Famous playwrights. Five major post-war plays and their best productions

Russian drama has gone through a difficult and long haul development. The first plays appear at the end of the 17th century. early XVIII c., they rely on ancient rituals and games, oral folk drama. To the most famous and popular works folk drama include “Tsar Maximilian”, “Boat”, which reflected the campaigns of Stepan Razin and Ermak; folk drama-farce “About the governor-boyar”; puppet comedy about Petrushka. At this time, the so-called school drama. Borrowing themes from church rituals, she affirmed the ideas of a centralized monarchy that were progressive at that time.

Scene from the play “Wolves and Sheep” by A. N. Ostrovsky in Moscow drama theater named after K. S. Stanislavsky.

A scene from the play “The Inspector General” by N.V. Gogol at the Moscow Satire Theater. 1985

A new stage in the development of Russian drama occurred in the 30-40s. XVIII century, the era of the dominance of classicism. The largest representatives of this trend were A.P. Sumarokov (1717-1777) and M.V. Lomonosov (1711-1765). The dramaturgy of classicism preached high civic ideals. The heroes of the classicist tragedy placed love for the Motherland and service to duty above all else. In Sumarokov’s tragedies “Khorev”, “Sinav and Truvor” and others, the theme of denunciation of tyranny and despotism was heard. Russian classicist dramaturgy is largely based, both in theory and in practice, on the experience of Western European culture. It is no coincidence that Sumarokov, whose plays became the basis of the repertoire of the Russian theater mid-18th century c., called “northern Racine.” In addition, exposing the vices of the “lower classes,” bribe-taking officials, and noble landowners who violated their civic duty, Sumarokov took the first steps toward creating a satirical comedy.

The most significant phenomenon in dramaturgy of the second half of the XVIII V. became the comedies of D. I. Fonvizin (1745-1792) “The Brigadier” and “The Minor”. Enlightenment realism is the basis artistic method Fonvizina. In his works, he denounces not individual vices of society, but the whole political system based on serfdom. The arbitrariness of autocratic power gave rise to lawlessness, greed and corruption of the bureaucracy, despotism, ignorance of the nobility, and the misfortunes of the people, who were suppressed by the “burden of cruel slavery.” Fonvizin's satire was evil and merciless. M. Gorky noted his enormous importance as the founder of the “accusatory realistic line” of Russian literature. In terms of the strength of satirical indignation, next to Fonvizin’s comedies one can place “The Yabeda” (1798) by V. V. Kapnist, exposing bureaucratic arbitrariness and corruption of officials, and I. A. Krylov’s joke-tragedy “Podschipa” (“Trumph”, 1800), ridiculing courtyard of Paul I. The traditions of Fonvizin and Kapnist found their way further development in the dramaturgy of A. S. Griboedov, N. V. Gogol, A. V. Sukhovo-Kobylin, M. E. Saltykov-Shchedrin, A. N. Ostrovsky.

First quarter of the 19th century - complex and rich in the struggle of various artistic movements period in the history of Russian theater. This is the time of overcoming the canons of classicism, the emergence of new directions - sentimentalism, pre-romanticism and realism. The process of democratization of the entire Russian theater begins. During Napoleonic wars and the birth of Decembrism special meaning acquires a heroic-patriotic theme. Love for the Fatherland, the struggle for independence are the leading themes of the dramatic works of V. A. Ozerov (1769-1816).

In the first decades of the 19th century. The genre of vaudeville, a small secular comedy, is gaining great popularity. Its founders were A. A. Shakhovskoy, N. I. Khmelnitsky, M. N. Zagoskin, A. I. Pisarev, A. S. Griboyedov. In their plays, written lightly, lively literary language, with witty couplets, there were vividly noticed features of modern morals and characters. These features, which to a certain extent bring vaudeville closer to domestic comedy, will become decisive in the work of such vaudeville playwrights as D. T. Lensky, P. A. Karatygin, F. A. Koni and others.

The leading role in the history of Russian drama belongs to A. S. Pushkin and A. S. Griboyedov. They created the first realistic dramas. Pushkin's dramaturgy and his theoretical statements substantiate the principles of nationality and realism in Russian drama. In the comedy “Woe from Wit” by A. S. Griboyedov, its close connection with the liberation movement in Russia can be traced. It realistically depicts the struggle between two eras - the “present century” and the “past century.”

