Analysis in literature lessons. Brief analysis: Vampilov, “Eldest son Vampilov eldest son theme

The genre of the work belongs to the comedic style with the inclusion of tragic motifs in the content, creating the impression of a kind of philosophical parable.

The storyline of the play is based on a strange coincidence of circumstances, dramatic moments that are the driving force in the development of the narrative action built around the Sarafanov family.

All the characters in the work are presented by the writer as key images, starting with two young friends Silva (Semyon Sevostyanov) and Vladimir Busygin, who by chance found themselves on the outskirts of the city and found an overnight stay in the apartment of Sarafanov, the head of a small family consisting of Vasenka, who is finishing school, and his daughter Nina, recently married cadet Kudimov.

The events of the play, having begun with a simple deception of young men looking for an overnight stay, unfold in a serious direction, since the elder Sarafanov unexpectedly recognizes in Busygin his eldest son, illegitimate twenty years ago, and the rest of the family members subsequently see their external resemblance. Thus, Busygin finds himself accepted into the family relationships of the Sarafanovs, which are not prosperous.

The eldest Sarafanov is an elderly, intelligent man with a failed career, long abandoned by his wife, raising children alone who do not plan to connect their future lives with their aging father, dreaming of leaving for Sakhalin and the taiga. In Busygin, Sarafanov hopes to find his lost son's love, without feeling deception and lies, and subsequently not wanting to notice them.

Vladimir gradually gets used to the invented role of his son and begins to take an active part in the life of the family, giving advice to the younger children in arranging their personal lives, sometimes rudely interfering in private relationships.

The semantic load of the play lies in the writer’s depiction of the acute human need for a constant feeling of spiritual kinship and the desire to find a home.

Busygin, being a complete stranger to the Sarafanovs, unexpectedly begins to feel a family connection between them and feels responsible for their future fate. Despite youthful bravado and cynicism, the young man is born with the ability to express true feelings in the form of love, forgiveness, and compassion.

The narrative content of the play “The Eldest Son” throughout the development of the action demonstrates, using the example of a simple everyday story, universal humanistic problems in the form of an acute shortage of human kindness, trust, mutual understanding and responsibility, and also depicts the possibility of finding spiritual kinship between people who are not connected with each other by formal close relationships, who met only through a happy accident.

The writer raises a deeply moral issue in the play, which lies in the dream of every person to find common family blissful harmony.

Analysis 2

Work by A.V. Vampilov’s “Elder Son” can be classified as a comedy genre. But despite this, there are tragic moments in the plot. Therefore, the play is more reminiscent of a philosophical parable. In the work, events happen as if by chance. All actions revolve around the Sarafanov family.

Absolutely all the characters are the main characters. We can say that the writer did not deprive anyone of attention. Even seemingly random characters (several guys asked to spend the night in the Sarafanov family’s apartment) play a significant role in the work. The Sarafonov family is small; schoolchild Vasenka is brought up there and daughter Nina lives with her husband, cadet Kudimov.

The work begins with a story about how the guys were looking for accommodation for the night and found it in the apartment where the Sarafonovs lived. From that moment on, events began to unfold in a serious direction. The head of the family recognizes one guy (Vladimir Busygin) as his illegitimate eldest son. He should have been twenty years old. But after some time, all family members began to note the external similarity of the elder Sarafanov and Busygin. The poor guy was literally dragged into a family relationship that was not healthy.

The head of the Sarafan family is an elderly man, intelligent, but who has not had a successful career. His wife left him, leaving him with two children. The children do not want to live and continue to look after the old man. They plan to leave the city for Sakhalin. Sarafanov saw his son in Busygin. The old man hoped that the guy would stay with him. Sarafanov believed that his newfound son needed him. Therefore, he did not notice the deception that was happening before his eyes.

Vladimir was not against playing along with the old man and pretending to be his son. He actively entered into character. The guy quickly gained confidence. Vladimir treated his younger children as if they were his own brothers. He gave them advice and instructions. He tried to teach them about life. Sometimes he went too far and interfered where he shouldn't.

