Compose a syncwine with the keyword Bunin. Open lesson on literature on the topic “I.A.

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Evaluation paper

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"Quiz game script"

Quiz game for high school students

“Ivan Alekseevich Bunin. Life, destiny, creativity"

Target: increasing students' interest in the subject "Literature", in particular in the works of fellow countryman I.A. Bunin

Tasks:

Formation of cognitive activity, outlook;

Expansion of educational space;

Development of creative and intellectual abilities of students

Equipment: task cards for each team, presentation

Preliminary task: Each team prepares a dramatization based on the work of I. A. Bunin “Natalie”

Progress of the event

Presenter: good afternoon, dear lovers and experts of the work of the wonderful poet, wonderful prose writer I.A. Bunin. Today our meeting will be devoted to creativity, the fate of this wonderful literary figure. We will once again plunge into the works of the well-known author, remember the main moments of his work and life.

Our quiz game has several stages:

Buninsky landscape

Continue the sentence

Anagram

Portrait sketches

Illustrators

Creative competition

Sinkwine

So, we begin our competition among experts on the life and work of I.A. Bunina

Presenter: Ivan Alekseevich lived for a long time away from the Fatherland, but never severed internal ties with Russia, he lived and worked with love for it. The world of his native nature and native land were sources of inspiration for the writer when creating his works.

I competition "Bunin landscape"

(The children are given cards with recordings of poetic passages where epithets are missing. The one who selects epithets close to Bunin’s wins.) And for all those present, I. A. Bunin’s poem “Wild Flowers” ​​performed by Yana Nenasheva (Number 1) sounds

The forest is definitely towering painted,

Lilac, gold, crimson,

A cheerful, motley wall

stands above bright clearing

Birches yellow carving

Glisten in the azure blue,

Like towers, the fir trees are darkening,

And between the maples they turn blue

Here and there in the foliage through

Clearances in the sky, like a window.

Today on empty clearing,

Among the wide yard,

Air spider web fabric

They shine like a silver net.

Plays all day today

In the yard last butterfly

And, exactly white petal,

Freezes on the web

Warmed up sunny warmth.

Host: Our future poets have shown that mastery must be learned in order to achieve perfection in words.

2nd competition “Continue the phrase.”

I don’t understand how people won’t get tired of this all their lives, every day: (lunch, dinner)

How I love this light and fresh morning hour, when people are still sleeping, and the earth:..(already awakening)

I will be alive, I will always remember: (this evening)

You live, enjoy the world, then:.. (come to me)

Everyone’s youth passes, but ... (love is another matter)

Everything passes:..(everything is forgotten)

3rd competition "Anagrams"

Here are the names of Bunin's works. Decipher these names. You have 3 minutes to complete the task. And we ask those present to listen to I. A. Bunin’s poem “Evening” performed by E. Neplyukhina.

Nagothian(Antigone)

Norvo (Raven)

Loduhos (Sukhodol)

Brban (Bran)

Aiell nymte (Dark Alleys)

Rochkadu (Fool)

Sichiy delonkpekin (Clean Monday)

Unlayered Ore (Sunstroke)

4th competition "Portrait sketches"

Here are excerpts from the famous works of I. Bunin. Try to answer the question: “Who are we talking about in these passages?”

1. “Everything about her was charming - her sweet, pretty face, her small figure, her freshness, her youth, where femininity was still mixed with childhood, her upturned shining eyes, her modest blue hat, in the curves of which there was graceful perkiness.” . ( Katya "Mitya's love")

2. “After dinner, we walked out of the brightly and hotly lit dining room onto the deck and stopped at the railing. She closed her eyes, put her hand to her cheek with her palm facing outward, laughed a simple, charming laugh - everything was charming about this little woman,” and said: “I , Seems..." ("Sunstroke")

3. “Without any of her worries or efforts, and somehow imperceptibly, everything that distinguished her from the entire gymnasium in the last two years came to her - grace, elegance, dexterity, the clear sparkle of her eyes.” (Olga Meshcherskaya "Easy Breathing")

4. “She had some kind of Indian beauty; a dark-amber face, magnificent and somewhat ominous hair in its thick blackness, softly shining like black sable fur, eyebrows, eyes black as velvet coal; a captivating mouth with velvet-crimson lips , was shaded with dark fluff." (She's "Clean Monday")

5th competition “Illustrators”.

Here are illustrations for the works of I. A. Bunin, you need to select three people from the team, going out one at a time to select illustrations for the work you need. And you choose the work yourself: “Mr. from San Francisco”, “Easy Breathing”, “Sunstroke”.

Examination. What work do the remaining illustrations belong to? (Additional question)

6th competition "Crossword". The themes of Bunin's work are mainly devoted to man, the secrets of the Slavic soul, the majestic Russian nature and selfless love. We invite everyone present to listen ь musical composition based on the poems of I. A. Bunin “Why and how to speak...”

Horizontally


6. The city in which Bunin was born
9. What is the name of the ship on which the gentleman from San Francisco traveled?
11. Last name of I. A. Bunin’s first wife
13. For which collection was Bunin awarded the Pushkin Prize in 1901?

17. In 2000 the state pedagogical institute was renamed into a state university and received the status named after Bunin
18. In which city is there a street named after Bunin?
20. What was the name of Bunin’s first wife
21. In what city in 1992? a monument to Bunin was unveiled

Vertically
1. Traveling on which ship, Bunin visited the grave of Comrade Shevchenko
4. Bunin's first story
5. Bunin’s occupation

10. The work of which American poet, author of the song about Gai Avat in 1896? Bunin translated into Russian
12. Children's illustrated magazine where an essay on a seagull was published
14. Where did Bunin spend his childhood and youth?
15. What was the name of Bunin’s father
19. On which island did the death of the gentleman from San Francisco occur?

7th competition "Creative"

The teams prepared in advance a dramatization of I. A. Bunin’s work “Natalie”.

The jury evaluates stage performance.

8th competition "Sinquain"

Compose a syncwine using the model:

Bunin - word association

Two words of definition

Three verbs

The proposal is your attitude towards it

One word (the essence of the first word of the association)

And in conclusion, I would like to say that each of us will have our own impressions, our own thoughts and feelings about the great writer, but no one’s heart will remain indifferent when reading his works. And today we pay tribute to I. A. Bunin with great love and gratitude as an inspired singer of his native land, as an artist, whose work resulted in a single, passionate song imbued with hot love about Russia and its people!

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"staged"

Scene 1.

The hero is sitting on a bench.

An audio fragment from the film “Summer of Love” is played.

“That summer I put on my student cap for the first time and was happy with that special happiness of a young, free life that only happens at this time. Having arrived home for the holidays, I decided that the time had come for me to be like everyone else, to break my purity, to look for love without romance and, due to this decision, and the desire to show off my blue band, I began to travel in search of love encounters in neighboring estates, relatives and friends.
This is how I ended up on the estate of my maternal uncle, the retired and long-widowed Ulan Cherkasov, the father of my only daughter, and my cousin Sonya...

(Meeting of the hero and Sonya.)

