All locations in the play are at the bottom. How the scene of action is depicted at the bottom

Goals:

Introduce students to the stage fate of the play "At the Lower Depths".
Introduce the characters of the play into the setting and world.
Determine the main conflict of the work - the clash of views and life positions of the inhabitants of the bottom.
Show the tense atmosphere of the Kostylev flophouse with its endless disputes and quarrels; find out the reasons for the disunity of people at the bottom.
Help schoolchildren understand the meaning of the author's remarks.

During the classes

I. Teacher's opening speech.

The greatest writers of the 19th century (A.S. Pushkin, N.V. Gogol, L.N. Tolstoy) acted as prose writers, playwrights, and publicists. The work of M. Gorky is also characterized by multi-genres. He entered literature with romantic and realistic stories. At the end of the 90s published the novel "Foma Gordeev", in which he reproduced a broad picture of Russian life, showing representatives of various social strata. In the early 900s he turned to drama and for several years acted as a playwright.

“The play, drama, comedy is the most difficult form of literature,” said M. Gorky.

At that time, the Moscow Art Theater enjoyed enormous popularity, opening a new page in the history of Russian theatrical art with its innovative productions of Chekhov's plays. In the winter of 1900, Gorky visited this theater for the first time; in the spring of the same year, while staying in Yalta visiting Chekhov, Gorky met artists who captivated him with the idea of creating a play for them. The result of this acquaintance was the play "The Bourgeois" (1901) and the plays that followed it: "At the Lower Depths" (1902), "Summer Residents" (1904), "Children of the Sun" and "Barbarians" (1905)

Let us remember what is unique about drama as a type of literature (a student’s performance accompanied by a computer presentation).

1) Drama is for stage performances.

3) The text consists of monologues and dialogues actors.

4) The play is divided into actions (acts) and pictures (scenes).

5) During the break between actions, a certain amount of time may pass (a day, two, a month, six months:), and the location of the action may change.

6) The entire life process is not depicted in the drama; it goes on, as it were, behind the scenes; the author snatches from the flow of time the most significant, from his point of view, moments, and focuses the attention of the audience on them.

7) A special burden in the play falls on conflict- an acute clash between the heroes over a very significant issue. At the same time, there cannot be (extra) heroes in a drama - all heroes must be included in the conflict.

8) A dramatic work is preceded by poster- list of characters.

Gorky’s first plays showed that an innovative playwright had come to literature.

The content and issues of the plays were unusual, as were their characters - the revolutionary-minded proletarian, the inhabitants of the flophouse, and the conflict. Gorky acted as the creator of a new type of drama.

From the cycle of Gorky's dramatic works, the play "At the Depth" stands out for its depth of thought and perfection of construction. “It was the result of my almost 20 years of observations of the world of “former people”, to which I include not only wanderers, shelter dwellers and the “lumpen proletariat” in general, but also some of the intellectuals - “demagnetized”, disappointed, offended and humiliated by failures in life. I realized very early that these people were incurable,” wrote Gorky. He talked a lot and willingly about the tramps, their lives, the people who served as prototypes for this or that character.

Gorky worked hard and purposefully on the play “At the Lower Depths”. Even the list of titles that he successively gave to the play shows both the intensity of his search and even partly his direction:

"Without Sun"
"Nochlezhka"
"In the lodging house"
"Bottom"
"At the bottom of life"
"At the bottom"

Why "At the Bottom"? (The author did not highlight the location of the action - “night shelter”, not the nature of the conditions - “without sun”, “bottom”, not even the social position - “at the bottom of life”. The final name combines all these names with the new one. where how, A what's happening at the bottom" (what?):souls. Unlike the original names, which highlight the tragic situation of the tramps, the latest name is more capacious and polysemantic.)

The play received its final name on the theater poster of the Moscow Art Theater, on the stage of which the play premiered.

Already after the first reading of the play by Gorky himself at the apartment of the writer L. Andreev, it was clear that it would become an event. The censors did not allow the play to be presented for a long time. She erased the text, mutilated it, but still, yielding to public pressure, she allowed it to be played exclusively in Moscow and only to one Art Theater. The authorities considered the play boring and were sure of the failure of the performance, where on the stage instead of “beautiful life” there was dirt, darkness and poor, embittered people (sharps, tramps, prostitutes). The production, carried out by directors Stanislavsky and Nemirovich-Danchenko, was a stunning success. The author was called more than 20 times!

Poster for the play "At the Bottom".

So, December 1902. Moscow Art Theater. First performance of the play.

There are many prominent writers, artists, artists, public figures, and famous critics in the public. Starring the most beloved, most prominent artists of the Moscow Art Theater: Stanislavsky (Satin), Moskvin (Luka), Kachalov (Baron), Knipper-Chekhova (Nastya), Luzhsky (Bubnov). The curtain opens...

II. A re-enactment of the beginning of the play prepared by class students.

III. Conversation.

Where did the viewer end up? When and where does the play take place? (In the shelter at the beginning of spring, in the morning.)

How is the scene of action depicted in the stage directions for Act 1, depicting the setting of the shelter? (The basement looks like a cave. There is dirt, soot, rags everywhere...)

- How are the characters positioned on stage?(Everywhere along the walls there are bunks. Thin partitions fence off Ash’s room. Apart from Kvashnya, Baron, Nastya, who live in the kitchen, no one has their own corner. Everything is on display in front of each other. A secluded place is only on the stove and behind the chintz canopy separating others the bed of dying Anna (by this she is already, as it were, separated from life.)

- How is the stage lit?(The light reaches the shelters from the basement window, as if looking for people among the basement inhabitants.)

- Why does the author describe the shelter in such detail in the stage directions preceding Act 1? Why is the remark so lengthy?(The playwright emphasizes the extreme poverty of the current existence of the “former”, the wretchedness of the human shelter.)

- The tragedy of the existence of the shelters and the depth of human fall are helped to feel by the remarks that give an idea of the sounds of the shelter. What does the viewer hear?

Anna moans

Fidgeting and hysterically coughs Actor

Loud growls Satin

Fiercely jingles keys and creaks filing the tick

The Baron slurps, chewing black bread:

- What is the atmosphere of the shelter?(Noise, swearing. Endless arguments, quarrels. Hell, bitterness:)

- Why do quarrels arise so often?(Everyone lives in this basement as he wants. Everyone is preoccupied with their own problems. The characters don’t seem to hear each other. Words sound from different corners. Everyone present speaks at once, without waiting for an answer, weakly reacting to other people’s remarks, but everyone, almost not listening to others, he talks about his own things. Complete separation of people who find themselves under one roof.)

