Literature testing on Ostrovsky's works. Dramaturgy A

The issue of genres has always been quite resonant among literary scholars and critics. Disputes around which genre to classify this or that work gave rise to many points of view, sometimes completely unexpected. Most often, disagreements arise between the author's and the scientific designation of the genre. For example, N.V. Gogol’s poem “Dead Souls”, from a scientific point of view, should be called a novel. In the case of dramaturgy, too, everything is not so simple. And we are talking here not about the symbolist understanding of drama or futuristic experiments, but about drama within the framework of the realistic method. Speaking specifically about the genre of “Thunderstorms” by Ostrovsky.

Ostrovsky wrote this play in 1859, at a time when theater reform was necessary. Ostrovsky himself believed that the performance of the actors is much more important to the audience, and you can read the text of the play at home. The playwright had already begun to prepare the public for the fact that plays for performance and plays for reading should be different. But the old traditions were still strong. The author himself defined the genre of the work “The Thunderstorm” as drama. First you need to understand the terminology. The drama is characterized by a serious, predominantly everyday plot; the style is close to real life. At first glance, The Thunderstorm has many dramatic elements. This is, of course, everyday life. The morals and way of life of the city of Kalinov are described incredibly clearly. One gets a complete impression not only of a single city, but also of all provincial towns. It is no coincidence that the author points out the conventionality of the setting: it is necessary to show that the existence of the inhabitants is typical. Social characteristics are also distinguished by their clarity: the actions and character of each hero are largely determined by his social position.

The tragic beginning is connected with the image of Katerina and, partly, Kabanikha. A tragedy requires a strong ideological conflict, a struggle that can end in the death of the main character or several characters. The image of Katerina shows a strong, pure and honest personality who strives for freedom and justice. She was married off early against her will, but she was able to fall in love with her spineless husband to some extent. Katya often thinks that she could fly. She again wants to feel that inner lightness that was before marriage. The girl feels cramped and stuffy in an environment of constant scandals and quarrels. She can neither lie, even though Varvara says that the entire Kabanov family rests on lies, nor hush up the truth. Katya falls in love with Boris, because initially both she and the readers think he is the same as her. The girl had the last hope of saving herself from disappointment in life and in people - escaping with Boris, but the young man refused Katya, acting like other residents of a world alien to Katerina.

Katerina's death shocks not only readers and spectators, but also other characters in the play. Tikhon says that everything is to blame for his domineering mother, who killed the girl. Tikhon himself was ready to forgive his wife’s betrayal, but Kabanikha was against it.

The only character who can compare with Katerina in terms of strength of character is Marfa Ignatievna. Her desire to subjugate everything and everyone makes a woman a real dictator. Her difficult character ultimately led to her daughter running away from home, her daughter-in-law committing suicide, and her son blaming her for her failures. Kabanikha, to some extent, can be called Katerina’s antagonist.

The conflict of the play can also be viewed from two sides. From the point of view of tragedy, the conflict is revealed in the collision of two different worldviews: old and new. And from the point of view of drama, the contradictions of reality and characters collide in the play.

The genre of Ostrovsky's play "The Thunderstorm" cannot be determined precisely. Some are inclined to the author's version - a social and everyday drama, others propose to reflect the characteristic elements of both tragedy and drama, defining the genre of "Thunderstorms" as an everyday tragedy. But one thing cannot be denied for sure: this play contains both features of tragedy and features of drama.

Work test

Alexander Nikolaevich Ostrovsky is a famous Russian writer and playwright who had a significant influence on the development of the national theater. He formed a new school of realistic acting and wrote many wonderful works. This article will outline the main stages of Ostrovsky's creativity. And also the most significant moments of his biography.

Childhood

Alexander Nikolaevich Ostrovsky, whose photo is presented in this article, was born in 1823, on March 31, in Moscow, in the region. His father, Nikolai Fedorovich, grew up in the family of a priest, graduated from the Moscow Theological Academy himself, but did not serve in the church. He became a lawyer and dealt with commercial and judicial matters. Nikolai Fedorovich managed to rise to the rank of titular councilor, and later (in 1839) received the nobility. The mother of the future playwright, Savvina Lyubov Ivanovna, was the daughter of a sexton. She died when Alexander was only seven years old. There were six children growing up in the Ostrovsky family. Nikolai Fedorovich did everything to ensure that the children grew up in prosperity and received a decent education. A few years after the death of Lyubov Ivanovna, he married again. His wife was Emilia Andreevna von Tessin, baroness, daughter of a Swedish nobleman. The children were very lucky to have their stepmother: she managed to find an approach to them and continued to educate them.