In fact, Busygin was not Sarafanov’s own child. But, despite this, feelings of compassion, fatherly love and understanding arose between them.

The main idea of the work is that every person wants to feel needed, loved and irreplaceable. The author tried to convey to the reader the idea of how important family relationships and relationships are. The play “The Eldest Son” demonstrates the problem of the lack of goodness, affection, care, trust and love in family relationships.

Criticism of the novel The Captain's Daughter by Pushkin and reviews from contemporaries

The very publication of the novel in the Sovremennik magazine did not arouse interest from critics. Not a single magazine or newspaper published in St. Petersburg or Moscow commented on Pushkin’s new work.

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 Eldest 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.

The father of the family appears. 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 been in the know for a long time, 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 Makarskaya’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 got 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.

The play “The Eldest Son” (1967, first published in the anthology “Angara”, 1968, No. 2) became one of the most famous works of Soviet drama; director V. Melnikov made a wonderful film based on it, in which Evgeniy Leonov shone (Sarafanov) and Nikolai Karachentsov (Busygin). In the story of the “loser in life” Andrei Grigorievich Sarafanov, Vampilov finds a high meaning, because this man lived his life honestly, trying to always live according to his conscience, and his spiritual purity and insecurity attract completely strangers to him, such as a rather tough and pragmatic young a man, Vladimir Busygin, who understands that “this dad is a holy man.”

The plot of the comedy is well known, so it is necessary to dwell on the characters, who determine the main conflict and plot of the work. At the center of the play are two characters: Sarafanov and Busygin. These are people who are united by an incomprehensible kinship of souls; they are truly able to understand each other, despite the difference in age. The attractiveness of the spiritual purity of Andrei Grigorievich Sarafanov is so great that it is almost impossible to resist it, and this happens because the hero does not pretend, does not play, he truly loves all people, he openly and trustingly looks into the world, and the ironically sad “blessed “(this is how his ex-wife, the mother of his children, who left him for a “serious man,” addressed him in letters) most accurately characterizes this man. Yes, in ordinary life such people cause surprise, irritation, distrust, they contrast too much with how “one should be able to live”, but why then can’t children leave him - both their own and others? “No, no, you can’t call me a loser. I have wonderful children...” says Sarafanov after his daughter’s fiancé, who “doesn’t care” what his bride’s father does, unwittingly “exposes” the clarinetist fired from the orchestra, whose family and he himself pretend that he still plays in the orchestra... In the same way, nothing can change in his attitude towards the “eldest son” and the “exposure” of Silva, Sarafanov is unable to believe that he has become his family Busygin is not his son as a person.

It may seem that the determining factor in Busygin’s attitude towards Sarafanov is that he really likes Nina (by the way, in the first version of the play the love line was much more important than in the final version), but this is not so. The main thing for the hero is Sarafanov, who lives the way it is “not customary” to live, but at the same time maintains spiritual purity, and this is acutely felt by the “fatherless” Vladimir Busygin, an ordinary, generally young man, suddenly faced with an inexplicable state for himself: there are people who cannot be abandoned, because they love you. “You are my children, because I love you. Whether I’m bad or good, I love you, and this is the most important thing...” says Sarafanov, and Busygin understands him. He understood a lot during those 24 hours, and this happened thanks to a failed musician who has a great gift of love for people and generously gives them this love...

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 the 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,” wrote V. Rasputin 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 it justifies 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 eagerly published by the university 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 Anecdotes” (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, an imaginary fact (“Twenty minutes with an angel” - there is no angel; “The story with a stage manager” - there is no stage manager; “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 birth 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 on 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 a task: the resurrection of 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, Makarska, 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.

"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.

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 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.

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, interferes 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 Sara Fanov Sr. has not been working at the Philharmonic for six months, but is playing at a dance at 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...”

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.

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.”

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 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: after quarreling 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 spiritual 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.

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.