- Stability, the extreme nature of mutual alienation are conveyed in the form polylogue. What remarks emphasize the continuity of such “communication”, the feeling of time passing in a vicious circle, without beginning or end?

The curtain opens and the viewer hears the Baron's voice: "Further!". This is the first line of the play! It “creates a feeling of the inevitable passage of time, flowing in a vicious circle without beginning or end ". (B.A.Bialik. Gorky the playwright.)

Growls, without scaring anyone, Satin, who overslept after next intoxication.

Kvashnya continues conversation started behind the scenes with Kleshch, constantly shutting himself off from his terminally ill wife.

Baron habitually mocks Nastya, absorbing another shocker.

Actor is boring repeats the same thing: “My body is poisoned by alcohol: It’s harmful for me: breathing dust:

Anna begs for it to stop lasts "Every single day:".

Bubnov interrupts Satin: “I heard: a hundred times!"

Satin seems to sum it up: “: all our words are tired! I heard each of them: probably a thousand times:"

- In a stream of fragmentary remarks and altercations, words that have a symbolic sound are heard.

Bubnov: “And the threads are rotten:” - twice, while doing furrier business.

He’s talking about Nastya’s situation: “You’re superfluous everywhere: and all the people on earth are superfluous:”

What do these seemingly random remarks reveal?

(Phrases said on a specific occasion reveal the imaginary connections of the people gathered in the shelter, the “superfluity” of the unfortunate people).

IV. Teacher's word.

Already the first readers of the play “At the Lower Depths” drew attention not only to the novelty of its content, but also to the novelty of its form. Chekhov responded about the play as follows: “It is new and undoubtedly good.”

What is unusual about the form of the play “At the Lower Depths”? In what ways does Gorky deviate from the rules for creating dramatic works known to us from the plays we have read earlier?

2.No traditional plot: it unfolds not so much in “external” events as in dialogues (disputes), polylogues- they determine the development of the conflict.

3.In the play no main or secondary characters- everyone is important.

Let's look at the list of characters - poster.

V. Working with the play poster.

Why are the heroes presented differently: some by their first name and patronymic, others by their nickname or last name?

Why are Kostylev and Kleshch presented differently? (The list shows a certain hierarchy of the “bottom”. There are also “masters of life” here, however, they are not so different from the inhabitants of the shelter).

People in society are valued differently. A representative of any class, gender and age can find himself at the “bottom” of life. What do they have in common? (They are all renegades. All "former".)

VI. Mini quiz.

Remember which of the characters in the play was

an official in the treasury chamber?
guard at the dacha?
telegraph operator?
a mechanic?
a furrier?
an artist?

VII. Conversation.

How did these people get here? What brought them to the shelter? What is the backstory of each character?

Satin hit rock bottom after serving time in prison for murder (Act 1).

The Baron went bankrupt. Served in the treasury chamber, squandered money; for embezzlement of government money he went to prison, then ended up in a shelter (Act 4).

Kleshch lost his job, although he was an “honest worker” and “worked from an early age” (Act 1).

The actor once had a sonorous surname - Sverchkov-Zavolzhsky, but was not in the leading roles (he says that he played a gravedigger in Hamlet), he lived in poverty; He began to drink, seeing no way out, - he became an alcoholic, “drank away his soul” (Act 2). Weak at heart. The tick resists - the result is the same.

Fate Ashes predetermined already at birth: “I have been a thief since childhood.” "Son of a thief." There is no other way (act 2).

Which hero talks more about his fall than others? (Baron. Each stage of his life is marked by a certain costume. These disguises symbolize the gradual decline in social status.)

What reasons bring people to the “bottom”? (People are brought to the “bottom” by both subjective (laziness, meanness, dishonesty, weak character) and objective, social reasons (the life of society is poisoned, distorted).

What are the night shelters talking about? (What every person thinks about.)

Honor and conscience Faith in one’s strength, in one’s talent

People of the “bottom” are not villains, not monsters, not scoundrels. They are the same people as us, they just live in different conditions. This amazed the first viewers of the play and shocks new readers.

The characters talk and argue a lot. Their conversations are the subject of depiction in the play. The clash of ideas, life views, and the struggle of worldviews determine the main conflict of the play. This is typical for the genre philosophical dramas .

VIII. Homework.

Answer the following questions in writing:

One of the characters in the play, Satin, in a remark that concludes the second act, likens the night shelters to the dead: “Dead men don’t hear! Dead men don’t feel: Shout: roar: dead men don’t hear!..”
Can we say that the first act is conversations in "the kingdom of the dead" (G.D. Gachev)?
Or is the researcher right who believed that “Luke, having gone down into the basement, came not to the desert, but to people" (I.K. Kuzmichev), and before the arrival of Luke retained, to one degree or another, living human traits?

The play “At the Bottom” was written by M. Gorky in 1902. A year before writing the play, Gorky said this about the idea of a new play: “It will be scary.” The same emphasis is emphasized in its changing titles: “Without the Sun”, “Nochlezhka”, “Bottom”, “At the Bottom of Life”. The title “At the Depths” first appeared on the posters of the Art Theater. The author did not highlight the location of the action - “the flophouse”, not the nature of the living conditions - “without the sun”, “the bottom”, not even the social position - “at the bottom of life”. The final title combines all these concepts and leaves room for reflection: at the “bottom” of what? Is it only life, and maybe even the soul? Thus, the play “At the Bottom” contains, as it were, two parallel actions. The first is social and everyday, the second is philosophical.

The theme of the bottom is not new for Russian literature: Gogol, Dostoevsky, Gilyarovsky addressed it. Gorky himself wrote about his play: “It was the result of my almost twenty years of observations of the world of “former” people, among whom I saw not only wanderers, inhabitants of the night shelters and “lumpen-proletarians” in general, but also some of the intellectuals, “demagnetized ", disappointed, insulted and humiliated by failures in life."