Youth

Alexander Nikolaevich Ostrovsky spent his childhood in the very center of Zamoskvorechye. His father had a very good library, thanks to which the boy early became acquainted with the literature of Russian writers and felt an inclination towards writing. However, the father saw only a lawyer in the boy. Therefore, in 1835, Alexander was sent to the First Moscow Gymnasium, after studying there he became a student at Moscow University. However, Ostrovsky failed to obtain a law degree. He quarreled with the teacher and left the university. On the advice of his father, Alexander Nikolaevich went to serve in court as a scribe and worked in this position for several years.

Attempt at writing

However, Alexander Nikolaevich did not give up trying to prove himself in the literary field. In his first plays he adhered to an accusatory, “moral-social” direction. The first were published in a new edition, Moscow City Listk, in 1847. These were sketches for the comedy “The Failed Debtor” and the essay “Notes of a Zamoskvoretsky Resident.” Under the publication were the letters “A. ABOUT." and "D. G." The fact is that a certain Dmitry Gorev offered cooperation to the young playwright. It did not progress beyond the writing of one of the scenes, but subsequently became a source of great trouble for Ostrovsky. Some ill-wishers later accused the playwright of plagiarism. In the future, many magnificent plays would come from the pen of Alexander Nikolaevich, and no one would dare doubt his talent. The following will be described in detail. The table presented below will allow you to systematize the information received.

First success

When did this happen? Ostrovsky's work gained great popularity after the publication in 1850 of the comedy “Our People - Let's Be Numbered!” This work evoked favorable reviews in literary circles. I. A. Goncharov and N. V. Gogol gave the play a positive assessment. However, this barrel of honey also included an impressive fly in the ointment. Influential representatives of the Moscow merchant class, offended by their class, complained to the highest authorities about the daring playwright. The play was immediately banned from production, the author was expelled from service and placed under the strictest police supervision. Moreover, this happened on the personal order of Emperor Nicholas I himself. Supervision was eliminated only after Emperor Alexander II ascended the throne. The theater audience saw the comedy only in 1861, after the ban on its production was lifted.

Early plays

The early work of A. N. Ostrovsky did not go unnoticed; his works were published mainly in the magazine “Moskvityanin”. The playwright actively collaborated with this publication both as a critic and as an editor in 1850-1851. Under the influence of the “young editors” of the magazine and the main ideologist of this circle, Alexander Nikolaevich composed the plays “Poverty is not a vice”, “Don’t sit in your own sleigh”, “Don’t live the way you want”. The themes of Ostrovsky's creativity during this period are the idealization of patriarchy, ancient Russian customs and traditions. These sentiments slightly muted the accusatory pathos of the writer’s work. However, in the works of this cycle, Alexander Nikolaevich’s dramatic skill grew. His plays became famous and in demand.

Collaboration with Sovremennik

Beginning in 1853, for thirty years, Alexander Nikolaevich’s plays were shown every season on the stages of the Maly (in Moscow) and Alexandrinsky (in St. Petersburg) theaters. Since 1856, Ostrovsky’s work has been regularly covered in the Sovremennik magazine (works are published). During the social upsurge in the country (before the abolition of serfdom in 1861), the writer’s works again acquired an accusatory edge. In the play “At Someone Else's Feast there is a Hangover,” the writer created the impressive image of Bruskov Tit Titych, in which he embodied the brute and dark power of domestic autocracy. Here the word “tyrant” was heard for the first time, which later became attached to a whole gallery of Ostrovsky’s characters. The comedy “Profitable Place” ridiculed the corrupt behavior of officials that had become the norm. The drama “The Kindergarten” was a living protest against violence against the individual. Other stages of Ostrovsky’s creativity will be described below. But the pinnacle of achievement of this period of his literary activity was the socio-psychological drama “The Thunderstorm”.

