Lesson summary: the image of Katerina in the play The Thunderstorm. Literature lesson on the topic “Why don’t people fly? (The image of Katerina in Ostrovsky’s play “The Thunderstorm”)”

Lesson summary

One hero's lesson. The image of Katerina in the play "The Thunderstorm"

MAOU "Gymnasium No. 4" of the city of Saratov

Technical support: projector, laptop,

portrait, literary text of the play, board

Goals and objectives of the lesson: understand what components are used to create an image in a dramatic work, analyze the text from the point of view of the theme, see the individual and typical in the image of Katerina, try to independently interpret the text, draw parallels between life and literature, use slide materials from the history of theatrical productions of "The Thunderstorm"

During the classes

1. Organizational point: checking readiness for the lesson, availability of a workbook on literature, the text of the drama “The Thunderstorm”.

Record the topic of the lesson in workbooks.

Goal setting for the lesson (see above).

Recording the epigraph of the lesson from the board:

The decisive, integral Russian character...is

in Ostrovsky in the female type.

N. Dobrolyubov

We will come to understand the meaning of the epigraph during the lesson. And we will be helped by the text of the great playwright of the 19th century, a writer-listener (addressing the portrait of the writer on the board).

2. Warm-up in the form of a test based on the text “Thunderstorms” read.

A) In which city on the banks of the Volga does Ostrovsky’s play “The Thunderstorm” take place:

1) Bryakhimov, 2) Kalinov, 3) city, 4) Glupov

b) About whom in the play do the city residents say: “scold”, “shrill man”?

1) Kuligin, 2) Boris, 3) Dikoy, 4) Kudryash

c) Which of the characters in the play is well acquainted with the works of Lomonosov and Derzhavin and quotes their poems out loud?

1) Katerina, 2) Kuligin, 3) Boris, 4) Kabanikha

d) In “The Thunderstorm” by Ostrovsky Glasha

1) Kabanikha’s daughter, 2) a wanderer living in the Kabanovs’ house,

3) Boris’s sister, 4) a girl in the Kabanovs’ house

e) What city is the wanderer talking about: “I’m walking early in the morning... I see on a tall, tall building, on the roof, someone standing with a black face... And he makes with his hands, as if he’s pouring out something, but nothing’s pouring out. ..”:

1) Kalinov, 2) Petersburg, 3) Moscow, 4) city

e) Whose words are these? “You don’t know my character! If I get really tired of being here, they won’t hold me back by any force. I’ll throw myself out the window, throw myself into the Volga.”

1)1)Katerina, 2)Varvara, 3)Tikhon, 4)Kuligin

Checking its completion: one student comments on his answers out loud, the other two submit their notebooks to the teacher for checking. The teacher announces 3 grades.

3. It is no coincidence that this question (e) was posed last in the test.

QUESTION: What character trait of Katerina is visible in these words? (decisiveness, strength of character, pride...). From this position we will begin to think about the image of the heroine.

Work with text

QUESTION: What does our idea of ​​a dramatic hero usually consist of?

Based on the students’ answers, we make a note in their notebooks:

COMPONENTS OF THE IMAGE OF A DRAMATIC HERO:

Monologues,

Dialogues of heroes,

Actions

Relationships with other characters

Hero's speech

Appearance

QUESTION: Describe the situation in the Kabanovs’ house. What place does Marfa Kabanova take here? Which Katerina? (students’ answers according to the text)

Question: Tell us about Katerina’s backstory. We recognize her from the conversations of Katerina and Varya.

(Analysis of Katerina’s monologue - action 1 phenomenon 7 - about the girl’s free life in her parents’ house:

Lived like a bird in the wild

Dressed like a doll

There are flowers all around, beauty (in Katya’s speech - key, water...)

Morning and evening prayers in church and in the garden,

Work is a joy (embroidery...),

Wanderers, pilgrims in the house.)

WRITTEN conclusions about Katerina’s character in a notebook:

Piety,

The desire for freedom

Kindness,

Openness,

Sincerity,

Closeness to the people, their culture,

Poetic soul

QUESTION: How does her monologue in Act 1, Rev. 7 characterize the heroine about her dreams in her father’s house, about her feelings during prayer?

LET'S LISTEN TO THIS MONOLOGUE PERFORMED by student No. 1, who received an INDIVIDUAL TASK for the lesson.

QUESTION for student No. 1.

How does the student understand the heroine’s feelings in this monologue? What is important for understanding the inner essence of Katerina?

Conclusions about Katerina’s “golden” character, her genuine faith in the Lord, honesty, and unique character.

VOPR. to the class:

What words of Katerina testify not so much to her gentleness as to the strength of her character (about Katya’s childhood)? (“They offended me... she ran out, got into the boat... The next morning they found her 10 miles away!

Or “You don’t know my character!..I’ll throw myself into the Volga...I don’t want to live here, I won’t do that, even if you cut me...”

ADDING THE ENTRY IN THE NOTEBOOK:

Katerina's determination.

Many details indicate Katerina’s position in Kabanikha’s house. For the first time, I gave the task to study from the text of the drama how Katerina addresses others and how they address her.

Student 2 will come up with conclusions on this problem (the student says that Katerina is gentle with everyone, humane: she even communicates sweetly with her mother-in-law who hates her; she calls her mother, Boris calls her her love, joy. Varya is a girl, etc. A No one speaks kindly about her, as if they don’t want to see in her radiant humanity, love, honesty, tenderness. It’s all Katya and Katya...)

VOPR. What pushes Katerina into Boris's arms? What did Katerina's love for Boris give? Does she love her husband Tikhon? Does she complain about incomplete female happiness, being deprived of something? (Katerina complains about being deprived of true love, children - act 2, phenomenon 8)

ADD INTO YOUR NOTEBOOK:

Need for love

The dream of women's happiness,

Passion.

VOPR. What does Katerina’s last, dying monologue tell us (act 5, scene 4)?

The teacher reads this monologue expressively. There is a discussion of its content (we hear the stream of consciousness of lonely, humiliated Katerina, who sees no way out of the impasse; these are thoughts in the face of death, in a state of detachment and confusion; abundance! and... signs)

4. Conclusions on working with drama text

VOPR. Is it possible to call the image of Katerina not quite finished? Sketchy? (no, this is a solid character, lively, juicy, multi-colored. In contrast to the dramatic female characters created earlier by Fonvizin, Griboyedov, Pushkin, Gogol. This is the merit of the author - A. Ostrovsky.)

Return to the lesson epigraph on the board. We continue to quote the critic Dobrolyubov: “The character of Katerina constitutes a step forward not only in all of Ostrovsky’s dramatic activities, but also in all of our literature.” This “decisive, integral Russian character ... appears in Ostrovsky in the female type.”

Katerina’s character is a character that harmoniously combines individual traits, and at the same time it is a typical character! (students’ proof of this statement sounds).

5. We talked about many components of Katerina’s image, and discussed the issue of the character’s appearance casually when we gave feedback on the costume that our actress chose to perform the monologue.

