Vampilov's eldest son analysis of the work. A.v. Vampilov "eldest son". analysis of the work - essays, abstracts, reports. III. Student's message about the life path of A. Vampilov

Nina says. Sparing their father's pride, the children hide from him that they know about the dismissal. It turns out that Sarafanov himself composes music (a cantata or oratorio “All Men Are Brothers”), but he does it very slowly (he got stuck on the first page). However, Busygin treats this with understanding and says that maybe this is how serious music should be composed. Calling himself the eldest son, Busygin takes on the burden of other people's worries and problems. His friend Silva, who started the mess by introducing Busygin as Sarafanov’s son, is only having fun participating in this whole complicated story.

As at the beginning of the play, Busygin in the finale is again late for the last train. But the day spent in the Sarafanovs’ house teaches the hero a good moral lesson. However, by joining the fight for the fate of Sarafanov Sr., Busygin receives a reward. He finds the family he dreamed of. In a short period of time, people who were completely strangers to him become close and dear. He breaks up with the empty and worthless Silva, who is no longer interesting to him, and finds new real friends.

The play “The Eldest Son” was announced by A.B. Vampilov's genre is comedy. However, only the first picture in it looks comedic, in which two young men, who were late for the train, decide to find a way to spend the night with one of the residents and come to the Sarafanovs’ apartment.

Suddenly, things take a serious turn. The head of the family innocently recognizes Busygin as his eldest son, since twenty years ago he actually had an affair with one woman. Sarafanov’s son Vasenka even sees the hero’s external resemblance to his father. So, Busygin and his friend are part of the Sarafanovs’ family problems. It turns out that his wife left the musician long ago. And the children, having barely grown up, dream of flying out of the nest: daughter Nina gets married and leaves for Sakhalin, and Vasenka, not having finished school, says that she is going to the taiga to work on a construction site. One has a happy love, the other has an unhappy one. That's not the point. The main idea is that caring for an elderly father, a sensitive and trusting person, does not fit into the plans of grown children.

Sarafanov Sr. recognizes Busygina as his son, practically without demanding significant evidence and documents. He gives him a silver snuff box - a family heirloom that passed from generation to generation into the hands of his eldest son.

Gradually, the liars get used to their roles as a son and his friend and begin to behave at home: Busygin, already as a brother, intervenes in the discussion of Vasenka’s personal life, and Silva begins to look after Nina.

The reason for the excessive gullibility of the Sarafanovs Jr. lies not only in their natural spiritual openness: they are convinced that an adult does not need parents. This idea is voiced in the play by Vasenka, who later misspoke and, in order not to offend his father, corrects the phrase: “Someone else’s parents.”

Seeing how easily the children he raised rush to leave their home, Sarafanov is not very surprised when he finds Busygin and Silva preparing to leave secretly in the morning. He continues to believe the story about his eldest son.

Looking at the situation from the outside, Busygin begins to feel sorry for Sarafanov and tries to persuade Nina not to leave her father. During the conversation, it turns out that the girl's fiancé is a reliable guy who never lies. Busygin becomes interested in looking at him. He soon learns that Sarafanov Sr. has not been working at the Philharmonic for six months, but is playing at dances in the railway workers’ club. “He’s a good musician, but he’s never been able to stand up for himself. Besides, he drinks, and so, in the fall there was a layoff in the orchestra...” says Nina. Sparing their father's pride, the children hide from him that they know about the dismissal. It turns out that Sarafanov himself composes music (a cantata or oratorio “All Men Are Brothers”), but he does it very slowly (he got stuck on the first page). However, Busygin treats this with understanding and says that maybe this is how serious music should be composed. Calling himself the eldest son, Busygin takes on the burden of other people's worries and problems. His friend Silva, who started the mess by introducing Busygin as Sarafanov’s son, is only having fun participating in this whole complicated story.

In the evening, when Nina Kudimov’s fiance comes to the house, Sarafanov raises a toast to his children and utters a wise phrase that reveals his philosophy of life: “...Life is fair and merciful. It makes heroes doubt, and those who have done little, and even those who have done nothing but lived with a pure heart, it will always console.”

Truth-loving Kudimov finds out that he saw Sarafanov in the funeral orchestra. Nina and Busygin, trying to smooth out the situation, claim that he made a mistake. He doesn’t let up, continuing to argue. In the end, Sarafanov admits that he has not played in the theater for a long time. “I didn’t turn out to be a serious musician,” he says sadly. Thus, the play raises an important moral issue. What is better: the bitter truth or the saving lie?

The author shows Sarafanov in a deep impasse in life: his wife left, his career did not take place, his children also do not need him. The author of the oratorio “All Men Are Brothers” feels like a completely lonely person in real life. “Yes, I raised cruel egoists. Callous, calculating, ungrateful,” he exclaims, comparing himself to an old sofa that they have long dreamed of throwing away. Sarafanov is already planning to go to Chernigov to visit Busygin’s mother. But suddenly the deception is revealed: having quarreled with a friend, Silva betrays him to imaginary relatives. However, this time the good-natured Sarafanov refuses to believe him. “Whatever it is, I consider you my son,” he says to Busygin. Even after learning the truth, Sarafanov invites him to stay in his house. Nina also changes her mind about leaving for Sakhalin, realizing that Busygin, who lied, is at heart a good, kind person, and Kudimov, who is ready to die for the truth, is cruel and stubborn. At first, Nina even liked his honesty and punctuality, his ability to keep his word. But in reality these qualities do not justify themselves. Kudimov’s straightforwardness becomes not so necessary in life, as it makes the girl’s father grieve for his creative failures and exposes his mental wound. The pilot's desire to prove that he is right turns into a problem that no one needs. After all, the children have long known that Sarafanov does not work at the Philharmonic.

Putting a special meaning into the concept of “brother”, A.B. Vampilov emphasizes that people should treat each other more carefully, and most importantly, not try to play with other people's feelings.

The happy ending of the play reconciles its central characters. It is symbolic that both the main deceiver and adventurer Silva, and the truth-loving to the core Kudimov leave Sarafanov’s house. This suggests that such extremes are not needed in life. A.B. Vampilov shows that a lie is still sooner or later supplanted by the truth, but sometimes it is necessary to give a person the opportunity to realize this himself, and not bring him to light.

However, there is another side to this problem. By feeding himself with false illusions, a person always complicates his life. Afraid to be frank with children, Sarafanov almost lost his spiritual connection with them. Nina, wanting to quickly arrange her life, almost left for Sakhalin with a man she did not love. Vasenka spent so much effort trying to win Natasha’s favor, not wanting to listen to his sister’s sensible reasoning that Makarskaya was not a match for him.