By the 30s. refers to the appearance of early plays by M. Yu. Lermontov - “The Spaniards”, “People and Passions”, “ A strange man" Lermontov is the most major representative revolutionary romantic drama in Russian literature. His "Masquerade" is the pinnacle of the first romantic tragedy half of the 19th century V. The theme of the fate of a high, proud mind, not reconciled with hypocrisy and hypocrisy, begun by Griboedov, finds a tragic conclusion in Lermontov’s drama. The plays of Pushkin and Lermontov were banned from production by the tsarist censorship. On the Russian stage of the 30-40s. There were dramas by N.V. Kukolnik and N.A. Polevoy, glorifying the wisdom and greatness of monarchical power. Saturated with false pathos and melodramatic effects, they did not remain in the theater repertoire for long.

The path of L.N. Andreev (1871-1919) was complex and contradictory. In his plays “To the Stars” (1906), “Sava” (1906), “Tsar Famine” (1908), the theme of rejection of the world of capital is heard, but at the same time the playwright does not believe in the creative power of the rebellious people, their rebellion is anarchic. The theme of man's powerlessness and doom is heard in the drama “A Man's Life” (1907). It is imbued with godless motives and protest against an unjust and cruel world. philosophical drama"Anatema" (1909).

During this difficult time of crisis of consciousness of a certain part of the Russian intelligentsia, Gorky’s plays “The Last” (1908) and “Vassa Zheleznova” (first version, 1910) appeared. They oppose pessimistic, decadent sentiments and speak of the doom and degeneration of the bourgeoisie.

Throughout its entire development, Russian drama has been an expression of the growth of self-awareness and spiritual power of the people. It has become a significant phenomenon in the world theatrical culture and rightfully took an honorable place in the world theater.

4 chosen

Tomorrow marks the 220th anniversary of his birth Alexandra Griboedova. He is called a one-book writer, meaning, of course, "Woe from Wit". And yet, with this single book he had a serious influence on Russian drama. Let's remember him and other Russian playwrights. About writers who think in characters and dialogue.

Alexander Griboyedov

Although Griboyedov is called the author of one book, before the play “Woe from Wit” he wrote several more dramatic works. But it was the comedy of Moscow morals that made him popular. Pushkin wrote about "Woe from Wit":"Half the verses should become proverbs." And so it happened! Thanks to easy language Griboedov's play became the most cited work of Russian literature. And, even though two centuries have passed, we repeat these biting phrases: “Pass us above all sorrows and lordly anger and lordly love.”

Why did "Woe from Wit" become the only famous work Griboedova? Griboyedov was a child prodigy (he graduated from Moscow University at the age of 15), a man talented in all respects. Writing was not his only activity. Griboyedov was a diplomat, a talented pianist and composer. But fate had in store for him short life. The writer was only 34 years old when he died during an attack on the Russian embassy in Tehran. In my opinion, he simply did not have time to create other great works.

Alexander Ostrovsky

Alexander Ostrovsky grew up in Zamoskvorechye and wrote about the morals of the Zamoskvoretsky merchants. Earlier
The writers were somehow not interested in this important part of society. Therefore, during his lifetime Ostrovsky was called pathetically "Columbus of Zamoskvorechye".

At the same time, pathos was alien to the author himself. His heroes are ordinary, rather petty people with their own weaknesses and shortcomings. What happens in their lives is not great trials and misfortunes, but mainly everyday difficulties that are a consequence of their own greed or pettiness. And Ostrovsky’s heroes speak not pretentiously, but somehow truly, in the speech of each hero his psychological characteristics are expressed.

And yet the author treated his far from ideal characters with strange love and tenderness. However, the merchants did not feel this love and were offended by his works. So, after the publication of the comedy "Our people - we will be numbered", the merchants complained against the author, the production of the play was banned, and Ostrovsky was placed under police surveillance. But all this did not prevent the writer from forming a new concept of Russian theatrical art. Subsequently his ideas were developed Stanislavsky.

Anton Chekhov

Anton Chekhov- playwright, popular not only in Russia, but throughout the world. At the beginning of the 20th century Bernard Show wrote about him: "In the galaxy of great European playwrights, the name of Chekhov shines like a star of the first magnitude". His plays are staged in European theaters, and the author is called one of the most filmed writers in the whole world. But Chekhov himself did not foresee his future fame. He said
to his friend Tatiana Shchepkina-Kupernik:“They will read me for seven, seven and a half years, and then they will forget.”

