The value of Ostrovsky's creativity. What is the meaning of creativity A
What is the significance of the work of A. N. Ostrovsky in world drama.
- The significance of A. N. Ostrovsky for the development of domestic drama and the stage, his role in the achievements of all Russian culture are undeniable and enormous. He has done as much for Russia as Shakespeare did for England or Molière for France.
Ostrovsky wrote 47 original plays (not counting the second editions of Kozma Minin and Voevoda and seven plays in collaboration with S. A. Gedeonov (Vasilisa Melentyeva), N. Ya. Solovyov (Happy Day, Belugin's Marriage, Savage, Shines, but does not warm) and P. M. Nevezhin (A whim, the Old in a new way)... In the words of Ostrovsky himself, this is a whole folk theater.
But the dramaturgy of Ostrovsky is purely Russian phenomenon although his work
undoubtedly influenced the dramaturgy and theater of the fraternal peoples,
belonging to the USSR. His plays have been translated and staged in
stages of Ukraine, Belarus, Armenia, Georgia, etc.Ostrovsky's plays gained admirers abroad. His plays are staged
in the theaters of the former people's democratic countries, especially on the stages
Slavic states(Bulgaria, Czechoslovakia).
After the Second World War, the plays of the playwright increasingly attracted the attention of publishers and theaters in the capitalist countries.
Here, first of all, they became interested in the plays Thunderstorm, For every wise man there is enough simplicity, Forest, Snow Maiden, Wolves and sheep, Dowry.
But such popularity and such recognition as Shakespeare or Moliere, Russian
playwright in world culture did not win. - Everything that the great playwright described has not been eradicated to this day.
The playwright almost did not put in his work political and philosophical problems, facial expressions and gestures, through playing with the details of their costumes and household furnishings. To enhance the comic effects, the playwright usually introduced minor persons into the plot - relatives, servants, accustomers, random passers-by - and side circumstances of everyday life. Such, for example, are Khlynov’s retinue and the gentleman with a mustache in The Hot Heart, or Apollo Murzavetsky with his Tamerlane in the comedy Wolves and Sheep, or the actor Schastlivtsev under Neschastlivtsev and Paratov in The Forest and The Dowry, etc. The playwright, as before, sought to reveal the characters' characters not only in the very course of events, but to no lesser extent also through the peculiarities of their everyday dialogues - "characterological" dialogues, aesthetically mastered by him in "His People ...".
Thus, in the new period of creativity, Ostrovsky acts as an established master with a complete system of dramatic art. His fame, his social and theatrical connections continue to grow and become more complex. The sheer abundance of plays created in new period, was the result of an ever-increasing demand for Ostrovsky's plays from magazines and theaters. During these years, the playwright not only worked tirelessly himself, but found the strength to help less gifted and novice writers, and sometimes actively participate with them in their work. So, in creative collaboration with Ostrovsky, a number of plays by N. Solovyov were written (the best of them are “The Marriage of Belugin” and “Wild Woman”), as well as P. Nevezhin.
Constantly contributing to the staging of his plays on the stages of the Moscow Maly and St. Petersburg Alexandria theaters, Ostrovsky knew well the state of theatrical affairs, which are mainly under the jurisdiction of the bureaucratic state apparatus, and was bitterly aware of their glaring shortcomings. He saw that he did not portray the noble and bourgeois raznochintsy intelligentsia in its ideological quest, as did Herzen, Turgenev, and partly Goncharov. In his plays, he showed the everyday social life of ordinary representatives of the merchant class, bureaucracy, the nobility, a life where personal, in particular love, conflicts manifested clashes of family, monetary, property interests.
But Ostrovsky's ideological and artistic awareness of these aspects of Russian life had a deep national and historical meaning. Through the everyday relations of those people who were the masters and masters of life, their general social condition was revealed. Just as, according to Chernyshevsky's apt remark, the cowardly behavior of a young liberal, the hero of Turgenev's story "Asya", on a date with a girl was a "symptom of illness" of all noble liberalism, its political weakness, so the everyday tyranny and predatory behavior of merchants, officials, and nobles acted a symptom of a more terrible disease of their complete inability to at least to some extent give their activities a nationwide progressive significance.