Sarafanov Sr. is considered by many to be blessed, but his endless faith in people makes them think and care about him, becoming a powerful unifying force that helps him hold on to his children. It is not for nothing that during the development of the plot, Nina emphasizes that she is daddy’s daughter. And Vasenka has the same “fine mental organization” as her father.

As at the beginning of the play, in the finale Busygin is again late for the last train. But the day spent in the Sarafanovs’ house teaches the hero a good moral lesson. However, by joining the fight for the fate of Sarafanov Sr., Busygin receives a reward. He finds the family he dreamed of. In a short period of time, people who were completely strangers to him become close and dear. He breaks up with the empty and worthless Silva, who is no longer interesting to him, and finds new true friends.

"Eldest Son"

The play “The Eldest Son” was announced by A.V. Vampilov's genre is comedy. However, only the first picture in it looks comedic, in which two young men, who were late for the train, decide to find a way to spend the night with one of the residents and come to the Sarafanovs’ apartment.

Sarafanov Sr. recognizes Busygina as his son, practically without requiring significant evidence or documents. He gives him a silver snuff box - a family heirloom that passed from generation to generation into the hands of his eldest son.

In the evening, when Nina Kudimov’s fiance comes to the house, Sarafanov raises a toast to his children and utters a wise phrase that reveals his philosophy of life: “...Life is fair and merciful. She makes heroes doubt, and she will always console those who did little, and even those who did nothing but lived with a pure heart.”

The author shows Sarafanov in a deep impasse in life: his wife left, his career did not take place, his children do not need him either. The author of the oratorio “All Men Are Brothers” feels like a completely lonely person in real life. “Yes, I raised cruel egoists. Callous, calculating, ungrateful,” he exclaims, comparing himself to an old sofa that they have long dreamed of throwing away. Sarafanov is already planning to go to Chernigov to visit Busygin’s mother. But suddenly the deception is revealed: having quarreled with a friend, Silva betrays him to imaginary relatives. However, this time the good-natured Sarafanov refuses to believe him. “Whatever it is, I consider you my son,” he says to Busygin. Even after learning the truth, Sarafanov invites him to stay in his house. Nina also changes her mind about leaving for Sakhalin, realizing that Busygin, who lied, is at heart a good, kind person, and Kudimov, who is ready to die for the truth, is cruel and stubborn. At first, Nina even liked his honesty and punctuality, his ability to keep his word. But in reality these qualities do not justify themselves. Kudimov’s straightforwardness becomes not so necessary in life, as it makes the girl’s father grieve for his creative failures and exposes his mental wound. The pilot's desire to prove that he is right turns into a problem that no one needs. After all, the children have long known that Sarafanov does not work at the Philharmonic.

Putting a special meaning into the concept of “brother”, A.V. Pilov emphasizes to you that people should treat each other more carefully, and most importantly, not try to play with other people's feelings.

The happy ending of the play reconciles its central characters. It is symbolic that both the main deceiver and adventurer Silva, and the truth-loving to the core Kudimov leave Sarafanov’s house. This suggests that such extremes are not needed in life. A.V. Vampilov shows that a lie is still sooner or later supplanted by the truth, but sometimes it is necessary to give a person the opportunity to realize this himself, and not bring him to light.

It’s always like this: tragedy with elements of comedy and comedy with elements of tragedy. The creator of “Duck Hunt” did not do anything special, he simply tried to reproduce life as it is in his works. There is not only black and white in it; human existence is filled with halftones. Our task is to talk about this in an article in which an analysis will be made. Vampilov, “Elder Son” - in focus.

It should be noted right away that a brief retelling (it will contain some analytical observations) of Vampilov’s masterpiece is also necessary. This is where we begin.

Failed party for four

It all starts with the fact that two young guys (Vladimir Busygin and Semyon Sevostyanov) in their early 20s saw off the girls and expected a pleasant evening, but the girls turned out to be “not like that,” which they informed their suitors about. Of course, the guys argued a little for show, but there was nothing to be done; the girls’ side is always the key word in a romantic matter. They were left on the outskirts of the city, without shelter, and it was cold outside, the last train had left.

There are two zones in this area: the private sector (there are village-type houses there) and directly opposite - a small stone house (three floors high) with an arch.

The friends decide to split up: one goes to look for an overnight stay in a stone shelter, and the other works in the private sector. Busygin knocks on the house of 25-year-old local court worker Natalya Makarskaya. Some time ago she had a quarrel with 10th-grader Vasenka, who, apparently, had been hopelessly in love with her for a long time. She thought it was the young man who came again, but no. Makarskaya and Busygin argue for some time, but the young man, naturally, does not get an overnight stay with the girl.

Sevostyanov Semyon (Silva) is refused by a resident of the house opposite. Young people find themselves where they were - on the street.

And suddenly they watch as an elderly man - Andrei Grigorievich Sarafanov - a clarinetist who serves in the orchestra, according to the official version, but in fact plays at funerals and dances, knocks on Natasha’s door and asks to give him a few minutes. The young people think that this is a date and decide to break into Sarafanov’s apartment under any pretext; they don’t want to freeze on the street.

Our task is analysis: Vampilov (“The Eldest Son,” his play) is his object, so it should be noted that the characters Busygin and Silva at first seem to be completely superficial, frivolous people, but in the process of developing the plot, one of them changes before the reader’s eyes: he acquires depth of character and even some attractiveness. We'll find out who later.

Keeping the goal in mind, it must also be said that Busygin is fatherless and a medical student, his mother lives in Chelyabinsk with his older brother. What Silva does is completely irrelevant in the context of our plan.

Unexpected addition to the family

The young people are not mistaken: indeed, the door to the Sarafanovs’ apartment remains open, and Vasenka, upset by his recent love failure, is going to run away from home; as it turns out a little later, his goal is the taiga. Sarafanov's daughter (Nina) will leave for Sakhalin today or tomorrow; one of these days she will marry a pilot. In other words, there is discord at home, and its residents have no time for guests, whether they were expected or not, so the newcomers chose the moment well. This will also be useful for us to carry out analysis. Vampilov (“The Eldest Son”) wrote his play meticulously, all the characters perform their parts flawlessly and realistically.

Busygin pretends to know Vasenka’s father and says the following phrase: “We, people, are all brothers.” Silva begins to spin this idea and brings it to the point that Vladimir is Vasenka’s unexpectedly found half-brother. The young man is in shock, Busygin is also slightly stunned by his friend’s agility, well, what can you do, you don’t want to spend the night on the street. They perform this performance in front of the Sarafanovs. As the analysis shows, Vampilov (“The Eldest Son”) began the play with a practical joke. His drama is based on a joke, and the whole play seems to be something like a comedy, but this is only at first glance.