Already in the exposition of the play, even at the very beginning of this exposition, the author convinces the viewer and reader that before him is the bottom of life, a world where a person’s hope for human life must fade away. The first action takes place in Kostylev’s rooming house. The curtain rises and one is immediately struck by the depressing atmosphere of beggarly life: “A basement like a cave. The ceiling is heavy, stone vaults, smoked, with crumbling plaster. The light is from the viewer and, from top to bottom, from the square window on the right side... In the middle of the shelter there is a large table, two benches, a stool, everything is painted, dirty...” In such terrible, inhuman conditions, a variety of people gathered, thrown out of normal human life due to various circumstances. This is the worker Kleshch, and the thief Ash, and the former Actor, and the dumpling seller Kvashnya, and the girl Nastya, and the cap-maker Bubnov, and Satin - all “former people”. Each of them has their own dramatic story, but they all have the same common fate: the present of the boarding house guests is terrible, they have no future. For most sleepovers, the best is in the past. This is what Bubnov says about his past: “I was a furrier... I had my own establishment... My hands were so yellow - from paint: I tinted the furs - so, brother, my hands were yellow - up to the elbows! I thought that I wouldn’t wash it until I die... so I’ll die with yellow hands... And now here they are, my hands... just dirty... yes! The actor loves to remember his past, how he played a gravedigger in Hamlet, and loves to talk about art: “I say talent, that’s what a hero needs. And talent is faith in oneself, in one’s strength...” Locksmith Kleshch says about himself: “I am a working man... I’m ashamed to look at them... I’ve been working since an early age...” A few words convey the picture Anna’s fate in life: “I don’t remember when I was full... I was shaking over every piece of bread... I was trembling all my life... I was tormented, so as not to eat anything else... All my life I walked around in rags... all my miserable life..." She is only 30 years old, and she is terminally ill, dying of tuberculosis.,

Night shelters view their situation differently. Some of them have resigned themselves to their fate, because they understand that nothing can be changed. For example, Actor. He says: “Yesterday, in the hospital, the doctor told me: your body, he says, is completely poisoned with alcohol...” Others, for example Kleshch, firmly believe that with honest work he will rise from the “bottom” and become a man: “ ...Do you think I won't break out of here? I’ll get out... I’ll rip off the skin, and I’ll get out...”

The gloomy atmosphere of the shelter, the hopelessness of the situation, the extreme degree of poverty - all this leaves an imprint on the inhabitants of the shelter, on their attitude towards each other. If we turn to the dialogues of Act 1, we will see an atmosphere of hostility, spiritual callousness, and mutual hostility. All this creates a tense atmosphere in the shelter, and disputes arise in it every minute. The reasons for these disputes at first glance are completely random, but each is evidence of disunity and lack of mutual understanding of the heroes. So, Kvashnya continues the useless argument she started behind the scenes with Kleshch: she defends her right to “freedom.” (“For me, a free woman, to be my own mistress, but to fit into someone’s passport, so that I would give myself to a man in a fortress - no! Even if he were an American prince, I wouldn’t think of marrying him.”) Kleshch himself constantly fences himself off from his long-term and terminally ill wife Anna. From time to time he throws rude and callous words at Anna: “I’m whining”, “It’s okay, maybe you’ll get up - it happens”, “Wait a minute... my wife will die.” The Baron habitually mocks his partner Nastya, who is devouring another tabloid novel about "fatal love". His actions towards her: “... snatching the book from Nastya, reads the title... laughs... hitting Nastya on the head with the book... takes the book away from Nastya” indicate the Baron’s desire to humiliate Nastya in the eyes of others. Satin growls, not scaring anyone, having slept through his usual intoxication. The actor tediously repeats the same phrase that his body is poisoned by alcohol. The night shelters constantly bicker among themselves. The use of abusive language is the norm in their communication with each other: “Be silent, old dog!” (Mite), “Uh, unclean spirit...” (Kvashnya), “Scoundrels” (Satin), “Old devil!.. Go to hell!” (Ashes), etc. Anna can’t stand it and asks: “The day has begun! For God’s sake... don’t shout... don’t swear!”

In the first act, the owner of the flophouse, Mikhail Ivanovich Kostylev, appears. He comes to check if Ash is hiding his young wife Vasilisa. From the first remarks, the hypocritical and deceitful character of this character emerges. He says to Kleshch: “How much space do you take up from me per month... And I’ll throw half a buck at you, I’ll buy oil for the lamp... and my sacrifice will burn in front of the holy icon...” Talking about kindness, he reminds the Actor about duty: “Kindness is above all blessings. And your debt to me is indeed a debt! So, you must compensate me for it...” Kostylev buys up the stolen goods (he bought a watch from Ash), but does not give all the money to Ash.

By individualizing the speech of the heroes, Gorky creates colorful figures of the inhabitants of the “bottom”. Bubnov came from the lower social classes, so his attraction to proverbs and sayings is understandable. For example, “Whoever is drunk and smart has two lands in him.” Satin loves verbal play, uses foreign words in his speech: “Organon... sicambre, macrobiotnka, traiscendental...”, sometimes without understanding their meaning. The speech of the hypocrite and money-grubber Kostylev is full of “pious” words: “good”, “good”, “sin”.

The first act of the play is extremely important for understanding the entire play. The intensity of the action is manifested in human clashes. The desire of the heroes to escape from the shackles of the “bottom”, the emergence of hope, the growing feeling in each of the inhabitants of the “bottom” of the impossibility of living as they lived until now - all this prepares the appearance of the wanderer Luke, who managed to strengthen this illusory faith.

In his play “At the Lower Depths,” M. Gorky opened up to the viewer a new, hitherto unknown world on the Russian stage - the lower classes of society.

It was evidence of the dysfunction of the modern social system. The play raised doubts about the right of this system to exist and called for protest and struggle against the system that made the existence of such a “bottom” possible. This was the source of the success of this play, about which contemporaries said that no epithets - colossal, grandiose - could measure the true scale of this success.

] The central image of early Gorky is a proud and strong personality who embodies the idea of freedom . Therefore, Danko, who sacrifices himself for the sake of people, is on a par with the drunkard and thief Chelkash, who does not perform any feats for the sake of anyone. “Strength is virtue,” Nietzsche said, and for Gorky, the beauty of a person lies in strength and feat, even aimless ones: a strong person has the right to be “beyond good and evil”, to be outside of ethical principles, like Chelkash, and a feat, from this point of view, is resistance to the general flow of life.
After a series of romantic works of the 90s, full of rebellious ideas, Gorky created a play that became, perhaps, the most important link in the entire philosophical and artistic system of the writer - the drama “At the Lower Depths” (1902). Let's see what heroes inhabit the “bottom” and how they live.