"Storm"

In this play, the “everyman” Ostrovsky painted the dull atmosphere of a provincial town with its hypocrisy, rudeness, and the unquestioned authority of the “elders” and the rich. In contrast to the imperfect world of people, Alexander Nikolaevich depicts breathtaking pictures of Volga nature. The image of Katerina is filled with tragic beauty and gloomy charm. The thunderstorm symbolizes the heroine's mental turmoil and at the same time personifies the burden of fear under which ordinary people constantly live. The kingdom of blind obedience is undermined, according to Ostrovsky, by two forces: common sense, which Kuligin preaches in the play, and Katerina’s pure soul. In his “Ray of Light in a Dark Kingdom,” the critic Dobrolyubov interpreted the image of the main character as a symbol of deep protest, gradually maturing in the country.

Thanks to this play, Ostrovsky's creativity soared to unattainable heights. “The Thunderstorm” made Alexander Nikolaevich the most famous and revered Russian playwright.

Historical motives

In the second half of the 1860s, Alexander Nikolaevich began studying the history of the Time of Troubles. He began to correspond with the famous historian and Nikolai Ivanovich Kostomarov. Based on the study of serious sources, the playwright created a whole series of historical works: “Dmitry the Pretender and Vasily Shuisky”, “Kozma Zakharyich Minin-Sukhoruk”, “Tushino”. The problems of Russian history were portrayed by Ostrovsky with talent and authenticity.

Other plays

Alexander Nikolaevich still remained faithful to his favorite theme. In the 1860s he wrote many "everyday" dramas and plays. Among them: “Hard Days”, “The Deep”, “Jokers”. These works consolidated the motifs already found by the writer. Since the late 1860s, Ostrovsky's work has been experiencing a period of active development. In his dramaturgy, images and themes of the “new” Russia that survived the reform appear: businessmen, acquirers, degenerate patriarchal moneybags and “Europeanized” merchants. Alexander Nikolaevich created a brilliant series of satirical comedies that debunk the post-reform illusions of citizens: “Mad Money”, “Warm Heart”, “Wolves and Sheep”, “Forest”. The moral ideal of the playwright is pure-hearted, noble people: Parasha from “Warm Heart”, Aksyusha from “The Forest”. Ostrovsky’s ideas about the meaning of life, happiness and duty were embodied in the play “Labor Bread”. Almost all of Alexander Nikolaevich’s works written in the 1870s were published in Otechestvennye zapiski.

"Snow Maiden"

The appearance of this poetic play was completely accidental. The Maly Theater was closed for renovation in 1873. Its artists moved to the Bolshoi Theater building. In this regard, the commission for the management of the Moscow Imperial Theaters decided to create a performance in which three troupes would be involved: opera, ballet and drama. Alexander Nikolaevich Ostrovsky undertook to write a similar play. “The Snow Maiden” was written by the playwright in a very short time. The author took the plot from a Russian folk tale as a basis. While working on the play, he carefully selected the sizes of the poems and consulted with archaeologists, historians, and antiquity experts. The music for the play was composed by the young P. I. Tchaikovsky. The play premiered in 1873, on May 11, on the stage of the Bolshoi Theater. K. S. Stanislavsky spoke of “The Snow Maiden” as a fairy tale, a dream told in sonorous and magnificent verse. He said that the realist and everyday life writer Ostrovsky wrote this play as if before that he was not interested in anything except pure romance and poetry.

Work in recent years

During this period, Ostrovsky composed significant socio-psychological comedies and dramas. They tell about the tragic destinies of sensitive, gifted women in a cynical and selfish world: “Talents and Admirers”, “Dowry”. Here the playwright developed new techniques of stage expression that anticipated the work of Anton Chekhov. While preserving the peculiarities of his dramaturgy, Alexander Nikolaevich sought to embody the “internal struggle” of the characters in an “intelligent, subtle comedy.”

Social activity

In 1866, Alexander Nikolaevich founded the famous Artistic Circle. He subsequently gave the Moscow stage many talented figures. D. V. Grigorovich, I. A. Goncharov, I. S. Turgenev, P. M. Sadovsky, A. F. Pisemsky, G. N. Fedotova, M. E. Ermolova, P. I. Tchaikovsky visited Ostrovsky , L. N. Tolstoy, M. E. Saltykov-Shchedrin, I. E. Turchaninov.

In 1874, the Society of Russian Dramatic Writers and Opera Composers was created in Russia. Alexander Nikolaevich Ostrovsky was elected chairman of the association. Photographs of the famous public figure were known to every lover of performing arts in Russia. The reformer made a lot of efforts to ensure that the legislation of the theater management was revised in favor of the artists, and thereby significantly improved their financial and social situation.