Sonya - Ah, the young man who is always late everywhere!
Hero - Well, this time it’s not his fault. It was not the young man who was late, but the train.
Sonya - Quiet, everyone is sleeping. The whole evening they were dying of impatience, waiting, and finally they gave up on you. Dad went to bed angry, cursing you as a helipad, and Ephraim, who obviously remained at the station until the morning train, as an old fool, Natalie left offended, the servants also left, I alone turned out to be patient and faithful to you. Well, take off your clothes and let's go have dinner.
Hero - Thank you, dear friend. Now I am especially pleased to be convinced of your loyalty - you have become a perfect beauty, and I have the most serious plans for you.
Sonya - But, at least you have matured a lot. During these two years that I haven’t seen you, you have turned into an interesting impudent person. And this would promise us a lot of happiness, as our grandmothers said, if it were not for Natalie, with whom you will fall in love to the grave tomorrow morning.
Hero - Natalie? Who is she?
Sonya - This is Natasha Stankevich, my friend from high school, who came to stay with me. Imagine: lovely head, black eyes. And not even eyes, but black suns, to put it in Persian. The eyelashes, of course, are huge and also black.
Hero - So, you say - Natalie... No Natalie can compare with you. By the way, who is she, where is she from?
Sonya - Our Voronezh girl, from a wonderful family, once very rich, but now just poor. A very touching girl, slender, still fragile. Clever, but very secretive.
Hero - Very interesting. But let's get back to business. Natalie, Natalie, what about our romance?
Sonya - Natalie doesn’t interfere with our romance. You will go crazy with love for her, and you will kiss me. You will cry on my chest from her cruelty, and I will console you.
Hero - But, you know that I have been in love with you for a long time.
Sonya - Yes, but then it was an ordinary crush, you were just funny and boring. But, God bless you, I forgive you for your previous stupidity and am ready to begin our romance tomorrow, despite Natalie. In the meantime, let's go to bed, I have to get up early tomorrow to do housework.

We present to your attention a mini-play based on the story by I.A. Bunin "Natalie".

Scene 2. (Hero, Natalie, Sonya)

The music of F. Liszt sounds quietly – Liebestraum

Sonya - I was afraid that you might have fallen asleep in the sun and might have suffered a stroke, this happens at this time of year. Haven't you met yet? Meet Natalya Stankevich, for me Natalie.
Hero (kisses hand) - It seems to me that we have already met. The truth is so fleeting that I don’t know whether it was you or your shadow.
Natalie - I just wasn’t dressed to receive guests then
Sonya - Natalie is terribly shy, you have to excuse her.
Natalie - True, I was in a dressing gown and never expected to meet you.
Hero - Nothing, I wish I could be taken by surprise like this every morning.
Sonya - See, I said that you would like Natalie. How do you find my cousin?
Natalie - It will be hot, just like yesterday.
Sonya - We'll go for a swim and then meet in the garden.
(Natalie leaves).
Sonya - From today, please pretend that you are in love with Natalie, but beware if it turns out that you don’t need to pretend.
Hero - But you know that I can only love you.
Sonya - Of course. Don't you dare love anyone else. Kiss my hand. Why waste time on stupid conversations. As for Natalie, I repeat: beware of going beyond pretense, my character is not as sweet as you might think. (Sonya leaves)
(Hero's monologue).
- The feeling of happiness fell on me suddenly and was the fulfillment of my expectations, which I associated with the trip to the Cherkasovs. But more and more often I thought about Natalie, still watching her every movement, every gesture with great admiration.

(Natalie enters)
Natalie - Are you bored without Sonya?
Hero - I only miss you when you are gone.
Natalie - We don't have to talk about it. Maybe it depends on your character, on your upbringing, but it won’t be easy for you with me. You have a simple relationship with Sonya.
Hero - Yes, Sonya is different, she takes everything easily.
Natalie - That's right. But I'm not like that.
Hero - That's why I like you. Natalie, I'm leaving soon. I couldn't make up my mind. I love you! Natalie, can I come to your parents? Can I?
Natalie - Yes, yes, come. Leave here tomorrow. I'll come home in a few days.

(Hero's monologue)
I never saw her again. Natalie left at dawn and I left a few hours later. I still don’t know how much of that was my fault. Or maybe it was fate? But I know, I feel that I was close to something - what slipped away was very close, what I lost irretrievably.

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"crossword"

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"announcement"

Quiz game “Ivan Alekseevich Bunin. Life, destiny, creativity"

Required knowledge:

Titles of works by I. A. Bunin.

Portrait characteristics of the heroes of I. A. Bunin’s works.

Illustrations for the works of I. A. Bunin.

Biographical information about the writer.

Homework - dramatization.

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"Presentation"

Quiz game for high school students

“Ivan Alekseevich Bunin.

Life, destiny, creativity"

Prepared by a teacher of Russian language and literature

Bogacheva L. A.

• Buninsky landscape
• Anagram
• Portrait sketches
• Continue the sentence
• Illustrators
• Creative competition
• Sinkwine

Artists

Illustrators

1. Bunin – word association

2. Two words of definition

3. Three verbs

4. Offer - your attitude towards it

5. One word (the essence of the first word of the association)

Sections: Literature

Class: 9

Lesson type: lesson of discovering new knowledge.

Lesson objectives:

• figure out what the mystery of love is according to I.A. Bunin;
• analyze the story “Dark Alleys” by I.A. Bunin (content, images, language, idea).

Activity:

• formation of associative thinking;
• training in goal setting skills;
• development of research skills;
• training in group work skills;
• development of semantic reading skills;
• training in analysis and synthesis;
• formation of reflection skills;
• learning to express one's own opinion.

Technologies and methodological techniques: selection of associations, mini-research, analysis of a story episode, test, ICT, technology for the development of critical thinking.

Equipment: multimedia projector, computer, speakers, cards with proverbs, motivator and keyword stickers, cards with “lost” text, cards for group work, test.

During the classes

1. Motivation stage.

On slide 1 are the words of a song fragment.

When the flood waters
Returned again to the borders of the shores,
From the foam of the outgoing stream
Love quietly climbed onto land -
And disappeared into the air before the deadline,
And the deadline was forty forty...

And eccentrics - there are still such -
Inhale this mixture deeply,
And neither rewards nor punishment are expected, -
And, thinking that they breathe just like that,
They suddenly fall into rhythm
The same - uneven - breathing.

Let them sing in their dreams and in reality!..
I breathe, and that means I love!
I love, and that means I live!

A fragment of the song “Ballad of Love” by V. Vysotsky is played.

- Good afternoon guys. You, of course, recognized the unique voice of the bard Vladimir Semyonovich Vysotsky. We only listened to a fragment of the ballad, but I think you can easily identify its key word. (Love)

Right. ( The word LOVE appears on the board, written on a picture of a rose)

– What associations do you have with this word? (Children name association words). Write on the petal sheets. (Write)

– I will place them to the left of our word.

– Is there something in this concept that a person cannot recognize, but always strives to unravel? (Yes) What is this phenomenon called? (Secret)

(The word SECRET appears under the rose).

The topic of the lesson appears on slide 2 “The secret of love in I.A. Bunin’s story “Dark Alleys.”

2. Stage of actualization and goal setting.

– Love is an incomprehensible feeling, not subject to scientific analysis. This is an eternal theme in literature. In Ivan Alekseevich's last book it became dominant. “Dark Alleys” is a collection of short stories in which the first story has the same name. When the book was published and readers were shocked by the “eternal secret” of love, the writer admitted in one of his letters: “She talks about a lot of tragic things and a lot of tender and beautiful things. I think this is the best and most original thing I have written in my life.”

