A.v. Vampilov "eldest son"

Nina says. Sparing their father's pride, the children hide from him that they know about the dismissal. It turns out that Sarafanov himself composes music (a cantata or oratorio “All Men Are Brothers”), but he does it very slowly (he got stuck on the first page). However, Busygin treats this with understanding and says that maybe this is how serious music should be composed. Calling himself the eldest son, Busygin takes on the burden of other people's worries and problems. His friend Silva, who started the mess by introducing Busygin as Sarafanov’s son, is only having fun participating in this whole complicated story.

As at the beginning of the play, in the finale Busygin is again late for the last train. But the day spent in the Sarafanovs’ house teaches the hero a good moral lesson. However, by joining the fight for the fate of Sarafanov Sr., Busygin receives a reward. He finds the family he dreamed of. In a short period of time, people who were completely strangers to him become close and dear. He breaks up with the empty and worthless Silva, who is no longer interesting to him, and finds new true friends.

The play “The Eldest Son” was announced by A.B. Vampilov's genre is comedy. However, only the first picture in it looks comedic, in which two young men, who were late for the train, decide to find a way to spend the night with one of the residents and come to the Sarafanovs’ apartment.

Suddenly, things take a serious turn. The head of the family innocently recognizes Busygin as his eldest son, since twenty years ago he actually had an affair with one woman. Sarafanov’s son Vasenka even sees the hero’s external resemblance to his father. So, Busygin and his friend are part of the Sarafanovs’ family problems. It turns out that his wife left the musician long ago. And the children, having barely grown up, dream of flying out of the nest: daughter Nina gets married and leaves for Sakhalin, and Vasenka, not having finished school, says that she is going to the taiga to work on a construction site. One has a happy love, the other has an unhappy one. That's not the point. The main idea is that caring for an elderly father, a sensitive and trusting person, does not fit into the plans of grown children.

Sarafanov Sr. recognizes Busygina as his son, practically without requiring significant evidence or documents. He gives him a silver snuff box - a family heirloom that passed from generation to generation into the hands of his eldest son.

Gradually, the liars get used to their roles as a son and his friend and begin to behave at home: Busygin, already as a brother, intervenes in the discussion of Vasenka’s personal life, and Silva begins to look after Nina.

The reason for the excessive gullibility of the Sarafanovs Jr. lies not only in their natural spiritual openness: they are convinced that an adult does not need parents. This idea is voiced in the play by Vasenka, who later misspoke and, in order not to offend his father, corrects the phrase: “Someone else’s parents.”

Seeing how easily the children he raised rush to leave their home, Sarafanov is not very surprised when he finds Busygin and Silva preparing to leave secretly in the morning. He continues to believe the story about his eldest son.

Looking at the situation from the outside, Busygin begins to feel sorry for Sarafanov and tries to persuade Nina not to leave her father. During the conversation, it turns out that the girl's fiancé is a reliable guy who never lies. Busygin becomes interested in looking at him. He soon learns that Sarafanov Sr. has not been working at the Philharmonic for six months, but is playing at dances in the railway workers’ club. “He’s a good musician, but he’s never been able to stand up for himself. Besides, he drinks, and so, in the fall there was a layoff in the orchestra...” says Nina. Sparing their father's pride, the children hide from him that they know about the dismissal. It turns out that Sarafanov himself composes music (a cantata or oratorio “All Men Are Brothers”), but he does it very slowly (he got stuck on the first page). However, Busygin treats this with understanding and says that maybe this is how serious music should be composed. Calling himself the eldest son, Busygin takes on the burden of other people's worries and problems. His friend Silva, who started the mess by introducing Busygin as Sarafanov’s son, is only having fun participating in this whole complicated story.

In the evening, when Nina Kudimov’s fiance comes to the house, Sarafanov raises a toast to his children and utters a wise phrase that reveals his philosophy of life: “...Life is fair and merciful. It makes heroes doubt, and those who have done little, and even those who have done nothing but lived with a pure heart, it will always console.”

Truth-loving Kudimov finds out that he saw Sarafanov in the funeral orchestra. Nina and Busygin, trying to smooth out the situation, claim that he made a mistake. He doesn’t let up, continuing to argue. In the end, Sarafanov admits that he has not played in the theater for a long time. “I didn’t turn out to be a serious musician,” he says sadly. Thus, the play raises an important moral issue. What is better: the bitter truth or the saving lie?