In 1885, Alexander Nikolaevich was appointed to the post of head of the repertoire department and became the head of the theater school.

Ostrovsky Theater

The work of Alexander Ostrovsky is inextricably linked with the formation of real Russian theater in its modern sense. The playwright and writer managed to create his own theater school and a special holistic concept for staging theatrical performances.

The peculiarities of Ostrovsky's creativity in the theater lie in the absence of opposition to the actor's nature and extreme situations in the action of the play. In the works of Alexander Nikolaevich, ordinary events happen to ordinary people.

Main ideas of reform:

• theater should be built on conventions (there is an invisible “fourth wall” that separates the audience from the actors);
• when staging a play, the bet must be made not on one famous actor, but on a team of artists who understand each other well;
• the invariability of the actors’ attitude to language: speech characteristics should express almost everything about the characters presented in the play;
• people come to the theater to watch the actors play, and not to get acquainted with the play - they can read it at home.

The ideas that the writer Alexander Nikolaevich Ostrovsky came up with were subsequently refined by M. A. Bulgakov and K. S. Stanislavsky.

Personal life

The playwright's personal life was no less interesting than his literary work. Alexander Nikolaevich Ostrovsky lived in a civil marriage with a simple bourgeois woman for almost twenty years. Interesting facts and details of the marital relationship between the writer and his first wife still excite researchers.

In 1847, in Nikolo-Vorobinovsky Lane, next to the house where Ostrovsky lived, a young girl, Agafya Ivanovna, settled with her thirteen-year-old sister. She had no family or friends. No one knows when she met Alexander Nikolaevich. However, in 1848 the young people had a son, Alexei. There were no conditions for raising a child, so the boy was temporarily placed in an orphanage. Ostrovsky’s father was terribly angry that his son not only dropped out of a prestigious university, but also got involved with a simple bourgeois woman living next door.

However, Alexander Nikolaevich showed firmness and, when his father and his stepmother left for the recently purchased Shchelykovo estate in the Kostroma province, he settled with Agafya Ivanovna in his wooden house.

The writer and ethnographer S. V. Maksimov jokingly called Ostrovsky’s first wife “Marfa Posadnitsa” because she was next to the writer in times of severe need and severe deprivation. Ostrovsky's friends characterize Agafya Ivanovna as a naturally very intelligent and warm-hearted person. She knew the customs and customs of merchant life very well and had an unconditional influence on Ostrovsky’s work. Alexander Nikolaevich often consulted with her about the creation of his works. In addition, Agafya Ivanovna was a wonderful and hospitable hostess. But Ostrovsky did not formalize his marriage with her even after his father’s death. All the children born in this union died very young, only the eldest, Alexei, briefly outlived his mother.

Over time, Ostrovsky developed other hobbies. He was passionately in love with Lyubov Pavlovna Kositskaya-Nikulina, who played Katerina at the premiere of The Thunderstorm in 1859. However, a personal break soon occurred: the actress left the playwright for a rich merchant.

Then Alexander Nikolaevich had a relationship with the young artist Vasilyeva-Bakhmetyeva. Agafya Ivanovna knew about this, but she steadfastly carried her cross and managed to maintain Ostrovsky’s respect for herself. The woman died in 1867, on March 6, after a serious illness. Alexander Nikolaevich did not leave her bed until the very end. The burial place of Ostrovsky's first wife is unknown.

Two years later, the playwright married Vasilyeva-Bakhmetyeva, who bore him two daughters and four sons. Alexander Nikolaevich lived with this woman until the end of his days.

Death of the writer

The intense social life could not but affect the writer’s health. In addition, despite good fees from the production of plays and an annual pension of 3 thousand rubles, Alexander Nikolaevich always did not have enough money. Exhausted by constant worries, the writer’s body eventually failed. In 1886, on June 2, the writer died on his Shchelykovo estate near Kostroma. The Emperor donated 3 thousand rubles for the playwright's burial. In addition, he assigned a pension of 3 thousand rubles to the writer’s widow, and another 2,400 rubles a year to raise Ostrovsky’s children.

Chronological table

Ostrovsky's life and work can be briefly displayed in a chronological table.