What goals should you set for yourself today in class?

On slide 3: Students add lesson objectives

3. Stage of primary consolidation with pronunciation in oral speech.

1) Problematic issues:

– Who is the main character of the story? (He and she, man and woman)

-What happened at the inn? (Two people met who loved each other in their youth).

– What was the main reason for the separation? (social status, she is poor, he is rich).

2) Mini-study:

Let's give the floor to our two groups. They will tell about our heroes at the time of their youth and tender relationships, i.e. until the moment of separation.

I. Nadezhda is the main character of the story. She was brought up in the master's house. We can assume that such maids were taught good manners under their masters, taught to “behave decently” in front of guests and masters. She was probably pretty. It can be assumed that the gentlemen treated her well. And then, in order to somehow whitewash themselves, they gave her freedom.

II. Nikolai Alekseevich. Most likely, his family called him Nikolenka, perhaps in the French manner Nikola. He was definitely handsome, fit, and acquired importance and severity. His parents chose a military career for him. He came to visit them, grandmothers, aunts. On one of his visits, he discovers a charming creature in the house. It was Nadezhda. They spent the best moments together. He read to her Ogarev’s poems “An Ordinary Tale”: It was a wonderful spring,

They were sitting on the shore...

Having learned about their son's passion for the maid, the parents immediately sent their son to the regiment.

Analysis of the ending of the story.

(There are cards with questions on the groups’ tables).

– Thank you for your stories. Now let’s move on to the cross-poll: Nadezhda’s group asks a question - Nikolai’s group answers, then Nikolai’s group asks a question - Nadezhda’s group answers. If you find the group's answer incomplete, you can add it.

– And now, guys, questions for your groups. You will think about the issue together and consult. Decide who will voice your answer.

On slide 4 questions for groups

4. Stage of independent work with self-test according to the standard.

– You did an excellent job. And now, in order to fully understand what the secret of love is according to Bunin, I suggest that you, in the course of independent work, restore the text: in place of the gaps, writing in the “dropped out” words.

(Students receive cards with the “lost” text)

“Let’s pay attention to the natural __________ of the story. The author draws attention to the cold ________________, to the ________________, drenched in rain, to the pale low ______________, using such a means of expression as _______________ ___________ creates a gloomy and sad mood. It is no coincidence that the author chose this particular time of year: the time of love has passed, autumn symbolizes sunset ___________, sunset ____________.
However, in the ______________ story the light changes: the sun suddenly shines on __________ fields! And our hero suddenly realizes that the only happy, magical moments were given to him by ________________.
Thus, ____________ in Bunin’s philosophy is an intense moment of existence, which ___________ with light throughout a person’s life.”

– Let’s test ourselves against the standard.

“Let us pay attention to the natural realities of the story. The author draws attention to cold bad weather, to roads flooded with rain and to the pale low sun, using such a means of expression as epithets.

Autumn creates a gloomy and sad mood. It is no coincidence that the author chose this particular time of year: the time of love has passed, autumn symbolizes the decline of life, the decline of love.

However, at the end of the story the light changes: the sun suddenly shines on the empty fields! And our hero suddenly realizes that the only happy, magical moments were given to him by Nadezhda.

Thus, love in Bunin’s philosophy is an intense moment of existence that illuminates a person’s entire life with light.”

On the board on the other side of the rose the petals “LIGHT”, “ILLUSTRATION”, “MOMENT OF HAPPINESS”, “SAD ENDING” appear.

TEST

1. Name the means of linguistic expressiveness in the sentence: “On the box of the tarantass sat a strong man in a tightly belted overcoat, serious and dark-faced, with a sparse pitch beard..”
2. Name the means of linguistic expressiveness in the sentence: “Immediately a woman entered the upper room... with a triangular belly, like a goose’s, under a black woolen skirt.”
3. Which of the heroes says these words: “Ah! Everything passes. Everything is forgotten"
4. Which of the heroes pronounces these words: “Just as I didn’t have anything more valuable than you in the world at that time, so I didn’t have anything since then?”
5. Which of the heroes pronounces these words: “And she, Your Excellency, kept looking out the window as we left.”

Answers: 1 – epithet, 2 – comparison, 3 – Nikolai Alekseevich, 4 – Nadezhda, 5 – coachman Klim.

5. Stage of inclusion in the knowledge system.

- Guys, you will probably agree with the writer that the love of the heroes of the story is tragic, but it is also “something tender and beautiful.” Love is the law of the universe. The poem by Bunin’s contemporary Konstantin Balmont “Love” is about this. Read expressively.

(If desired, students read a poem).

Who did not love did not fulfill the law,
By which the constellations move in the world,
Which makes the sky so beautiful.
Every hour he hears a dead ringing,
There is no way for him to escape retribution.
He who loves is happy. At least let him be crucified.

A fragment of Vysotsky's song plays:

The fresh wind of the chosen ones intoxicated,
Knocked down, raised from the dead, -
Because if you didn't love -
That means he didn’t live and didn’t breathe!

6. Reflection.

– What did Bunin’s story make you think about?

– Which text analysis techniques were easy for you?

– Which group’s work can be highlighted today?

– Try writing a syncwine on the topic “Love.”

– I remind you of the structure of syncwine:

1. Slide 7.
2. One word. A noun or pronoun that designates the thing being talked about.
3. Two words. Adjectives or participles describing the characteristics and properties of the selected object.
4. Three words. Verbs that describe actions performed by an object or object.
5. A four word phrase. Expresses the author’s personal attitude towards a subject or object.
6. One word. Characterizes the essence of a subject or object

Children read syncwines at will.

7. D/z.

Complete the task of your choice:

• read one of I.A.’s stories Bunin from the book “Dark Alleys”;
• write your own understanding of this story;
• Write a syncwine on the topic of the story you read.

Literature lesson technological map

Teacher: Shakhno M.A.

MBOU secondary school No. 2

Krasnooktyabrsky village

Maykop district

Item: literature

Class: 7

Type lesson: lesson-research

UMK: program V.Ya. Korovina and others (M.: Education, 2013)

Subject

Ivan Alekseevich Bunin. Life and art.

Goals

Introduce students to the biography of the writer; emphasize the influence of nature and communication with peasants on the development of the personality of the writer, an unsurpassed master of the Russian language, a precise, simple, expressive language; identify creative themes.

Tasks

Educational: to develop the skill of insightful and thoughtful reading, to practice the skill of working with text.

Educational: continue to develop the ability to analyze and interpret literary text; develop students’ speech, ability to express and defend their point of view; develop the ability to generalize and synthesize knowledge; develop expressive reading skills.

Educational: to educate an aesthetically prepared reader, to develop the skill of working in a group.

Formed UUD

Personal: Accept and maintain the learning goal and task.

Regulatory: ability to set new learning goals and objectives

Cognitive: promote the formation of analytical thinking and emotional potential, intellectual skills of comparison, generalization, structuring, development of speech skills.