WORD to the students who prepared SLIDES from the history of the production of “The Thunderstorm”. They will tell us about the actresses of Russia's leading theaters who had the opportunity to play Katerina on stage in the 19th and 20th centuries.

Student 1 and student 2 talk during the slide show about M. Ermolova, G. Fedotova, P. Strepetova, Pashennaya, Roshchina-Insarova, Elanskaya, who created deeply individual images of Katerina.

Teacher's ADDENDUM: Snetkova played Katerina for the first time on December 2, 1859 at the Alexandrinsky Theater in St. Petersburg. Critics responded about her this way: she well expressed the moral purity and poetic enthusiasm of the heroine, but she deprived the image of everyday colors and in appearance was more like a St. Petersburg young lady!

VOPR. Who do you think truly expresses Katerina’s character outwardly? (usually the guys agree with the image given by Strepetova (Alexandrinsky Theater, 1881). The students do not agree with the costume of Snetkova (veil, a lot of merchant in the image), Fedotova (large beads, kokoshnik, wide skirt on the artist).

6. HOMEWORK. We will not consider this conversation about the great female type in Russian drama to be complete, because The home assignment is given to make a summary of N. Dobrolyubov’s article “A Ray of Light in the Dark Kingdom” on the questions asked in the first lessons on the playwright’s work. 2 students receive an individual task - to read “The Dowry” and answer questions (the story of L. Ogudalova, her tragedy, the difference between this female type and Katerina from the drama “The Thunderstorm”).

7. REFLECTION: what did you like about the lesson? Is the “One Hero's Lesson” format interesting?

8. The teacher gives grades by explaining them.

Goals:

— find out why Katerina is able to resist the “dark kingdom”;

- trace how her character was formed, what traits are the main ones in it, how her conflict with the world of Kabanikha develops;

- understand why Katerina stands apart in the system of characters.

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“SCENARIO OF A LITERATURE LESSON IN 10TH GRADE. THE IMAGE OF KATERINA IN THE DRAMA OF THE OSTROVSKY THUNDER"

Municipal budgetary educational institution

"Glebovskaya secondary school"

Literature lesson script

in 10th grade on the topic:

Prepared and carried out

teacher of Russian language and literature

Epigraph to the lesson: “I was born this way, hot!”

Goals:

During the classes

Organizational moment of the lesson.

Terminological dictation.

Checking homework completion.

At home it was necessary to prepare reports on the female characters of A. N. Ostrovsky’s drama “The Thunderstorm”

Guess who we're talking about?

(Slides No. 3, No. 4)

Describe this image. (Slides No. 5, No. 6)

Describe this image. (Slides No. 7, No. 8)

IY . Summarizing student responses. Teacher's word.

The names of the heroines of the play have a symbolic meaning: Katerina - Greek. “cleanliness”, “decency”; but the name of Kabanikha is Martha - Greek. “mistress”, “mistress”, that’s how she feels in the play; Kabanikha’s daughter – Varvara – from Greek “foreign”, “rude”.

Katerina, the main character of Ostrovsky’s play, does not obey the “masters” of life (Kabanikha and Dikiy), the laws of the “dark kingdom” are alien to her, she lives as her conscience tells her.

Y . Setting educational objectives for the lesson. (Slide No. 9)

Today in the lesson we will try to find out why exactly Katerina is able to resist the “dark kingdom”, we will trace how her character was formed, what traits are the main ones in it, how her conflict with the world of Kabanikha develops;

The epigraph of the lesson is the words of the heroine herself: “I was born this way, hot!” (Slide number 10)

YI . Work on the topic of the lesson.

1) Katerina’s character traits.

What character traits are evident from Katerina’s very first remarks? (read remarks)

(inability to be a hypocrite and lie, directness.)

Already from Katerina’s very first remarks, conflict is felt. Why?

(The conflict is immediately obvious: Kabanikha does not tolerate self-esteem and disobedience in people, and Katerina does not know how to adapt and submit.)

Where did such character traits of Katerina come from, if the city of Kalinov lives according to different principles? (upbringing in childhood, in home)

2). Working with text: role-based reading of the dialogue between Katerina and Varvara (D.1, episode 7)

3) Working with the table.

What kind of atmosphere surrounded Katerina in her childhood and in her husband’s family? Let's compare Katerina's life in Kabanikha's house and in her parents' house.

In Kabanova’s house, Katerina experienced her mother-in-law’s cruel attitude towards her, which caused a constant spiritual rebellion, and Tikhon did not understand Katerina. And he lived according to Kabanikha’s orders.

What impact did life with the Kabanovs have on Katerina? (Slide No. 11)

4). Work in a notebook. Reference entry:

(writing the output in a notebook)

Conclusion: For Katerina, the main thing is to live according to her soul, but for Kabanikha, the main thing is to subjugate and not allow her to live in her own way. A sharp contrast arises here - an irreconcilable conflict ensues.

What is Katerina’s protest expressed in?

(In love. This is the desire to live according to the laws of your soul.)

Love is the driving force of the plot. What is love?

Definition according to Ozhegov's dictionary (Reading a dictionary entry)

5) Poem by A. Dementyev “The soul does not want change” (Read by the student)

Love not only elevates.

Love sometimes destroys us.

Breaks destinies and hearts...

Beautiful in her desires,

She can be so dangerous

Like an explosion, like nine grams of lead.

She bursts in suddenly.

And you can no longer tomorrow

Don't see a cute face.

Love not only elevates.

Love accomplishes and decides everything.

And we go into this captivity.

And we don’t dream of freedom.

While the dawn rises in the soul,

The soul does not want change.

The romance “Love is a magical land” sounds

So Katerina’s love is not only a sublime feeling, but a destructive feeling, which played a fatal role in her fate and led the heroine to death. Cases of suicide in the patriarchal merchant world were not isolated - we will see this from the history of the creation of the play "The Thunderstorm"

6) Student report

“On the instructions of His Imperial Highness, Admiral General, Grand Duke Konstantin Nikolaevich, prominent Russian writers who already had travel experience and a taste for essayistic prose were sent around the country for new materials for the “Sea Collection”. They were supposed to study and describe folk crafts associated with the sea, lakes and rivers, methods of local shipbuilding and navigation, the situation of domestic fisheries and the very state of Russian waterways.

Ostrovsky inherited the Upper Volga from its source to Nizhny Novgorod. And he got down to business with enthusiasm.”

“In the ancient dispute between the Volga cities about which of them, by the will of Ostrovsky, was turned into Kalinov (the setting of the play “The Thunderstorm”), arguments in favor of Kineshma, Tver, and Kostroma are most often heard. The debaters seemed to have forgotten about Rzhev, and yet Rzhev was clearly involved in the birth of the mysterious plan of “The Thunderstorm”!

It is not known exactly where “The Thunderstorm” was written - at a dacha near Moscow or in Shchelykovo on the Volga, but it was created with amazing speed, truly by inspiration, in a few months of 1859.