Ostrovsky’s life and work were filled with such events. A table indicating the main incidents in the writer’s life will help to better study his biography. The dramatic heritage of Alexander Nikolaevich is difficult to overestimate. Even during the life of the great artist, the Maly Theater began to be called “Ostrovsky’s house,” and this says a lot. Ostrovsky’s work, a brief description of which is outlined in this article, is worth studying in more detail.

Tests on the drama "The Thunderstorm". 1 option

1) To which literary movement should the drama “The Thunderstorm” be classified?

romanticism

1. classicism

   sentimentalism

2) The action of the drama “The Thunderstorm” takes place

in Moscow

in Kalinov

In Petersburg

In Nizhniy Novgorod

3). Determine the climax of the drama "The Thunderstorm"

key scene

meeting Katerina with Boris at the gate

Katerina's repentance to the city residents

farewell of Tikhon and Katerina before his trip

4). What invention did the self-taught mechanic Kuligin want to introduce into the life of his city?

telegraph

lightning rod

microscope

printing press

5). What was the name of Katerina's husband?

6). Determine the main conflict of the drama "The Thunderstorm"

love story of Katerina and Boris

love story of Tikhon and Katerina

clash between tyrants and their victims

description of the friendly relations between Kabanikha and Wild

7). Which of the heroes of the drama “The Thunderstorm” was “envious” of the deceased Katerina, considering his own life to be an impending torment?

9) What type of literary heroes did Kabanikha belong to?

1. hero-reasoner

2. "tyrant"

3. “extra person”

4. "little man"

10. What character are we talking about?

He has such an establishment. With us, no one dares say a word about salary, he’ll scold you for what it’s worth. “Why do you know,” he says, “what I have in mind? How can you know my soul? Or maybe I’ll be in such a mood that I’ll give you five thousand.” So talk to him! Only in his entire life he had never been in such a position.

3. To bring the play to life

12) What character are we talking about?

13) A.N. Ostrovsky reveals the social-typical and individual properties of the characters of a certain social environment, which one:

1. Landlord-noble

2. Merchant

3. Aristocratic

4. Folk

14) Who owns the words

Everyone should be afraid! It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts.

Kabanikha

Katerina

Option 2

1) What was the name of Katerina’s lover?

1. Kuligin

2) Who arranged the meeting between Katerina and Boris by stealing Kabanikha’s key?

2.Kuligin

3. Varvara

3) Who owns the phrase: “Do whatever you want, as long as it’s safe and covered”?

1. Katerina

2. Kabanikha

4) What did the self-taught mechanic Kuligin invent?

telegraph

lightning rod

sundial

perpetuum mobile

5) What phrase ends the drama “The Thunderstorm”?

Mama, you ruined her, you, you, you...

Thank you, good people, for your service!

Good for you, Katya! Why did I stay in the world and suffer!

Do what you want with her! Her body is here, take it; but the soul is now not yours: it is now before a judge who is more merciful than you!

6) What character are we talking about?

He will first break with us, abuse us in every possible way, as his heart desires, but he will still end up not giving anything or so, some little thing. Moreover, he will say that he gave it out of mercy, and that this should not have been the case.

7) Who said:

“Our parents in Moscow raised us well, they spared nothing for us. I was sent to the Commercial Academy, and my sister to a boarding school, but both suddenly died of cholera, and my sister and I were left orphans. Then we hear that my grandmother died here and left a will so that my uncle would pay us the portion that should be paid when we come of age, only on the condition...”

8) Who said:

“Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and stark poverty. And we, sir, will never escape this crust.”

2. Boris Grigorievich

9) The play “The Thunderstorm” shows the life of the patriarchal merchants, wild, limited, ignorant. Is there a person in Kalinov capable of resisting the laws of this life? Name it:

1.Kuligin

3.Varvara

5.Katerina

11) Katerina confesses her “sin” to Tikhon in public. What made her do this?