However, not all contemporaries appreciated Chekhov's plays deservedly. Tolstoy, for example, although he had a high opinion of Chekhov’s stories, even called him “Pushkin in prose,” he could not stand his dramatic works, which he did not hesitate to inform the writer about. For example, Tolstoy once told Chekhov: “Still, I can’t stand your plays. Shakespeare wrote badly, and you are even worse!” Well, not the worst comparison!

Critics spoke about the lack of action and drawn-out plots in Chekhov's plays. But this was the author’s intention, he wanted him dramatic works were like life. Chekhov wrote: "... after all, in life, not every minute they shoot themselves, hang themselves, declare their love. And not every minute they say smart things. They eat more, drink, drag around, say stupid things. And now it is necessary for this to be visible on stage. We need to create such a play , where people would come, leave, have lunch, talk about the weather, play vint, but not because the author needs it, but because this is what happens in real life.” Stanislavsky was very fond of Chekhov for this realism of the play. However, the writer and the director did not always agree on how this or that play should be staged. For example, "The Cherry Orchard" Chekhov called it a comedy and even a farce, but on stage it became a tragedy. After the production, the author angrily declared that Stanislavsky had ruined his play.

Evgeny Schwartz

In many plays Evgeny Schwartz turns to creativity Hans Christian Andersen and even does it a kind of hero of their works. Schwartz, like the famous Danish storyteller, writes fantastic magical stories. But behind the fairy-tale shell of his plays they hide serious problems. Because of this, his works were often banned by censorship.

The play is especially indicative in this regard. "The Dragon". The beginning is like in any ordinary fairy tale: in the city there lives a Dragon, who every year chooses a girl as his wife (a few days later she dies in his cave from horror and disgust), and here is the glorious knight Lancelot, who promises to defeat the monster. Oddly enough, the residents do not support him - they and the Dragon are somehow more familiar and calm. And when the Dragon is defeated, his place is immediately taken by the former burgomaster, who establishes no less “draconian” orders.

The dragon is not here mythical creature, but an allegory of power. How many “dragons” have replaced each other throughout world history! And in the quiet inhabitants of the town there also lives a “dragon”, because with their indifferent obedience they themselves call upon themselves new tyrants.

Grigory Gorin

Grigory Gorin searched and found sources of inspiration in all world literature. He easily replayed the plots of the classics. The writer saw the death of Herostratus, followed the adventures of Thiel, lived in the house that Swift built, and knew what happened after the death of Romeo and Juliet. Is it a joke to finish writing Shakespeare? But Gorin was not afraid and created a wonderful love story between representatives of the Montague and Capulet clans, which began... at the funeral of Romeo and Juliet.

Gorin reminds me of his own hero - Baron Munchausen from the film Mark Zakharova. He also travels in time, communicates with the classics and does not hesitate to argue with them.

Its genre is tragicomedy. No matter how funny it is to listen to the witty dialogues of the characters ( great amount Gorin’s phrases are divided into quotes), you almost always read the end of the play with tears in your eyes.

Who are your favorite playwrights?

Alexander Griboyedov

Although Griboyedov is called the author of one book, before the play “Woe from Wit” he wrote several more dramatic works. But it was the comedy of Moscow manners that made him popular. Pushkin wrote about "Woe from Wit":"Half the verses should become proverbs." And so it happened! Thanks to Griboyedov's easy language, this play has become the most cited work of Russian literature. And, even though two centuries have passed, we repeat these biting phrases: “Pass us above all sorrows and lordly anger and lordly love.”

Why did “Woe from Wit” become Griboyedov’s only famous work? Griboyedov was a child prodigy (he graduated from Moscow University at the age of 15), a man talented in all respects. Writing was not his only activity. Griboyedov was a diplomat, a talented pianist and composer. But fate had in store for him a short life. The writer was only 34 years old when he died during an attack on the Russian embassy in Tehran. In my opinion, he simply did not have time to create other great works.

Alexander Ostrovsky

Anton Chekhov

However, not all contemporaries appreciated Chekhov's plays. Tolstoy, for example, although he had a high opinion of Chekhov’s stories, even called him “Pushkin in prose,” he could not stand his dramatic works, which he did not hesitate to inform the writer about. For example, Tolstoy once told Chekhov: “Still, I can’t stand your plays. Shakespeare wrote badly, and you are even worse!” Well, not the worst comparison!