Communication: ability to argue your point of view

Basic Concepts

Biography

Organization of space

Lesson stage

Teacher activities

Student activity

Tasks for students, the completion of which will lead to the achievement of planned results

Planned results

Subject

UUD

1.Self-determination for activity.

Target: inclusion of children in activities at a personally significant level

Greets students, creates an emotional mood for the lesson, motivates them for the lesson

Greet the teacher and get ready for the lesson.

2. Statement of the educational task.

Target: formulating the topic of the lesson

Working with A. Tvardovsky’s statement.

Teacher's word.

Poetry and prose  …  - these are the lyrics of native places, motivesrustic And estate life, thin nature painting .

The proposal is written on the board in advance, but the writer's name is not indicated.

Children reason based on this statement by A. Tvardovsky. Find keywords in the sentence to determine the writer's name.

After that, students formulate the topic and purpose of the lesson.

Working with the statement of A. Tvardovsky.

Possession of oral argumentative speech skills

Ability to set goals and objectives

3.Call stage.

Target: remember what was studied earlier on the topic: The life and work of I.A. Bunin.

The teacher invites students to break into groups and gives the task: first, you remember and write down everything you know on this topic in a notebook; this is strictly individual work (duration 1-2 minutes). Then information is exchanged in groups. Time for discussion is no more than 3 minutes.Appendix No. 1

All information is briefly written down on separate pieces of paper (without comments) and attached to a blank sheet of paper.

After which the teacher shows a short presentation to summarize the information received earlier.

Children complete the task and present the results of their work

Students are asked to break into groups and conduct independent research on a given topic.

Students are invited to talk about the results of their research, based on notes in their notebooks.

Search and selection of necessary information, comparison and synthesis

Determination of primary and secondary information.

4. The stage of understanding a new topic. Incorporating new knowledge into the knowledge system.

Target: inclusion of new knowledge into the system of studied material.

The teacher invites students to read the information in textbooks (part 2, pp. 3-5).

After which, students are asked to make a table in their notebook with the columns: I know - I want to know - I found out. ("Table-ЗХУ") Annex 1

The “I Know” column contains information known on this topic (the result of a discussion in pairs).

It is proposed to add controversial issues to the “I want to know” column. Then students reread the text and try to find answers to the questions they posed, for example:

– How did Bunin’s literary fate develop? (He was praised and called “the singer of autumn, sadness and noble nests.”)

– What are the themes of his works? (Topics: nature, its withering, withering and ruin of “noble nests”, poverty and wretchedness of village life.)

– What is the peculiarity of Bunin's poetic language? (“The language is simple, almost spare, pure and picturesque, but at the same time it is unusually rich in imagery and sound”).

Backup job. Appendix No. 2

To confirm the students’ reasoning, they are asked to work with an excerpt from the poem “Falling Leaves.”

The task of one of the groups is to color each line of the poem depending on what mood or emotion it conveys.

The other group answers questions 1 and 2. And the third group - for question 3.

Students read and complete the “table-ZKHU”, followed by reading aloud (demonstration) and discussion of several works.

Each group works with an excerpt from the poem “Falling Leaves.”

Independent creative work

Creating a table and presenting it

Carry out cognitive reflection regarding actions to solve educational and cognitive problems

5. Summing up the lessons. Reflection.

Target: students’ awareness of their learning activities.

Student and teacher reflection.

Make a syncwine. Annex 1

Evaluate their work in class.

Make up syncwine.

Compiling a syncwine.

Formation of reflection skills

6. Homework

1. Prepare a message on the topic “Perpetuating the name of I.A. Bunin in the names of cities, streets, squares and so on.”

Write down homework in a diary.

Write down homework for next lesson

This paper examines the problem of using semantic reading technology in literature lessons. The characteristic features of the method of semantic reading, the goals and objectives that the teacher achieves in a lesson according to the Federal State Educational Standard, providing students with various tasks, are identified and described. In the context of the problem of using meaningful reading in the classroom, special attention is paid to such techniques as conducting a dialogue with the text, learning to ask questions, and working with keywords. The theoretical research carried out found specific application in a literature lesson in the 7th grade on the topic “I.A. Bunin. Life and art".

Literature 8th grade, ballad Vasily Shibanov.
Prince Kurbsky fled from the royal wrath,
With him is Vaska Shibanov, the stirrup.
The prince was portly. The exhausted horse fell.
How to be in the middle of a foggy night?
But Shibanov maintains slavish loyalty,
He gives his horse to the governor:
“Ride, prince, until I reach the enemy,
Maybe I won’t be left behind on foot.”

And the prince galloped off. Under the Lithuanian tent
The disgraced governor sits,
The Lithuanians stand around in amazement,
Without hats they crowd at the entrance,
Every Russian knight gives honor;
No wonder the Lithuanian people are amazed,
And their heads are spinning:
“Prince Kurbsky has become our friend.”

But the prince is not pleased with the new honor,
He is filled with bile and malice;
Kurbsky is preparing to read the Tsar
Souls of offended sweetheart:
“What for a long time I melt and carry within myself,
Then I will write everything at length to the king,
I'll tell you straight, without bending,
Thank you for all his caresses.”

And the boyar writes all night long,
His pen breathes vengeance,
He reads it, smiles, and reads it again,
And again he writes without rest,
And he sarcastic the king with evil words,
And so, when the dawn broke,
It's time for his joy
A message full of poison.

But who are the daring prince's words?
Will he take it to Ioanna?
Who doesn't like a head on their shoulders,
Whose heart won't clench in its chest?
Involuntarily, doubts were cast upon the prince...
Suddenly Shibanov enters, sweating and covered in dust:
“Prince, is my service needed?
See, our guys didn’t catch up with me!”

And in joy the prince sends a slave,
Urging him impatiently:
“Your body is healthy and your soul is not weak,
And here are the rubles for the reward!”
Shibanov in response to the gentleman: “Good!
You need your silver here,
And I’ll give it for the torment
Your letter is in the royal hands."

The copper ringing rushes and buzzes over Moscow;
The king in humble clothes rings the bell;
Does it call back the former peace
Or does conscience bury you forever?
But often and regularly he rings the bell,
And the Moscow people listen to the ringing,
And he prays, full of fear,
May the day pass without execution.

In response to the ruler the tower hums,
The fierce Vyazemsky also calls with him,
Pitch darkness rings to the entire oprichnina,
And Vaska Gryaznoy and Malyuta,
And then, proud of his beauty,
With a girlish smile, with a snake soul,
The favorite calls Ioannov,
Basmanov, rejected by God.

The king finished; leaning on the staff, he walks,
And with him all the devious ones gather.
Suddenly a messenger rides, pushes the people apart,
He holds a message above his hat.
And he quickly pulled away from his horse,
A man approaches King John on foot
And he says to him, without turning pale:
“From Kurbsky Prince Andrey!”

And the king’s eyes suddenly lit up:
"To me? From a dashing villain?
Read, clerks, read aloud to me
Message from word to word!
Bring me the letter here, you impudent messenger!”
And a sharp end in Shibanov’s leg
He thrusts his rod,
He leaned on the crutch and listened:

“To the King, glorified of old from all,
But I’m drowning in abundant filth!
Answer, madman, for what sin?
Have you beaten the good and the strong?
Answer, isn’t it them, in the midst of a difficult war,
Are the strongholds of the enemy destroyed without counting?
Aren't you famous for their courage?
And who is their equal in loyalty?