1. Alexander Valentinovich Vampilov

2. "Eldest Son"

3. For 11th grade

5. This work was written in 1967, and first published in 1968. In the same year, A. Solzhenitsyn completed “The Gulag Archipelago”, the Soviet MIG-23 plane took off for the first time, and the wonderful director Fyodor Bondarchuk was born.

The events described in this work take place in the second half of the 20th century in a small provincial village.

The main character of the play is medical student Vladimir Busygin. Busygin’s newly made comrade, Semyon Sevostyaov, nicknamed Silva, willingly gives useful and not so useful advice to the main character. Andrey Grigorievich Sarafanov is a fifty-five-year-old musician who raises and raises his two children alone. Sarafanov’s eldest daughter Nina is 19 years old, she can’t wait to marry flight academy cadet Mikhail Kudimov and go to the city with him. The youngest son of Andrei Grigorievich, Vasenka, is unrequitedly in love with Natalya Makarskaya (a woman 10 years older than Vasenka).

Brief story

The play begins with a story about how Busygin and Silva, having just met, accompany two friends home, hoping to spend the night with them.

However, the girls refuse to accept them, and the young people discover that they are late for the train. It’s cold to stay outside, so without thinking twice, the comrades begin to look for accommodation for the night in the area, but people are afraid to let strangers into their home late at night. Quite by accident, Busygin and Silva learn the name of Sarafanov, who left his apartment and went about his business. The young people decide to take advantage of this and head straight to Sarafanov’s apartment, where Vasenka meets them. Silva introduces Busygin to him as his father's eldest son, who after many years decided to visit his biological father. Vasenka immediately received the guests and began to treat them with whatever he could find. Later, when Gregory returned, the young people easily assured him that they were telling the truth, and it didn’t take long for his daughter Nina to convince herself. In the morning, Busygin and Silva decide to leave the apartment safely without making a fuss. But, after Sarafanov gives his “eldest son” a family heirloom, Busygin decides to stay a little longer. Later, the main character notices that he is falling in love with his “sister” Nina, and, unable to withstand the barrier between them, confesses to all the lies. However, Busygin has become so attached to his “father” that he himself no longer believes that he is not his son. To which Sarafanov replies: “Whatever it is, I consider you my son.” After which Vladimir Busygin remains in the Sarafanovs’ house.

Review (My opinion)

I really liked the play, because it carries true fatherly love and sincerity, despite such a big deception, this work remains truly kind to me.

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

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.

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

Unexpected addition to the family

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

Love as a unifying force

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

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.

Catharsis

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.

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.

Busygin as a savior

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.

Two young men - medical student Busygin and sales agent Semyon, nicknamed Silva - hit on unfamiliar girls. Having escorted them home, but not meeting the further hospitality they expected, they discover that they are late for the train. It’s late, it’s cold outside, and they are forced to look for shelter in a strange area. The young people barely know each other, but misfortune brings them closer together. Both of them are guys with humor, they have a lot of enthusiasm and play, they do not lose heart and are ready to take advantage of any opportunity to warm up.

They knock on the house of a lonely thirty-year-old woman, Makarskaya, who has just driven away the tenth-grader Vasenka, who is in love with her, but she turns them away too. Soon the guys, who don’t know where to go, see an elderly man from a neighboring house calling out to her, who introduced himself as Andrei Grigorievich Sarafanov. They think that this is a date and decide to take advantage of the opportunity to visit him in Sarafanov’s absence and warm up a little. At home they find an upset Vasenka, Sarafanov’s son, who is experiencing his love failure. Busygin pretends that he has known his father for a long time. Vassenka behaves very warily, and Busygin tries to reassure him, saying that all people are brothers and we must trust each other. This leads the cunning Silva to think that Busygin wants to play a prank on the boy by introducing himself as Sarafanov’s son, Vasenka’s half-brother. Inspired by this idea, he immediately plays along with his friend, and the dumbfounded Busygin, who did not have this in mind at all, appears to Vassenka as his unknown older brother, who has finally decided to find his father. Silva is not averse to building on his success and persuades Vasenka to celebrate the event - to find some alcohol in the house bins and drink it on the occasion of finding a brother.

