside in Shukshin’s works.
The collision characteristic of Shukshin's stories - the collision of "urban" and "rural" - does not so much reveal social contradictions as reveal conflicting relationships between dreams and reality in the life of a "little man." The study of these relationships forms the content of many of the writer’s works.

The Russian man as depicted by Shukshin is a searching man who asks life unexpected, strange questions, who loves to be surprised and amaze. He does not like hierarchy - that conventional everyday “table of ranks”, according to which there are “famous” heroes and there are “humble” workers. Resisting this hierarchy, Shukshinsky’s hero can be touchingly naive, as in the story “Freak,” an incredible inventor, as in “Mille Pardon, Madam!”, or an aggressive debater, as in the story “Cut.” Qualities such as obedience and humility are rarely present in Shukshin's characters. Quite the opposite: they

Characterized by stubbornness, self-will, dislike of a bland existence, resistance to disciplined sanity. They cannot live without sticking their neck out.

3.3. Analysis of works.

Some critics believe that the writer is characterized by some social limitations. He constantly wrote about the countryside and villagers, but had a negative attitude towards the city and townspeople.
Do you agree with this opinion?
Let's talk about the heroes of the story “Village People”. What actions do the heroes commit and how does the author treat them?
The writer sympathizes with them.
In the story “The Freak,” Vasily Knyazev goes to the city to visit his brother, where he encountered the anger and envy of his brother’s wife, who also once came from the village. Do you think it was the city that made her bad?
Prove your point.
“Cut” is one of Shukshin’s most vivid and profound stories.

The central character of the story, Gleb Kapustin, has a “fiery passion” to “cut off”, “upset” people from the village who have achieved success in life in the city.

A village man and a city dweller are shown here. How do the village men feel about them? Which of the heroes do you sympathize with?
The main thing for Shukshin is not where a person lives, but how he lives and what kind of person he is. The main thing is to have the courage to tell the truth. And Shukshin had it.
Let me give you an example. We see something bad in the life around us, and we habitually repeat: “remnants of the past in the minds of people,” “the corrupting influence of the West.” And Shukshin had the courage to face life. And from the pages of the story “The Resentment” came the sorrowful cry of Sashka Ermolaev: “How long will we ourselves help boorishness... After all, we ourselves have bred boors, ourselves! No one brought them to us, no one dropped them by parachute..”

V. Shukshin is not afraid of the sharp, unexpected actions of the heroes. He likes rebels because these people, in their own awkward way, defend human dignity.
The writer hated people who were self-satisfied, well-fed, and calm; he wanted to disturb our souls by showing the truth, and they demanded beautiful heroes and noble gestures from him. V. Shukshin wrote: “Like anyone who does something in art, I also have an “intimate” relationship with readers and viewers - letters. They write. They demand. They require a handsome hero. They scold the characters for their rudeness, for their drinking, etc. What do they require? So that I can make things up. He, the devil, has a neighbor who lives behind the wall, who is rude, drinks on weekends (sometimes noisily), and sometimes quarrels with his wife... He doesn’t believe in him, he denies it, but he will believe if I tell a big lie: he will be grateful, he will cry in front of the TV, touched, and go to bed with a calm soul.” V. Shukshin wanted to awaken our conscience, so that we would think about what is happening to us.
Art is cozy

to be a sweet bun

French,

but you can't feed like that

no cripples

no orphans.

Shukshin was a hunchback

With red viburnum

A bite,

That little black one,

Without which the people are unthinkable...

When we got up

On heavy peasant leaven,

We are drawn to nature

To Yesenin's pure verses.

We can't live with lies

You can’t get along in comfort anymore,

And a heart like a falcon

Like Stepan Razin tied up.