Insane! Or think you are more immortal than us,
Seduced into an unprecedented heresy?
Pay attention! The hour of retribution will come,
Foretold to us by Scripture,
And I, like the blood in constant battles
For thee, like water, lines and lines,
I will appear before the judge with you!”
This is how Kurbsky wrote to John.

Shibanov was silent. From a pierced leg
The scarlet blood flowed like a current,
And the king on the calm eye of the servant
He looked with a searching eye.
A row of guardsmen stood motionless;
The lord's mysterious gaze was gloomy,
As if filled with sadness;
And everyone was silent in anticipation.

And the king said: “Yes, your boyar is right,
And there is no joyful life for me,
The blood of the good and strong is trampled underfoot,
I am an unworthy and stinking dog!
Messenger, you are not a slave, but a comrade and friend,
And Kurbsky has many loyal servants, you know,
Why gave you away for next to nothing!
Go with Malyuta to the dungeon!”

The executioners torture and torment the messenger,
They replace each other:
“You convict Kurbsky’s comrades,
Reveal their dog treason!
And the king asks: “Well, what about the messenger?
Did he finally call the thief his friends?”
“King, his word is all one:
He praises his master!”

The day fades, night time comes,
The gates will hide at the dungeon,
The shoulder masters enter again,
The work began again.
“Well, did the messenger name the villains?”
“Tsar, his end is near,
But his word is all one,
He praises his master:

“Oh prince, you who could betray me
For a sweet moment of reproach,
Oh prince, I pray that God forgives you
I will betray you before your fatherland!


But in the heart there is love and forgiveness,
Have mercy on my sins!

Hear me, God, in my dying hour,
Forgive my master!
My tongue goes numb, and my gaze fades away,
But my word is all one:
For the formidable, God, king, I pray,
For our holy, great Rus',
And I firmly await the desired death!”
This is how Shibanov, the striving one, died.

The workshops offered to you are part of a series of classes dedicated to the personality and creativity of I.A. Bunina. This cycle can be considered as a module as part of an elective course or a special course for 11th grade students. The purpose of such a module is to create a creative environment for entering the world of an author who is far from the modern young reader.

First workshop“Memories” (2 hours) is dedicated to Bunin’s lyrics. It is assumed that by
In the 11th grade, students have already turned to her more than once. All existing programs include the works of Bunin, but, as experience shows, a true meeting with the poet does not occur. It is significant that the guys remember the name, sometimes they even list biographical facts accurately, but they are not able to quote a single poem. Sometimes you hear: “I wrote something about nature...” Making the students’ memory speak the language of poetry is the task of this workshop.

Second workshop mini-course (2 hours) again turns to the material “covered” - the “Dark Alleys” cycle. It begins without announcing the title; this is one of the mechanisms for launching the creative process. At a certain stage, its participants will have to give their name to the workshop. Four or five stories not included in the programs are offered for reading. Students receive, rather than new knowledge, new meanings, that is, they perform the creative task of self-knowledge.

Workshop No. 1: “Memory”

Leading. Write the word “memory”. What does it take to recall memories? What helps you remember an event, a person, or your own condition?

- Music, sounds, a remark heard, a question;
- photographs, videos;
- meeting with some person; sound of voice, gesture;
- book, note, postcard; diary;
- rainy weather; melancholic mood;
- thing, subject;
- smell;
- similar space; situation…

Using the prompts available to you now, write the text “Memory of Bunin.”

The task has a high degree of uncertainty, which makes some workshop participants feel discomfort and irritation; It is partly designed for this reaction. Self-diagnosis of what remains from the previous experience of familiarization with the author’s work, and the realization: “Nothing! “I can’t even remember the name…” is painful for many. Some people immediately try to shout out two or three names of stories, often confusing them with Chekhov’s or Kuprin’s. For the teacher leading the workshop, it is important not to rush with your reaction and to refrain from hasty comments on erroneous statements. By the end of the first stage of the workshop, during the presentation of these memories, the first correction of the inaccuracies that have arisen will occur: as a rule, experts on Chekhov and Kuprin are in the audience, pointing out the error. But even if you can’t find any, it’s worth waiting, but don’t forget to enter some text related to the comparison of the mentioned works at subsequent stages of the workshop. It is important to give the student a chance to correct his mistake.

The theme “Memories of Bunin” can be interpreted as a memory of the first meeting with the writer’s work, as a story about everything that evokes associations associated with the name of this author, as a review of memoir literature, as an invitation to free imagination and hypothetical meetings. Usually questions of a clarifying nature arise in the audience (what do you mean?). However, the master does not explain the task, but advises to write as you understand. And this is what happens sometimes.

How can you write memoirs about a person whom you did not know personally, never met? My memories of this author are memories of our school literature lessons, of a teacher who was in love with Russian classics and who surprisingly artistically read the prose of Ivan Alekseevich Bunin.

I see a gray book, on the cover of which there are birches, a path running along an endless field, and the words: “I.A. Bunin. Stories". The book is pretty tattered, not because it was handled carelessly, but because this volume traveled throughout the Soviet Union in the briefcase, suitcase, and backpack of my bridge builder grandfather. Perhaps this is the first thing he took on any business trip. I recognized Bunin thanks to my grandfather; he didn’t say anything about the writer, but simply read small pieces of text and fell silent, smiling. I liked these evenings at the dacha, with the sound of rain and wind, with the sparkle of lightning and a picture in the window frame that repeated the cover of the book. So it remains for me: grandfather is Bunin, and Bunin is grandfather. (The physics teacher is a participant in one of the workshops.)

We had portraits of writers hanging in our classroom. It seems Bunin was wearing a hat. I can't remember anything else.

The only thing I can remember about Bunin is a few titles: “Easy Breathing”, “Antonov Apples”, “Mr. from San Francisco”. By the way, I still can’t understand what the story “Antonov Apples” is about, it’s just boredom.

I don’t like works that end badly, and Bunin doesn’t have a single bright story, there’s a tragic ending everywhere. Either the hero dies, or he and she break up - I don’t like this, he’s not my author.

School Bunin passed by me, I got sick. But recently I watched the film “The Diary of His Wife” on TV, and it became disgusting and disgusting. If everything was as shown in the film, then I will never read this writer: what could such a person create?

The text is read at the request of the participant.

Leading. You are invited to go outside, take a short, secluded walk - the journey “In Search of Bunin”. Go deep into the surrounding courtyards, focus on the task - “find Bunin”. The main condition is not to enter into communication with anyone from the group. You are given half an hour to walk.

Particular emphasis is placed on solitude, since it is absolutely clear that the task is designed to create conditions for leaving the usual mode of academic life. The task may seem ridiculous, sometimes causing irony and even protest, which is expressed in a sarcastic comment, and sometimes in the participant’s refusal to go outside. The master should refrain from unnecessary explanations and coercion, but may suggest simply going outside or standing by the window. The contrast of everyday bustle and a calm, albeit brief moment of concentration, a close look at the sky, leaves underfoot, puddles, surrounding courtyards overgrown with trees and bushes creates the background necessary for a contemplative mood. Everyone came to class from their own day with their own concerns. A walk helps to shift attention to yourself, bringing yourself into a state of readiness to listen and perceive poetry. Even the irritation that arises is beneficial, it forces you to turn on your imagination and come up with something - stimulates the creative process.