Vasya is looking for something to drink. Young people, including a 10th grader, use. Then Sarafanov appears, and the unlucky mourners hide in the kitchen. Vasya tells his father the whole story of his eldest son. The old man begins to recall out loud the details of the meeting with Vladimir’s possible mother and involuntarily gives the scoundrels all the necessary information, and they greedily hang on every word: the woman’s name, the city (Chernigov), the required age of the eldest son, if he had one.

Then Vladimir appears and answers all his father’s questions correctly. The house is filled with general rejoicing, and the drinking continues, but now Sarafanov Sr. has joined it.

Nina comes out to hear the noise and demands an explanation. At first the girl does not believe her older brother, then she begins to trust him.

Busygin begins to believe in his own game. Character rebirth point

Contact is instantly established between Busygin and the elderly man, and the father opens his whole soul to the prodigal son. They talked all night. From nighttime conversations, Vladimir learns details of the Sarafanovs’ life, for example, the fact that Nina will soon marry a pilot, as well as the mental anguish of the father himself. How hard life was for the family. Impressed by the night conversation, after his father went to bed, Vladimir wakes up Semyon and begs him to leave quickly, but Andrei Grigorievich finds them at the door. He asks his eldest son to accept the family heirloom - a silver snuff box. And then a spiritual revolution happens to Vladimir. Either he felt very sorry for the old man, or for himself, because he did not know his father. Busygin imagined that he was indebted to all these people. He believed that he was related to them. This is a very important point in the study, and the analysis of Vampilov’s play “The Elder Son” moves further.

Love as a unifying force

When the holiday ended, it was necessary to clear the table and generally put the kitchen in order. Two people volunteered to do this - Busygin and Nina. During joint work, which, as we know, unites, love took out its own and pierced the heart of each of the young people. The further narrative only follows from such a significant event. An analysis of Vampilov’s play “The Eldest Son” leads us to this conclusion.

Towards the end of the cleaning, Busygin, for example, allows himself very caustic and caustic remarks about Nina’s husband at five minutes. She doesn’t exactly reject them, but she doesn’t really oppose her brother’s poison either. This suggests that the “relatives” are already on friendly terms with each other, and only strong mutual sympathy can be responsible for the rapid development of trusting relationships in a short time.

The spontaneously arising love between Vladimir and Nina builds the entire subsequent plot and is the force that once again unites the Sarafanov family into a single whole.

Divergence in different areas of Busygin and Sevostyanov

Thus, remembering the newly born love, the reader understands that Vladimir is now not illusory, but truly becoming one of the Sarafanovs. An unexpected guest becomes the nail that prevents family members from losing connections with each other, he connects them, becomes the center. Silva, on the contrary, turns out to be more and more alien to Busygin and the house where they were accidentally brought, so Semyon tries to extract at least something from the current situation and tries to start an affair with Natasha Makarskaya. Vampilov wrote a wonderful play - “The Eldest Son” (analysis and summary continue).

Appearance of the groom

On the day of cleaning the kitchen, a significant event is about to happen: Nina plans to introduce her father to her fiancé, flight school cadet Mikhail Kudimov.

Between morning and evening, a whole chain of events takes place, which is worth mentioning at least briefly: Makarskaya changes her attitude towards Vasenka from anger to mercy and invites him to the cinema. He rushes to buy tickets, not suspecting that Silva is already weaving his web of temptation. He hopes to catch Natasha with it. She readily, naturally, gives in to the lover of women, because Semyon is more suitable for her in age. Silva and Natasha must meet exactly at 22:00. At the same time, the inspired boy takes tickets to a movie show. Natasha refuses to go with him and reveals the secret that Andrei Grigorievich came to her at night to woo Vasyatka.

The fiery young man is in despair, he again runs to pack his backpack in order to leave home in the arms of the taiga. Somehow the characters, in extreme nervous tension, wait for the evening and the arrival of the groom.

The presentation of the parties somehow immediately goes awry. The newly-made older brother and Silva make fun of the cadet, who is not offended, since he “loves funny guys.” Kudimov himself is always afraid of being late for the military dormitory, and in general, bridesmaids are a burden to him.

Here comes the father of the family. Having met Sarafanov, the groom begins to suffer from the fact that he cannot remember where he saw the face of his future father-in-law. The elderly man, in turn, says that he is an artist, so, probably, the pilot saw his face either at the Philharmonic Society or at the theater, but he brushes it all aside. And suddenly, like a bolt from the blue, the cadet says: “I remember, I saw you at the funeral!” Sarafanov is forced to admit that yes, indeed, he has not been working in the orchestra for 6 months.

After the secret was revealed, which was no longer a secret to anyone, since the children had long been in the know, another scandal breaks out: Vasya leaves the house screaming and moaning, determined to finally get to the taiga. The groom also, having seen enough, hurries to return to the military hostel before it closes. Silva goes to the cinema. The father of the family becomes hysterical: he also wants to go somewhere. Busygin and Nina calm him down, and the musician gives in. All this is very important, as it directly relates to the climax. Vampilov did everything masterfully. “The Eldest Son” (we present an analysis of the work) continues.

Catharsis

Vladimir then confesses to Nina that he is not her brother and, even worse, he loves her. At this moment, probably, according to the author’s plan, catharsis should happen to the reader, but this is not quite a denouement. On top of everything else, Vasyatka runs into the apartment and admits that he set fire to Makarska’s apartment just at the time when she was there with Silva. The latter's trousers became unusable due to the boy's hooligan behavior. To complete the picture, the unfortunate father came out of his room with a suitcase, ready to go to Chernigov to visit Vladimir’s mother.

Fed up with the performance and in the wake of disappointment from the ruined clothes, Semyon pawns Busygin and says that Vladimir is as much Sarafanov’s son as he is his niece, and leaves.

Sarafanov does not want to believe and claims the opposite. Moreover, he even invites Volodya to move from the student dormitory to them. In the intricacy of all these events, Busygin discovers that he was again late for the train. Everyone laughs. Everyone is happy. This is how the play written by Alexander Vampilov ends. “The Eldest Son” (the analysis also shows this) is an extremely difficult and controversial work to evaluate. It remains for us to draw some conclusions.

A family at a standstill

Now that we know the whole story, we can reflect on who the “eldest son” was in this whole story.

Obviously, the family was falling apart: the father lost his job and started drinking. The walls of loneliness began to converge, he was in despair. The daughter was tired of dragging the whole family along (she was forced to work, which is why she looked older than her 19 years), it seemed to her that leaving for Sakhalin as the wife of a military pilot was a wonderful way out. Still better than such a life. Vasenka also looked for a way out and couldn’t find it, so he decided to go into the taiga, since he didn’t succeed in getting with a more experienced woman (Natasha Makarskaya).