The author shows Sarafanov in a deep impasse in life: his wife left, his career did not take place, his children also do not need him. The author of the oratorio “All Men Are Brothers” feels like a completely lonely person in real life. “Yes, I raised cruel egoists. Callous, calculating, ungrateful,” he exclaims, comparing himself to an old sofa that they have long dreamed of throwing away. Sarafanov is already planning to go to Chernigov to visit Busygin’s mother. But suddenly the deception is revealed: after quarreling with a friend, Silva betrays him to imaginary relatives. However, this time the good-natured Sarafanov refuses to believe him. “Whatever it is, I consider you my son,” he says to Busygin. Even after learning the truth, Sarafanov invites him to stay in his house. Nina also changes her mind about leaving for Sakhalin, realizing that Busygin, who lied, is at heart a good, kind person, and Kudimov, who is ready to die for the truth, is cruel and stubborn. At first, Nina even liked his honesty and punctuality, his ability to keep his word. But in reality these qualities do not justify themselves. Kudimov’s straightforwardness becomes not so necessary in life, as it makes the girl’s father grieve for his creative failures and exposes his spiritual wound. The pilot's desire to prove that he is right turns into a problem that no one needs. After all, the children have long known that Sarafanov does not work at the Philharmonic.

Putting a special meaning into the concept of “brother”, A.B. Vampilov emphasizes that people should treat each other more carefully, and most importantly, not try to play with other people's feelings.

The happy ending of the play reconciles its central characters. It is symbolic that both the main deceiver and adventurer Silva, and the truth-loving to the core Kudimov leave Sarafanov’s house. This suggests that such extremes are not needed in life. A.B. Vampilov shows that a lie is still sooner or later supplanted by the truth, but sometimes it is necessary to give a person the opportunity to realize this himself, and not bring him to light.

However, there is another side to this problem. By feeding himself with false illusions, a person always complicates his life. Afraid to be frank with children, Sarafanov almost lost his spiritual connection with them. Nina, wanting to quickly arrange her life, almost left for Sakhalin with a man she did not love. Vasenka spent so much effort trying to win Natasha’s favor, not wanting to listen to his sister’s sensible reasoning that Makarskaya was not a match for him.

Sarafanov Sr. is considered by many to be blessed, but his endless faith in people makes them think and care about him, becoming a powerful unifying force that helps him hold on to his children. It is not for nothing that during the development of the plot, Nina emphasizes that she is daddy’s daughter. And Vasenka has the same “fine mental organization” as her father.

"Eldest Son"

The play “The Eldest Son” was announced by A.V. Vampilov's genre is comedy. However, only the first picture in it looks comedic, in which two young men, who were late for the train, decide to find a way to spend the night with one of the residents and come to the Sarafanovs’ apartment.

In the evening, when Nina Kudimov’s fiance comes to the house, Sarafanov raises a toast to his children and utters a wise phrase that reveals his philosophy of life: “...Life is fair and merciful. She makes heroes doubt, and she will always console those who did little, and even those who did nothing but lived with a pure heart.”

The author shows Sarafanov in a deep impasse in life: his wife left, his career did not take place, his children do not need him either. The author of the oratorio “All Men Are Brothers” feels like a completely lonely person in real life. “Yes, I raised cruel egoists. Callous, calculating, ungrateful,” he exclaims, comparing himself to an old sofa that they have long dreamed of throwing away. Sarafanov is already planning to go to Chernigov to visit Busygin’s mother. But suddenly the deception is revealed: after quarreling with a friend, Silva betrays him to imaginary relatives. However, this time the good-natured Sarafanov refuses to believe him. “Whatever it is, I consider you my son,” he says to Busygin. Even after learning the truth, Sarafanov invites him to stay in his house. Nina also changes her mind about leaving for Sakhalin, realizing that Busygin, who lied, is at heart a good, kind person, and Kudimov, who is ready to die for the truth, is cruel and stubborn. At first, Nina even liked his honesty and punctuality, his ability to keep his word. But in reality these qualities do not justify themselves. Kudimov’s straightforwardness becomes not so necessary in life, as it makes the girl’s father grieve for his creative failures and exposes his mental wound. The pilot's desire to prove that he is right turns into a problem that no one needs. After all, the children have long known that Sarafanov does not work at the Philharmonic.

Putting a special meaning into the concept of “brother”, A.V. Pilov emphasizes to you that people should treat each other more carefully, and most importantly, not try to play with other people’s feelings.

The happy ending of the play reconciles its central characters. It is symbolic that both the main deceiver and adventurer Silva, and the truth-loving to the core Kudimov leave Sarafanov’s house. This suggests that such extremes are not needed in life. A.V. Vampilov shows that a lie is still sooner or later supplanted by the truth, but sometimes it is necessary to give a person the opportunity to realize this himself, and not bring him to light.

It’s always like this: tragedy with elements of comedy and comedy with elements of tragedy. The creator of “Duck Hunt” did not do anything special, he simply tried to reproduce life as it is in his works. There is not only black and white in it; human existence is filled with halftones. Our task is to talk about this in an article in which an analysis will be made. Vampilov, “Elder Son” - in focus.