This was quite natural and natural in the pre-reform period. Then the tyranny, arrogance, predation of the Voltovs, Vyshnevskys, Ulanbekovs was a manifestation of the “dark kingdom” of serfdom, already doomed to be demolished. And Dobrolyubov correctly pointed out that although Ostrovsky’s comedy “cannot provide a key to explaining many of the bitter phenomena depicted in it,” nevertheless, “it can easily lead to many analogous considerations related to that life, which it does not directly concern.” And the critic explained this by the fact that the “types” of petty tyrants, bred by Ostrovsky, “are not. rarely contain not only exclusively merchant or bureaucratic, but also general (i.e., nationwide) features. In other words, Ostrovsky's plays of 1840-1860. indirectly exposed all the "dark kingdoms" of the autocratic-feudal system.
In the post-reform decades, the situation changed. Then “everything turned upside down” and the new, bourgeois system of Russian life gradually began to “fit in”. And the question of how precisely this new system was "fitted" was of enormous national importance, to what extent the new ruling class, the Russian bourgeoisie, could take part in the struggle to abolish the survivals of the "dark kingdom" of serfdom and the entire autocratic-landowner system.
Almost twenty new plays by Ostrovsky on contemporary themes gave a clear negative answer to this fatal question. The playwright, as before, depicted the world of private social, household, family and property relations. Not everything was clear to him in the general tendencies of their development, and his "lyre" sometimes made not quite, "correct sounds" in this respect. But on the whole, Ostrovsky's plays contained a certain objective orientation. They exposed both the remnants of the old “dark kingdom” of despotism and the newly emerging “ dark kingdom"bourgeois predation, money hype, the death of all moral values in an atmosphere of general buying and selling. They showed that Russian businessmen and industrialists are not capable of rising to the realization of the interests of national development, that some of them, such as Khlynov and Akhov, are only capable of indulging in gross pleasures, others, like Knurov and Berkutov, can only subordinate everything around them to their predatory, “wolf” interests, and for third parties, such as Vasilkov or Frol Pribytkov, the interests of profit are only covered by outward decency and very narrow cultural demands. Ostrovsky's plays, in addition to the plans and intentions of their author, objectively outlined a certain prospect of national development - the prospect of the inevitable destruction of all remnants of the old "dark kingdom" of autocratic serf despotism, not only without the participation of the bourgeoisie, not only over its head, but along with the destruction of its own predatory "dark realm"
The reality depicted in Ostrovsky's everyday plays was a form of life devoid of a nationwide progressive content, and therefore easily revealed internal comic inconsistency. Ostrovsky devoted his outstanding dramatic talent to its disclosure. Based on the tradition of Gogol's realistic comedies and stories, rebuilding it in accordance with the new aesthetic demands put forward " natural school” of the 1840s and formulated by Belinsky and Herzen, Ostrovsky traced the comic inconsistency of the social and everyday life of the ruling strata of Russian society, delving into the “world of details”, considering the thread after thread of the “web of daily relationships”. This was the main achievement of the new dramatic style created by Ostrovsky.
Essay on literature on the topic: The significance of Ostrovsky's work for the ideological and aesthetic development of literature
Other writings:
- A. S. Pushkin entered the history of Russia as an extraordinary phenomenon. It's not only greatest poet, but also the founder of the Russian literary language, the founder of new Russian literature. "Pushkin's muse", according to V. G. Belinsky, "was nurtured and brought up by the works of previous poets." On Read More ......
- Alexander Nikolayevich Ostrovsky... This is an unusual phenomenon. His role in the history of the development of Russian drama, performing arts and the entire national culture is difficult to overestimate. For the development of Russian drama, he did as much as Shakespeare in England, Lone de Vega in Spain, Molière Read More ......
- Tolstoy was very strict about artisan writers who wrote their “works” without real passion and without the conviction that people needed them. Passionate, selfless enthusiasm for creativity Tolstoy retained until last days life. At the time of work on the novel “Resurrection”, he confessed: “I Read More ......