During a night conversation, when the father dedicated his son to the details of his life and the details of his family’s life, he very accurately described the situation; it could be fit into one phrase: “Everyone is running, anticipating a huge tragedy looming over them.” Only Andrei Grigorievich has nowhere to run.

Busygin as a savior

The older brother came just when everyone needed him. Vladimir restored the balance and harmony of the family. Their love with Nina filled the empty reservoirs of family grace, and no one wanted to run anywhere.

The father felt that he had a son, an eldest son, on whom he could rely. Nina realized that it was not necessary to go to the island, and her brother was able to overcome his painful attachment to a girl much older than himself. Naturally, Vasya’s love for Natasha concealed a global longing for his mother, a sense of security and comfort.

The only character in the play who remains an absolute loser is Silva, since all the other main characters have formed some kind of inner circle. Only Semyon was excluded from it.

Of course, Vladimir Busygin also won in the end: he had the father he had dreamed of since childhood. In other words, the play ends with a scene of general family harmony. This is where I would like to end my brief analysis. “The Eldest Son” was written brilliantly by Vampilov, and it is not only wonderful, but also a deep work that poses serious questions to the reader.

Literature lesson in 10th grade based on the play by A.V. Vampilov "Elder Son"

1.Acquaintance with the biography of A.V. Vampilova.

2. Analysis of the play by A.V. Vampilov "The Eldest Son".

To interest students in the personality of A.V. Vampilova.
Encourage students to seriously think about the meaning of life, about the purpose of man on earth, about responsibility for their deeds and actions.
Develop the ability to think and empathize.

Decor:

Exhibition of books with works by A.V. Vampilov, books about Vampilov.
Portrait of A.V. Vampilova, Illustrations for
Fragments from the feature film "The Eldest Son".
Presentation about the life and work of A. Vampilov

Preparatory work:

Read the play by A.V. Vampilov "The Eldest Son".
Think over answers to questions, support with excerpts from the work
Questions for analyzing the play “The Eldest Son”

What is the plot of the play?
Who are its main characters? Secondary?
Who can be classified as off-stage characters?
Reveal the meaning of the names of the play (“Moral teaching with a guitar”, “Suburb”, “Elder1 son”) Which of them is the most successful?
What collision is the play based on?
What can you tell us about the members of the Sarafanov family?
What does their comparison give us to understand the images of Busygin and Silva?
How do you feel about Nina Kudimov’s fiance?
What is the role of Makarska, the neighbor, in the play?
What are the problems and the main idea of the play?
What genre can we classify the play into and why?
How is the work constructed? What was the author's position?
We read the last page and closed the book. What would you say to your friends about this play?

Individual tasks

a) find material related to Vampilov’s biography, read

b) learn the poem by P. Reutsky “Remember me cheerfully”

Alexander Vampilov, cast in bronze, stands in Irkutsk on a low pedestal next to the drama theater. It was no coincidence that the author of the sculpture, Mikhail Pereyaslavets, placed the monument almost on the sidewalk. Every day Irkutsk residents scurry past, and

Vampilov is alive, still young, handsome, as if flowing into this talkative stream. Fate has given him only 35 years, and even then it has not given him a full count of two days. On Thursday, August 17, 1972, he died on Lake Baikal, ten meters short of swimming to Listvyanka.

Student: (reading by heart the poem by P. Reutsky “Remember me cheerfully”)

Remember me cheerfully

In a word, the way I was.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

I don’t want her to remember me sad.

I'll go under the wind boom.

Only songs full of sadness,

I value it more than everyone else.

I walked the earth in joy.

I loved her like God

And no one to me in this smallness

I couldn’t refuse anymore...

Everything that is mine will remain with me,

Both with me and on earth

Someone's heart is hurting

In my native village.

Will there be springs, will there be winters,

Sing my song.

Just me, my loved ones,

I won't sing with you anymore.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

Remember me cheerfully

In a word, the way I was.

Close friends, including writers Valentin Rasputin and Vyacheslav Shugaev, affectionately called him Sanya.

From this name the pseudonym A. Sanin was formed, with which the writer signed his first book “Coincidence of Circumstances”.

He reads the beginning of the story: “A chance, a trifle, a coincidence of circumstances sometimes become the most dramatic moments in a person’s life.” Vampilov developed this idea in his plays.

Student: (continues the story)

Alexander Valentinovich Vampilov Born in 1937 in the village of Kutulik, Irkutsk region, into a teacher’s family. In my youth I read N.V. Gogol and V.G. Belinsky, loved to quietly play on the guitar the melody of Yakovlev’s romance to the words of A. Delvig “When I had not yet drunk tears from the cup of existence...”

(Romance sounds)

He loved fishing and hunting.

After graduating from school, he studied at the Faculty of History and Philology of Irkutsk University, and since 1960 he worked in the editorial office of the regional newspaper “Soviet Youth”.

He became interested in dramaturgy and began writing plays.

In 1965, A. Vampilov brought to Moscow, to the Sovremennik Theater, and offered O. N. Efremov the play “Moral Teaching with a Guitar”, which was then called “The Suburb”, and in 1972 - “The Elder Son”.

During the life of A.V. Vampilov produced only two plays - “Farewell in June” (1966) and “The Eldest Son” (1968). “Duck Hunt” (1970), “Provincial Anecdotes” (1970), “Last Summer in Chulimsk” (1972). These plays saw the light of day and were staged on stage after the death of the playwright.

“It was cloudy, but dry and quiet when we carried him in our arms to the theater building, where the cars were waiting,” recalled V. Shugaev. “We refused the orchestra, remembering Sasha’s sad smile with which he wrote Sarafanov, the musician from “The Elder Son,” playing at the funeral.”

A, V. Vampilov was buried in Irkutsk.

We heard a short story about the life of A. Vampilov. And now…

The teacher announces the topic and purpose of the lesson. Students write in a notebook: Alexander Valentinovich Vampilov (1937-1972).

They remember what is called an epigraph. Writing in a notebook.

As an epigraph to the words of V.G. Rasputin: “The traditional principles of Russian literature are well known, they still remain its continuation: preaching goodness, conscientiousness, a heightened sense of truth, righteousness and hope”

And the young playwright was concerned about moral problems.

What is morality?

Morality - rules that determine human behavior; spiritual and mental qualities necessary for a person in society, as well as the implementation of these rules, human behavior.

A moral person is a deeply conscientious person.

What is conscience?