It should be noted right away that a brief retelling (it will contain some analytical observations) of Vampilov’s masterpiece is also necessary. This is where we begin.

Failed party for four

It all starts with the fact that two young guys (Vladimir Busygin and Semyon Sevostyanov) in their early 20s saw off the girls and expected a pleasant evening, but the girls turned out to be “not like that,” which they informed their suitors about. Of course, the guys argued a little for show, but there was nothing to be done; the girls’ side is always the key word in a romantic matter. They were left on the outskirts of the city, without shelter, and it was cold outside, the last train had left.

There are two zones in this area: the private sector (there are village-type houses there) and directly opposite - a small stone house (three floors high) with an arch.

The friends decide to split up: one goes to look for an overnight stay in a stone shelter, and the other works in the private sector. Busygin knocks on the house of 25-year-old local court worker Natalya Makarskaya. Some time ago she had a quarrel with 10th-grader Vasenka, who, apparently, had been hopelessly in love with her for a long time. She thought it was the young man who came again, but no. Makarskaya and Busygin argue for some time, but the young man, naturally, does not get an overnight stay with the girl.

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

And suddenly they watch as an elderly man - Andrei Grigorievich Sarafanov - a clarinetist who serves in the orchestra, according to the official version, but in fact plays at funerals and dances, knocks on Natasha’s door and asks to give him a few minutes. The young people think that this is a date and decide to break into Sarafanov’s apartment under any pretext; they don’t want to freeze on the street.

Our task is analysis: Vampilov (“The Eldest Son,” his play) is his object, so it should be noted that the characters Busygin and Silva at first seem to be completely superficial, frivolous people, but in the process of developing the plot, one of them changes before the reader’s eyes: he acquires depth of character and even some attractiveness. We'll find out who later.

Keeping the goal in mind, it must also be said that Busygin is fatherless and a medical student, his mother lives in Chelyabinsk with his older brother. What Silva does is completely irrelevant in the context of our plan.

Unexpected addition to the family

The young people are not mistaken: indeed, the door to the Sarafanovs’ apartment remains open, and Vasenka, upset by his recent love failure, is going to run away from home; as it turns out a little later, his goal is the taiga. Sarafanov’s daughter (Nina) will leave for Sakhalin today or tomorrow; one of these days she will marry a pilot. In other words, there is discord at home, and its residents have no time for guests, whether they were expected or not, so the newcomers chose the moment well. This will also be useful for us to carry out analysis. Vampilov (“The Eldest Son”) wrote his play meticulously, all the characters perform their parts flawlessly and realistically.

Busygin pretends to know Vasenka’s father and says the following phrase: “We, people, are all brothers.” Silva begins to spin this idea and brings it to the point that Vladimir is Vasenka’s unexpectedly found half-brother. The young man is in shock, Busygin is also slightly stunned by his friend’s agility, well, what can you do, you don’t want to spend the night on the street. They perform this performance in front of the Sarafanovs. As the analysis shows, Vampilov (“The Eldest Son”) began the play with a practical joke. His drama is based on a joke, and the whole play seems to be something like a comedy, but this is only at first glance.

Vasya is looking for something to drink. Young people, including a 10th grader, use. Then Sarafanov appears, and the unlucky mourners hide in the kitchen. Vasya tells his father the whole story of his eldest son. The old man begins to recall out loud the details of the meeting with Vladimir’s possible mother and involuntarily gives the scoundrels all the necessary information, and they greedily hang on every word: the woman’s name, the city (Chernigov), the required age of the eldest son, if he had one.

Then Vladimir appears and answers all his father’s questions correctly. The house is filled with general rejoicing, and the drinking continues, but now Sarafanov Sr. has joined it.

Nina comes out to hear the noise and demands an explanation. At first the girl does not believe her older brother, then she begins to trust him.

Busygin begins to believe in his own game. Character rebirth point

Contact is instantly established between Busygin and the elderly man, and the father opens his whole soul to the prodigal son. They talked all night. From nighttime conversations, Vladimir learns details of the Sarafanovs’ life, for example, the fact that Nina will soon marry a pilot, as well as the mental anguish of the father himself. How hard life was for the family. Impressed by the night conversation, after his father went to bed, Vladimir wakes up Semyon and begs him to leave quickly, but Andrei Grigorievich finds them at the door. He asks his eldest son to accept the family heirloom - a silver snuff box. And then a spiritual revolution happens to Vladimir. Either he felt very sorry for the old man, or for himself, because he did not know his father. Busygin imagined that he was indebted to all these people. He believed that he was related to them. This is a very important point in the study, and the analysis of Vampilov’s play “The Eldest Son” moves further.

Love as a unifying force

When the holiday ended, it was necessary to clear the table and generally put the kitchen in order. Two people volunteered to do this - Busygin and Nina. During joint work, which, as we know, unites, love took out its own and pierced the heart of each of the young people. The further narrative only follows from such a significant event. An analysis of Vampilov’s play “The Eldest Son” leads us to this conclusion.