Like the previous one, this task has a high degree of uncertainty, so the most anxious students, striving for guaranteed success, sometimes find the simplest way out of an uncomfortable situation - they immediately go to the library. Firstly, there is a great desire to immediately check whether they correctly remembered the titles of works and biographical facts. Secondly, this is an attempt to get at least some authoritative information regarding the writer, to cling to someone’s opinion - this is the stereotype of school literary education - “don’t dare have your own opinion.” This is their choice. As a rule, at the next stage of the workshop they realize that the choice was not made in the best way, although no one points this out to them or blames them.

The teacher himself also goes out into the street - and not only with the task of monitoring the process, but also with the task of finding “his Bunin of today.” It would be good if he also presented his text.

Upon returning from the street without discussing impressions, workshop participants are invited to continue the text of the memoirs. Here are excerpts from texts that appeared over the years.

At first it seemed absurd to me to look for Bunin among a city microdistrict with playgrounds and garbage cans. Moreover, the cool wind made it difficult to concentrate on anything. I walked around the puddle and suddenly saw the reflection of clouds running across the sky, blue and white under my feet. That’s how I froze by this puddle. What does Bunin have to do with it? “That’s how many years have passed and will pass, and the sky, clouds, puddles, sodden ground, falling leaves - everything is as it was with him. Everything is like his. All he is is his light breathing” - such a thought came to me.

I approached an old woman walking her dog and asked what she knew about Bunin. She replied: “I don’t know, honey, I’m uneducated.” Then the guy thought that I was interested in some deputy. Then I asked an intelligent-looking man and I was not mistaken, he said that Bunin was our first Nobel laureate (by the way, I didn’t know about this), and it was better to look for him in the library. I also decided to ask what children know about Bunin. I came across two third-grader friends, they were walking from school and chatting about something of their own, but they took my question seriously and remembered a poem about leaf fall, which they had recently learned by heart in a reading lesson: “The forest is like a painted tower...” - in chorus, smartly read two quatrains. This is a sociological study. Conclusion: Bunin does not live for everyone. But the Russian language is what unites us all. This is Bunin - his Russian language.

When I entered a small courtyard overgrown with bushes, it became clear that Bunin was everywhere: in the autumn leaves, in the withered grass, and even in the liquid path that parted under my feet. I sat down on a bench and began to look closely at everything that my gaze fell on. So the sparrow found a crust of bread, rejoices, chirps - the fool. He chirped at the crow - he took away the crust, and even squinted his eyes at where something bad was lying. A gust of wind tore the leaves off the birch tree, and they flew in a flock not down, but up, like speckled yellow moths. Then two or three leaves separated, smoothly floated to the ground and calmed down, decorating the puddle. Probably for the first time I looked around so calmly and intently and saw so much in front of my nose that I had not noticed before. I realized that you can find Bunin if you follow his path, the path of contemplation. (The music teacher is a participant in the workshop.)

We were invited to the fall. Who hasn’t written about her! Quiet. Chilly. I notice a huge stump, about a meter in diameter, freshly cut. What kind of tree was it? Maybe a linden tree? If you look closely at its pattern, you can read the writings of centuries. Bunin knew how to read this. However, the idyll does not work out. The city dump sticks out too brazenly at every turn - a distinctive sign of the rudeness of the plebeians who came to power. In 1818, Bunin saw this and was horrified. His civilization sank like Atlantis underwater. We are witnessing a continuing decline. I see the grey, gloomy, concentrated, dull faces of passers-by - my compatriots. I found Bunin: a huge broken branch of an old tree, waiting for his saw, under the window of our college - this is his image.

O frightened ones! O obedient ones! O ironic ones! O intelligent ones! O quick-witted ones! O my various messengers, running, sliding, dragging along “to look for Bunin.” I hear your retreating voices, I see your backs, in which doom is read. I catch a wave coming from you, similar to a cool shower: “Right now we’ll bring a maple leaf, and in it we’ll find Bunin. What is the question, is the answer. Hello to our literary lady!” I look after you and think: “Who of you then, after all our simple exercises, will take the volume of Bunin in his hands and not close it, barely flipping through a few pages, but will stop at one, read it, read it, get a grasp of it... In that moment he will become His reader and, as Yu. Aikhenvald claims, Bunin himself - my precious find.” (Author of the workshop.)

I didn’t go outside, I think that this is a pointless activity for me, I don’t know how to fantasize out of nowhere. I went up to the library and took Bunin’s volume “Tales and Stories. 1892–1929." Thanks to what I managed to read in the afterword, I learned that Bunin died a very old man. For some reason it didn’t seem that way to me at school. That feeling of shame that arose when I could not remember a single title except “The Garnet Bracelet” (and even then it turned out that Kuprin wrote this story) prompted me to pick up Bunin’s book. I don't think I'll take it back to the library until I've read at least a few stories.

Texts are read aloud.

There are several headings on the board:

I saw)… ( picture, visual image, landscape detail)

I heard)… ( sound images)

I felt... ( something that evokes tactile, olfactory associations)

I felt)… ( state, mood)

I was surprised... ( unexpected, vivid images not defined by categories)

I thought)… ( thought, aphorism line)

I understood)… ( answer to an earlier question)

The presenter offers to listen to the poems of I.A. Bunin and write down image phrases that are most interesting to the participants in accordance with one of the selected headings. Possible selection: “No birds are visible...”, “The gray morning is above me...”, “I entered her at the midnight hour...”, “It’s also cold and cheese...”, “The fields smell like fresh herbs...”, “The leaves were rustling, flying around...", "Roses", "Evening", "Rhythm", "Youth", "We walked side by side...", "Goldfinches, their ringing, glassy, ​​lifeless...", "This short life is eternally changing...", “And flowers, and bumblebees, and grass, and ears of corn...”, “The bird has a nest, the beast has a hole...”, “I was alone in the midnight world...”. The selection of poems depends on the subjective choice of the workshop author, corresponds to his taste and ensures the ability to complete the task. The teacher's reading should be restrained and intelligible, without acting effects.

Exercise. From everything that you managed to record by ear, highlight one or three of the most striking images. Choose one of them and read it for everyone. If you especially like something from what others have chosen, add to your entries.

Choose one image, one phrase, use it as a title and write a short text on this topic, trying to use as many words as possible from the poems you wrote down. Start it, for example, like this: “In I. Bunin’s poems I saw...”, “... felt...”, etc.

Themes that emerged from the selection of quotes: “Reflections”, “The Voice of the Abyss”, “Aimless Striving”, “But our century is a moment”, “Three Truths”, “Life is a Delusion”, “The Joy of Lonely Thoughts”, “Wandering”, “I Was Like God...” .

A selection of poems is provided for each desk: “The Word”, “The day will come - I will disappear...”, “It pours endlessly. There is fog in the forest...", "Ring", "Inscription on the Cup", "Tonight someone...", "Memory", "Firefly". This selection is organized thematically and encourages thought. It requires a lot of concentration when reading, so it is supposed to work individually first, and then discuss what has been read in groups.