II. Conversation on the content of the play “At the Depths”
- How is the scene of action depicted in the play?
(The location of the action is described in the author's remarks. In the first act it is “a cave-like basement”, “heavy, stone vaults, smoke-stained, with crumbling plaster”. It is important that the writer gives instructions on how the scene is lit: "from the viewer and from top to bottom" the light reaches the night shelters from the basement window, as if searching for people among the basement inhabitants. Thin partitions screen off Ash's room.
“Everywhere along the walls there are bunks”. Apart from Kvashnya, Baron and Nastya, who live in the kitchen, no one has their own corner. Everything is on display in front of each other, a secluded place is only on the stove and behind the chintz canopy separating the bed of the dying Anna from the others (by this she is already, as it were, separated from life). There is dirt everywhere: "dirty chintz canopy", unpainted and dirty tables, benches, stools, tattered cardboards, pieces of oilcloth, rags.
Third act takes place in an early spring evening in a vacant lot, “a yard littered with various rubbish and overgrown with weeds”. Let's pay attention to the coloring of this place: the dark wall of a barn or stable “gray, covered with remains of plaster” the wall of the bunkhouse, the red wall of the brick firewall blocking the sky, the reddish light of the setting sun, the black branches of the elderberry without buds.
In the setting of the fourth act, significant changes occur: the partitions of Ash’s former room are broken, the Tick’s anvil has disappeared. The action takes place at night, and light from the outside world no longer penetrates into the basement - the scene is illuminated by a lamp standing in the middle of the table. However, the last “act” of the drama takes place in a vacant lot - there the Actor hanged himself.)

- What kind of people are the inhabitants of the shelter?
(People who have sunk to the bottom of life end up in a rooming house. This is the last refuge for tramps, marginalized people, “former people.” All social strata of society are here: the bankrupt nobleman Baron, the owner of the rooming house Kostylev, the policeman Medvedev, the mechanic Kleshch, the cap maker Bubnov, the merchant Kvashnya , the sharper Satin, the prostitute Nastya, the thief Ashes. Everyone is equalized by the position of the dregs of society. Very young (shoemaker Alyoshka is 20 years old) and not very old people live here (the oldest, Bubnov, is 45 years old). However, their lives are almost over. Dying Anna introduces herself we are an old woman, and she, it turns out, is 30 years old.
Many night shelters do not even have names, only nicknames remain, expressively describing their bearers. The appearance of the dumpling seller Kvashnya, the character of Kleshch, and the Baron’s ambition are clear. The actor once bore the sonorous surname Sverchkov-Zadunaisky, but now there are almost no memories left - “I forgot everything.”)

- What is the subject of the image in the play?
(The subject of the drama “At the Bottom” is the consciousness of people thrown as a result of deep social processes to the “bottom” of life).

- What is the conflict of the drama?
(Social conflict has several levels in the play. The social poles are clearly indicated: on one, the owner of the shelter, Kostylev, and the policeman Medvedev, who supports his power, on the other, the essentially powerless roomies. Thus it is obvious conflict between government and disenfranchised people. This conflict hardly develops, because Kostylev and Medvedev are not so far from the inhabitants of the shelter.
Each of the night shelters experienced in the past your social conflict , as a result of which he found himself in a humiliating position.)
Reference:
A sharp conflict situation, playing out in front of the audience, is the most important feature of drama as a type of literature.

- What brought its inhabitants - Satin, Baron, Kleshch, Bubnov, Actor, Nastya, Ash - to the shelter? What is the backstory of these characters?
(Satin fell “to the bottom” after serving time in prison for murder: “I killed a scoundrel in passion and irritation... because of my own sister”; Baron went broke; Mite lost my job: “I’m a working person... I’ve been working since I was little”; Bubnov he left home out of harm’s way so as not to kill his wife and her lover, although he himself admits that he is “lazy” and also a heavy drunkard, “he would drink away the workshop”; Actor he drank himself to death, “drank away his soul... died”; fate Ashes was predetermined already at his birth: “I have been a thief since I was a child... everyone always told me: Vaska is a thief, Vaska’s son is a thief!”
The Baron talks in more detail about the stages of his fall (act four): “It seems to me that all my life I’ve only been changing clothes... but why? I don't understand! I studied and wore the uniform of a noble institute... and what did I study? I don’t remember... I got married, put on a tailcoat, then a robe... and took a nasty wife and - why? I don’t understand... I lived through everything that happened - I wore some kind of gray jacket and red trousers... and how did I go broke? I didn’t notice... I served in the government chamber... uniform, cap with a cockade... squandered government money - they put a prisoner’s robe on me... then I put on this... And everything... like in a dream. .. A? That's funny? Each stage of the thirty-three-year-old Baron’s life seems to be marked by a certain costume. These changes of clothes symbolize a gradual decline in social status, and nothing stands behind these “changes of clothes”; life passed “like in a dream.”)

- How is social conflict interconnected with dramaturgical conflict?
(The social conflict is taken off stage, pushed into the past; it does not become the basis of the dramatic conflict. We observe only the result of off-stage conflicts.)

- What kind of conflicts, other than social ones, are highlighted in the play?
(The play has traditional love conflict . It is determined by the relationships between Vaska Pepla, Vasilisa, the wife of the owner of the shelter, Kostylev and Natasha, Vasilisa’s sister.
Exposition of this conflict- a conversation between the shelters, from which it is clear that Kostylev is looking for his wife Vasilisa in the shelter, who is cheating on him with Vaska Ash.
The origin of this conflict- the appearance of Natasha in the shelter, for whose sake Ashes leaves Vasilisa.
During development of love conflict it becomes clear that the relationship with Natasha revives Ash, he wants to leave with her and start a new life.
Climax of the conflict taken off stage: at the end of the third act, we learn from Kvashnya’s words that “they boiled the girl’s legs with boiling water” - Vasilisa knocked over the samovar and scalded Natasha’s legs.
The murder of Kostylev by Vaska Ash turns out to be tragic outcome of a love conflict. Natasha stops believing Ash: “She’s at the same time! Damn you! You both…")

- What is unique about a love conflict?
(Love conflict becomes the brink of social conflict . It shows that anti-human conditions cripple a person, and even love does not save a person, but leads to tragedy: to death, injury, murder, hard labor. As a result, Vasilisa alone achieves all her goals: she takes revenge on her former lover Ash and her rival sister Natasha, gets rid of her unloved and disgusted husband and becomes the sole mistress of the shelter. There is nothing human left in Vasilisa, and this shows the monstrosity of the social conditions that disfigured both the inhabitants of the shelter and its owners. The night shelters are not directly involved in this conflict, they are only third-party spectators.)