Critics spoke about the lack of action and drawn-out plots in Chekhov's plays. But this was the author’s intention; he wanted his dramatic works to be similar to life. Chekhov wrote: "... after all, in life, not every minute they shoot themselves, hang themselves, declare their love. And not every minute they say smart things. They eat more, drink, drag around, say stupid things. And now it is necessary for this to be visible on stage. We need to create such a play , where people would come, leave, have lunch, talk about the weather, play vint, but not because the author needs it, but because this is what happens in real life.” Stanislavsky was very fond of Chekhov for this realism of the play. However, the writer and the director did not always agree on how this or that play should be staged. For example, "The Cherry Orchard" Chekhov called it a comedy and even a farce, but on stage it became a tragedy. After the production, the author angrily declared that Stanislavsky had ruined his play.

Evgeny Schwartz

In many plays Evgeny Schwartz turns to creativity Hans Christian Andersen and even makes him a kind of hero of his works. Schwartz, like the famous Danish storyteller, writes fantastical magic stories. But behind the fairy-tale shell of his plays, serious problems are hidden. Because of this, his works were often banned by censorship.

The dragon here is not a mythical creature, but an allegory of power. How many “dragons” have replaced each other throughout world history! And in the quiet inhabitants of the town there also lives a “dragon”, because with their indifferent obedience they themselves call upon themselves new tyrants.

Grigory Gorin

Gorin reminds me of his own hero - Baron Munchausen from the film Mark Zakharova. He also travels in time, communicates with the classics and does not hesitate to argue with them.

Its genre is tragicomedy. No matter how funny it is to listen to the witty dialogues of the characters (a huge number of Gorin’s phrases have been quoted), you almost always read the end of the play with tears in your eyes.

1/ ERDMAN/ 1900-1970/69/Mandate, Suicide

2/ SCHWARTZ/ 1896-1958/61/ An ordinary miracle, Dragon, Bear

3/ VOLODIN/1919-2001/82/ Five evenings, My older sister, Appointment

4/ VAMPILOV/ 1937-1972/34/ Farewell in June, Eldest son, Duck hunting, Provincial jokes, Last summer in Chulimsk

5/ ROZOV/ 1913-2004/91/ V good hour, Forever Living, An Ordinary Story

6/ ARBUZOV/ 1908-1986/78/ Tanya, Irkutsk history, My poor Marat, Tales of the old Arbat, Old-fashioned comedy

7/ RADZINSKY/ 1936- /104 pages about love, Filming, Conversations with Socrates

8/ ZORIN/ 1924- /Pokrovsky Gate, Warsaw Melody, Tsar's Hunt

9/ ROSCHIN/ 1933-2010/77/ Old New Year, Valentin and Valentina, Echelon

11/ GELMAN/ 1933- /Minutes of one meeting, Misha’s anniversary, We, the undersigned, Alone with everyone

12/ VISHNEVSKY/ 1900-1951/50/ Optimistic tragedy, We are from Kronstadt.
(An opponent of Bulgakov and Zoshchenko. Supported Mandelstam in exile with money. Editor of Znamya. Printed V. Nekrasov and Akhmatova. Later renounced her)

14/ STEIN/ 1906-1993/87/Admiral's flag, Ocean

15/ SHTOK/1908-1980/72/Divine Comedy, Leningradsky Prospekt

16/ S. MIKHALKOV/1913-2009/96/Balalaikin and K*, Slap

17/ K. SIMONOV/1915-1979/63/A guy from our city. Wait for me

18/ SLAVKIN/1935-2014/78/Adult daughter young man, Serso

19/ SALYNSKY/1920-1993/72/Drummer, Air kiss

20/ S. ALYOSHIN/1913-2008/94/Director, Everything remains for the people

21/ LAVRENEV/1891-1959/67/Razlom, Forty-first

22/AFINOGENOV/1904-1941/37/Mashenka

ERDMAN. Photo from the Internet

Reviews

An error has crept in. “Last summer in Chulimsk,” A. Vampilov wrote. Accordingly, with such luggage, its place should be at the top. Behind it, no matter in what order:
Schwartz, Erdman, Rozov. Then: Volodin, Arbuzov, Radzinsky. Then to your taste. Some people should not have a place in the ranking. Somewhere next to Safronov.
Respectfully yours, Pavel.

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