E. Yevtushenko. "In memory of Shukshin."
His wonderful films were broadcast across the country: “There Lives a Guy Like This,”

“Stoves-benches”, “Kalina red”. His heroes looked at us from the pages of magazines: drivers, collective farmers, saddlers, ferrymen, watchmen. The country recognized itself in his heroes and fell in love with Shukshin.
Shukshin always writes about his mother with great love, tenderness, gratitude and at the same time with a feeling of some guilt.
Let us recall the scene of Yegor Prokudin’s meeting with his mother (“Kalina Krasnaya”), and comment on it. We note that Yegor’s mother is played not by a professional actress, but by a simple village woman.
– Why did the director make such a decision - to cast a non-professional actress for the role of the mother?
What did Shukshin want to say in “Kalina Krasny” when he killed Yegor Prokudin? That it makes no sense for thieves to strive for a normal life, right?
(It seems to me that V. Sh. wanted to say that you have to pay for everything in life. To have the opportunity to respect yourself and feel the respect of people towards you - sometimes it takes your whole life. More than one field must be plowed, more than one act must be performed. And Yegor understood this.)
During Shukshin’s lifetime, few people thought about the price paid for his art. We only think about it now that he is gone. In the notes in the margins of his drafts there are the following lines: “Never, not once in my life have I allowed myself to live relaxed, lounging around. Always tense and collected. Both good and bad - I start to twitch, I sleep with clenched fists. .This could end badly, I could crack from the stress.”
. And now we’ll talk about Shukshin’s unique approach to the problem of a positive hero.
Have you noticed that he doesn't have a positive character? Is it needed?
Shukshin himself wrote about this with humor: “Suppose a young man came out of the cinema and stopped in thought: he did not understand who to take as an example, who to be like. Who should I be like? To myself. You won’t be like anyone else anyway.” V. Shukshin invites us to think about ourselves.
Let us dwell on the story “Energetic People”. What heroes does the author show us? Why does he call them that? On what basis are their relationships built? (“You for me, I for you”).
I want to read a poem related to our argument and Shukshin’s position in life.
Everyone chooses for themselves

A woman, religion, a road.

To serve the devil or the prophet -

Everyone chooses for themselves.
Everyone chooses for themselves

Word for love or prayer.

A sword for a duel, a sword for battle

Everyone chooses for themselves.
Everyone chooses for themselves.

Shield and armor. Staff and patches.

The measure of final retribution.

Everyone chooses for themselves.

I also choose - as best I can.

I have no complaints against anyone.

Everyone chooses for themselves.

(Yu. Levitansky)
. From Shukshin's work notes.

“Now I’ll say it beautifully: if you want to be a master, dip your pen in the truth. You won’t be surprised by anything else.”
“Kind, kind... This medal is worn through one. Good is a good deed, it is difficult, it is not easy. Don’t boast about kindness, don’t even do evil!”
“When we feel bad, we think: “Someone is feeling good somewhere.” When we feel good, we rarely think: “Someone is feeling bad somewhere.”
“I am a son, I am a brother, I am a father. The heart grew like meat to life. It’s hard, it hurts to leave.”

3.4. Essay: “What the heroes of Shukshin’s stories taught me.”
4. Systematization and generalization of acquired knowledge.
Final words from the teacher.

The writer Vasily Shukshin is no longer with us. But his books and his thoughts remained. And each of his stories makes us think about the serious problems of our time, about life, about human behavior, his actions.
And again the words of the writer come to mind: “Over the course of their history, the Russian people have selected, preserved, and raised to the level of respect such human qualities that cannot be revised: honesty, hard work, conscientiousness, kindness. Believe that everything was not in vain: our songs, our fairy tales, our incredible victories, our suffering - do not give all this for a sniff of tobacco. We knew how to live. Remember this. Be human".
5. Summing up the lesson.

6.Homework.

1. “The truth of life” in the works of Shukshin.
2. The human drama of a common man.
3. Situations in which Shukshin puts his heroes.
When it comes to the “picturesque truth of life,” the works of Vasily Shukshin come to mind. His works are well known. Vasily Makarovich Shukshin has written about one hundred and twenty short stories, several novellas, two novels, plays and film scripts. Shukshin, without a doubt, is the most talented writer of the 20th century. His works are much deeper than they might seem at first