Exercise. Talk in pairs or in a group about the poems you read. What did you focus your attention on: themes, tonality of the poems, images, metaphorical sequence, lyrical hero, meanings?

10–15 minutes are given for group work, after which each group (pair) needs to formulate one of the most important thesis raised in the discussion and introduce it to everyone. Participants in other groups can comment on the thesis expressed or ask questions.

Individual task. Continue the text you started about Bunin’s poems, developing the idea, including the considerations expressed during the group discussion.

“One, like God...”

I keep hearing that Bunin is too sad, even a gloomy author. Everything about death and coffins, talking about eternity. For some, it evokes a feeling of heaviness and melancholy. For me, his poetry contains a lot of colors, sounds, smells - everything that makes up the brightness of a living, sensory perception of the world. Acceptance of this world. In his favorite picture of autumn withering, I see not the grayness and faded tones, but, on the contrary, bright strokes of the azure sky, I see how “the dirt turns black in the lemon foliage”... There is a feeling of joyful chill from the cool touch of the fresh wind, which adds vigor.

I am surprised by this subtlety of the details noticed and collected into a bundle of stanzas: “the white edge of the cloud”, “a flock of gray birds” - this chorus of voices of the world.

This is loving looking, listening, feeling, and the reward for everything is the wonderful simplicity of happiness to live.

“The voice of the abyss in the echoing silence...”

This line of Bunin's poem has a retrospective in the work of F. Tyutchev, the first poet who listened at night to the sound of world chaos. But Bunin, in my opinion, is more daring, even daring - this sound does not frighten him, does not inspire horror, like his predecessor, but rather instills a proud feeling of the superiority of the creator. Since he is given the opportunity to hear this, then he is, if not the author, then an accomplice of the night’s action. He, like God, is alone in the entire Universe, and the abyss does not send him its threatening signal, but dictates the music of the higher spheres. Him, who is both a man and a being of the highest substance. Subtle sensations are available to his hearing, sight, and smell: to hear how the grass grows, to see how the azure blinks, how the crazy eyes of a thunderstorm shine; feel... And tomorrow morning or evening he will translate this music into a language accessible to us mortals, pour it into the only true lines. And we will recognize this new world, see, hear, feel and admire.

In Bunin’s poems there is a world that already existed, a world that seems familiar, but so new, bright, festive that you immediately believe and accept it: “I was like God...” (Author of the workshop.)

“I’ll disappear...”

I think that Bunin knew that he could not disappear anywhere. An unfading soul, its sorrows and sorrows are inescapable. But what is also striking is the completely scientific providence of the immortality of thought. Bunin, despite all the external gloom, perhaps coming from his surname, in which I hear the sound of approaching thunder and see heavy lead clouds, inspires optimism. His world is a gift: a butterfly fluttering under the blue ceiling, the bottom of the sky looking through the window, an evening star, the flickering of a steppe fire, the silence of the fields, the sad prowess of someone’s song. What a gift all this is to us, the blind, deaf, insensitive, tired and vain. “I see, I hear... - // Everything is in me” - taking everything and giving everything is the key to immortality.

Leading. Read the third part of the text with your title for everyone.

Review the notes taken from today's workshop. Write down what questions arose while listening to the poems and texts of your comrades.

The questions are read out. Here are the most frequently asked questions from workshop participants.

What is Bunin's relationship with God? Was he a believer?
Why are there so few poems about loving a woman? Did he write them?
Was he a gloomy, lonely man?
How to explain such a large number of references to cemeteries, death, crosses in his poems?

Reflection:“The main impression of the workshop is…” You may be given the task of correcting and editing your texts. Searching for answers to questions asked at the end of the workshop. Independent reading of Bunin's poems.

Workshop No. 2: “Dark Alleys”

This part of the workshop is due to the fact that the school curriculum usually includes one or two stories from the “Dark Alleys” series, so, as a rule, young readers do not have an idea of ​​​​the integrity of the cycle. Therefore, it seems to me possible to isolate from a large cycle a small one, consisting of five stories, and only four are read at first. It is important to read the entire stories in class, interpret the texts, and exchange your impressions, guesses and questions.

I draw your attention to the fact that the stories are not analyzed, but interpreted. This does not exclude careful attention to the text, highlighting significant details, working with words, but all this will be of an auxiliary nature.

We have chosen the following four short stories that can be read and discussed in one lesson: “Wolves”, “The Guest”, “One Hundred Rupees”, “The Swing”. These four stories are a mini-cycle, in it, like a drop, all the essential properties and characteristics of the collection as a whole are reflected. After working on the mini-cycle, students independently read the story “Dark Alleys.”

The first task of this part of the workshop is related to recording the impressions deposited at the previous stage. It helps you get ready for further work and plays the role of a tuning fork.

Composing a cinquain, a specific poetic form of five lines, vaguely reminiscent of Japanese haiku, is the best way to collect scattered sensations, judgments, and images into a bundle. As a rule, students write down what is in “working memory” without worrying about the sound of the future poem. At first they don’t perceive it as a poem; the algorithm for creating it is too mechanical. But if you use this technique systematically (without overusing it, however), you will soon end up with very interesting and verbally quite original texts.

Model for syncwine:

Bunin is an association word.

Two words - definitions (adjectives, participles, maybe a noun).

Three words that answer the question: what does it do? (verbs, gerunds).

A sentence is your attitude towards it (of four to five words).

The essence of the first association word (one word or phrase).

Here are some examples.

Memories.
Love ones. Sad.
They awaken. They revive. They are burdensome.
I want to forget the past and live again.
The soil.

Artist.
Deep. Tragic.
He sees. He hears. Happy.
I am learning from him to accept the world.
Sage.

Synquains are read at the request of the participants. Then each group receives four stories: “The Guest”, “The Swing”, “Wolves”, “One Hundred Rupees”.

Leading. Before you start reading:

1) write down the associations that these words evoke in you, and briefly your assumptions about the content of each story, judging only by its title;
2) read the stories and write down from the text the most striking characteristics of the hero or heroine;
3) formulate yourself or find in the text a sentence that, in your opinion, contains the essence of the story;
4) ask a question that arose during or after reading the story.

All four short stories belong to the “Dark Alleys” cycle, what workshop participants are not informed about. Work is carried out individually. Something like this may appear in your notebooks.

1) "Swing"- childhood, youth, play, entertainment; air whistling in the ears; breathtaking; scary and fun; it hurts to fall...
2) Characteristics of heroes. She: “looked intently, meaninglessly and joyfully.” He: “I’m happy, you are already in love with me.”
3) The bottom line: “Let it be as it is.”
4) Why don't they need more? What happened and will happen between them?

1) "Wolves"- beast, strong, fierce, predator, danger, fear, flock, hunting...
2) She: “There is nothing cuter than a scar that looks like a thin, permanent smile. Hot, desperate.” He: “Looking for her lips.”
3) The essence: “... looking at the bright, instantaneous arcs of falling stars,” “... So a light scar remained for the rest of her life in the corner of her lips, and when they asked her why it was, she smiled with pleasure,” “... Those whom she had loved more than once in her life, they said that there was nothing sweeter than this scar, which looked like a thin, permanent smile.”
4) If it weren't for the wolves, what would be left of the high school student? What a story? Where did the hero go? Why did the young lady burn matches and shout that she was afraid of wolves?