Conscience is the ability to distinguish between good and evil, to give a moral assessment of one’s actions.

Conscience condemns a person if he acts immorally, contrary to the demands of conscience.

And now we will talk with you about the issues that were proposed in advance.

(Each student has cards with questions for analyzing the play “The Eldest Son”)

Working with the word.

During the conversation, students remember what a plot is? moralizing? suburb? collisions?

Moral teaching - teaching, instilling moral rules.

Suburb is a village directly adjacent to the city, but not within its boundaries.

Collision. A clash of some opposing forces, interests, aspirations.

During the conversation, students noted: (1-3 questions)

The plot of the play is simple. Two young men - medical student Volodya Busygin and a trade agent nicknamed Silva (Semena Sevostyanova) - were brought together by chance at a dance. They accompany two girls home who live on the outskirts of the city and are late for the last train. We had to look for accommodation for the night. The young men call the Sarafanovs’ apartment. Here, the resourceful Silva came up with the idea of calling Busygin the eldest son of Andrei Grigorievich, allegedly born to a woman with whom fate accidentally brought the hero together at the end of the war. Busygin does not reject this fiction. The entire Sarafanov family takes him for a son and older brother.

The fate of the head of the Sarafanov family did not work out: his wife left, things weren’t going well at work; he had to leave his position as an actor-musician and work part-time in an orchestra playing at funerals. Things are not going well with the children either. Sarafanov's son Vasenka, a tenth-grader, is in love with his neighbor Natasha Makarskaya, who is ten years older than him and treats him like a child. Daughter Nina is going to marry a military pilot, whom she does not love, but considers a worthy couple, and wants to go with him to Sakhalin.

Andrei Grigorievich is lonely and therefore becomes attached to his “eldest son.” And he, who grew up in an orphanage, is also drawn to the kind, nice, but unhappy Sarafanov, and besides, he also likes Nina. The end of the play is prosperous. Volodya honestly admits that he is not Sarafanov’s son, Nina does not marry someone she doesn’t love. Vassenka manages to persuade him not to run away from home. The “eldest son” becomes a frequent guest of this family.

4).According to the students, the title of the play “The Eldest Son” is the most successful, since its main character, Volodya Busygin, fully justified the role he took on. He helped Nina and Vasenka understand how much their father, who raised them both without a mother who abandoned the family, meant to them.

5-6) One can feel the gentle character of the head of the Sarafanov family. He takes everything to heart: he is ashamed of his position in front of the children, hides the fact that he left the theater, recognizes his “eldest son,” tries to calm Vasenka down and understand Nina.

The students conclude that he cannot be called a loser, since at the very peak of his mental crisis, Sarafanov survived when others broke. Sarafanov values his children.

Comparing the elder Sarafanov with Nina and Vasenka, the guys noticed that the children were callous towards their father. Vasenka is so carried away by his first love that he does not notice anyone except Makarska. But his feeling is selfish. It is no coincidence that in the finale, having become jealous of Natasha and Silva, he starts a fire without being tormented by his conscience for what he has done. There is little truly masculine in the character of this young man - this is the conclusion the students come to.

In Nina, an intelligent, beautiful girl, the guys noted practicality and prudence, manifested, for example, in choosing a groom. But these qualities were the main ones in her until she fell in love.

7) Busygin and Silva. When they find themselves in special circumstances, they manifest themselves in different ways. Volodya Busygin loves people. He is conscientious, responsive to the misfortune of others, which is obviously why he acts decently. Silva, like Volodya, is essentially also an orphan: he was raised in a boarding school by his surviving parents. Apparently, his father’s dislike was reflected in his character. It was no coincidence that Vampilov made the origins of the heroes’ destinies similar. With this, he wanted to emphasize how important a person’s own choice is, independent of circumstances. Unlike the orphan Volodya, the “orphan” Silva is cheerful, resourceful, but cynical. His true face is revealed when he “exposes” Volodya, declaring that he is not a son or a brother, but a repeat offender.

8) The students noted the “impenetrable soul” of Mikhail Kudimov, Nina’s fiancé. You meet such people in life, but you don’t immediately understand them. He is indifferent to people. This character occupies an insignificant place in the play, but he represents a clearly defined type of “right people” who create around themselves an atmosphere that suffocates all life in a person.

9) The author deepens the theme of loneliness in the play, which can bring a person to the brink of despair. (Natasha Makarskaya). In the image of the neighbor, according to the guys, the type of cautious person, an ordinary person who is afraid of everything, is deduced.

10) The issues and the main idea of the play are to be able to listen, understand each other, support in difficult times of life, and show mercy. To be related in spirit is more than by birth.

11) Students noticed that the author does not define the genre of the play. Classifying it as a comedy, many noticed that, along with comic ones, the play has many dramatic moments, especially in the subtext of the characters’ statements (Sarafanov, Silva, Makarskaya).

Teacher: Summing up the discussion of the play, I turned to the statement of V.G. Rasputin about Vampilov’s dramatic work: “It seems the main question that Vampilov constantly asks: will you, a man, remain a man? Will you be able to overcome all the false and unkind things that are prepared for you in many everyday trials where the opposites have become difficult to distinguish - love and betrayal, passion and indifference, sincerity and falsehood, good and enslavement ... "

Bibliography:

Vampilov A.V. Dramatic heritage. Plays. Editions and variants of different years. Skits and monologues. - Irkutsk, 2002.

Vampilov A.V. Duck hunting. Plays. - Irkutsk, 1987.

Alexander Vampilov in memories and photographs. - Irkutsk, 1999.

Play by A.V. Vampilov "The Eldest Son". Materials for the extracurricular reading lesson.//Russian language and literature, No. 3, 1991.-p.62

Literature lesson in 10th grade based on the play by A.V. Vampilov "Elder Son"

Subject:

1.Acquaintance with the biography of A.V. Vampilova.

2. Analysis of the play by A.V. Vampilov "The Eldest Son".

Target:

To interest students in the personality of A.V. Vampilova.
Encourage students to seriously think about the meaning of life, about the purpose of man on earth, about responsibility for their deeds and actions.
Develop the ability to think and empathize.

Decor:

Exhibition of books with works by A.V. Vampilov, books about Vampilov.
Portrait of A.V. Vampilova, Illustrations for
Fragments from the feature film "The Eldest Son".
Presentation about the life and work of A. Vampilov

Preparatory work:

Read the play by A.V. Vampilov "The Eldest Son".
Think over answers to questions, support with excerpts from the work
Questions for analyzing the play “The Eldest Son”

What is the plot of the play?
Who are its main characters? Secondary?
Who can be classified as off-stage characters?
Reveal the meaning of the names of the play (“Moral teaching with a guitar”, “Suburb”, “Elder1 son”) Which of them is the most successful?
What collision is the play based on?
What can you tell us about the members of the Sarafanov family?
What does their comparison give us to understand the images of Busygin and Silva?
How do you feel about Nina Kudimov’s fiance?
What is the role of Makarska, the neighbor, in the play?
What are the problems and the main idea of the play?
What genre can we classify the play into and why?
How is the work constructed? What was the author's position?
We read the last page and closed the book. What would you say to your friends about this play?