Sight. The writer’s philosophical understanding of life is not immediately revealed. Our attention is sometimes concentrated on little things, which makes Vasily Shukshin’s work seem very simple for the reader’s perception.
Many of Shukshin’s works tell us about human drama, which remains incomprehensible and sometimes unnoticed by others. Vasily Shukshin turns his attention to ordinary people; among the heroes of his works there are practically no representatives of the elite. Very often Shukshin talks about peasants and villagers who find themselves cut off from their usual life, from their ancestral roots. But even in the city these people cannot find employment for themselves. Behind the comic situations lies a real tragedy. A person’s search for his place in the world, understanding his role on earth - these are not all the topics that Shukshin touches on in his work.
The writer pays a lot of attention to the moral and spiritual values ​​of a person. The search for one’s place in the world is often accompanied by the rejection of those values ​​that were previously dear to a person. And this is also a tragedy, because a person’s moral degradation affects not only himself, but also those close to him.
Shukshin paid a lot of attention to the so-called village theme. In his works, he talked about how peasants were losing the values ​​that were dear to their ancestors. But they gain nothing in return for what they lost. This is why the common man falls into drunkenness and debauchery. The lack of meaning in life is the reason for this. Shukshin's work touches on the problem of fate. For example, the fate of a common man, a peasant, a worker, is work. This is both a duty and at the same time the meaning of life. Torn away from his roots, the toiling peasant becomes unhappy. But the life of ordinary people is by no means sad and hopeless. In addition to work, there are many joys in their lives. Perhaps to some people these joys may seem simple and primitive. But for the peasants themselves they mean a lot. Shukshin often shows what place holidays occupy in the simple life of peasants.
Shukshin does not spare his heroes. He sometimes puts them in the most unpleasant situations. And the reader understands perfectly well that these situations are not invented, they are real. A simple person, naive and gullible, often becomes a victim. For example, in the story “A Mother’s Heart,” the young peasant boy Vitka Borzenkov failed to recognize the danger, which is why he ended up in prison. For a villager, prison is a difficult ordeal. It’s hard not only for Vitka himself, but also for his old mother. The son, helper, hope and support, ends up behind bars. Shukshin paints a reliable picture. We see a simple, hard-working guy who does not know how to understand life.
The work called “Kalina Krasnaya” is very well known to many. Egor Prokudin, of course, cannot but evoke sympathy. He broke away from his peasant roots. It seemed to him that the dull, monotonous work of a villager was uninteresting. But connection with the criminal world does not bring anything good to the hereditary peasant, and becomes the cause of his inevitable death.
Vasily Shukshin himself came from a family of hereditary peasants, so the “village theme” was close and understandable to him. Among his works there are many that are more optimistic. A peasant's dream of a holiday can come true. For example, from the story “Boots” we learn how a simple village man decides to please his wife with a luxurious gift. Nothing came to his mind other than to buy beautiful boots for the village woman. Of course, such a purchase is useless in the village. In addition, elegant boots do not fit on “strong, peasant feet.” But, nevertheless, the desire to please his wife was not in vain. The boots showed the wife that her husband still had warm feelings for her. In addition, Sergei himself thinks about joy, which is so little among the gray, monotonous days. Beautiful boots in the story act as a symbol of joy and celebration. And the life of Sergei and his family becomes a little more joyful. Sergei is overcome by thoughts. And they can be called philosophical with full confidence. They are very serious, because a simple village man thinks about the meaning of life: “This is how you live - forty-five years already - you keep thinking: nothing, someday I will live well, easily. And time goes by. And so you come to the hole in which you need to lie down - and all your life you have been waiting for something. The question is, why the hell should we wait and not do such joys as can be done? Here you go: you have money, you have some extraordinary boots lying around - take them and make a person happy! There may not be such an opportunity again.”
Art has always helped a person to better understand real life. Shukshin's works cannot leave the reader indifferent. Critics often compared the writer with Chekhov. After all, A.P. Chekhov, like Shukshin, paid a lot of attention to simple, everyday life, saw its beauty and significance.


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Literature lesson on the topic: “The search for the meaning of life is the lot of every thinking and conscientious person” using the example of a story by V.M. Shukshina "Alyosha Beskonvoyny"

He didn’t miss the moment when people wanted something secret. And he spoke about the simple, non-heroic, close to everyone, just as simply, in a quiet voice, very confidentially... Truth is Shukshin’s immutable law.

M. Sholokhov

Vasily Makarovich Shukshin flashed on the horizon of culture as a dazzlingly pure, bright star, a truly fabulous scattering of talents. Writer, novelist and playwright, director of large folk films, an amazing, unique artist who knows how to tell such a necessary truth about an ordinary person in the most ordinary intonation that millions of hearts... froze in one impulse. Vasily Shukshin was given such happiness.

P. Proskurin

Goals and objectives of the lesson: create conditions for:

· Acquiring skills in analyzing literary texts;

· Formation of ideas about the features of the author’s individual style;

· Introducing students to the work of V.M. Shukshin;

· Formation of a humanistic worldview.