- A. N. Ostrovsky is rightfully considered the singer of the merchant environment, the father of Russian everyday drama, Russian theater. About sixty plays belong to his pen, of which the most famous are “Dowry”, “ Late love”, “Forest”, “Enough simplicity for every sage”, “Our people - we will settle”, “Thunderstorm” and Read More ......
- Speaking about the “stiffening of a person” force of “inertness, numbness”, A. Ostrovsky noted: “It is not without reason that I called this force Zamoskvoretskaya: there, beyond the Moscow River, her kingdom, there her throne. She drives a man into a stone house and locks the iron gate behind him, she dresses Read More ......
- IN European culture the novel embodies ethics, as church architecture embodies the idea of faith, and the sonnet embodies the idea of love. An outstanding novel is not only a cultural event; it means much more than just a step forward in the literary craft. This is a monument of the era; monumental monument, Read More ......
- The merciless truth told by Gogol about his contemporary society, ardent love for the people, the artistic perfection of his works - all this determined the role played by great writer in the history of Russian and world literature, in establishing the principles critical realism, in the development of democratic Read More ......
- Krylov belonged to the Russian enlighteners of the 18th century, headed by Radishchev. But Krylov failed to rise to the idea of an uprising against the autocracy and serfdom. He believed that it was possible to improve the social system through the moral re-education of people, that social issues should be resolved Read More ......
In connection with the 35th anniversary of Ostrovsky's activity, Goncharov wrote to him: “You alone built the building, at the base of which you laid the cornerstones of Fonvizin, Griboyedov, Gogol. But only after you, we, Russians, can proudly say: “We have our own, Russian, national theater". It, in fairness, should be called the Ostrovsky Theater.
The role played by Ostrovsky in the development of Russian theater and drama may well be compared with the importance that Shakespeare had for English culture, and Molière for French. Ostrovsky changed the nature of the Russian theater repertoire, summed up everything that had been done before him, and opened up new paths for dramaturgy. His influence on theatrical art was exceptionally great. This is especially true of the Moscow Maly Theatre, which is also traditionally called the Ostrovsky House. Thanks to the numerous plays of the great playwright, who asserted the traditions of realism on the stage, she received further development national school acting game. A whole galaxy of remarkable Russian actors, using the material of Ostrovsky's plays, was able to vividly show their unique talent, to affirm the originality of the Russian theatrical art.
At the center of Ostrovsky's dramaturgy is a problem that has gone through all of Russian classical literature: the conflict of man with the unfavorable conditions of life opposing him, the diverse forces of evil; assertion of the individual's right to free and comprehensive development. Before readers and spectators of the plays of the great playwright, a wide panorama of Russian life is revealed. This is, in essence, an encyclopedia of life and customs of an entire historical era. Merchants, officials, landowners, peasants, generals, actors, merchants, matchmakers, businessmen, students - several hundred actors, created by Ostrovsky, gave a total idea of Russian reality in the 40-80s. in all its complexity, diversity and inconsistency.
Ostrovsky, who created a whole gallery of wonderful female images, continued that noble tradition, which has already been determined in the Russian classics. The playwright exalts strong, integral natures, which in a number of cases turn out to be morally superior to a weak, insecure hero. These are Katerina (“Thunderstorm”), Nadya (“Pupil”), Kruchinina (“Guilty Without Guilt”), Natalia (“Labor Bread”), and others.
Reflecting on the originality of Russian dramatic art, on its democratic basis, Ostrovsky wrote: “Folk writers want to try their hand at a fresh audience, whose nerves are not very pliable, which requires strong drama, big comedy, causing frank, loud laughter, hot, sincere feelings, lively and strong characters". Essentially, this is a feature creative principles Ostrovsky himself.
The dramaturgy of the author of "Thunderstorm" is distinguished by genre diversity, a combination of tragic and comic, everyday and grotesque, farcical and lyrical elements. His plays are sometimes difficult to attribute to one specific genre. He wrote not so much drama or comedy as "plays of life", according to the apt definition of Dobrolyubov. The action of his works is often carried out on a wide living space. The noise and talk of life burst into action, become one of the factors determining the scale of events. Family conflicts develop into social ones. material from the site
The skill of the playwright is manifested in the accuracy of social and psychological characteristics, in the art of dialogue, in apt, lively folk speech. The language of the characters becomes for him one of the main means of creating an image, an instrument of realistic typification.