Individual tasks

a) find material related to Vampilov’s biography, read

b) learn the poem by P. Reutsky “Remember me cheerfully”

Teacher:

Student: (reading by heart the poem by P. Reutsky “Remember me cheerfully”)

Remember me cheerfully

In a word, the way I was.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

I don’t want her to remember me sad.

I'll go under the wind boom.

Only songs full of sadness,

I value it more than everyone else.

I walked the earth in joy.

I loved her like God

And no one to me in this smallness

I couldn’t refuse anymore...

Everything that is mine will remain with me,

Both with me and on earth

Someone's heart is hurting

In my native village.

Will there be springs, will there be winters,

Sing my song.

Just me, my loved ones,

I won't sing with you anymore.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

Remember me cheerfully

In a word, the way I was.

Teacher:

Close friends, including writers Valentin Rasputin and Vyacheslav Shugaev, affectionately called him Sanya.

From this name the pseudonym A. Sanin was formed, with which the writer signed his first book “Coincidence of Circumstances”.

Pupil:

Student: (continues the story)

(Romance sounds)

He loved fishing and hunting.

After graduating from school, he studied at the Faculty of History and Philology of Irkutsk University, and since 1960 he worked in the editorial office of the regional newspaper “Soviet Youth”.

Pupil:

He became interested in dramaturgy and began writing plays.

Student:

A, V. Vampilov was buried in Irkutsk.

Teacher:

We heard a short story about the life of A. Vampilov. And now…

The teacher announces the topic and purpose of the lesson. Students write in a notebook: Alexander Valentinovich Vampilov (1937-1972).

They remember what is called an epigraph. Writing in a notebook.

And the young playwright was concerned about moral problems.

What is morality?

Morality - rules that determine human behavior; spiritual and mental qualities necessary for a person in society, as well as the implementation of these rules, human behavior.

A moral person is a deeply conscientious person.

What is conscience?

Conscience is the ability to distinguish between good and evil, to give a moral assessment of one’s actions.

Conscience condemns a person if he acts immorally, contrary to the demands of conscience.

Teacher:

And now we will talk with you about the issues that were proposed in advance.

(Each student has cards with questions for analyzing the play “The Eldest Son”)

Working with the word.

During the conversation, students remember what a plot is? moralizing? suburb? collisions?

Fable - the content of a literary work, the events depicted in it.

Moral teaching - teaching, instilling moral rules.

Suburb is a village directly adjacent to the city, but not within its boundaries.

Collision. A clash of some opposing forces, interests, aspirations.

During the conversation, students noted: (1-3 questions)

The students conclude that he cannot be called a loser, since at the very peak of his mental crisis, Sarafanov survived when others broke. Sarafanov values his children.

In Nina, an intelligent, beautiful girl, the guys noted practicality and prudence, manifested, for example, in choosing a groom. But these qualities were the main ones in her until she fell in love.

10) The issues and the main idea of the play are to be able to listen, understand each other, support in difficult times of life, and show mercy. To be related in spirit is more than by birth.

How does the author relate to his main characters? What affirms in a person and what denies in him?

Bibliography:

Vampilov A.V. Dramatic heritage. Plays. Editions and variants of different years. Skits and monologues. - Irkutsk, 2002.

Vampilov A.V. Duck hunting. Plays. - Irkutsk, 1987.

Alexander Vampilov in memories and photographs. - Irkutsk, 1999.

Play by A.V. Vampilov "The Eldest Son". Materials for the extracurricular reading lesson.//Russian language and literature, No. 3, 1991.-p.62

The relationship between “fathers and children” is a special page in the history of mankind. And these relationships are often difficult and dramatic. They require wisdom, patience, spiritual generosity, generosity, and love from both generations. And paternal feelings sometimes extend not only to their own children, but also to other people who are close in spirit and in destiny. This motif is heard in A. Vampilov’s play “The Eldest Son”.

This work of criticism was compared with a philosophical parable. The main theme of the play is the theme of home, family, spiritual closeness of people. The main character is student Busygin. This is an intelligent, subtle person, a good psychologist. An accident becomes a kind of test of the hero’s decency, sensitivity, and moral guidelines. Vampilov’s plot grows out of an ordinary situation: in a cafe Busygin meets Semyon Savostyanov, nicknamed Silva. After walking with the girls, they went to see them off and late in the evening they found themselves outside the city. The last train had already left; they had nowhere to spend the night. And the friends decide to take an adventure. Once in the apartment of the musician Sarafanov, Busygin pretends to be the owner’s eldest son. He hints at Sarafanov's casual relationship during the war. And the simple-minded musician accepts him into his own family, without requiring any documentary evidence of this relationship. This situation is very important for clarifying the characters’ characters, indicating the complexity of relationships in the Sarafanov family, and presenting their life values. As the researchers noted, “the mere invasion of Busygin and Silva into the unfamiliar world of intimate family relationships does not lead to the emergence of a conflict - it is important for the playwright rather as a conditional device that allows these two characters to witness complex intra-family conflicts.”

As the action develops, it turns out that his wife left Sarafanov, his children have grown up, each of them has their own life: daughter Nina is getting married, dreams of leaving with her husband for Sakhalin, and the youngest, Vasenka, is experiencing unhappy love. The hero was fired from the Philharmonic long ago, his career did not take off. In fact, Sarafanov is depicted in a situation of a life impasse. Here the motive of the hero’s loneliness arises. At the same time, he is a subtle, sensitive person: he writes music, tries to help his children, and gives his “eldest son” a family heirloom - a silver snuff box.

As the action progresses, the characters of Busygin and Silva are revealed. From the very first scenes, Savostyanov appears as a complete cynic. Silva and Kudimov are contrasted with all the other characters in the play. Having quickly adjusted to the new situation, Silva begins to care for Nina. At first, Busygin also approaches the position of a new friend. “People have thick skin, and it’s not that easy to break through. You have to lie properly, only then will they believe you and sympathize with you.” And already this remark reveals the spiritual inconsistency and ambiguity of the hero - a certain cynicism is combined in him with disappointment in people, with a longing for sympathy and compassion. Having presented Sarafanov with the “legend of his eldest son,” Busygin at first does not think about the possible dramatic consequences of his action. However, he suddenly realizes the cruelty of what is happening and begins to experience mental discomfort.