Equipment and materials

· Photos by V.M.Shukshin

· ICT (Computer, slide show)

· Saying sheets

· Practice sheets

Plan

1. Introductory word

2. Biography of the writer

3. The story “Alyosha Beskonvoyny”

4. Conclusion

5. Summing up the lesson

During the classes.

1. Introductory speech from the teacher (3-5 minutes).

Hello guys. Sit down.

The search for the meaning of life is the lot of every thinking and conscientious person. Therefore, our best writers have always intensively searched for an artistic solution to this issue. Deep moral and humanistic problems are posed in the works of V.M. Shukshina. Again and again we turn to his works, wanting to know what the writer was thinking about, what he bequeathed with his work? What unites Shukshin's heroes? What features of the Russian national character does the writer highlight in them? Today in the lesson we will try to find answers to these questions, and also find out what artistic techniques the writer used in his work?

Please look at the board. Write down the topic of the lesson in your notebook: Truth is Shukshin’s immutable law. And epigraphs, words by M. Sholokhov and P. Proskurin.

Kondakov's poem is played to the music:

The village scattered in the foothills,

Where the Katun splashed brightly,

Known enough of both hardship and grief

This is an ancient village.

Here the boy tore the path,

The drunken wind breathed from the meadows,

I was eating potatoes in the garden,

On Katun I pulled chebaks.

Siberian region.

The landscape is discreet,

A wave hits the shore of the Katun.

Everyone in Russia knows that

Srostki is Shukshin's homeland.

2. Biography of the writer (15-20 minutes).

Vasily Makarovich Shukshin was born on July 25, 1929 in the village of Srostki, Biysk District, Altai Territory. His parents: Maria and Makar Shukshin. When Vasily Makarovich was born, his father was 16 and his mother was 18 years old. Three years later his sister Natasha was born. Vasily Makarovich was still very young when his father was arrested on charges of aiding the enemies of Soviet power. In 1956, the father was posthumously rehabilitated. Maria Sergeevna raised Vasily and Natalya alone. Shukshin carried his tender and reverent love for his mother throughout his life. In the war year 1945, he graduated from the rural seven-year school and entered the Biysk Aviation Technical School, but soon returned to Srostki and became an ordinary collective farmer, a jack of all trades. From the age of 17, Shukshin worked at a construction site in Kaluga, at a tractor plant in Vladimir, and at construction sites in the Moscow region. He tried to enter a military aviation school and an automobile school, but all attempts were unsuccessful.

In 1949, Vasily Makarovich was called up for military service - the navy. However, Shukshin failed to serve “from call to call” - in 1953 he was diagnosed with a stomach ulcer. Soon, the medical commission of the Main Military Hospital of the Black Sea Fleet dismissed Shukshin. After this he returned to Srostki. I passed the matriculation exams as an external student, having struggled a lot with mathematics, and considered it my small feat. “I have never experienced such tension before,” said Shukshin.

There were not enough teachers in Srostki, and Shukshin taught Russian language and literature at an evening school for a short time and retained a fond memory of how gratefully his students listened to him.

Listen to what he writes about this: “I was, frankly speaking, an unimportant teacher (without special education, without experience), but I still can’t forget how well, gratefully the guys and girls who had worked hard during the day looked at me when I managed to tell them something important and interesting. I loved them at such moments. And in the depths of my soul, not without pride and happiness, I believed: now, in these moments, I am doing a real, good thing. It's a pity that we don't have such moments in our lives. Happiness is made of them.” (From Shukshin’s article “Monologue on the stairs”)

In the spring of 1954, Maria Sergeevna collected money for her son to travel to Moscow. So in the summer of 1954 Shukshin ended up in Moscow. He was dressed in a paramilitary suit, a tunic, from under which a vest was visible, and had bell-bottomed trousers and boots on his feet. Arriving at the screenwriting department of VGIK, Shukshin presented his stories to the examiners, which were written down in a thick barn notebook. Since Shukshin’s handwriting was very small and the notebook was very thick, the girls on the admissions committee were too lazy to read what was written, deciding to themselves that this applicant was a typical graphomaniac. However, in order not to offend him, they decided to advise: “You have a textured appearance, go to acting.” Here’s what Shukshin’s former classmate, film director A. Mitta, said: “Here Shukshin learned from the students that there was also a directing department. But he had no idea that there was such a profession - director. I thought that to produce a film, artists gather and agree among themselves , how to shoot. It turned out that the director is the owner of the film, the main person. Then he applied for the director’s job.