III. Teacher's final words
The conflict in which all the heroes participate is of a different kind. Gorky depicts the consciousness of people at the “bottom”. The plot unfolds not so much in external action - in everyday life, but in the dialogues of the characters. Exactly the conversations of the night shelters determine development of dramatic conflict . The action is transferred to a non-event series. This is typical for the genre philosophical drama .
So, the genre of the play can be defined as a socio-philosophical drama .

Additional material for teachers
To record at the beginning of the lesson, you can offer the following: plan for analyzing a dramatic work:
1. Time of creation and publication of the play.
2. The place occupied in the playwright’s work.
3. The theme of the play and the reflection of certain life material in it.
4. Characters and their grouping.
5. The conflict of a dramatic work, its originality, the degree of novelty and acuteness, its deepening.
6. Development of dramatic action and its phases. Exposition, plot, twists and turns, climax, denouement.
7. Composition of the play. The role and significance of each act.
8. Dramatic characters and their connection with action.
9. Speech characteristics of the characters. The connection between character and words.
10. The role of dialogues and monologues in the play. Word and action.
11. Identification of the author's position. The role of stage directions in drama.
12. Genre and specific uniqueness of the play. Correspondence of the genre to the author's predilections and preferences.
13. Comedy means (if it's a comedy).
14. Tragic flavor (in the case of analyzing a tragedy).
15. Correlation of the play with the aesthetic positions of the author and his views on the theater. The purpose of the play for a specific stage.
16. Theatrical interpretation of drama at the time of its creation and subsequently. The best acting ensembles, outstanding directorial decisions, memorable embodiments of individual roles.
17. The play and its dramatic traditions.

Homework
Identify Luke's role in the play. Write down his statements about people, about life, about truth, about faith.

Lesson 2. “What you believe in is what it is.” The role of Luka in the drama “At the Bottom”
The purpose of the lesson: create a problematic situation and encourage students to express their own point of view on the image of Luke and his life position.
Methodical techniques: discussion, analytical conversation.

During the classes
I. Analytical conversation
Let us turn to the extra-event series of the drama and see how the conflict develops here.

- How do the inhabitants of the shelter perceive their situation before Luka appears?
(IN exposition we see people, in essence, resigned to their humiliating situation. The night shelters sluggishly, habitually quarrel, and the Actor says to Satin: “One day they will completely kill you... to death...” “And you are a fool,” Satin snaps. "Why?" - the Actor is surprised. “Because you can’t kill twice.”
These words of Satin show his attitude towards the existence that they all lead in the shelter. This is not life, they are all already dead. Everything seems clear.
But the Actor’s response is interesting: “I don’t understand... Why not?” Perhaps it is the Actor, who has died more than once on stage, who understands the horror of the situation more deeply than others. After all, it is he who commits suicide at the end of the play.)

- What is the meaning of using past tense in the self-characteristics of the heroes?
(People feel "former":
“Satin. I was educated person"(the paradox is that the past tense is impossible in this case).
“Bubnov. I'm a furrier was ».
Bubnov pronounces a philosophical maxim: “It turns out - don’t paint yourself how you look on the outside, everything will be erased... everything will be erased, Yes!")

- Which of the characters contrasts itself with the others?
(Only one The tick hasn't calmed down yet with your fate. He separates himself from the rest of the night shelters: “What kind of people are they? Ragged, golden company... people! I’m a working man... I’m ashamed to look at them... I’ve been working since I was little... Do you think I won’t break out of here? I’ll get out... I’ll rip off the skin, and I’ll get out... Just wait a minute... my wife will die...”
Kleshch's dream of a different life is associated with the liberation that his wife's death will bring him. He does not feel the enormity of his statement. And the dream will turn out to be imaginary.)

- Which scene is the beginning of the conflict?
(The beginning of the conflict is the appearance of Luke. He immediately announces his views on life: “I don’t care! I respect swindlers too, in my opinion, not a single flea is bad: all are black, all jump... that’s how it is.” And one more thing: “For an old man, where it’s warm, there’s a homeland...”
Luka turns out to be in the center of attention of guests: “What an interesting little old man you brought, Natasha...” - and the entire development of the plot is concentrated on him.)

- How does Luka behave with each of the inhabitants of the shelter?
(Luka quickly finds an approach to the shelters: “I’ll look at you, brothers - your life - oh-oh!..”
He feels sorry for Alyoshka: “Eh, guy, you’re confused...”
He does not respond to rudeness, skillfully avoids questions that are unpleasant for him, and is ready to sweep the floor instead of the bunkhouses.
Luka becomes necessary for Anna, he takes pity on her: “Is it possible to abandon a person like that?”
Luka skillfully flatters Medvedev, calling him “under,” and he immediately falls for this bait.)

- What do we know about Luke?
(Luka says practically nothing about himself, we only learn: “They crushed a lot, that’s why he’s soft...”)

- How does Luka affect night shelters?
(In each of the shelters, Luke sees a person, reveals their bright sides, the essence of personality , and it produces life revolution heroes.
It turns out that the prostitute Nastya dreams of beautiful and bright love;
the drunken Actor receives hope for a cure for alcoholism - Luke tells him: “A man can do anything, if only he wants to...”;
The thief Vaska Pepel plans to leave for Siberia and start a new life there with Natasha, becoming a strong master.
Luke gives Anna consolation: “Nothing, dear! You - hope... That means you will die, and you will be at peace... you won’t need anything else, and there’s nothing to be afraid of! Silence, peace - lie down!”
Luke reveals the good in every person and instills faith in the best.)