Towards the end of the cleaning, Busygin, for example, allows himself very caustic and caustic remarks about Nina’s husband at five minutes. She doesn’t exactly reject them, but she doesn’t really oppose her brother’s poison either. This suggests that the “relatives” are already on friendly terms with each other, and only strong mutual sympathy can be responsible for the rapid development of trusting relationships in a short time.

The spontaneously arising love between Vladimir and Nina builds the entire subsequent plot and is the force that once again unites the Sarafanov family into a single whole.

Divergence in different areas of Busygin and Sevostyanov

Thus, remembering the newly born love, the reader understands that Vladimir is now not illusory, but truly becoming one of the Sarafanovs. An unexpected guest becomes the nail that prevents family members from losing connections with each other, he connects them, becomes the center. Silva, on the contrary, turns out to be more and more alien to Busygin and the house where they were accidentally brought, so Semyon tries to extract at least something from the current situation and tries to start an affair with Natasha Makarskaya. Vampilov wrote a wonderful play - “The Eldest Son” (analysis and summary continue).

Appearance of the groom

On the day of cleaning the kitchen, a significant event is about to happen: Nina plans to introduce her father to her fiancé, flight school cadet Mikhail Kudimov.

Between morning and evening, a whole chain of events takes place, which is worth mentioning at least briefly: Makarskaya changes her attitude towards Vasenka from anger to mercy and invites him to the cinema. He rushes to buy tickets, not suspecting that Silva is already weaving his web of temptation. He hopes to catch Natasha with it. She readily, naturally, gives in to the lover of women, because Semyon is more suitable for her in age. Silva and Natasha must meet exactly at 22:00. At the same time, the inspired boy takes tickets to a movie show. Natasha refuses to go with him and reveals the secret that Andrei Grigorievich came to her at night to woo Vasyatka.

The fiery young man is in despair, he again runs to pack his backpack in order to leave home in the arms of the taiga. Somehow the characters, in extreme nervous tension, wait for the evening and the arrival of the groom.

The presentation of the parties somehow immediately goes awry. The newly-made older brother and Silva make fun of the cadet, who is not offended, since he “loves funny guys.” Kudimov himself is always afraid of being late for the military dormitory, and in general, bridesmaids are a burden to him.

The father of the family appears. Having met Sarafanov, the groom begins to suffer from the fact that he cannot remember where he saw the face of his future father-in-law. The elderly man, in turn, says that he is an artist, so, probably, the pilot saw his face either at the Philharmonic Society or at the theater, but he brushes it all aside. And suddenly, like a bolt from the blue, the cadet says: “I remember, I saw you at the funeral!” Sarafanov is forced to admit that yes, indeed, he has not been working in the orchestra for 6 months.

After the secret was revealed, which was no longer a secret to anyone, since the children had been in the know for a long time, another scandal breaks out: Vasya leaves the house screaming and moaning, determined to finally get to the taiga. The groom also, having seen enough, hurries to return to the military hostel before it closes. Silva goes to the cinema. The father of the family becomes hysterical: he also wants to go somewhere. Busygin and Nina calm him down, and the musician gives in. All this is very important, as it directly relates to the climax. Vampilov did everything masterfully. “The Eldest Son” (we present an analysis of the work) continues.

Catharsis

Vladimir then confesses to Nina that he is not her brother and, even worse, he loves her. At this moment, probably, according to the author’s plan, catharsis should happen to the reader, but this is not quite a denouement. On top of everything else, Vasyatka runs into the apartment and admits that he set fire to Makarska’s apartment just at the time when she was there with Silva. The latter's trousers became unusable due to the boy's hooligan behavior. To complete the picture, the unfortunate father came out of his room with a suitcase, ready to go to Chernigov to visit Vladimir’s mother.

Fed up with the performance and in the wake of disappointment from the ruined clothes, Semyon pawns Busygin and says that Vladimir is as much Sarafanov’s son as he is his niece, and leaves.

Sarafanov does not want to believe and claims the opposite. Moreover, he even invites Volodya to move from the student dormitory to them. In the intricacy of all these events, Busygin discovers that he was again late for the train. Everyone laughs. Everyone is happy. This is how the play written by Alexander Vampilov ends. “The Eldest Son” (the analysis also shows this) is an extremely difficult and controversial work to evaluate. It remains for us to draw some conclusions.

A family at a standstill

Now that we know the whole story, we can reflect on who the “eldest son” was in this whole story.