VGIK teachers were afraid to take him. He was a lover of truth, he did not understand at all what could be said and what could not be said. The teachers were afraid that he would stir things up and they would be kicked out of work because of him. But Mikhail Romm believed in him...

Having entered VGIK, Shukshin settled in the institute’s dormitory on Trifonovskaya Street. In December 1955, due to an exacerbation of a stomach ulcer, Shukshin was admitted to the Ostroumovsky hospital. In 1956, Shukshin made his film debut: in S. Gerasimov’s film “Quiet Don” (second series), he played in a tiny episode - he portrayed a sailor peeking out from behind a fence. The cinematic fate of Shukshin the actor began with this sailor. In parallel with his success in cinema, Shukshin’s literary destiny also developed quite successfully. From his third year, on Romm’s advice, he began sending his stories to all the capital’s editorial offices in the hope that one of them would pay attention to his works. And he was not mistaken. In 1958, his story “Two on a Cart” was published in the Smena magazine. In 1963, the publishing house "Young Guard" published V. Shukshin's first collection entitled "Rural Residents." In the same year, two of his stories were published in the New World magazine: “Cool Driver” and “Grinka Malyugin” (the cycle “They are from Katun”). Based on these stories, Shukshin soon wrote the script for his first full-length film, “There Lives Such a Guy.”

Filming began in the summer of that year in Altai. In the summer of 1964, Shukshin went to Sudak to film the film “What is it like, the sea?” (director E. Bocharov). And there fate brought him together with 26-year-old film actress Lydia Fedoseeva. The first meeting between Shukshin and Fedoseeva took place on a train on the way to Sudak. She was traveling in the same compartment with her daughter Nastya and the cameramen of the film. Shukshin came to visit them.

Soon they got married and their daughter Masha was born. A year after the birth of Masha, another girl was born into the Shukshin family - Olya. This joyful news found Shukshin in the vicinity of Vladimir on the set of his next film - “Strange People”. It is based on three Shukshin stories: “Weirdo”, “Pardon me, madam!” and "Duma".

In 1969, V. Shukshin was awarded the title of Honored Artist of the RSFSR.

Meanwhile, Shukshin began filming his next film, “Kalina Krasnaya.” Work on it began in the spring of 1973 in the Vologda region, near Belozersk. As in “Stoves-Benches”, Shukshin acted in three roles in this film: director, screenwriter and leading actor.

The film "Kalina Krasnaya" was released across the country in 1974 and literally shocked audiences.

The last year of Shukshin’s life was extremely successful for him, both creatively and personally. In 1973, he and his family finally moved from a cramped room on Pereyaslavskaya Street to a new apartment on Bochkova Street. A new collection of his stories, “Characters,” is being published. At the Bolshoi Drama Theater G. Tovstonogov decides to stage a play based on Shukshin’s play “Energetic People”. (This was Shukshin’s first collaboration with the theater - before that he did not like theater, having inherited this dislike from his teacher M. Romm.)

And finally, he never forgot for a day about his old dream - to direct a film about Stepan Razin. Despite the fact that its filming was constantly postponed indefinitely, he did not lose hope of filming it. S. Bondarchuk gave his firm promise to help him in this matter, but in return for this help he persuaded Shukshin to star in his new film - “They Fought for the Motherland.” Shukshin was to play the role of armor-piercing officer Lopakhin. Filming was supposed to take place in August - October 1974 on the Don.

Fedoseeva-Shukshina was given the script for the film “They Fought for the Motherland,” in which she was to play one of the roles. And it turned out that she had to play... a widow. And this while my husband is still alive! “You don’t play a widow, but a woman,” Shukshin reassured her. Alas, the role turned out to be prophetic.

On that last evening of October 1, Shukshin and his friends went from the post office to the bathhouse of the village resident Zakharov. And it’s necessary! While driving into the yard, the owner's beloved cat was run over. Shukshin, who had never before been noticed in superstition, for some reason became upset: “This is unfortunate!” And a few hours later he was overtaken by death...