For quite a long time, it was believed that Ostrovsky took the plot of “The Thunderstorm” from the life of the Kostroma merchants, that it was based on the Klykov case, which was sensational in Kostroma at the end of the summer of 1859. Until the beginning of the 20th century, Kostroma residents proudly pointed to the site of Katerina’s suicide - a gazebo at the end of a small boulevard, which in those years literally hung over the Volga. They also showed the house where she lived, next to the Church of the Assumption. And when “The Thunderstorm” was first performed on the stage of the Kostroma Theater, the artists made themselves up “to look like the Klykovs.”

Kostroma local historians then thoroughly examined the “Klykovo Case” in the archives and, with documents in hand, came to the conclusion that it was this story that Ostrovsky used in his work on “The Thunderstorm.” The coincidences were almost literal. A.P. Klykova was extradited at the age of sixteen to a gloomy and unsociable merchant family, consisting of old parents, a son and an unmarried daughter. The mistress of the house, stern and obstinate, depersonalized her husband and children with her despotism. She forced her young daughter-in-law to do any menial work and refused her requests to see her family.

At the time of the drama, Klykova was 19 years old. In the past, she was brought up in love and affection by her doting grandmother, she was cheerful, cheerful, and lively. Now she found herself unkind and alien in the family. Her young husband, Klykov, a carefree and apathetic man, could not protect his wife from the oppression of his mother-in-law and treated her indifferently. The Klykovs had no children. And then another man stood in the way of the young woman, Maryin, an employee at the post office. Suspicions and scenes of jealousy began. It ended with the fact that on November 10, 1859, the body of A.P. Klykova was found in the Volga. A long trial began, which received wide publicity even outside the Kostroma province, and none of the Kostroma residents doubted that Ostrovsky had used the materials of this case in “The Thunderstorm.”

Many decades passed before researchers of Ostrovsky’s work established for sure that “The Thunderstorm” was written before the Kostroma merchant Klykova rushed into the Volga. Ostrovsky began work on “The Thunderstorm” in June-July 1859 and finished it on October 9 of the same year.

We can conclude that such cases happened among the merchants, because the patriarchal foundations of society did not allow them to live freely, independently, but subjugated and enslaved. A woman could not love whoever she wanted, she was not married for love, and she had to accept her fate.

Katerina Kabanova did not accept it, just like A.P. Klykova.

7) Reading the dialogue between Katerina and Varvara (D.2, episode 2)

8) Conversation:

Who did Katerina fall in love with?

Why does Varvara guess about Katerina’s love?

Why does Katerina pay attention to Boris? Is it only because of the unbearably harsh living conditions, because of the endless oppression of the mother-in-law?

(Katerina feels the need to love - to be loved and to give her love to someone. But she does not feel such feelings for her husband, just like he himself, they do not have children, although she dreams of children).

He pays attention to Boris because he is different from other residents of the city of Kalinov. He is intelligent, somewhat timid, educated, different from his ignorant husband. And all the thirst for love, independence, will is manifested in Katerina’s love for Boris.

What interferes with Katerina on the path to happiness, what stops her?

(Prejudice, reluctance to lie, cheat, commit sin).

Did Katerina overcome them? What artistic detail is a symbol of her mental struggle, the struggle with herself?

(She overcame all prejudices by agreeing to meet with Boris. But this was not easy for Katerina. The key to the gate is a symbol of the internal struggle).

Let's see how the heroine's struggle with herself went. Provide quotes to prove this .(Work with text)

Thus, we can say that love for Boris is a manifestation of will. Refusal of it (love) would imply complete submission to the world of the Kabanovs and the Wild.

But does Katerina find freedom?

(On the one hand, yes, she is free to do what her “hot heart” calls for, and on the other, the voice of conscience does not leave the heroine; having embarked on the path of betrayal, she, a pure nature, has already died. But even so, one cannot help but note Another feature of Katerina is determination (“I don’t want to live here, I won’t, even if you cut me!”).

This means that we can say that having fallen in love with Boris, agreeing to meet with him, she has already declared her protest against the musty moral foundations of the Kalinovsky society, she is already saying that there is no turning back. Will she be able to return to her former slave, “stuffy” life again?!

9. Working with text. (D. 4, Rev. 6)

- Why does Katerina repent? Why does she reveal her secret to everyone, because she has a living example of unpunished deception before her eyes (Varvara)?

In a conversation with Varvara, Katerina says: “I don’t know how to deceive, I can’t hide anything.”

“I was born this way, hot” - what does this phrase mean?

Katerina is a hero guided by her heart. Therefore, he belongs to a number of Ostrovsky’s characters called “warm hearts.”

(The awareness that one cannot escape punishment, punishment for sin. One also cannot continue to live in the same house with one’s husband and deceive him).

In Christianity, repentance is purification. Does purification come to Katerina?

(Katerina repents before her husband, before her mother-in-law, but it doesn’t make her feel better - cleansing doesn’t come, because she still loves Boris and is unable to change her feelings).

How is Boris behaving?

(He seems to remain aloof from the drama that happened. His behavior is rational, does not make rash conclusions and does not make rash decisions. He was unable to help Katerina change her life, free her from the oppression of the “dark kingdom”).

10. Working with text. (D. 5, Rev. 3).

Let's turn to the scene of the last date between Katerina and Boris .

Here everyone shows their qualities to a greater extent.

(Boris is weak-willed. He meekly submits to his uncle’s will, fearing losing his favor and, therefore, his share in the inheritance. He goes to say goodbye “to the place,” but not to Katerina. He calls himself a “free bird” - the complete opposite of Katerina. And Boris does not risks his freedom for her. Moreover, he complains about fate: “It would be better for me to run away then.” He doesn’t want to take Katerina with him, she would be a burden for him in this situation, because Katerina suffers for two people, and he only suffers for himself The young woman’s determination (“Let everyone know, let everyone see what I’m doing. If I wasn’t afraid of sin for you, should I be afraid of human judgment!”) emphasizes the weakness and cowardice of her chosen one: “If only they wouldn’t find us here!”) .

Boris leaves Katerina with the words “I would die sooner.” Why does he say this, does he, who is immensely loved by Katerina, really wish her death?

(Boris also sees the hopelessness of her situation. He rejects one chance to save her - to take her with him. Katerina cannot leave her husband, since at that time she could have been returned through the police).

What remains for Katerina? Live in your husband's house, be despised by everyone?

Let's turn to the outcome of the conflict. Katerina dies. How do you feel about her death? Is this the only way out?

Moreover, pay attention to the fact that she was a religious girl, and suicide is the most terrible sin! Doesn’t even this stop the heroine of Ostrovsky’s play?

The romance “And finally I’ll say” sounds

(The death of Katerina is a protest, a rebellion, a call to action, because after her death, Varvara ran away from home, Tikhon blamed his mother for the death of his wife, Kuligin reproached her for being unmerciful.)

(The city of Kalinov will not be able to live in the old way after Katerina’s death, because her death awakened the first words from its inhabitants)

We can condemn the heroine, we can sympathize with her, but she had no other choice.