Having gotten to know everyone better, Busygin develops sympathy for this family. And he organically “enters” it. The spiritual kinship of the characters is indicated in the scene with Nina’s fiancé, Kudimov. This hero embodies in the play the soldier's straightforwardness, mechanicalness, and primitive perception of life. Dismissed from the Philharmonic, Sarafanov plays at dances and funerals. Children, sparing their father’s pride, hide this situation from others and keep silent about it.

Kudimov notes that he saw Sarafanov in the funeral orchestra, once again reminding the hero of his professional failure. Thus, Vampilov’s “love of truth” turns into not only tactlessness, but also cruelty. In the same scene, words are heard that reveal Sarafanov’s spiritual essence: “...Life is fair and merciful. She makes heroes doubt, and she will always console those who did little, and even those who did nothing but lived with a pure heart.”

The main idea of the play is the affirmation of the genuine, spiritual kinship of people, independent of family ties and based on the unity of their moral principles, the unity of their life philosophy. As the researchers noted, “Vampilov consistently brings the movement of the comically acute situation of “The Elder Son” to the limit when it should turn into a dramatic one, but then confidently and easily removes the drama, based not only on the requirements of the chosen genre.” In the finale, Busygin admits to his own lies. However, for Sarafanov Sr., this deception does not have much significance, so the exposure of the hero leads not to a tragic, but to a happy ending, which is natural within the confines of a lyrical comedy. Busygin's frivolity and lies are not the result of the hero's immorality, but rather a consequence of his youth and, perhaps, longing for a real family. And he finds this family he dreamed of.

Thus, the spiritual kinship of people is determined not by blood relationship, but by a common worldview, outlook on life, and attitude towards people.

teacher of Russian language and literature,

MBOU Khadakhan Secondary School,

With. Khadakhan, Nukutsky district

Irkutsk region

e-mail:

VAMPILOV, FAMILIAR AND STRANGER, BUT TODAY, ALIVE.

You need to write about

what keeps me awake at night.”

A. Vampilov

The purpose of the literature lesson in 11th grade:

introduce students to the life and work of A. Vampilov.

R develop the skills of analyzing literary text, speech and thinking of students.

understand the moral issues of the play “The Eldest Son”;

cultivate moral ideals.

Equipment:

Portrait of the playwright, exhibition of books with the works of A. V. Vampilov, electronic presentation.

During the classes:

The teacher's introductory speech about the playwright A. Vampilov :

VAMPILOV, ALEXANDER VALENTINOVICH

(1937–1972),

Russian playwright, prose writer, publicist.

On August 17, 1972, on Lake Baikal, the boat in which A. Vampilov was, at full speed, encountered a driftwood log and began to sink. The water, cooled to five degrees by a recent storm, the heavy jacket... He almost swam... But his heart could not stand it a few meters from the shore...
“I think that after the death of the Vologda poet Nikolai Rubtsov, literary Russia did not have a more irreparable and absurd loss than the death of Alexander Vampilov. Both of them were young, talented, had an amazing gift to feel, understand and be able to express the most subtle and therefore unknown to many movements and desires of the human soul,” V. Rasputin wrote with bitterness and pain.

Today we will talk about Russian drama of the twentieth century. We will talk about the work of a writer whose anniversary date, whose name is given to an entire era of Russian drama – the Vampilov drama.

And where did it all begin? From childhood and adolescence.

2. Student's message about Vampilov

Alexander Valentinovich Vampilov was born on August 19, 1937 into a family of hereditary teachers in the village of Kutulik, Irkutsk region.Subsequently, the writer will say about his small homeland: “Wooden, dusty, with vegetable gardens, with a herd of private cows, but with a hotel, police and a stadium. Kutulik lagged behind the village, but did not stick to the city either. In short, a regional center from head to toe. A regional center, similar to all regional centers in Russia, but still one and only one in all of Russia.”

Father, Valentin Nikitovich Vampilov, is a Buryat, from a clan of lamas, a teacher of Russian language and literature, director of the Kutulik secondary school. Mother, Kopylova Anastasia Prokopyevna, Russian, from a priest’s family, mathematics teacher, head teacher of the school. V. G. Rasputin dedicated his story “French Lessons” to her.

The moral values ingrained in both families fostered in him all the best traits of an intellectual and a decent person.

“Dear Tasya! - Vampilov’s father turns to his wife in anticipation of his birth... - I’m sure everything will be fine. And there will probably be a robber son, and I’m afraid that he might not be a writer, since I see writers in my dreams.
The first time, when you and I were getting ready on the night of departure, I was looking for fractions in a dream with Lev Nikolaevich Tolstoy himself, and we found...”

August 19, 1937: “Well done, Tasya, she finally gave birth to a son. My premonition was justified... son. No matter how I justified the second... I, you know, have prophetic dreams.”

The dreams really turned out to be prophetic.

The year of Vampilov’s birth was the year of the 100th anniversary of the death of Pushkin, in whose honor he was named Alexander. But in my father’s prophetic dreams there was not only light. According to popular wisdom, a shot means tears: they shed in the same year - V. Vampilov was repressed, and in 1938 he was shot.

A. Vampilov’s childhood, judging by the memories of his mother and peers, was ordinary - a typical regional center post-war childhood: school, hiking, throwing in all directions at once: sports, tomorrow - school theater, the day after tomorrow - music and books, and all without fail with fervor.

He didn’t get in right away: he didn’t pass the German language test. I studied the language at home with a teacher.

He entered the university at the Faculty of History and Philology and started theater from his first year. His sketches and sketches, sometimes written directly at lectures, are readily published by the university's large circulation and the Irkutsk newspaper "Soviet Youth".

Soon after graduating from university, Vampilov published the book “Coincidence of Circumstances” under the pseudonym A. Sanin. He worked as a journalist and headed the working youth department. FinishedHigher literary courses in Moscow.

A. Vampilov’s main passion was theater, and in literature - drama. He died at the age of 35, having never seen a single one of his plays on the capital’s stage, and during his lifetime he published only a small collection of stories.

Valentin Rasputin, who had been friends with him since his student years, said: “In poetry, Nikolai Rubtsov, in prose, Vasily Shukshin, in drama, Alexander Vampilov... - it seems that Russian literature lost its very soul and very hope almost simultaneously with these names...”

What struck you in the writer’s biography?

We will now find out how his worldview was reflected in his work.