1. Feeling of shame

2.Fear of mother-in-law

4. The desire to leave with Boris

12) A.N. Ostrovsky reveals the social-typical and individual properties of the characters of a certain social environment, which one:

1. Landlord-noble

2. Merchant

3. Aristocratic

4. Folk

13) The play “The Thunderstorm” was written in

14) The city in which the action of “The Thunderstorm” takes place is called

Nizhny Novgorod

Kostroma

Option 3

1) A.N. Ostrovsky reveals the social-typical and individual properties of the characters of a certain social environment, which one:

1. Landlord-noble

2. Merchant

3. Aristocratic

4. Folk

2) To what literary genre can the play “The Thunderstorm” be classified (as defined by the author):

1.Comedy

3. Tragedy

4.Lyrical comedy

5. Tragicomedy

3) Name the main conflict in the play “The Thunderstorm” (according to Dobrolyubov):

1. This is a conflict between generations (Tikhon and Marfa Ignatievna)

2. This is an intra-family conflict between a despotic mother-in-law and a rebellious daughter-in-law

3. This is a clash between the tyrants of life and their victims

4. This is a conflict between Tikhon and Katerina

4) The play “The Thunderstorm” begins with a lengthy, somewhat drawn-out exposition in order to:

1.Intrigue the reader

2.Introduce the heroes directly involved in the intrigue

3.Create an image of the world in which the heroes live

4.Slow down stage time

5) The action of the play “The Thunderstorm occurs in the city of Kalinov. Do all the heroes belong (by birth and upbringing) to Kalinov’s world? Name a hero who is not one of them:

1.Kuligin

5.Varvara

6) Which characters are (from the point of view of conflict) central in the play:

1.Boris and Katerina

2.Katerina and Tikhon

3.Dikoy and Kabanikha

4. Marfa Ignatievna Kabanova and Katerina

5.Boris and Tikhon

7) N.A. Dobrolyubov in the article “A Ray of Light in the Dark Kingdom” called Boris “educated Tikhon” because:

1.Boris and Tikhon belong to the same class

2.Boris differs only in appearance from Tikhon

3.Boris is very different from Tikhon

8) The play “The Thunderstorm” shows the life of the patriarchal merchants, wild, limited, ignorant. Is there a person in Kalinov capable of resisting the laws of this life? Name it:

1.Kuligin

3.Varvara

1.Feklusha

2.Kuligin

5.Katerina

10) Why do the events in the play “The Thunderstorm” take place in a fictional city?

11) Savel Prokofievich Dikoy does not participate in the main conflict of the play “The Thunderstorm”. Why did Ostrovsky introduce this character?

1. To contrast Marfa Ignatievna Kabanova

2.To create a holistic image of the “dark kingdom”

3. To bring the play to life

4.To emphasize the prowess and scope of the Russian merchants

12) To what class did Katerina Kabanova’s parents belong?

1.Nobles

3. Peasants

5. Raznochintsy

13) Katerina confesses her “sin” to Tikhon in public. What made her do this?

1. Feeling of shame

2.Fear of mother-in-law

3. The desire to atone for guilt before God and torment of conscience by confession

4. The desire to leave with Boris

14) N.A. Dobrolyubov called one of the heroes of the play “The Thunderstorm” “a ray of light in a dark kingdom.” This:

1.Kuligin

2. Marfa Ignatievna

3.Katerina

Option 2

Option 3

Test material on literature on the topic

“Drama A.N. Ostrovsky "Thunderstorm"

The target audience: 1st year students

1. Choose a definition of the concept “remark”.

A) Part of the act in which the composition of the characters does not change or a new character appears.

B) Text containing the words of one of the characters.

C) Introducing the characters, which tells about their age, social status, etc.

D) Most of the dramatic work.

2. To which literary movement should the drama “The Thunderstorm” be classified?

A) romanticism

B) realism

B) classicism

D) sentimentalism

3. What character are we talking about?

He has such an establishment. With us, no one dares say a word about salary, he’ll scold you for what it’s worth. “Why do you know,” he says, “what I have in mind? How can you know my soul? Or maybe I’ll be in such a mood that I’ll give you five thousand.” So talk to him! Only in his entire life he had never been in such a position.

Answer: ______________.

4. Mark the characters that A.N. Ostrovsky refers to the “dark kingdom”.

A) Katerina

B) Boris

B) Wild

D) Kabanikha

D) Kuligin

5. Identify who each character is.

Varvara

A) Tikhon’s wife

Feklusha

B) merchant

Katerina

B) sister Tikhon

Wild

D) self-taught watchmaker

Kuligin

D) wanderer

Answer: 1 - _____, 2 - ______, 3 - ______, 4 - ______, 5 - ______.

6. Which hero does the author “instruct” to characterize the “dark kingdom” (“ Cruel morals, sir, in our city, cruel!”):

Answer: _________________.

Who owns the phrase: “Do whatever you want, as long as it’s safe and covered”?