- Did Luka lie to the night shelters?
(There may be different opinions on this matter.
Luke selflessly tries to help people, instill in them faith in himself, and awaken the best sides of nature.
He sincerely wishes well shows real ways to achieve a new, better life . After all, there really are hospitals for alcoholics, Siberia really is the “golden side”, and not just a place of exile and hard labor.
As for the afterlife with which he beckons Anna, the question is more complicated; it is a matter of faith and religious belief.
What did he lie about? When Luka convinces Nastya that he believes in her feelings, in her love: “If you believe, you had true love... that means you had it! Was!" - he only helps her find the strength for life, for real, not fictitious love.)

- How do the inhabitants of the shelter react to Luke’s words?
(The lodgers are at first incredulous of Luka’s words: “Why are you lying all the time?” Luka doesn’t deny this, he answers the question with a question: “And... what do you really desperately need... think about it! She really can , butt for you..."
Even to a direct question about God, Luke answers evasively: “If you believe, he is; If you don’t believe it, no... What you believe in is what it is...")

- What groups can the characters of the play be divided into?
(The characters in the play can be divided into "believers" and "non-believers" .
Anna believes in God, Tatar believes in Allah, Nastya believes in “fatal” love, Baron believes in his past, perhaps invented. Kleshch no longer believes in anything, and Bubnov never believed in anything.)

- What is the sacred meaning of the name “Luke”?
(Name "Luke" double meaning: this name reminds Evangelist Luke, means "light", and at the same time associated with the word "sly"(euphemism for "crap").)

- What is the author’s position in relation to Luke?
(The author's position is expressed in the development of the plot.
After Luke left everything is not happening at all as Luke convinced and as the heroes expected .
Vaska Pepel does end up in Siberia, but only to hard labor, for the murder of Kostylev, and not as a free settler.
The actor, who has lost faith in himself and in his strength, exactly repeats the fate of the hero of Luke's parable about the righteous land. Luke, having told a parable about a man who, having lost faith in the existence of a righteous land, hanged himself, believes that a person should not be deprived of dreams, hopes, even imaginary ones. Gorky, showing the fate of the Actor, assures the reader and viewer that it is false hope that can lead a person to suicide .)
Gorky himself wrote about his plan: “ The main question I wanted to pose is what is better, truth or compassion. What is more necessary? Is it necessary to take compassion to the point of using lies, like Luke? This is not a subjective question, but a general philosophical one.”

- Gorky contrasts not truth and lies, but truth and compassion. How justified is this opposition?
(Discussion.)

- What is the significance of Luke’s influence on the shelters?
(All the characters agree that Luke instilled in them false hope . But he didn’t promise to lift them from the bottom of life, he simply showed their own capabilities, showed that there is a way out, and now everything depends on them.)

- How strong is the self-confidence awakened by Luka?
(This faith did not have time to take hold in the minds of the night shelters; it turned out to be fragile and lifeless; with the disappearance of Luka, hope fades away)

- What is the reason for the rapid decline of faith?
(Maybe it's in the weaknesses of the heroes themselves , in their inability and unwillingness to do at least something to implement new plans. Dissatisfaction with reality and a sharply negative attitude towards it are combined with a complete unwillingness to undertake anything to change this reality.)

- How does Luke explain the failures of the life of the night shelters?
(Luke explains failures in the lives of homeless shelters due to external circumstances , does not at all blame the heroes themselves for their failed lives. That’s why she was so drawn to him and became so disappointed, having lost external support with Luka’s departure.)

II. Teacher's final words
Gorky does not accept passive consciousness, whose ideologist he considers Luka.
According to the writer, it can only reconcile a person with the outside world, but will not encourage him to change this world.
Although Gorky does not accept Luka’s position, this image seems to be out of the author’s control.
According to the memoirs of I.M. Moskvin, in the 1902 production, Luka appeared as a noble comforter, almost a savior of many desperate inhabitants of the shelter. Some critics saw in Luke “Danko, to whom only real features were given,” “an exponent of the highest truth,” and found elements of Luke’s exaltation in Beranger’s poems, which the Actor shouts:
Gentlemen! If the truth is holy
The world doesn't know how to find a way -
Honor the madman who inspires
A golden dream for humanity!
K. S. Stanislavsky, one of the directors of the play, planned path "decrease" hero.“Luka is cunning”, “looking slyly”, “slyly smiling”, “ingratiatingly, softly”, “it’s clear that he’s lying.”
Luke is a living image precisely because he is contradictory and ambiguous.

Homework
Find out how the issue of truth is resolved in the play. Find statements from different characters about the truth.

Lesson 3. The question of truth in Gorky’s drama “At the Depths”
The purpose of the lesson: identify the positions of the characters in the play and the author’s position in relation to the issue of truth.
Methodical techniques: analytical conversation, discussion.

During the classes
I. The teacher's word
The philosophical question that Gorky himself posed: What is better - truth or compassion? The question of truth is multifaceted. Each person understands the truth in his own way, still keeping in mind some final, highest truth. Let's see how truth and lies relate in the drama “At the Bottom.”

II. Working with a dictionary
- What do the characters in the play mean by “truth”?
(Discussion. This word is ambiguous. We advise you to look in an explanatory dictionary and find out the meaning of the word “truth”.

Teacher's comment:
You can select two levels of "truth".
One is " private truth which the hero defends, assures everyone, and above all himself, of the existence of extraordinary, bright love. The Baron is in the existence of his prosperous past. Kleshch truthfully calls his situation, which turned out to be hopeless even after the death of his wife: “There is no work... no strength! That's the truth! Shelter... there is no shelter! You have to breathe... here it is, the truth!” For Vasilisa, the “truth” is that she is “tired” of Vaska Ash, that she mocks her sister: “I’m not bragging - I’m telling the truth.” Such a “private” truth is at the level of fact: it was - it wasn’t.
Another level of "truth" "worldview"- in Luke's remarks. Luke's "truth" and his "lies" are expressed by the formula: “What you believe in is what it is.”