Obviously, the family was falling apart: the father lost his job and started drinking. The walls of loneliness began to converge, he was in despair. The daughter was tired of dragging the whole family along (she was forced to work, which is why she looked older than her 19 years), it seemed to her that leaving for Sakhalin as the wife of a military pilot was a wonderful way out. Still better than such a life. Vasenka also looked for a way out and couldn’t find it, so he decided to go into the taiga, since he didn’t succeed in getting with a more experienced woman (Natasha Makarskaya).

During a night conversation, when the father dedicated his son to the details of his life and the details of his family’s life, he very accurately described the situation; it could be fit into one phrase: “Everyone is running, anticipating a huge tragedy looming over them.” Only Andrei Grigorievich has nowhere to run.

Busygin as a savior

The older brother came just when everyone needed him. Vladimir restored the balance and harmony of the family. Their love with Nina filled the empty reservoirs of family grace, and no one wanted to run anywhere.

The father felt that he had a son, an eldest son, on whom he could rely. Nina realized that it was not necessary to go to the island, and her brother was able to overcome his painful attachment to a girl much older than himself. Naturally, Vasya’s love for Natasha concealed a global longing for his mother, a sense of security and comfort.

The only character in the play who remains an absolute loser is Silva, since all the other main characters have formed some kind of inner circle. Only Semyon was excluded from it.

Of course, Vladimir Busygin also won in the end: he had the father he had dreamed of since childhood. In other words, the play ends with a scene of general family harmony. This is where I would like to end my brief analysis. “The Eldest Son” was written brilliantly by Vampilov, and it is not only wonderful, but also a deep work that poses serious questions to the reader.

Literature lesson in 10th grade based on the play by A.V. Vampilov "Elder Son"

1.Acquaintance with the biography of A.V. Vampilova.

2. Analysis of the play by A.V. Vampilov "The Eldest Son".

To interest students in the personality of A.V. Vampilova.
Encourage students to seriously think about the meaning of life, about the purpose of man on earth, about responsibility for their deeds and actions.
Develop the ability to think and empathize.

Decor:

Exhibition of books with works by A.V. Vampilov, books about Vampilov.
Portrait of A.V. Vampilova, Illustrations for
Fragments from the feature film "The Eldest Son".
Presentation about the life and work of A. Vampilov

Preparatory work:

Read the play by A.V. Vampilov "The Eldest Son".
Think over answers to questions, support with excerpts from the work
Questions for analyzing the play “The Eldest Son”

What is the plot of the play?
Who are its main characters? Secondary?
Who can be classified as off-stage characters?
Reveal the meaning of the names of the play (“Moral teaching with a guitar”, “The Suburb”, “Elder Son”) Which of them is the most successful?
What collision is the play based on?
What can you tell us about the members of the Sarafanov family?
What does their comparison give us to understand the images of Busygin and Silva?
How do you feel about Nina Kudimov’s fiance?
What is the role of Makarska, the neighbor, in the play?
What are the problems and the main idea of the play?
What genre can we classify the play into and why?
How is the work constructed? What was the author's position?
We read the last page and closed the book. What would you say to your friends about this play?

Individual tasks

a) find material related to Vampilov’s biography, read

b) learn the poem by P. Reutsky “Remember me cheerfully”

Alexander Vampilov, cast in bronze, stands in Irkutsk on a low pedestal next to the drama theater. It was no coincidence that the author of the sculpture, Mikhail Pereyaslavets, placed the monument almost on the sidewalk. Every day Irkutsk residents scurry past, and

Vampilov is alive, still young, handsome, as if flowing into this talkative stream. Fate has given him only 35 years, and even then it has not given him a full count of two days. On Thursday, August 17, 1972, he died on Lake Baikal, ten meters short of swimming to Listvyanka.

Student: (reading by heart the poem by P. Reutsky “Remember me cheerfully”)

Remember me cheerfully

In a word, the way I was.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

I don’t want her to remember me sad.

I'll go under the wind boom.

Only songs full of sadness,

I value it more than everyone else.

I walked the earth in joy.

I loved her like God

And no one to me in this smallness

I couldn’t refuse anymore...

Everything that is mine will remain with me,

Both with me and on earth

Someone's heart is hurting

In my native village.

Will there be springs, will there be winters,

Sing my song.

Just me, my loved ones,

I won't sing with you anymore.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

Remember me cheerfully

In a word, the way I was.

Close friends, including writers Valentin Rasputin and Vyacheslav Shugaev, affectionately called him Sanya.

From this name the pseudonym A. Sanin was formed, with which the writer signed his first book “Coincidence of Circumstances”.

He reads the beginning of the story: “A chance, a trifle, a coincidence of circumstances sometimes become the most dramatic moments in a person’s life.” Vampilov developed this idea in his plays.

Student: (continues the story)

Alexander Valentinovich Vampilov Born in 1937 in the village of Kutulik, Irkutsk region, into a teacher’s family. In my youth I read N.V. Gogol and V.G. Belinsky, loved to quietly play on the guitar the melody of Yakovlev’s romance to the words of A. Delvig “When I had not yet drunk tears from the cup of existence...”