A great connoisseur of oral folk art, Ostrovsky widely used folk traditions, the richest treasury of folk wisdom. The song can replace his monologue, proverb or saying and become the title of the play.
The creative experience of Ostrovsky had a huge impact on the further development of Russian drama and theatrical art. V. I. Nemirovich-Danchenko and K. S. Stanislavsky, founders of the Moscow Art Theater, sought to create "a folk theater with approximately the same tasks and in the same plans as Ostrovsky dreamed of." The dramatic innovation of Chekhov and Gorky would have been impossible without mastering the best traditions of their remarkable predecessor.
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- Essay on the life of Ostpovsky, its importance in the development of the Russian theater
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- summary of the Ostrovsky theater
It is hardly possible to briefly describe the work of Alexander Ostrovsky, since this person left a great contribution to the development of literature.
He wrote about many things, but most of all in the history of literature he is remembered as a good playwright.
Popularity and features of creativity
The popularity of A.N. Ostrovsky was brought the work "Our people - we will settle down." After it was published, his work was appreciated by many writers of that time.
This gave confidence and inspiration to Alexander Nikolayevich himself.
After such a successful debut, he wrote many works that played a significant role in his work. Among them are the following:
- "Forest"
- "Talents and Admirers"
- "Dowry".
All his plays can be called psychological dramas, because in order to understand what the writer wrote about, you need to delve deeply into his work. The characters in his plays were versatile personalities that not everyone could understand. In his works, Ostrovsky considered how the values of the country were collapsing.
Each of his plays has a realistic ending, the author did not try to end everything with a positive ending, like many writers, it was more important for him to show real, not fictional life in his works. In his works, Ostrovsky tried to reflect the life of the Russian people, and, moreover, he did not embellish it at all - but wrote what he saw around him.
Childhood memories also served as plots for his works. Distinctive feature his work can be called the fact that his works were not entirely censored, but despite this, they remained popular. Perhaps the reason for his popularity was that the playwright tried to present Russia to readers for what it is. Nationality and realism are the main criteria that Ostrovsky adhered to when writing his works.
Work in recent years
A.N. Ostrovsky was especially engaged in creativity in last years of his life, it was then that he wrote the most significant dramas and comedies for his work. All of them were written for a reason, mainly his works describe the tragic fate of women who have to deal with their problems alone. Ostrovsky was a playwright from God, it would seem that he managed to write very easily, thoughts themselves came to his head. But he also wrote such works where he had to work hard.
IN latest works the playwright developed new methods of presenting the text and expressiveness - which became distinctive in his work. Chekhov highly appreciated his writing style, which for Alexander Nikolaevich is beyond praise. He tried in his work to show the inner struggle of the characters.
Composition
The playwright almost did not put in his work political and philosophical problems, facial expressions and gestures, through playing with the details of their costumes and everyday environment. To enhance the comic effects, the playwright usually introduced minor persons into the plot - relatives, servants, accustomers, random passers-by - and side circumstances of everyday life. Such, for example, are Khlynov’s retinue and the gentleman with a mustache in The Hot Heart, or Apollo Murzavetsky with his Tamerlane in the comedy Wolves and Sheep, or the actor Schastlivtsev under Neschastlivtsev and Paratov in The Forest and The Dowry, etc. The playwright, as before, sought to reveal the characters of the characters not only in the very course of events, but to no lesser extent through the peculiarities of their everyday dialogues - "characterological" dialogues, aesthetically mastered by him in "His People ...".
Thus, in the new period of creativity, Ostrovsky acts as an established master with a complete system of dramatic art. His fame, his social and theatrical connections continue to grow and become more complex. The very abundance of plays created in the new period was the result of an ever-increasing demand for Ostrovsky's plays from magazines and theaters. During these years, the playwright not only worked tirelessly himself, but found the strength to help less gifted and novice writers, and sometimes actively participate with them in their work. So, in creative collaboration with Ostrovsky, a number of plays by N. Solovyov were written (the best of them are “The Marriage of Belugin” and “Wild Woman”), as well as P. Nevezhin.