A) Curly

B) Katerina

B) Varvara

D) Kabanikha

8. Which literary critic most fully described “tyranny” as a social phenomenon in the article “The Dark Kingdom”?

Answer:___________________________.

9. Who said?

“Our parents in Moscow raised us well, they spared nothing for us. I was sent to the Commercial Academy, and my sister to a boarding school, but both suddenly died of cholera, and my sister and I were left orphans. Then we hear that my grandmother died here and left a will so that my uncle would pay us the portion that should be paid when we come of age, only on the condition...”

A) Kuligin

Everyone should be afraid! It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts.

B) Katerina

The poor have no time to walk; they work day and night. And they sleep only three hours a day

B) Boris

Answer: 1 - ____, 2 - _____, 3 - ______.

10. Choose several answer options. After her daughter-in-law’s betrayal, Kabanova “began to lock up”...

a) Katerina

b) I say

c) Varvara

d) Feklusha

11. Restore the sequence of events.

A) Katerina’s suicide.

B) Tikhon returns from Moscow.

C) Katerina’s conversation with Varvara about childhood.

D) Getting to know the residents of the city of Kalinov and describing their morals.

D) Boris leaves the city.

12. Define the term.

Drama is ________________________________________________________________________________

________________________________________________________________________________________

_________________________________________________________________________________________.

13. Match the hero of the drama and his dream.

1. “When you stand on a mountain, you feel the urge to fly. That's how she would run up, raise her hands and fly. Anything to try now?

A) old lady

2. “You will all burn in unquenchable fire. Everything in the resin will boil unquenchable!”

B) Katerina

3 “When Tikhon leaves, let’s sleep in the garden, in the gazebo.”

B) Kabanikha

4. “If you don’t know how to do it, you should at least make this example; It’s still more decent, otherwise, apparently, it’s only in words.”

D) Varvara

Answer: 1- _____, 2 - _____, 3 - _____, 4 - ______.

14. Which character in the play criticizes the character of the “dark kingdom”? ( select several answer options )

A) Katerina

B) Kuligin

B) Boris

D) Varvara

D) Tikhon

15. Fill in the missing word. " And then there is the earth,” says Feklusha, “where all the people with _______ heads ».

16. Name the main conflict in the play “The Thunderstorm” ( according to Dobrolyubov ):

A) This is a conflict between generations (Tikhon and Marfa Ignatievna)

B) This is an intra-family conflict between a despotic mother-in-law and a rebellious daughter-in-law

C) This is a clash between the tyrants of life and their victims

D) This is a conflict between Tikhon and Katerina

17. The climax scene in the drama “The Thunderstorm” is the _________ scene.

18. Why do the events in the play “The Thunderstorm” take place in a fictional city?

19) Katerina confesses her “sin” to Tikhon in public. What made her do this?

A) Feeling of shame

B) Fear of mother-in-law

C) The desire to atone for guilt before God and torment of conscience by confession

D) The desire to leave with Boris

20. N.A. Dobrolyubov called one of the heroes of the play “The Thunderstorm” “a ray of light in the dark kingdom.” This_______________.

Keys:

Wild

in, g.

1-c, 2-d, 3-a, 4-b, 5-d.

Kuligin

ON THE. Dobrolyubov

1-c, 2-b, 3-a.

a, c

– d, c, b, d, a.

12. – Drama is

13. 1 - b, 2 - a, 3 - d, 4 - c.

14 –b, d

15. – dog

16 – in

17. – with a key.

18. in

19. in

20. Katerina.

1. The place of Ostrovsky’s creativity in Russian drama.
2. “Folk Drama” at the Ostrovsky Theater.
3. New heroes.

He revealed to the world a man of a new formation: an Old Believer merchant and a capitalist merchant, a merchant in an army coat and a merchant in a “troika”, traveling abroad and doing his own business. Ostrovsky opened wide the door to a world hitherto locked behind high fences from the prying eyes of others.
V. G. Marantsman

Dramaturgy is a genre that involves active interaction between the writer and the reader in considering social issues raised by the author. A. N. Ostrovsky believed that drama has a strong impact on society, the text is part of the performance, but without staging the play does not live. Hundreds and thousands will view it, but read much less. Nationality is the main feature of the drama of the 1860s: heroes from the people, descriptions of the life of the lower strata of the population, the search for a positive national character. Drama has always had the ability to respond to current issues. Ostrovsky's work was at the center of the dramaturgy of this time; Yu. M. Lotman calls his plays the pinnacle of Russian dramaturgy. I. A. Goncharov called Ostrovsky the creator of the “Russian national theater,” and N. A. Dobrolyubov called his dramas “plays of life,” since in his plays the private life of the people develops into a picture of modern society. In the first great comedy, “We Will Be Our Own People” (1850), it is through intra-family conflicts that social contradictions are shown. It was with this play that Ostrovsky’s theater began; it was in it that new principles of stage action, actor behavior, and theatrical entertainment first appeared.