III. Conversation
- Is the truth necessary at all?
(Discussion.)

- Which character's position contrasts with Luke's position?
(Luke’s position, compromise, consoling, Bubnov's position is opposed .
This is the darkest figure in the play. Bubnov enters into the argument implicitly, as if talking to myself , supporting the polyphony (polylogue) of the play.
Act 1, scene at the bedside of dying Anna:
Natasha (to the tick). If only you could treat her more kindly now... it won't be long...
Mite. I know...
Natasha. You know... It's not enough to know, you - understand. After all, dying is scary...
Ash. But I'm not afraid...
Natasha. How!.. Bravery...
Bubnov (whistles). And the threads are rotten...
This phrase is repeated several times throughout the play, as if

The action of the drama “At the Bottom” takes place at the turn of the 19th and 20th centuries. This is a time of economic crisis for Russia, many remain unemployed, lose their status, position in society, and some sink to the “bottom” of life. It is no coincidence that Gorky paints this way of the place where his heroes huddle. Before us is a dirty basement, like a cave: a smoke-stained ceiling, heavy stone vaults with crumbling plaster. And everywhere along the walls there are bunks. The terrible picture is completed by the furniture of the shelter: “a large table, two benches, a stool - everything is unpainted and dirty.” After such descriptions, it becomes scary; is this really how the author sees Russia on the eve of a new century?

The conflicts presented in the play are diverse: social and everyday, love, and philosophical. They flare up both between heroes belonging to different social classes, and within themselves. Indeed, people find themselves “at the bottom,” as a rule, experiencing an internal social conflict. Gorky gives the reader a backstory for each character. Thus, the Baron used to lead the intellectual life of a representative of high society: “Before, when my body was not poisoned by alcohol, I, an old man, had a good memory... And now... it’s over, brother!” Vaska Pepel responds to this: “You are a master... there was a time when you didn’t consider our brother to be a person... and all that...” It is clearly shown how arbitrary the division into social classes is in the human world and how easily a former master equaled his position with the sharper Bubnov and the thief Vaska Pepl.

In parallel with social and everyday conflicts, love conflicts also develop. Here the relationship between the Kostylevs and Vaska Pepla with Natalya, the sister of Vasilisa Karpovna Kostyleva, comes to the fore. With the appearance of Natasha in the shelter, Ash is ready to turn to another, new life. For her sake, Vaska leaves Vasilisa, his feelings for her have cooled. A hero cannot lie or be insincere. The climax is the scene in which Natasha is scalded with boiling water, and Vaska kills Kostylev. At first glance, Vasilisa emerges as the winner, having taken revenge on her former lover and harmed her rival. In addition, after the death of her husband, she remains the sovereign mistress of the shelter. However, now it becomes completely clear that there is nothing human left in Vasilisa, she will never be able to find human happiness. And in our eyes, its fall “to the bottom” is happening even more rapidly.

The arrival of Luke provokes the maturation of a philosophical conflict in the society of the night shelters. The reader follows its development through the dialogues and monologues of the characters. Luke reveals the bright sides of their nature in the heroes and encourages them to remember their dreams. According to Luke, people need “sweet lies” more than “bitter truth.” In conversations with a wanderer, a girl of easy virtue, Nastya, begins to dream of pure love, the Actor seriously thinks about returning to the stage, Vaska Ash strives for honest earnings and a life without deception. Gorky believed in man and his ability to control his own destiny. The hero of his play, Luka, does not want to see swindlers and deceivers in the night shelters, he respects them all, believes that “not a single flea is bad: all are black, all are jumping...” The Wanderer sincerely believes that a person becomes overgrown with sins and vices when life itself “dumps him in the mud.” Even when confronted with real thieves, Luka does not hand them over to the police, because he understands that it was not a sweet life that pushed them down this path: “Give me some bread for Christ’s sake!” Let's go, they say, without eating. I tell them: you devils should have just asked for bread. And I’m tired of them, they say... you ask and ask, but no one gives... it’s a shame!.. So they lived with me all winter.” Luka sincerely wishes the best to his interlocutors and shows real paths to a new, better life.

After Luke leaves, everything happens not at all as the heroes who believed in the words of the wanderer expected. Having lost his last hope, the Actor commits suicide. After killing Kostylev, Ash goes to Siberia, not as a free settler, but as a convict. However, the old man’s sermon gave impetus to Satin’s monologue. It is he, paradoxically, who continues the work of Luke, does not allow people who have lost faith to despair, and offers them a new “philosophy of life” that can raise people from the “bottom.”

Thus, the social concept of “bottom” acquires a philosophical meaning. Gorky tried to consider not only the reasons for the social and moral decline of people, but also to show different ways for people to overcome despair, spiritual desolation and pessimism.