YII . Summing up the lesson.

Let’s draw a conclusion based on everything we talked about today in class and write it down in a notebook:

YIII . Homework.

View presentation content
"Open lesson on the play"

• Guess who we're talking about?

• The heroine's nickname could be formed from two words that equally deeply correspond to the essence of her character. The cruelty, ferocity and coldness, indifference of this heroine are obvious.
• Describe this image.

• Guess who we're talking about?

• This heroine is quite simple spiritually, rude. She knows how to lie when necessary. Her principle is “do what you want, as long as it’s safe and covered.”

• Describe this image.

• Guess who we're talking about?

In her image there is a decisive, irreconcilable Russian character. But what is most striking is its originality.

There is nothing alien or external in it, everything comes out from within. From her stories about her childhood, it is clear that her mother did not force her daughter to do anything and loved her very much. Katerina walked, prayed, embroidered. In general, she was raised in the old way of life.

A mute protest against the “dark kingdom” begins to arise in her young soul, which did not give her the desired love and freedom, independence.

• Describe this image.

Lesson topic: "Image of Katerina in A. N. Ostrovsky’s drama “The Thunderstorm”

Goals:

Find out why exactly Katerina is able to resist the “dark kingdom”;

To trace how her character was formed, what traits are the main ones in it, how her conflict with the world of Kabanikha develops;

Understand why Katerina stands apart in the system of characters.

Epigraph for the lesson:“That’s how I was born, hot!”

Katerina (G. Kiryushina)

The influence of life with the Kabanovs on Katerina: A) Awareness of one’s doom B) Isolation, disappointment in family life. C) Passionate desire for freedom, love, happiness.

Conclusion:

For Katerina, the main thing is to live according to her soul, and for Kabanikha, the main thing is to subjugate and not allow her to live in her own way. A sharp contrast arises here - an irreconcilable conflict ensues.

Answer the questions:

Prove that Katerina's death is a protest.

Will the city of Kalinov be able to live as before?

Katerina is a strong personality who knew how to love, is ready to sacrifice herself in the name of love, but she is honest, sincere and therefore she is not able to pretend, deceive, i.e. to live according to the laws of the “dark kingdom”, she chose a way out - suicide, in order to rid herself and her soul of remorse and get away from the norms and rules of the city of Kalinov.

Homework.

Read the articles by Dobrolyubov “A Ray of Light in a Dark Kingdom” and Pisarev “Motives of Russian Drama.” Compare the provisions on the genre of the work, views on the image of Katerina.

The presentation was made by:

teacher of Russian language and literature

MBOU "Glebovskaya Secondary School"

Kursk district, Kursk region

An open general lesson in the 10th grade based on the play “The Thunderstorm” by N.A. Ostrovsky “Katerina’s suicide – strength or weakness?”

Lesson type: generalization on the topic “victims of the dark kingdom”, their protest, their moral choice.
Type of lesson: lesson - study of the problem of moral choice.
Lesson format: conversation (with elements of literary reading, the use of mind-mapping technologies, discussion).
The purpose of the lesson: to identify aspects of the lives of the victims of the “Dark Kingdom” that did not allow or allowed them to make the right choice in life, to analyze individual fragments of the play.
Tasks:
1) educational:
- remember the content of the play “The Thunderstorm”;
- identify situations of moral choice of the characters in the play;
- compare the “victims of the dark kingdom” with each other;
- identify the strengths and weaknesses of representatives of the younger generation in the play;
- improve work with tests;
- prepare for the control test.
2) developing:
- development of attention (when working with fragments);
- development of thinking (observations of the actions of heroes, conclusions);
- development of imagination (connection with modernity);
- development of oral and written speech.
3) educational:
- fostering self-esteem;
- formation of an active life position;
- overcoming fear of moral choice.

Man is always free, he is always free
make your choice: no circumstances,
who would make man their slave,
unless he wants it himself.
Michel de Montaigne, French lawyer, politician and philosopher,
dealing with moral issues.
A wonderful writer and essayist. 16th century
During the classes
I. The teacher's word.
Guys, hello. Our conversation about the work of A.N. Ostrovsky is gradually coming to its logical conclusion. In previous lessons, we got acquainted with the stages of Ostrovsky’s life and creative path, analyzed in detail the content of the play “The Thunderstorm”, the life of the inhabitants of the city of Kalinov. And today I want to invite you to dwell on the discussion of the problem of moral choice in this play. This will be the topic of our lesson.
(Appendix 1 - presentation for the lesson)

To discuss the problem, I took as an epigraph the statement of a 16th century philosopher. M. Montaigne.

Is he, the 16th century philosopher, right when he uttered this aphorism? We will discuss this issue, taking as a basis the content of A.N. Ostrovsky’s play “The Thunderstorm”.
Teacher's word: Let me remind you that Russian literature has always been distinguished by the depth of its ideological content, its tireless desire to resolve questions of the meaning of life, its humane attitude towards people, and the truthfulness of its depiction. Russian writers sought to identify in female characters the best features characteristic of our people. Only in Russian literature is so much attention paid to depicting the inner world and complex experiences of the female soul.
Here is a gallery of female images, let's turn the pages of our favorite books
Tatyana Larina, Olga Ilyinskaya, Anna Sergeevna Odintsova, Sonechka Marmeladova, Katerina Kabanova.

So here we go, the curtain goes up.

During today's lesson we must answer the question: “Is Katerina’s suicide a strength or a weakness?”

Let's remember the rules for working with a mind map in class.

While traveling along the Volga, A.N. Ostrovsky conceived a play about the position of Women in Russian society, which he wrote in 1859. After 20 years, he will write another play on this topic - “Dowry”.
Why does this question worry the writer so much? Indeed, during the indicated period that has passed since the writing of “The Thunderstorm,” dramatic changes have occurred in Russia: Russian merchants, for example, put on European dresses, in the mornings they read newspapers and exercise, go to the fair in Paris, and the nobles do not disdain marriage with merchant daughters. The main thing is that there is a dowry.
During this period, the “women’s question” became more acute due to concrete successes in the struggle for higher education (in 1872, women’s courses were opened in Moscow and St. Petersburg). The old way of life was collapsing, patriarchal relations were becoming a thing of the past - people had to adapt to new conditions of existence.
A.N. Ostrovsky has no doubt that, despite all women’s desire for equality and education, it is in love that the most important, fundamental thing happens for them. Freedom does not give a woman happiness. She fights, but the subject of her struggle is still not education, not legal freedoms, but the love of her chosen one. In this battle, she suffers and grows spiritually, but since her lover is not ready to possess such a woman, she will inevitably be disappointed. And the heroine of today’s lesson is a vivid example of this. Let's turn to mind map No. 2 “The thunderstorm is the character of the play.

Not only writers, poets, artists, and composers turned to the image of a thunderstorm. One of them is the Italian composer, virtuoso violinist, teacher, conductor, Catholic priest Antonio Vivaldi. Let's listen to a fragment of his play.