Constantly contributing to the staging of his plays on the stages of the Moscow Maly and St. Petersburg Alexandria theaters, Ostrovsky knew well the state of theatrical affairs, which were mainly under the jurisdiction of the bureaucratic state apparatus, and was bitterly aware of their glaring shortcomings. He saw that he did not depict the noble and bourgeois intelligentsia in its ideological quest, as did Herzen, Turgenev, and partly Goncharov. In his plays, he showed the everyday social life of ordinary representatives of the merchant class, bureaucracy, the nobility, a life where personal, in particular love, conflicts manifested clashes of family, monetary, property interests.
But Ostrovsky's ideological and artistic awareness of these aspects of Russian life had a deep national and historical meaning. Through the everyday relations of those people who were the masters and masters of life, their general social condition was revealed. Just as, according to Chernyshevsky's apt remark, the cowardly behavior of the young liberal, the hero of Turgenev's story "Asya", on a date with a girl was a "symptom of the illness" of all noble liberalism, its political weakness, so the everyday tyranny and predatory behavior of merchants, officials, and nobles acted a symptom of a more terrible disease of their complete inability to at least to some extent give their activities a nationwide progressive significance.
This was quite natural and natural in the pre-reform period. Then the tyranny, arrogance, predation of the Voltovs, Vyshnevskys, Ulanbekovs was a manifestation of the "dark kingdom" of serfdom, already doomed to be scrapped. And Dobrolyubov correctly pointed out that although Ostrovsky's comedy "cannot provide a key to explaining many of the bitter phenomena depicted in it," nevertheless "it can easily lead to many analogous considerations related to that life, which it does not directly concern." And the critic explained this by the fact that the "types" of petty tyrants, bred by Ostrovsky, "not infrequently contain not only exclusively merchant or bureaucratic, but also nationwide (i.e., nationwide) features." In other words, Ostrovsky's plays of 1840-1860. indirectly exposed all the "dark kingdoms" of the autocratic-feudal system.
In the post-reform decades, the situation changed. Then “everything turned upside down” and the new, bourgeois system of Russian life gradually began to “fit in”. to take part in the struggle for the destruction of the remnants of the "dark kingdom" of serfdom and the entire autocratic-landowner system.
Nearly twenty of Ostrovsky's new plays on contemporary themes gave a clear negative answer to this fatal question. The playwright, as before, depicted the world of private social, household, family and property relations. Not everything was clear to him in the general tendencies of their development, and his "lyre" sometimes made not quite, "correct sounds" in this respect. But on the whole, Ostrovsky's plays contained a certain objective orientation. They exposed both the remnants of the old "dark kingdom" of despotism and the newly emerging "dark kingdom" of bourgeois predation, money hype, the destruction of all moral values in an atmosphere of general buying and selling. They showed that Russian businessmen and industrialists are not capable of rising to the realization of the interests of national development, that some of them, such as Khlynov and Akhov, are only capable of indulging in gross pleasures, others, like Knurov and Berkutov, can only subordinate everything around them to their predatory, “wolf” interests, and for third parties, such as Vasilkov or Frol Pribytkov, the interests of profit are only covered by outward decency and very narrow cultural demands. Ostrovsky's plays, in addition to the plans and intentions of their author, objectively outlined a certain prospect of national development - the prospect of the inevitable destruction of all remnants of the old "dark kingdom" of autocratic serf despotism, not only without the participation of the bourgeoisie, not only over its head, but along with the destruction of its own predatory "dark kingdom"
The reality depicted in Ostrovsky's everyday plays was a form of life devoid of a nationwide progressive content, and therefore easily revealed internal comic inconsistency. Ostrovsky devoted his outstanding dramatic talent to its disclosure. Relying on the tradition of Gogol's realistic comedies and stories, rebuilding it in accordance with the new aesthetic demands put forward by the "natural school" of the 1840s and formulated by Belinsky and Herzen, Ostrovsky traced the comic inconsistency of the social and everyday life of the ruling strata of Russian society, delving into the "world details", looking at the thread after thread of the "web of daily relationships". This was the main achievement of the new dramatic style created by Ostrovsky.