Scene

PLACE OF ACTION - along with time (see) - a mandatory prerequisite for the plot development of events depicted in a literary work. Since a literary work always reflects, to one degree or another, existence, objective reality, and “space and time are the basic forms of existence” (Engels), no action or event in a literary work can be conceived outside of a more or less definite spatial and temporal localization . Spatial localization is the establishment of the mathematical movement. Throughout the history of fiction, the concept of the literary movement changes depending both on the expansion and clarification of man’s knowledge of “objectively real forms of being,” space and time, and the improvement of technology, and on style , type, genre of a literary work in its specific historical significance. Reducing changes in the content of the concept of physical activity to only one of these reasons, in particular to technical reasons, inevitably leads to a distortion of the true history of the phenomenon.
The category of M. d. is of the least importance in lyric poetry (see), although it rarely gives its images plot design in action. The exception is those lyrical genres and works in which lyrical emotion is directed at describing the phenomena of the external world in their relationship with the poet’s experiences or thoughts. Eg. The poetry of sentimentalism is characterized by lyrical landscapes (see “Sentimentalism”), in which the sensitive glorification of the countryside and nature was opposed to the rationality of classical poetry (see “Classicism”). The most vivid expression of these trends is given by the so-called. "descriptive poetry" (q.v.), led by Thomson. The description here does not have an auxiliary, explanatory, but a self-sufficient meaning, which led to Lessing’s attacks on this poetry, which replaces the depiction of events with the depiction of spatial relationships, which is the task not of poetry, but of painting.
The category of mythology is of much greater importance in epic genres that unfold the narrative of various events of human life. These events always take place in a certain specific environment, setting, which itself to a certain extent characterizes the characters, their aspirations and actions. This approach to the problem of MD characterizes, for example. narrative genres of early bourgeois literature of the era of commodity economy (medieval fabliau, Italian novella, adventure novel of the 16th-17th centuries), which are characterized by extensive composition, passion for effective collisions, external dynamics of events without attempts at their in-depth, psychological understanding. A different approach to literary fiction is characteristic of the narrative literature of the bourgeoisie, which has become stronger and more aware of its class interests. Discovering a deeper understanding of reality in its connections and mediations, she uses the category of M.D. for psychological detailing of action, to clarify the internal connections between the images of people and the environment that gave birth to them. Therefore, the bourgeois realistic novel of the 19th century. (Balzac, Stendhal, Thackeray, Dickens, Flaubert, Zola) replaces the dry, laconic designation of M. with a detailed description of it, which is included in the figurative fabric of the novel and explains its plot situations. Thus, the description of the house of the miser Grande (“Eugene Grande”) by Balzac and Plyushkin’s room by Gogol is organically necessary to characterize these images, completing them with individual characteristic features.
The problem of MD in drama has been much more developed (see). Here it has a particularly significant significance in view of the specific focus on dramatic literature on stage reification, which reveals the objective essence of the play through the means of theatrical art. Precisely because drama is designed for visual perception in the theater, the category of artistic performance receives physically tangible visibility in the drama, being objectified in a three-dimensional stage stage designed through decorations, structures, etc., directly denoting this or that artistic performance. If the novel only talks about M. d., describing him, then the drama shows him to the viewer. The problem of drama in drama is closely related to the method of its stage embodiment, and the technical conditions and capabilities of the theater influence the dramatic solution of this problem. Thus, the elementary character of medieval liturgical drama was to a certain extent determined by the fact that it was given within the confines of the temple, representing a detail of the divine service, while the incomparably more complex character of the mysteries of the 15th and 16th centuries (dozens of episodes forming a drama, dramatization of events like the global flood , creation of the world, etc.) was closely dependent on the progress of technology, which successfully developed in the rising cities of the late Middle Ages and opened up the opportunity for the theater to resort to quite complex stage effects. In our time, advances in stage technology give the playwright the opportunity to include in the composition of plays such elements as cinema, which does not know spatial restrictions (historical chronicle, adventures on land and sea, etc.), radio, etc. But when solving the problem, establishing M. d Although there is some connection between dramaturgical technique and theatrical technique, this connection should not be interpreted in terms of mechanical causality, arguing that the technology of the theatrical stage determines the solution to the problem of theatrical performance, which, as said, is a problem of genre and style and is determined by all of their specific history. It is not the technique of the stage that determines the style of the drama, but the playwright uses this technique to formalize his ideological positions. Eg. Mystery plays became possible only as a result of the corresponding development of European stage technology, but the very nature of this technique of the late Middle Ages was determined by the tasks that the dramaturgy of the mysteries set for the theater. From the need to dramatize the Bible, which arose among the rising bourgeoisie of the feudal city, a specific stage technique of the 15th-16th centuries grew. The emergence of rich props and complex stage mechanisms that transform the stage into fabulous palazzos and fantastic gardens in plays of the Baroque era was generated by the need of the playwright, the ideologist of the aristocracy, for an embellished courtly and festive display of reality. Lope de Vega’s struggle with the principle of unity of place (in his “comedies” he constantly moves the action from place to place), which was insisted on by the playwrights of the Italian Renaissance and later by the French classics of the 17th century, was not explained by the fact that the conditions of the Spanish stage forced the playwright go in the indicated direction (cf. Cervantes’s speeches in defense of the traditions of the Renaissance in the field of drama), but because Lope, as the ideologist of the Spanish hidalgos of the era of Spain’s wide colonial expansion, the world was depicted in a state of flux, in which the most amazing, unexpected pictures are replaced. Since the technique of the stage does not determine the style of drama, but is its constituent element, we see how outwardly similar conditions of theatrical performance give rise in different eras and in different social situations to polar opposite solutions to the problem of M. d. (for example, the desire for concentration and unity of M ... in ancient tragedy and its constant changes in medieval mystery plays, although the external conditions of performance in both cases are similar: a large mass performance in the open air, etc.). Likewise, in the same theaters in the same era, we notice the coexistence of different types of drama, different approaches to the problem of it (for example, classical tragedy and opera or tragedy with machines (“Andromeda” by Corneille, “Psyche” by Molière) in France in the 17th century .). In each such case, the problem of M.D., included in the system of images of drama, should be considered as a separate manifestation of a certain specific class style (“general”) and genre (“special”). Only in this way will we be able to overcome the hitherto dominant empirical and formalist approach to the problem of MD and approach its truly Marxist solution. Bibliography:
There are no works that pose the problem of MD in general terms. For some comments in terms of formalist poetics, see: Tomashevsky B.V., Theory of Literature, Leningrad, 1925 (several editions). Valuable instructions are contained in the works of V. M. Fritsche, Problems of Art Criticism, Guise, M. - L., 1930; His, Essay on the Development of Western Literatures, ed. 5th, M., 1931. For orientation in related areas of art, see: V. M. Fritsche, Sociology of Art, ed. 2nd, Guise, M. - L., 1929; Kornitsky I. Ya., Problems of theory and history of art, “Proceedings of the sociological section of the Institute of Archeology and Art History,” RANION, vol. I, M., 1927. For drama, in addition to the bibliography attached to the article. “Unity”, see: “Essays on the history of European theater”, Edited by A. A. Gvozdev and A. A. Smirnov, P., 1923; Muller V.K., Drama and theater of the era of Shakespeare, Leningrad, 1925; Yakovlev M., Drama Theory, Leningrad, 1927; Mokulsky S.S., Material design of a performance in France on the eve of classicism, “On the theater”, Vremnik Theo GIIII, vol. III, L., 1929. Souriau, De la convention dans la tragedie classique et dans le drame romantique, 1885; Lemaitre J., Corneille et la poetique d’Aristote, 1888; Ebner J., Beitrag zu einer Geschichte der dramatischen Einheiten in Italien, “Munchen. Beitr.”, 1898, XV; Ernst P., Die Einheit des Orts und der Zeit, “Die Schaubuhne”, 1908, V; Strich F., Klassik und Romantik, 1922; Bray K., La formation de doctrine classique en France, 1927 (there is also an extensive bibliography); Hirt E., Das Formgesetz der epischen, dramatischen und lyrischen Dichtung, Lpz., 1923 (all of the listed foreign literature develops the problem in terms of idealistic poetics).

Literary encyclopedia. - At 11 t.; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Fritsche, A. V. Lunacharsky. 1929-1939 .

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