(Romance sounds)

He loved fishing and hunting.

After graduating from school, he studied at the Faculty of History and Philology of Irkutsk University, and since 1960 he worked in the editorial office of the regional newspaper “Soviet Youth”.

He became interested in dramaturgy and began writing plays.

In 1965, A. Vampilov brought to Moscow, to the Sovremennik Theater, and offered O. N. Efremov the play “Moral Teaching with a Guitar”, which was then called “The Suburb”, and in 1972 - “The Elder Son”.

During the life of A.V. Vampilov produced only two plays - “Farewell in June” (1966) and “The Eldest Son” (1968). “Duck Hunt” (1970), “Provincial Anecdotes” (1970), “Last Summer in Chulimsk” (1972). These plays saw the light of day and were staged on stage after the death of the playwright.

“It was cloudy, but dry and quiet when we carried him in our arms to the theater building, where the cars were waiting,” recalled V. Shugaev. “We refused the orchestra, remembering Sasha’s sad smile with which he wrote Sarafanov, the musician from “The Elder Son,” playing at the funeral.”

A, V. Vampilov was buried in Irkutsk.

We heard a short story about the life of A. Vampilov. And now…

The teacher announces the topic and purpose of the lesson. Students write in a notebook: Alexander Valentinovich Vampilov (1937-1972).

They remember what is called an epigraph. Writing in a notebook.

As an epigraph to the words of V.G. Rasputin: “The traditional principles of Russian literature are well known, they still remain its continuation: preaching goodness, conscientiousness, a heightened sense of truth, righteousness and hope”

And the young playwright was concerned about moral problems.

What is morality?

Morality - rules that determine human behavior; spiritual and mental qualities necessary for a person in society, as well as the implementation of these rules, human behavior.

A moral person is a deeply conscientious person.

What is conscience?

Conscience is the ability to distinguish between good and evil, to give a moral assessment of one’s actions.

Conscience condemns a person if he acts immorally, contrary to the demands of conscience.

And now we will talk with you about the issues that were proposed in advance.

(Each student has cards with questions for analyzing the play “The Eldest Son”)

Working with the word.

During the conversation, students remember what a plot is? moralizing? suburb? collisions?

Moral teaching - teaching, instilling moral rules.

Suburb is a village directly adjacent to the city, but not within its boundaries.

Collision. A clash of some opposing forces, interests, aspirations.

During the conversation, students noted: (1-3 questions)

The plot of the play is simple. Two young men - medical student Volodya Busygin and a trade agent nicknamed Silva (Semena Sevostyanova) - were brought together by chance at a dance. They accompany two girls home who live on the outskirts of the city and are late for the last train. We had to look for accommodation for the night. The young men call the Sarafanovs’ apartment. Here, the resourceful Silva came up with the idea of calling Busygin the eldest son of Andrei Grigorievich, allegedly born to a woman with whom fate accidentally brought the hero together at the end of the war. Busygin does not reject this fiction. The entire Sarafanov family takes him for a son and older brother.

The fate of the head of the Sarafanov family did not work out: his wife left, things weren’t going well at work; he had to leave his position as an actor-musician and work part-time in an orchestra playing at funerals. Things are not going well with the children either. Sarafanov's son Vasenka, a tenth-grader, is in love with his neighbor Natasha Makarskaya, who is ten years older than him and treats him like a child. Daughter Nina is going to marry a military pilot, whom she does not love, but considers a worthy couple, and wants to go with him to Sakhalin.

Andrei Grigorievich is lonely and therefore becomes attached to his “eldest son.” And he, who grew up in an orphanage, is also drawn to the kind, nice, but unhappy Sarafanov, and besides, he also likes Nina. The end of the play is prosperous. Volodya honestly admits that he is not Sarafanov’s son, Nina does not marry someone she doesn’t love. Vassenka manages to persuade him not to run away from home. The “eldest son” becomes a frequent guest of this family.

4).According to the students, the title of the play “The Eldest Son” is the most successful, since its main character, Volodya Busygin, fully justified the role he took on. He helped Nina and Vasenka understand how much their father, who raised them both without a mother who abandoned the family, meant to them.

5-6) One can feel the gentle character of the head of the Sarafanov family. He takes everything to heart: he is ashamed of his position in front of the children, hides the fact that he left the theater, recognizes his “eldest son,” tries to calm Vasenka down and understand Nina.

The students conclude that he cannot be called a loser, since at the very peak of his mental crisis, Sarafanov survived when others broke. Sarafanov values his children.

Comparing the elder Sarafanov with Nina and Vasenka, the guys noticed that the children were callous towards their father. Vasenka is so carried away by his first love that he does not notice anyone except Makarska. But his feeling is selfish. It is no coincidence that in the finale, having become jealous of Natasha and Silva, he starts a fire without being tormented by his conscience for what he has done. There is little truly masculine in the character of this young man - this is the conclusion the students come to.