We work with mind map No. 1 “The city of Kalinov and its inhabitants” The city of Kalinov, depicted in the play “The Thunderstorm”, is both a real city, typical of Russia in the 60s of the 19th century, and a generalized image of Russia in the middle of the last century as a whole. The composition of the play is based on the principle of contrast. The beauty and harmony of the Volga landscape is contrasted with the cruelty and injustice of human life. “Miracles, truly it must be said that miracles! The view is extraordinary! Beauty! The soul rejoices. For fifty years I’ve been looking at the Volga every day and I can’t get enough of it.” The play begins with these enthusiastic words of the self-taught mechanic Kuligin. But people living near Kuligin do not notice the beauty of nature. Dikoy, Kabanikha, Feklusha, the townspeople are ignorant and spiritually poor. Feklusha says that people invented a fiery kite for speed. To which Kabanikha remarks that even if they shower her with gold, she will not ride on it. Dikoy believes that the thunderstorm is sent by God as punishment. The townspeople are sure that Lithuania has fallen from the sky. Kuligin gives an accurate description of the Kalinovites. He criticizes the cruel morals of the city's inhabitants and bourgeois rudeness. He tells how in their city, out of envy of each other, trade is undermined, how on stamp sheets they scribble slander against their neighbors. How they then sue, calming themselves with the thoughts: “I’ll spend it, and it won’t cost him a penny.” Kuligin also characterizes the family foundations of the city. “Invisible and inaudible” tears are flowing behind high fences. The boar's wife "gives money to the poor, but completely eats up her family." The moral laws of people's lives are replaced in Kalinov by the law of force, power and money. Wild, the richest man in the city, cannot live a day without swearing. Big money frees his hands and gives him the opportunity to swagger with impunity over everyone who is poor and financially dependent on him. People are nothing to him. “You are a worm. If I want, I’ll have mercy, if I want, I’ll crush,” he says to Kuligin. Dikoy enriches himself by deceiving hired workers, and he himself does not consider this a crime. “I won’t pay them a penny extra per person, but I make thousands out of this,” he boastfully tells the mayor. “He who has money tries to enslave the poor so that he can make even more money from his free labor.” The representative of the law takes the Dikiy's revelations for granted, because he himself is dependent on the rich man. Kabanikha, unlike Dikiy, hides his unseemly actions behind false virtue. Katerina suffers the most from her tyranny. A freedom-loving nature, she cannot live in a family where the youngest unquestioningly obeys the elder, wife-husband, where any desire for freedom and manifestation of self-esteem is suppressed. “Will” for Kabanikha is a dirty word. For Kabanikha, the most important thing is not the real order, but its external manifestation. She is outraged that Tikhon, leaving home, does not order Katerina how to behave, and the wife does not throw herself at her husband’s feet and does not howl to show her love. Kabanikha reassures herself only by the fact that with her everything will be as before, and then she won’t see it again. Kabanova took the worst from centuries-old traditions, extracted the most cruel forms that justify despotism. Self-interest and cruelty reign in the city of Kalinov. There is no room for living feelings and reason. Lies and deceit, having become commonplace in life, cripple people's souls. Varvara’s life principle is “do whatever you want, as long as it’s safe and covered.” Kudryash lives by the same law. He “blesses” Boris to meet Katerina, but asks him to be careful: not to harm himself and not to get her into trouble. Material dependence makes Boris powerless before his uncle, unable to defend his human dignity. A thunderstorm hung over the city of Kalinov. And therefore, feeling the approach of a new life, the tyrants in “The Thunderstorm” make noise. They are noisy and angry because their power is ending.

Working with mind map No. 3 “Image of Katerina”
Yuri Tynyanov stated: “All names speak.” What does the name of the main character of the lesson mean? (Katerina)
-How do you understand the word “decent”?
-Choose synonyms for this word.
Teacher: Why did Ostrovsky give this name to the heroine?
- What actions and statements of Katerina indicate her honesty and sincerity?
Let us prove this with examples from the text.
Let me remind you that already Katerina’s first appearance on stage attracts the reader to her. Talking with Varvara, the sister of her unloved husband, she not only thanks her for her good attitude, but also shares her dream with her: Monologue 1 (listen) “Why don’t people fly!... I say: why don’t people fly like birds ...".

It is known that a person is shaped by his environment and certain circumstances.
Why does Katerina prefer the imaginary world to the real one? (Once upon a time, not so long ago, she lived in her parents’ house, and then everything was different: “I lived, didn’t worry about anything, like a bird in the wild. Mama doted on me...”) Monologue 2 (listen) -What is Katerina missing in the Kabanovs’ house? (Life is devoid of a living, sincere feeling, “as if everything was out of captivity”)
-What does Varvara teach Katerina? (“Our whole house rests on this. And I wasn’t a liar, but I learned when it became necessary.”)
- How does Katerina feel about deception? (Katerina, on the contrary, does not know how to deceive: “I don’t know how to deceive, I can’t hide anything.” She doesn’t like it, and when others do it: “It’s nice to tolerate lies!”)
-What character traits of the heroine are manifested here? (Sincerity, dreaminess, spontaneity, honesty)
- Already in Act 2, Episode 2. we learn that Katerina loves Boris and this feeling has captured her completely. Here she confesses her love for the first time.
-How is the heroine’s strength of feeling revealed? (“That’s how I was born, hot.” ​​“If I get tired of it here, no force can hold me back, I’ll throw myself out the window, throw myself into the Volga”) It is these words that predetermine all of Katerina’s future behavior and her tragic death.
-So, Tikhon leaves for Moscow at the request of his mother. Katerina throws herself on her knees in front of him. What is she asking for? (So ​​that the husband does not leave)
- Why does she do this? (She is worried because she feels that when her husband leaves, she may not be able to stand it and meet with a stranger whom she has fallen in love with. The voice of conscience sounds in her soul.)

Teacher: Correct. Conscience is like an internal scale; on them, a person seems to weigh the actions that he has committed or is about to commit: right - wrong, good - bad, moral - immoral. Katerina has a very deep conscience, a very strong sense of responsibility for her actions. Everything pushes her towards Boris, but she tries to make one last attempt - to persuade her husband to help her: to take her with him, not to leave, or to take a terrible oath from her. But Tikhon is not capable of such an act. Katerina's impulse is her attempt to make Tikhon her friend and ally; find support in him that would keep her in the family
(With a feeling of relief, a sense of freedom, Tikhon says: “Yes, mamma, it’s time.” But it turns out that’s not all. He is trying to soften the demands of the mother, humiliating the dignity of his wife: Katya and the intonation of an affectionate request. Kabanikha’s goal is to bring to the complete obedience of her family and, above all, the wayward Katerina. Tikhon is a tool in the hands of Kabanikha. But the more Katerina is humiliated, the more the desire for freedom, love, and happiness awakens in her soul.
This scene reveals to what extremes Kabanikha’s despotism reaches. It turns out that Tikhon is completely unable not only to protect, but also to understand Katerina. This scene explains Katerina’s decision to go on a date with Boris. The meaning of this scene is Katerina’s desperate attempt to prevent trouble, to force herself to love her husband.)
Conclusion: -What kind of Katerina appears to us in these two episodes? What character traits did she develop during such a life?