While they are celebrating in the kitchen, Sarafanov unexpectedly appears, having gone to Makarskaya to ask for his son, who is dying of love. Drunk Vasenka stuns him with stunning news. The confused Sarafanov does not believe it at first, but, remembering the past, he still admits this possibility - then the war had just ended, he “was a soldier, not a vegetarian.” So his son might have been twenty-one years old, and his mother's name was... her name was Galina. These details are heard by Busygin peeking out from the kitchen. Now he is more confident when meeting his imaginary father. Sarafanov, questioning his new son, becomes more and more convinced that this is really his son, who sincerely loves his father. And Sarafanov now really needs this kind of love: his youngest son has fallen in love and is trying to get away with it, his daughter is getting married and is going to Sakhalin. He himself left the symphony orchestra and plays at dances and funerals, which he proudly hides from the children, who nevertheless are aware and only pretend that they know nothing. Busygin plays his role well, so that even Sarafanov’s adult daughter Nina, who initially met her brother very distrustfully, is ready to believe.

Sarafanov and Busygin spend the night in a confidential conversation. Sarafanov tells him his whole life, opens his soul: his wife left him because it seemed to her that he played the clarinet for too long in the evenings. But Sarafanov is proud of himself: he did not allow himself to disappear into the bustle, he composes music.

In the morning, Busygin and Silva try to sneak away unnoticed, but run into Sarafanov. Having learned about their departure, he is discouraged and upset; he gives Busygin a silver snuffbox as a souvenir, since, according to him, in their family it always belonged to the eldest son. The touched impostor announces his decision to stay a day. He helps Nina clean up the apartment. A strange relationship develops between him and Nina. They seem to be brother and sister, but their mutual interest and sympathy for each other clearly do not fit into the family framework. Busygin asks Nina about her groom, involuntarily making jealous barbs at him, so that something like a quarrel occurs between them. A little later, Nina will also react jealously to Busygin’s interest in Makarskaya. In addition, they constantly turn to talk about Sarafanov. Busygin reproaches Nina for the fact that she is going to leave her father alone. They are also worried about their brother Vasenka, who continually makes attempts to escape from home, believing that no one needs him here.

Meanwhile, Vasenka, encouraged by the unexpected attention of Makarskaya, who agreed to go to the cinema with him (after a conversation with Sarafanov), comes to life and now has no intention of leaving anywhere. However, his joy does not last long. Makarska has an appointment at ten o'clock with Silva, whom she likes. Having learned that Vasenka bought a ticket for the same time, she refuses to go, and Vasenka’s naive stubbornness indignantly admits that the boy owes her unexpected kindness to his dad. In desperation, Vasenka packs a backpack, and the sensitive Busygin, who had just intended to leave, is again forced to stay.

In the evening, Nina’s fiance, pilot Kudimov, appears with two bottles of champagne. He is a simple and open guy, good-natured and perceives everything too straightforwardly, which he is even proud of. Busygin and Silva make fun of him every now and then, to which he only smiles good-naturedly and offers them a drink so as not to waste time. He has just enough of it, he, a cadet, does not want to be late, because he promised himself never to be late, and his own word is law for him. Soon Sarafanov and Nina appear. The whole company drinks for acquaintance. Kudimov suddenly begins to remember where he saw Sarafanov, although Busygin and Nina

They try to stop him, convincing him that he could not see him anywhere or saw him at the Philharmonic. Nevertheless, the pilot, with his inherent integrity, persists and eventually remembers: he saw Sarafanov at the funeral. Sarafanov is bitterly forced to admit this.