Ostrovsky's work was new for Russian drama. His works are characterized by the complexity and complexity of conflicts; his element is socio-psychological drama, comedy of manners. The features of his style are telling surnames, specific author's remarks, original titles of plays, among which proverbs are often used, and comedies based on folklore motifs. The conflict in Ostrovsky's plays is mainly based on the incompatibility of the hero with the environment. His dramas can be called psychological; they contain not only external conflict, but also internal moral drama.

Everything in the plays historically accurately recreates the life of society, from which the playwright takes his plots. The new hero of Ostrovsky's dramas - a simple man - determines the originality of the content, and Ostrovsky creates a “folk drama”. He accomplished a huge task - he made the “little man” a tragic hero. Ostrovsky saw his duty as a dramatic writer in making the analysis of what is happening the main content of the drama. “A dramatic writer... does not invent what happened - it gives life, history, legend; its main task is to show on the basis of what psychological data some event took place and why exactly this way and not otherwise” - this is what, according to the author, expresses the essence of drama. Ostrovsky treated drama as a mass art that educates people, and defined the purpose of theater as a “school of social morals.” His first productions shocked us with their truthfulness and simplicity, with honest heroes with a “warm heart.” The playwright created by “combining the sublime with the comic,” he created forty-eight works and invented more than five hundred characters.

Ostrovsky's plays are realistic. In the merchant environment, which he observed day after day and believed that it united the past and present of society, Ostrovsky reveals those social conflicts that reflect the life of Russia. And if in “The Snow Maiden” he recreates the patriarchal world, through which modern problems can only be guessed, then his “Thunderstorm” is an open protest of the individual, a person’s desire for happiness and independence. This was perceived by playwrights as a statement of the creative principle of love of freedom, which could become the basis of a new drama. Ostrovsky never used the definition of “tragedy”, designating his plays as “comedies” and “dramas”, sometimes providing explanations in the spirit of “pictures of Moscow life”, “scenes from village life”, “scenes from the life of the outback”, indicating that that we are talking about the life of an entire social environment. Dobrolyubov said that Ostrovsky created a new type of dramatic action: without didactics, the author analyzed the historical origins of modern phenomena in society.

The historical approach to family and social relations is the pathos of Ostrovsky’s work. Among his heroes are people of different ages, divided into two camps - young and old. For example, as Yu. M. Lotman writes, in “The Thunderstorm” Kabanikha is “the keeper of antiquity,” and Katerina “carries within herself the creative beginning of development,” which is why she wants to fly like a bird.

The dispute between antiquity and newness, as the literary critic notes, constitutes an important aspect of the dramatic conflict in Ostrovsky’s plays. Traditional forms of life are considered as eternally renewed, and only in this the playwright sees their viability... The old enters the new, into modern life, in which it can play the role of either a “fettering” element, oppressing its development, or a stabilizing element, ensuring the strength of the emerging novelty, depending on the content of the old that preserves the people’s life.” The author always sympathizes with the young heroes, poeticizes their desire for freedom and selflessness. The title of A. N. Dobrolyubov’s article “A Ray of Light in a Dark Kingdom” fully reflects the role of these heroes in society. They are psychologically similar to each other; the author often uses already developed characters. The theme of a woman’s position in the world of calculation is also repeated in “Poor Bride”, “Warm Heart”, “Dowry”.

Later, the satirical element in dramas increased. Ostrovsky turns to the Gogolian principle of “pure comedy,” placing the characteristics of the social environment in the first place. The character in his comedies is a renegade and a hypocrite. Ostrovsky also turns to historical-heroic themes, tracing the formation of social phenomena, growth from a “little man” to a citizen.

Undoubtedly, Ostrovsky's plays will always have a modern sound. Theaters constantly turn to his work, so it stands outside the time frame.