Katerina's character traits
(children take turns naming the main character traits of the heroine, revealed on the slide: spontaneity, kindness, honesty, courage, desire for freedom, dreaminess, moral purity, passion and poetic nature)

WORKING WITH A MONOLOGUE ABOUT THE KEY

Teacher: So, Katerina lives according to the laws: “After all, I’m married, my husband and I will live until the grave.” Church marriage is a shrine for her. Her love passion for Boris whispers temptations to her at night, calls her, hugging her, to ride a boat and a troika. And this passion comes into conflict with religious duty. Pay attention to item 2, item 10.
- What detail here conveys the heroine’s internal state? (Key)
The key is held in the hands of many literary characters known to us.
-Who can you name? And what do they need the key for? (He locks and unlocks the Baron’s chests; a bunch of keys to numerous storerooms, sheds, and cellars on Plyushkin’s estate hangs on his belt)
- Really. “They lock up”, they close in themselves all the best, human Baron, Plyushkin - this is the motive of the “soul”. And only Katerina in “The Thunderstorm” the key opens the way to love, to happiness. Katerina, holding the key to the garden gate in her hands, goes towards love.
Let's make sure of this: reading a monologue by heart by an early prepared student.

Do you think this is a sin?
-You should have done research to determine what “LOVE” is and what associations it has with you.
(In Ozhegov’s dictionary – “a feeling of selfless, heartfelt affection”)

What is love for Katerina? -What is love for Katerina? We will try to find the answer in parts 4 (revelation 6) and 5.
One of the last things Katerina does is during a thunderstorm. Tikhon returned from Moscow. The Kabanovs went for a walk with the whole family on the banks of the Volga. A thunderstorm broke out. The walkers entered a narrow gallery. On the walls are old, darkened paintings depicting the terrible torment that awaits sinners after death in the next world, in hell. Huge fires burn here, where the devil’s servants throw sinners. Therefore, hell was called fiery Gehenna (an ancient church word meaning “hell” translated from Greek).
Katerina is a believer, a religious person. For her, these paintings are “cherished legends of dark antiquity” (Lermontov’s “Motherland”). But the main thing is the voice of her conscience, since she considers herself a sinner. Varya tries to hold her.
What will Katerina do? After all, she knows that if she confesses everything in front of people and Kabanikha, she will be “lived out of the world.”
So what does it mean it’s better to remain silent? But then Katerina meets Boris’s eyes, the scream of a half-crazed lady is heard, thunder roars again... And most terrible of all is the voice of her own conscience. And Katerina commits an act that is unprecedented for people accustomed to the customs of the “dark kingdom” - Katerina’s confession (act 4, scene 6).
Katerina, a pure, sincere woman, could not hold back her confession. The boar's wife was delighted: after all, she had been arguing with her daughter-in-law for a long time whether to give the person freedom or to keep him tightly on a chain in captivity. This is a dispute with my son, who loves his wife in his own way. The mother-in-law believes that it was “will” that led Katerina to her “sin.” Katerina herself publicly repented, cursed herself and gave herself up to the judgment of people for her own self-will...
If in the monologue with the key and in the meeting scene the victory of love in Katerina’s soul is revealed, then in the scene of repentance the power of the norms of religious morality weighing on the heroine is clearly revealed. But can her repentance be considered a weakness?
- But no, Kabanikha, it turns out, did not win. In a few days. Katerina commits a new unexpected act - escaping from the Kabanovs' house, the last meeting with Boris (act 5, scene 3).
- Let’s try to think for the heroine ourselves: what could she do, where to go, which path to choose?
1) Catch up with Boris and try to persuade him. Do you think we can hope for this?
2) Run to your home, to your parents, and seek their protection. But they are also a merchant family, and the laws of “house building” also reign there. Younger family members had to obey the elders. The husband had complete authority over his wife and children.
3) Katerina will return to Kabanikha, confess again to her sins and will submit to her mother-in-law and husband in everything. Varya - yes. Katerina - no. The Kabanovs' house is a prison for her, and she is freedom-loving and rebellious.
She dreams of being free, of flying like a bird, “and if I get really tired of it, I’ll throw myself out the window, throw myself into the Volga, I don’t want to live here, I won’t...”.
-So what did love become for Katerina? (Sin, destruction - slide 17) (Students’ answers:
1. Katerina decides to die... She decided to commit suicide: she rushed from a high cliff into the Volga, on her last flight, and committed suicide. In those conditions, she could not do otherwise: in this way she again showed her character - she proved that death was better for her than captivity. Katerina committed her act in unusual, exceptional, hopeless conditions. At the same time, she again showed great will, and even courage. After all, the Christian religion declared suicide a mortal sin and forbade praying for suicides. And Katerina, although she is a religious person, says: “He who loves will pray.” For her, love for man and hatred of tyranny and captivity are stronger than all church prohibitions.
2. The reason is in the sense of crisis of existence, which is unclear to Katerina herself: the old moral principles are outdated, and she cannot perceive the new ones as anything other than sin. Those around her are to blame, her piety, her secluded lifestyle: the house, embroidery, and the stories of the praying mantises did not prepare Katerina for life with different rules. She is a victim of her own purity)

KATERINA IN THE EVALUATION OF RUSSIAN CRITICISM

Contemporaries of A.N. Ostrovsky expressed conflicting opinions regarding the main character of “The Thunderstorm”. The controversy testified to the relevance and novelty of the image, the appearance of which was the result of an artistic analysis of reality and the creative evolution of the playwright.
Message about Dobrolyubov
Message about Pisarev

Work in groups on critical articles “The Counting Ray in the Dark Kingdom” and “Motives of Russian Drama”
SUMMARY OF THE LESSON.
-So what does Katerina’s death represent—strength or weakness? (Force)
-Your attitude to Katerina’s action from the perspective of a person in the modern world.
Final word: Katerina Kabanova stands out noticeably against the background of Ostrovsky’s heroines described in previous plays. On the one hand, it continues the line of the “Muscovite” period, since it expresses faith in the creative principles of the national character; on the other hand, it resists because it denies the stagnant phenomena of patriarchal life.
The play “The Thunderstorm” is dedicated to the fate of a Russian woman from a merchant family in the transitional era. In the image of Katerina, Ostrovsky embodied the heroic character of the people. A poetic, imaginative perception of reality, a “warm heart”, honesty - these are the main features of her moral and psychological appearance. Katerina sincerely believes in God, but twice violates his commandments, because the feeling of personal freedom turns out to be more important to her than religious laws.
THE SIGNIFICANCE OF THE IMAGE OF KATERINA IN THE WORK OF THE PLAYWRIGHT
Reflection: whose interpretation of the image of Katerina do you support?
Ratings.
Homework

Target: analyze the image of Katerina; understand why Katerina decided to commit suicide.