Busygin reassures him: people need music both when they are having fun and when they are sad. At this time, Vasenka with a backpack, despite attempts to stop him, leaves his home. Nina’s fiancé, despite her persuasion, also rushes away, afraid of being late for the barracks. When he leaves, Nina reproaches her malicious brother for treating her fiancé badly. In the end, Busygin can’t stand it and admits that he is not Nina’s brother at all. Moreover, he seems to be in love with her. Meanwhile, the offended Sarafanov is packing his suitcase to travel with his eldest son. Vasenka suddenly runs in with a frightened and solemn look, followed by Silva in half-burnt clothes, with a face stained with soot, accompanied by Makarska. It turns out that Vasenka set her apartment on fire. The indignant Silva demands trousers and, before leaving, vindictively reports at the door that Busygin is not Sarafanov’s son at all. This makes a great impression on everyone, but Sarafanov firmly declares that he does not believe it. He doesn’t want to know anything: Busygin is his son, and his beloved one at that. He invites Busygin to move from the hostel to them, although this meets with Nina’s objection. Busygin reassures him: he will visit them. And then he discovers that he was late for the train again.

Goals and objectives:

comprehension of the ideological and artistic originality of the play,
further formation of students’ ideas about the uniqueness of A. Vampilov’s dramatic poetics,
further development of the skill of penetration into the subtext of the play, interpretation of the image,
the problem of morality in the play.

Lesson methodology: teacher's word, work with text, analytical conversation, textual analysis of individual scenes, expressive reading by students.

During the classes

Stage 1: disclosure by the teacher of the goals and objectives of the lesson, formulation of the topic.

Stage 2: work with the title of the play based on previously studied material

“Moral teaching with a guitar”, “The Suburb”, “The Eldest Son” (1970) Questions for an analytical conversation with a brief comment:

1. What is the relationship in the titles of the plays?

2. What is the fundamental difference in the titles of the plays?

3. What is the semantic symbolism in the title of the play “The Eldest Son”?

The title of the play "The Eldest Son" is most apt, since the main character - Busygin - fully justified the role he took on as the eldest son. Volodya Busygin helped Sarafanov’s children understand how much their father means to them and brings trust, respect, compassion, and warmth into their difficult lives.

Stage 3. Analysis of the play with quotation and expressive reading.

The main and secondary characters of the play. The plot of the play.

Collision of the play.

Sarafanov and his children.

The images of Busygin and Silva in revealing the idea of the play.

The role of minor characters in revealing the idea of the play.

Problems and idea of the play.

The plot of the play is quite simple: medical student Busygin and trade agent Silva escort the girls to the outskirts of the city. Having missed the last train, we are forced to look for accommodation for the night.

Busygin. People have thick skin, and it is not so easy to penetrate it. You have to lie properly, only then will they believe you and sympathize with you. They need to be scared or moved to pity.

So they end up in the Sarafanovs’ house. Open and friendly Andrei Grigorievich believes in lies and mistakes Busygin for his eldest son.

In the first act in the second picture, the general mood in the family is cold, without family warmth. Son Vasenka is unrequitedly in love with Makarskaya, daughter Nina quickly wants to leave home with her fiancé for Sakhalin. Sarafanov is lonely in his family, in life. Busygin, who grew up in an orphanage, feels in Andrei Alexandrovich a kind, sincere person. The ending of the play is optimistic, the characters become warmer and wiser. Volodya honestly admits that he is not Sarafanov’s son, and besides, he likes Nina. Vasenka no longer strives to run away from home, and Busygin is drawn to Andrei Alexandrovich’s family. (Students quote from the play).

The moral quest of the play unfolds between two theses-slogans - “all people are brothers” and “people have thick skin.” It is paradoxical that Busygin turned out to have the thinnest skin. Having found himself in the naive world of the Sarafanov family, Busygin, playing his role, involuntarily shows the best human qualities.

How do children relate to their father? Match them.

Conclusions of the teacher and students: children are callous towards their father, sometimes selfish (expressive reading of dialogues, analysis of the episode with the fire). Nina is serious, smart, but wanting to change her life, tired of hopelessness, she is ready to leave her father and brother. But, having fallen in love, he thaws and changes his views on life. (expressive reading of dialogues)

Compare the image of Busygin and Silva. (working with text)

Conclusions of the teacher and students: Silva tells Busygin: “Here, he says, you have the last twenty rubles, go to the tavern. Get drunk, make a row so that I don’t see you for a year or two.” It is no coincidence that Vampilov initially dramatizes the fate of his heroes. Finding themselves in a difficult situation, the heroes manifest themselves in different ways: Busygin throughout the play reveals his positive character traits, which makes him noble, strong, and decent. Unlike the orphan Volodya, the “orphan” Silva is resourceful, but cynical. His true face is revealed when he declares that Busygin is not a son, not a brother, but a repeat offender. It was important for the playwright to tell the readers: every person makes his own choice under any circumstances.