3. Lecture by the teacher “The originality of Vampilov’s dramaturgy”:

As a playwright, Vampilov began with one-act joke plays: “Angel” (later - “Twenty Minutes with an Angel”, 1962), “Crow Grove” (1963), “House with Windows in a Field” (1964), etc. By 1972. all the main plays that created the Vampilov Theater were written: “Fair” (1964; later renamed by cultural officials as “Farewell in June”), “Elder Son”, “Duck Hunt” (both 1967); “The Story with the Page” (1968) is combined with the early joke “Twenty Minutes with an Angel” into a tragicomic performance in 2 parts “Provincial Jokes” (1970); “Last summer in Chulimsk” (1972). The vaudeville “The Incomparable Tips” (1972) has not been completed.

Vampilov brought into dramaturgy a strange hero, a hero of extremes, weak and strong at the same time, a familiar stranger, and discovered the character of a spiritual wanderer, a man with a split consciousness, a suffering personality, a repentant sinner, traditional for Russian classical literature.

Vampilov rehabilitated forgotten genres in drama - vaudeville and farce (“Twenty Minutes with an Angel”, “The Incomparable Tips”); genres of high satire - tragifarce and tragicomedy ("The Story with the Master Page", "The Eldest Son"); returned to Russian drama its cathartic meaning (“Duck Hunt”, “Last Summer in Chulimsk”). In his plays, the conflict between good and evil is freed from purely everyday straightforwardness.

Each of Vampilov’s dramas has its own history of creation, stage biography. At the same time, the works complement and clarify each other, creating two large dramatic cycles - satirical and tragic, giving Vampilov's dramaturgy integrity and organic artistic completeness. In different plays, the author examines different options for the hero’s behavior and the motives for his actions. The heroes of one play become secondary in the next. The secondary ones come to the fore and, turning into the main ones, again demand in Vampilov’s dramas the extension of their lives.

The moral quest of the hero, starting in the early play, continues in the next and ends quite unexpectedly in the story described by the author later. The internal kinship of the plays is thought out and organized. For example, an ordinary chance date turns into a date with death in Vampilov's plays. This is the main crisis moment - the hero’s recognition of himself, the discovery of his true face. Playful pranks lead to serious consequences. The device of fiction, imaginary fact (“Twenty minutes with an angel” - there is no angel; “The story with a master page” - there is no master page; “Duck hunting” - there is no duck hunting, etc.) connects Vampilov’s plays with an atmosphere of conventionality of what is happening.

The cyclical nature is emphasized by the dialogical endings of the plays, unusual for Soviet drama. The end of the previous play in Vampilov’s dramaturgy gives rise to the beginning of the next one. The mysteries of its endings are unraveled in subsequent plays.

We can say that his dramaturgy is divided into 2 stages.

The first stage is pedagogical, i.e. the author grows with his hero. In this period, A. Vampilov relies on the inexhaustible forces of youth “a person must walk the earth proudly and easily,” therefore, optimism is inherent in his works.

The conflict is two-pronged:

youth - on the one hand;

the wisdom of the fathers is on the other hand.

Humor serves the purpose of resurrecting a person; behind a frivolous look at things, a deep form of knowledge of reality is revealed.

Heroes are able to draw conclusions based on internal spiritual values, so the author easily and naturally leads the heroes to proper actions that meet the highest human interests.

The second stage: the new hero, resisting the author, contrasts his ideal situation with his own, real one, in which there is no place for selfless love for one’s neighbor, good for the sake of good. Consequently, the author’s position is that of an honest artist, therefore the main mood of the work is sadness, which permeates all the plays of stage II.

Together with Vampilov, sincerity and kindness came to the theater - ancient feelings, like bread, and, like bread, necessary for our existence and for art.

What features of the writer’s creativity can you name?

Now let’s analyze the playwright’s work using the information obtained.

4. Analytical conversation on the play “The Eldest Son”:

This comedy is light and sad; What are the distinguishing features of the Eldest Son play genre?

What is special about the play's character system?

(This is a dramatic work, a conflict between two groups of heroes: normal and abnormal).

Which characters in the play can you classify as normal and abnormal?

Support your answer with lines from the text.

What age group does Sarafanov belong to?

How does he treat children?

How does he receive the news of the existence of his eldest son?

Busygin. Who is this young man?

How does he feel about his lie about being his son?

Why can’t he be indifferent to the Sarafanov family?

(Busygin took upon himself the problem of someone else’s family and, from a moral point of view, helps revive the family).

What are the similarities and differences with Silva?

(These heroes have the same destinies, but the spiritual world is different).

How do Nina and Vasya feel about their father, and why?

How do they accept "big brother"?

Kudimov, Makarskaya, Silva. What can you say about these people?

What do they have in common?

What happens to these people in the end? Have they changed?

Understanding the theme, the idea of conflict.

The first title, “The Suburb,” indicates the place where the action takes place. Why did the author change the title?

(Understanding what is happening in the play is very important).

What problems are being solved?

(Problems of trust, mutual understanding, kindness, responsibility).

What is the duality of the play?

How is the issue of truth addressed in the play? Compare with the question of truth in M. Gorky’s play “At the Depths”.

Why do the heroes of the play “The Eldest Son” lie? Is there any justification for this lie? Is the truth always needed?

What is the theme, idea of the work?

(The hero’s internal conflict due to the impossibility of achieving harmony between the ideal and reality).

Why do you think the play is called that?

The ending of the play is optimistic. Do you think this could happen in real life?

How do you think the fate of the heroes will develop in the future?

5.Final words from the teacher:

The spiritual kinship of people turns out to be more reliable and stronger than formal relationships. Behind the external bravado and cynicism of young people, an unexpected ability for love, forgiveness, and compassion is revealed. Thus, from a private everyday story, the play rises to universal humanistic problems. And the paradox is that people become family and begin to feel responsible for each other. Everything is on his shoulders: hope, the future of the family, and Busygin, the eldest son, is worthy of the honor, the moral basis of the “father,” therefore, he revived the family.

Vampilov's play teaches us to be kinder, to love, to respect our parents. No matter how your life turns out, no matter what, try to remain human.

Let us remember the words of Andrei Grigorievich Sarafanov: “Every person is born a creator, each in his own business, and each, to the best of his strength and ability, must create so that the best that was in him remains after him.”

6. Reflection:

What did the play make you think about? What did you take away from this lesson?

7. Differentiated homework:

1. Write a description of the character you like.

2. Write a review of the film “The Eldest Son”, comparing it with the play by A. Vampilov.

Literature:

Vampilov A. I'm with you, people! - M., 1988. - P. 413.

Russian writers of the 20th century: Biographical dictionary. - M.: Great Russian Encyclopedia; Rendezvous - A. M., 2000. - P. 133.