V. M. Shukshin died on the night of October 2, 1974 from a heart attack in the cabin of the ship, which served as a floating hotel for participants in the filming of the film “They Fought for the Motherland.” In 2002, admirers of Shukshin’s work saved the old ship from being scrapped, repaired it and gave it the name “Vasily Shukshin”. The writer hated people who were self-satisfied, well-fed, and calm; he wanted to disturb our souls by showing the truth, and they demanded beautiful heroes and noble gestures from him. V. M. Shukshin wrote: “Like anyone who does something in art, I also have an “intimate” relationship with readers and viewers - letters. They write. They demand. They require a handsome hero. They scold the characters for their rudeness, their drinking, etc. What do they require? So that I can make things up. He has a devil, a neighbor lives behind the wall, who is rude, drinks on weekends, and sometimes quarrels with his wife. He doesn’t believe in it, he denies it, but he will believe it if I tell a big lie: he will be grateful, cry in front of the TV, touched, and go to bed with a calm soul.” Shukshin wanted to awaken our conscience, he wanted us to think about what was happening to us.

3. Work with the story “Alyosha Beskonvoyny”.

1. Fill in the table using the literary text of the story. (10 minutes)

Artistic techniques

Comparisons

Metaphors

Questions (10-13 minutes):

2. What do we know about the hero?

3. What do you think about the fact that the hero seems to have two names? (Duality of nature. Search for the meaning of life.)

4. What character traits does Shukshin give to his heroes? Give examples.

5. What, in your opinion, is the originality of Vasily Makarovich’s heroes?

6. What occupies the main place in the story? (Description of the bathhouse).

7. How do you see her?

8. Why does Shukshin give such a detailed description? What can we say about the author himself?

9. You have read the description of the sauna preparation process. It is very detailed and colorful. Work with him. Highlight everything that you found important and interesting. Imagine this whole process and try to express it on paper. Smells, colors, actions, adjectives, nouns, verbs, themes. Everything that you found interesting and unusual. You can draw, outline the process. Basically, do whatever you want with it. Just be sure to explain why you chose this particular way of working and expressing yourself. Unite in groups of 2-3 people and start working. I give you 10 minutes.

10. Okay, did you notice the last song in the story? A song their little daughter wrote?

11. What do you think it means?

12. Now think and imagine that you need to advertise Shukshin’s work. Come up with an advertisement for either the work or creativity in general. To do this, join groups of 4 people. You have this job 10 minutes. But if someone is ready earlier - please.

Well done!

4. Conclusion (10 minutes):

So, what conclusion have we come to? What is unique about the stories and characters of Vasily Makarovich Shukshin? What questions does it raise?

Yes, guys, you are right: Shukshin did not invent his hero, he took him from life. Vasily Shukshin does not idealize his strange, “eccentric” heroes. But in each of them he finds something that is close to him.

Shukshin's village prose is distinguished by a deep study of the Russian national character. The originality of this writer is explained not only by his talent, but also by the fact that he told the simple truth about his fellow countrymen with love and respect. This is probably why Shukshin’s hero turned out to be not only unfamiliar, but also partly incomprehensible.

The writer V.M. Shukshin is no longer with us. But his books and his thoughts remained. And each of his stories makes us think about the serious problems of our time, about life, about human behavior, his actions.

And again the words of the writer come to mind: “Over the course of their history, the Russian people have selected, preserved, and raised to the level of respect such human qualities that cannot be revised: honesty, hard work, conscience, kindness. Believe that everything was not in vain: our songs, our fairy tales, our incredible victory, our suffering. We knew how to live. Remember this. Be human".

Moscow buried Shukshin,

Buried the artist, that is

Moscow buried a man

And an active conscience.

He lay a third under the flowers,

Unavailable from now on.

He's surprised by his death

Popularly predicted in the film.

In every city he lay

On sheer Russian sheets.

It was called - not a cinema hall -

Everyone just came and said goodbye.

Today he is like a double.

When he was chilly smoking chinarik,

Also chilly, turning up my collar,

The whole country is on trains and on bunks.

He understood economics

The land is like a home, where there are birches and conifers.

I wish I could curtain Baikal black,

Like a mirror in the house of a dead man.

5. Summing up the lesson (5 minutes)

Now tell me, did you like the work? What exactly did you like? Why didn't you like the job? What would you change? What difficulties did you encounter?

Thanks for the work. You can be free. Goodbye.