What type of person is Kudimov? (Episode Analysis)

Conclusions from students and teachers: “He smiles. He smiles a lot. He is good-natured,” Vampilov says about him. He represents the “type of right people” who create around themselves an atmosphere that suffocates all living things in a person.” Although only Kudimov always speaks the truth, and all the heroes lie due to circumstances, what is surprising in Vampilov’s comedy is that the lie turns into cordiality and warmth. This dramatic technique allows them to reveal depths of personality, spirituality and kindness that they themselves did not suspect.

The role of Makarska and the neighbor in the play. (Reading individual quotes)

Conclusions: the playwright examines the theme of loneliness, which can drive a person to despair. Natasha Makarskaya is shown as a decent person and unhappy as a woman. The neighbor appears to the readers as a cautious person, “the neighbor moves away silently and fearfully,” “he looks at him with caution and suspicion.”

Genre of the play.

Reasoning of the teacher and students: the word comedy can be understood in the Balzacian sense of the word: “human comedy.” Comedy is a panorama of life. Vampilov defines the genre of the play as a comedy. But along with the comic, dramatic events develop (Silva, Makarskaya, Sarafanov). A. Demidov called the comedy “The Eldest Son” “a kind of philosophical parable.” “Unlike family-adventure dramaturgy, which is focused on the recognition of life situations, “The Eldest Son” is focused, so to speak, on the recognition of eternal, universal, general dramatic, existential situations and problems. The internal structure of the play is completely permeated with themes of world drama: " (E. Gushchanskaya).

How does Vampilov relate to Silva, Busygin, Sarafanov? (students' answer)

Problems and idea of the play.

It was no coincidence that the playwright replaced the title of the play “The Suburbs” with “The Eldest Son.” The main thing is not where events take place, but who participates in them. To be able to listen and hear, understand each other, and show mercy is the main idea of Alexander Vampilov’s work. Critics say that Vampilov created his own original artistic world, a special dramatic poetics. The element of the play is good; an element that gives birth to happy transformations and gains, and not breaks and losses. This is drama that can instill faith in a person. A certain convention and chance give artistic depth and authenticity to the play, but the playwright never once allowed anyone to doubt the vitality of what was happening, did not violate the logic of events, each subsequent step naturally flowed from the previous situation.

A. Rumyantsev in his book “Alexander Vampilov” recalls: “I reproached him for something, and he objected:

You're wrong, old man. You have no reason to say that.

Because I love you.

It sounded funny, sentimental. Soon after Sanya’s death, re-reading his book, I saw that life in the moments of that conversation continued his play. Yes, "The Eldest Son", the last scene."

Sarafanov, having learned that Busygin is not his son, says: “What happened - all this does not change anything, Volodya, come here: (Busygin, Nina, Vasenka, Sarafanov - everyone is nearby.) Whatever happened, but I consider you my son. (To all three) You are my children, because I love you, good or bad, I love you, and that’s the most important thing.”

These words contain Vampilov’s legacy left to all of us. “I love people with whom anything can happen,” Sanya wrote in a notebook, that is, secretly, for himself. He could not envy someone because he was luckier; he could not humiliate someone who is stupider, the more more unhappy. He saw us as we are, and wanted us to be better. And he himself deserves the same.”

Valentin Rasputin owns the words: “It seems that the main question that Vampilov constantly asks: will you, a man, remain a man? Will you be able to overcome all the false, unkind things that are prepared for you in many everyday trials, where the opposites - love - have become difficult to distinguish and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement: “A. Vampilov’s play “The Eldest Son” gives an answer to these questions.