• to actualize students’ personal meaning to study the topic;
• create conditions for students to develop the ability to formulate their own point of view, express and argue it, the ability to compare, prove and disprove, define and explain concepts;
• to form the value attitude of students to the surrounding reality, to other people and their feelings.

Technology of personality-oriented developmental training.

Lesson form: reflection lesson.

Equipment: computer, slides on the topic of the lesson (attached), two pieces of plasticine - black and white, texts on the play.

We know that Katerina's character will hold up,
despite any obstacles,
and when there is not enough strength, he will die, but will not betray himself.

ON THE. Dobrolyubov

Only conscious respect of a person for himself
gives him the opportunity to calmly
and have fun enduring all minor and major troubles,
which are not accompanied by severe physical pain.

DI. Pisarev

During the classes

1. Organizational moment.

Dear Guys! I'm glad to see you in a good mood. I think that our lesson will be held in a warm atmosphere. I would like to wish you success, self-confidence, and good mood.

2. Setting tasks and updating knowledge.

Today we will complete our study of the play by A.N. Ostrovsky “Thunderstorm”. The topic of the lesson is “The image of Katerina. Her spiritual tragedy.” A topic that may seem easy, but at the same time very difficult.

I suggest you look at the clouds. Each of you has done this many times, looked and fantasized what each cloud represented.

What do you see now?

Students share their opinions. (Castles in the air, animal, temple, etc.)

Teacher. Why didn't you see the same thing? ( Each student is individual, has his own opinion and point of view).

Students draw conclusions about how this relates to the topic of the lesson and the work in the lesson.

Teacher. That's right, guys. Each of you perceives the image of the main character in your own way, because you evaluate her actions and actions based on your views and life experience.

In order to begin to reveal the topic of the lesson, please determine what you will have to do today in the lesson and formulate the questions that you must answer at the end of the lesson.

(To characterize the image of Katerina, consider the reasons for her death, reveal the meaning of the concepts of “sin”, “freedom”, “inevitability”, “beauty”, answer the questions “Was there a different path for Katerina? What is Katerina’s character strength?)

Concepts and questions are presented on presentation slides.

3. Information flow.

Work in groups.

Assignment to the first group:

Analyze how Katerina’s character was formed in childhood, and how this influenced her future life.

(Katerina grew up in her parents' house without any worries. I took care of flowers, listened to the stories of wanderers, and went to church. She often saw strange things: angels in a golden pillar, golden temples; she dreamed that she was flying.

Katerina is an extremely religious person. And a religious person must live according to the Law of God.

But there is one more fact that tells us about the character of the main character. At the age of six, when she was insulted at home, she got into a boat and sailed along the Volga. They found her a day later, ten miles from the house. This tells us that Katerina is a willful, capricious person, capable of rash acts in order to maintain her freedom and independence).

Assignment to the second group:

Characterize the relationship between Katerina and Tikhon, Katerina and Boris. Can Katerina’s feelings for Boris be considered love?

(Katerina married Tikhon very early. She ended up in a family where her mother ran everything. Tikhon sometimes tried to object to his mother and stand up for his wife, but his attempts were stopped at the very beginning. Tikhon was looking for freedom away from home. He needed a drink and a walk , and his wife was a burden for this. Therefore, to Katerina’s request to take her with him, he replies: “With this kind of bondage, you can run away from whatever beautiful wife you want!”

Tikhon loves Katerina. We see this when he learns about the death of his wife. But his weakness and spinelessness did not give him the opportunity to show this love to Katerina.

Out of the hopelessness of her situation, the main character is looking for love. She finds this love in Boris Grigorievich. They practically did not communicate, they saw each other briefly, more often in church. But Boris Grigorievich talks about his love, and Katerina considers her feelings to be love. For the heroine, her whole life lies in her; all the strength of her nature, all her living aspirations merge here. She is drawn to him by her need for love, which has not found a response from her husband, and the offended feeling of a wife and woman, and the mortal melancholy of her monotonous life, and the desire for freedom, space, hot, unfettered freedom. But this love is for her sin. (Work with the concept. Appeal to the commandments in the “Law of God”).

Can the love of Katerina and Boris be called real? Boris, like Tikhon, pushes her away and does not want to take her with him. He depends on his uncle. After his last meeting with Katerina, he says: “We only need to ask God for one thing, that she die as soon as possible, so that she does not suffer for a long time.” He understands her state of mind. Maybe, but he doesn't want to save her. But Katerina, in spite of everything, dies with the words: “My friend! My joy! Goodbye!")

Assignment to the third group:

How did life in the Kabanovs’ house affect Katerina’s feelings and character?

(After her cloudless childhood, Katerina ends up in the Kabanovs’ house, in the “dark kingdom”. Her mother-in-law always humiliates her, insults her, and does not allow her to live peacefully with her husband. She has no one to talk to. Although Varvara tries to understand her daughter-in-law, she is not like Katerina: “The main thing is that everything is hidden and covered.” Every day this “dark kingdom” covers Katerina, puts pressure on her. There is no salvation in love either. Life becomes unbearable. And Katerina more often thinks about suicide).

Assignment to the fourth group:

How do D.I. Pisarev and A.N. Dobrolyubov characterize the image of Katerina? What is the contradiction in the critics' reading of the drama?

(N.A. Dobrolyubov and D.I. Pisarev gave Katerina completely different characteristics. N.A. Dobrolyubov called the heroine “a ray of light in the dark kingdom.” He considers Katerina a strong woman. D.I. Pisarev believes that all actions and Katerina's actions are devoid of any common sense... He classifies her as “eternal children and dwarfs.”

Their opinions differ because each viewed the character based on their own life positions, views and experiences.)

Teacher. Now we will find out what image of Katerina was created by the actresses who played her role on stage (demonstration of slides with portraits of P. Strepetova and M. Ermolova).

In the history of the theater, the best performer of the role of Katerina Kabanova, whose primacy was recognized even by the famous actresses Fedotova and Ermolova, remained L.P. Kositskaya, for whom Ostrovsky specially wrote this role.

This role was played by Pelageya Strepetova and Maria Ermolova.

Strepetova characterized Katerina as a submissive victim of the dark kingdom. “She created for us a martyr, a Russian woman. And we saw this martyrdom in all its horror, but also in all its imperishable beauty.” (V.M. Doroshevich. Old theatrical Moscow. - M.: Petrograd, 1923).

E. Karpov recalls Strepetova’s performance in the fifth act of the drama: “...Strepetova comes out with a pale face, with huge, sad, deep eyes, with her black hair flowing over her shoulders. Her charming voice sounds clearly, although she speaks as if to herself, and there is so much deep, hopeless sadness, so much love, so much subtle poetry in that voice...”

Characterizing Strepetova’s game, A.S. Suvorin noticed that her interpretation of the role of Katerina was decisively at odds with Dobrolyubov’s interpretation. He wrote about Katerina’s end as “the quiet agony of a dying heart and a darkened head.” “So it just happened! No scream, no despair... How many of them die so simply, silently...”