In Nina, an intelligent, beautiful girl, the guys noted practicality and prudence, manifested, for example, in choosing a groom. But these qualities were the main ones in her until she fell in love.

7) Busygin and Silva. When they find themselves in special circumstances, they manifest themselves in different ways. Volodya Busygin loves people. He is conscientious, responsive to the misfortune of others, which is obviously why he acts decently. Silva, like Volodya, is essentially also an orphan: he was raised in a boarding school by his surviving parents. Apparently, his father’s dislike was reflected in his character. It was no coincidence that Vampilov made the origins of the heroes’ destinies similar. With this, he wanted to emphasize how important a person’s own choice is, independent of circumstances. Unlike the orphan Volodya, the “orphan” Silva is cheerful, resourceful, but cynical. His true face is revealed when he “exposes” Volodya, declaring that he is not a son or a brother, but a repeat offender.

8) The students noted the “impenetrable soul” of Mikhail Kudimov, Nina’s fiancé. You meet such people in life, but you don’t immediately understand them. He is indifferent to people. This character occupies an insignificant place in the play, but he represents a clearly defined type of “right people” who create around themselves an atmosphere that suffocates all life in a person.

9) The author deepens the theme of loneliness in the play, which can bring a person to the brink of despair. (Natasha Makarskaya). In the image of the neighbor, according to the guys, the type of cautious person, an ordinary person who is afraid of everything, is deduced.

10) The issues and the main idea of the play are to be able to listen, understand each other, support in difficult times of life, and show mercy. To be related in spirit is more than by birth.

11) Students noticed that the author does not define the genre of the play. Classifying it as a comedy, many noticed that, along with comic ones, the play has many dramatic moments, especially in the subtext of the characters’ statements (Sarafanov, Silva, Makarskaya).

Teacher: Summing up the discussion of the play, I turned to the statement of V.G. Rasputin about Vampilov’s dramatic work: “It seems the main question that Vampilov constantly asks: will you, a man, remain a man? Will you be able to overcome all the false and unkind things that are prepared for you in many everyday trials where the opposites have become difficult to distinguish - love and betrayal, passion and indifference, sincerity and falsehood, good and enslavement ... "

Bibliography:

Vampilov A.V. Dramatic heritage. Plays. Editions and variants of different years. Skits and monologues. - Irkutsk, 2002.

Vampilov A.V. Duck hunting. Plays. - Irkutsk, 1987.

Alexander Vampilov in memories and photographs. - Irkutsk, 1999.

Play by A.V. Vampilov "The Eldest Son". Materials for the extracurricular reading lesson.//Russian language and literature, No. 3, 1991.-p.62

Presentation. PRT.

Reading a poem by Peter Reutsky:

Remember me cheerfully

In a word, the way I was.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

I don’t want her to remember me sad.

I'll go under the wind boom.

Only songs full of sadness,

I value it more than everyone else.

I walked the earth in joy.

I loved her like God

And no one to me in this smallness

I couldn’t refuse anymore...

Everything that is mine will remain with me,

Both with me and on earth

Someone's heart is hurting

In my native village.

Will there be springs, will there be winters,

Sing my song.

Just me, my loved ones,

I won't sing with you anymore.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

Remember me cheerfully

In a word, the way I was.

A poem by Peter Reutsky was read. It is dedicated to a man who entered literature young, and remained young in it. He lived only 35 years. Alexander Valentinovich Vampilov (slides 1,2). Valentin Rasputin said about him: “He was doubly talented - both as a person and as a writer.”

Alexander Vampilov could not live a single day without music. There was an old guitar in his house, left over from his grandfather, so it was especially attractive. In a close circle of friends, to the accompaniment of guitars, romances based on poems by A.S. sounded and touched the heart. Pushkin, A. Delvig, M. Yu. Lermontov and other authors. ( slide 3, listening romance based on poems by A. Pushkin) .

We have to get acquainted with the life of A. Vampilov, plunge into the creative world of the writer. Think about which lines from those that will be heard today can be used as an epigraph to the lesson? Which of them expresses the essence of this person?

Close friends called Vampilov simply and affectionately: “Sanya.” From this name the pseudonym Alexander Sanin was formed, with which the young playwright signed his first book, it was called “A Coincidence of Circumstances.”

Student's message about A.V. Vampilov

Alexander Valentinovich Vampilov was born in 1937 in the village of Kutulik, Irkutsk region, into a teacher’s family. Due to circumstances, he was forced to grow up without a father. Valentin Nikitich was arrested and executed on a false denunciation in 1938. On the eve of the birth of his son, he wrote to his wife Anastasia Prokopyevna: “My son will probably be a robber, and I’m afraid that he will become a writer, since I see writers in my dreams.”