1) "One hundred rupees"- coin, money; India; exotic.
2) She: “Beauty, intelligence, stupidity - all these words did not suit her... she was from some other planet.”
3) The essence: inhuman and human.
4) What could this phrase mean: “One hundred rupees, sir”? What did they demand money for? Who's that girl? Is one hundred rupees a lot or a little? Will the hero take advantage of this offer?

1) "Guest"- meeting, reception, stranger, invited to the house, friend, good acquaintance, wanted or unwanted; gifts, offerings, compliments; awkwardness, inspiration...
2) She: “Flemish Eve.” He: Adam Adamych, “piercing eyes, terrible eyes.”
3) The essence: “...God willing, the gentlemen will not be at home again...”
4) What does “Flemish Eve” mean? What do long tears mean? What does the hero's name indicate? Why is she crying and waiting? Why did Bunin write this story?

When each participant has read all four stories, a group discussion begins: the formulations of No. 3 are compared. The group tries to find answers to the questions that have arisen. The names are deciphered. The characters are characterized, attention is drawn to the details that seemed most significant to different readers. The meanings of the stories are formulated, which are “pulled out” from the written quotes. 20 minutes are given for this work.

Groups are asked to answer the question whether these stories can be combined into one cycle. You need to give reasons for your point of view.

As a rule, students quickly find reasons to combine these stories, pointing out that in each of them there are two: he and she, between them there is a certain relationship that is difficult to define unambiguously with the word “love”, but this is what is often called that . In the process of discussion, the need invariably arises to find the most accurate words to denote the entire spectrum of relationships that arise on the pages of Bunin’s stories. Sometimes you have to resort to the help of various dictionaries, interpret words such as “attraction”, “desire”, “passion”, “falling in love”, “flirting”, “love”... It is this clarification that leads to revealing the essence, to building individual meanings of the texts read and reconciling them with other points of view. This discussion raises many ethical and aesthetic issues. Some readers are ready to accuse the author of vulgarity, others of immorality, others of savoring the “dirty” sides of life, cynicism and pessimism. In our opinion, it is impossible to overcome such views and positions either through discussion, or familiarization with works of literary criticism, or calling on authorities, or by any other means other than creative ones. That is, your own interpretation of the text. We have seen that in most cases, once in the element of the Word, students unnoticed by themselves overcome their own everyday ideas about how things should be in life and what does not happen on the pages of Bunin’s short stories. They themselves fall under the magic of another reality, where another truth exists - the truth of art. The texts they produce often surprise the authors; they turn out to be close to Bunin himself.

It is proposed to give a name to this cycle and comment on it: “Men and Women”, “About the Strangeness of Love”, “Faces of Love”, “He and She”, “About This”, “The Facets of Love”. All proposals are written on the board.

A picture appears before my eyes: ... (visual image, only what can be seen with the eyes):

- Autumn time, a dark evening in a city park, rows of trees and a path stretching into the distance, somewhere at its end the silhouette of a lonely person...
- Somewhere in a nineteenth-century manor. Centuries-old linden trees are intertwined with their crowns so that even on a sunny day it is gloomy and mysterious here...
- A dark blue starry sky and against its background, like low black clouds, are thickets of lilac bushes. A bench - two people are sitting on it, huddled together...
- The park, the manor house in the distance shines with lights, but here it is dark, the thick shadow of the mighty fir trees obscures the moonlight...
- I see an overgrown old garden, like my grandmother’s in the village. There are narrow paths between the rows of apple trees, you can easily hide in the tall grass or climb a tree and hide in its branches - a favorite childhood game...
- Fir trees or pyramidal poplars on both sides of the asphalt path and in the distance, below, the shine of the sea under the rays of the sun setting behind the horizon...

A feeling arises... (something that can be felt with the whole body, with all senses):

- Excitement and fear, what if he doesn’t come?...
- It smells like dead leaves and fire. The dampness penetrates to the bones, but there is no strength to get up and leave this bench, as if grown, but there is no disappointment. Not anymore, because there was a feeling of freedom from this obsession: what did I find in her?..
- It’s mysterious here and therefore a little scary...
- Fascination with the starry sky, which, as if in a window, appears through the branches of huge trees parting here and there.
- The warm sea wind barely touches the cheek... The tart, strong smell of thuja...

I hear... (sounds, melody, musical instrument):

- The rustle of steps on the gravel and quiet, muffled voices, almost a whisper...
- Distant sounds of the village, barking dogs, crowing roosters, the ringing of a church bell, but above all this choir is the evening chirping of grasshoppers...
- From the open windows of the manor’s house you can hear the sounds of a piano, an old waltz...
- The rustling of trees in the wind and the splashing of raindrops on the leaves...
- The sound of an approaching rider, the slowing clatter of hooves, the snorting of a horse and the cautious voice of the rider, as if calling out to someone.
- Thin, piercing, brittle, almost hysterical voice of the violin and thick, viscous and sweet, like honey, voice of the cello...

Snatches of phrases, individual words reach the ear... (imagine a possible dialogue):

-...I loved you so sincerely, so tenderly, as God forbid you loved to be different!
- You keep quoting, hiding, playing - I’m tired of it! Go away.
-...Come here tomorrow, can you?
-...I'm scared, what if someone sees us together?
- I dreamed, searched, found, almost lost and again...
- If the bride leaves for someone else, then it is not known who was lucky...
- Everything was and is gone, nothing remains, no one is left, only memories.
- Let’s go and tell us everything now, and everything will be decided!
- Goodbye...

I read four stories by Ivan Bunin from the Dark Alleys series... (continue the text using the names you gave, words written out from the stories, materials from the discussion at the workshop).

- How different they are from those that I remembered from reading this cycle at school. Then Bunin seemed to me a very romantic author. Love and blood rhymed in them... But only now did I realize the true meaning of the title of the cycle and all its stories. There are two poles: man and woman; everything that happens between them is a path through dark alleys, a path of chance meetings and partings, anxious expectations and fatal discrepancies. Dark alleys are a symbol of mystery, incomprehensibility...

- Where are these alleys, in what latitudes, countries, cities? Where do people take off on the swing of first love? Where is this light whistle heard in the ears, where bliss flows from the closeness of HER, HIM, where is this chatter, jokes, hints? Where do they buy and sell beauty? Where do they give in to the first attraction, where do they burn with passion? In Paris, Yalta, St. Petersburg, Constantinople - it doesn’t matter. Wherever there is a man and a woman, he and she. Dark alleys of cypress or maple trees, spruce, linden, and palm trees grow everywhere. Everywhere there is this condensed aroma of love, suffering and separation. And it doesn’t matter what language the words are muttered, shouted, or exhaled in - this is the universal language of love. Bunin's cycle of stories is a story of meetings and separations, fidelity and treachery, instant happiness and long, sizzling passion. This is an attempt to look into the innermost, to comprehend the incomprehensible, the secret. This cycle is a wandering through the dark alleys of your own soul.

The texts are read aloud.

Reflection. Return to the syncwine written at the beginning of the workshop. What did you want to change, edit, or add in it, taking into account the conversation that took place?

On house can you give exercise: read the story “Dark Alleys” and correlate it with our mini-cycle, supplement or edit the text created at the workshop.