Ermolova emphasized in the image of Katerina internal energy, readiness to protest against despotism and tyranny. “Dobrolyubov called Katerina’s end “gratifying”: that’s what it was like for Ermolova,” writes S. N. Durylin. “Her Katerina, indeed, was not a fleeting spark, but a “ray of light in a dark kingdom,” a bold, strong, bright ray, foreshadowing the sunrise, dispelling the darkness. Such a Katerina cannot be mourned or pitied, like Katerina Strepetova, one can bow before her as before a tragic heroine, one can learn from her the courage of heroic will. This Katerina was enthusiastically greeted by democratic spectators in the 1870s... Ermolova proved that this “everyday drama” is a powerful Russian folk tragedy, and this role of a Russian woman from a remote town is a heroic image, revealing both the sad fate of a Russian woman in the past and her the ability to overcome this evil fate.”

Both Strepetova and Ermolova, in their interpretations of the image, focused the viewer’s attention on different aspects of Katerina’s personality.

Strepetova had the right to consider Katerina as a victim of society, of the dark kingdom. Ostrovsky himself highly appreciated Strepetova’s performance. because the artist awakened in the souls of the audience a protest against the living conditions that led Katerina to death. Katerina Ermolova herself was the personification of protest against the dark kingdom. Ermolova’s play gave rise to a feeling of new life and called for an active struggle for happiness and justice.

Teacher. Now let's see what image of Katerina our student created (the student reads by heart Katerina’s monologue from the fifth act of the drama.)

Answer to questions.

1. What is the meaning of the concept freedom (working with the concept) at Katerina, Boris, Tikhon?

2. What moments in Katerina’s life did she perceive as a sign from above?

3. Why did Katerina repent publicly?

4. Can we call Katerina a strong woman?

5. Could Katerina find the path to salvation in her soul? Why?

Reception “Help from a psychologist.”

Katerina found herself in a very difficult situation. Nowadays, people can turn to a psychologist for help in solving a problem. One of the techniques that experts recommend is making two lists. One records the positive consequences of the decision, the other records the negative consequences. Let's try to make two lists “for the future life” of Katerina, based on the text of the play and using quotes.

(All the pros and cons can be “weighed” on the scales. We put a weight on one scale if the decision is positive, on the other if it is negative.

Teacher. So, there are more positive things in Katerina’s life. Why couldn’t Katerina see these hopes and save her soul? Let's try a little experiment. In front of you lie two pieces of plasticine - black and white. Let's imagine that these are human souls. Try to mash them. Soft, easy to give in. Let's imagine that every person is born with a white and pure soul. But every person also has a character. A person lives and communicates with people. There are good and bad people. After communicating with lies and injustice, a person’s soul turns black. Over time, more and more. It depends on the person, on his character and willpower, what to do: succumb to evil and darkness or keep his soul pure.

Now we can answer the question: “Was there a different path for Katerina?”

(No. Although suicide is a sin, Katerina saved her bright soul in this way. And all representatives of the “dark kingdom” are suicides of their souls. And they are the sinners. Thus, Katerina’s death was inevitable (working with the concept).

4. Generalization of what has been learned.

Teacher. I propose to compose a diamond in which you can give a generalized description of the image of Katerina. (Work in groups).

Diamanta is a poem of seven lines, built on the antonymy of concepts.

1. Topic (noun).

2. Two definitions (adjectives).

3. Actions (three verbs).

4. Associations (four nouns).

1, 2 antonyms 3,4

5. Actions (three verbs).

6. Two definitions (adjectives).

7. Topic (noun).

Katerina.

Direct, honest.

Loves, strives, rebels.

Freedom, passion, isolation, sin.

He becomes disappointed, suffers, and dies.

Tired, repentant

Poor Katerina.

Teacher. I asked you to think about what works of literature, music, and painting you associate with the image of Katerina, her thoughts, and actions.

1. The students read a poem by K.D. Balmont “By the Sea at Night”, tk. it helps them feel what Katerina experienced in the last moments of her life. (Reading this poem by heart).

2. Among the musical works, “Siciliano” by Bach and “Keep the Lord from Heaven” by Lyadov were suggested. The first is the association with Katerina’s whole life, the second is Katerina’s faith in God.

3. From works of fine art, students suggested paintings by I.I. Levitan “Evening on the Volga” (the place where the events took place dramas, beauty(working with concepts) nature is compared with the beauty of the main character, the waters of the Volga absorbed this beauty) and K. Monet “Impression. Rising Sun" (the bright orange spot of the sun and the ray that falls on the water is a bright image of Katerina and her character).

5. Homework.

1. Compose a test of 10 tasks based on the play “The Thunderstorm”.

2. Prepare a message “The problem of human dignity in the play “The Thunderstorm”. Make a technological map “Alphabet”.

3. Answer in writing the question “What is Ostrovsky’s innovation?”

6. Reflection.

On the board there are images of islands with the names “Island of Knowledge”, “Island of Happiness”, “Island of Indifference”, “Island of Doubt”, “Island of Interest”. Students attach a sticky piece of paper to the island where they visited the lesson.

Lesson plan: 1. The situation of women in Russia. 2. The era of change. 3. Katerina's dream. 4. Sincerity and honesty. 5.Imaginative perception of reality.
6. “Warm heart.”
7. Internal and external conflict.
8. Heroes of the work: Katerina, Kabanikha,
Varvara, Boris, Kuligin.
9. The problem of Christian ethics.
10. Katerina in the assessment of Russian criticism.
11. The significance of the image in the work of A.N. Ostrovsky.

Checking homework. "The city of Kalinov through the eyes of the characters in the play."

The status of women in Russia in the first half of the 19th century. In the 1st half of the 19th century, the position of women in Russia was in many respects

Vocabulary work.

The era of change.

Sincerity and honesty. Katerina means “always pure” in Greek.

“Who enjoys tolerating falsehoods!”

Katerina's dream. “Why don’t people fly! ...I say: why don’t people fly like birds? You know, sometimes I think that I

“Yes, everything here seems to be from under captivity”

Figurative perception of reality. “At night, Varya, I can’t sleep, I keep imagining some kind of whisper: someone is speaking affectionately to

"Warm heart".

Katerina’s character traits - principles of life in Kabanikha’s house

“After all, this is not good, because this is a terrible sin... why do I love another?”

“How can I love you when you say such words?”

“Throw in the key! No, not for anything in the world!”

Internal conflict

External conflict

Conclusion. - Katerina and Kabanova are united by uncompromisingness, moral and religious maximalism. However, Kabanova is a guardian

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“I am a sinner before God and before you!”

"My friend! My joy! Goodbye!"

The Problem of Christian Ethics

The meaning of the image in the works of A.N. Ostrovsky.

Conclusion:

Let's draw conclusions

The first performer of the role of Katerina Lyubov Pavlovna Nikulina - Kositskaya

Glikeria Nikolaevna Fedotova

Maria Nikolaevna Ermolova

Homework assignment