His father’s prophetic dream came true; a future writer and playwright was born, bringing to the stage “an amazing, all-powerful sense of truth.” (slide 4 parents)

In youth Vampilov read the works of N.V. Gogol and V. Belinsky, everyone remembers that Alexander sang beautifully, he had a small but very pleasant voice, a manner of performance that was amazing in its simplicity and sincerity, but he did not sing often, only among his close friends, in a good moment. He loved old romances, songs based on poems by S. Yesenin and N. Rubtsov, with whom he became friends later, while studying at the literary institute. Fishing and hunting are also among his interests.

After graduating from school, Alexander Vampilov studied at the Faculty of History and Philology of Irkutsk University, from 1960 he worked in the editorial office of the regional newspaper “Soviet Youth”, became interested in drama, and began writing plays.

The people of Irkutsk are rightfully proud of their talented fellow countryman. There is a theater in the city that bears his name, a monument to Alexander Vampilov stands on the central square of Irkutsk, and evenings dedicated to the memory of the playwright are held in the halls of the oldest museum in Siberia. ( slides 5, 6, 7)

In 1965, A. Vampilov brought him to Moscow to the Sovremennik Theater and suggested to O.N. Efremov's play Moral Teaching with a Guitar, which was then called Suburb, and in 1970 - Eldest Son. During the writer’s lifetime, only two plays were staged: “Farewell in June” and “The Eldest Son.” The years of so-called stagnation passed; not everything could be written directly and openly. The young playwright was deeply concerned about moral problems. His works are written on the vital material of that time. Awakening conscience, cultivating a sense of justice, kindness, mercy - these are the main motives of his plays .( slide 8 )

“Duck Hunt”, “Provincial Anecdotes”, “Last Summer in Chulimsk” saw the light and were staged after the death of the writer.

Vampilov drowned in Lake Baikal in the summer of 1972. “It was cloudy, but dry and quiet when we carried him in our arms to the theater building, where the cars were waiting,” recalled Vyacheslav Shugaev. “We refused the orchestra, remembering Sasha’s sad smile with which he wrote Sarafanov, the musician from “The Elder Son "playing at a funeral. A. Vampilov was buried in Irkutsk.

Life ended at its very takeoff, a life that seemed to have no end, to which he himself was accustomed to dictating terms, because Sanya did not even allow himself to drown. There were two of them in the boat, which capsized after hitting the driftwood. One clung to the bottom, hoping that the boat would be noticed sooner than himself. And Vampilov swam to the shore. And he swam, and already felt the bottom under his feet, but his heart could not stand it.

At that time there was a car parked on the shore. The people who arrived by car smoked, indifferently watching what was happening, watching the man struggling with death. Suddenly someone shouted in a heart-rending voice: “People, people, throw the spare tire of the car, throw at least a stick, extend your hand towards you, but do something.” People, ignoring the thrown remark without attention, looked at the drowning man again, calmly got into the car and drove away. A man's life was cut short so sadly and tragically . (slide 9)

The death of A. Vampilov shocked his friends. On August 20, 1972, an obituary was published in the newspaper “Soviet Youth”, written by Irkutsk poet Mark Sergeev . (slide 10)

Student message

“Our Sasha is gone. I can't believe it, I can't believe it. We were proud when we learned that Georgy Tovstonogov, Oleg Efremov, Yuri Lyubimov were interested in Sasha’s plays. In September he was going to Moscow again. He promised to bring one of us a fashionable tie and a record of Chopin's waltzes, and the other consulted with Sasha about his vacation, and together they made a “plan.”

And then he went to visit Baikal, and the old man did not let him go back...

Now about you, Sasha, we need to say “was.” You would have laughed, old man, if you had heard about this a week ago. And your eyes, the sharp oriental cut of which always said that you know how to understand and appreciate a joke, would smile along with you. But we will not say, Sasha, that you were there, because you will remain with us among your heroes, among the deeds and actions of your friends. They will live as loving life and people as you do. We will preserve the memory of your directness and honesty, of your respect for creativity.

And we will also be kinder and more attentive to each other, because then it’s too late.”

Think about what lines express the essence of Alexander Vampilov’s personality and can become an epigraph to our lesson? (“Let’s be kinder and more attentive to each other, because then it’s too late.” Mark Sergeev – writing the epigraph in notebooks)

Student reading a poem by Alexander Vampilov (slide 11)

What is unfriendly, wide valley, making noise?

Can't forgive me for separation?

What people don’t keep, what people don’t remember,

That, Eternal One, you both remember and keep.

I am forever in your endless meadows,

I am forever in your dense meadows.

And after all the roads of fate -

Random,

Twisting, confusing, steep -

The last road for me

Direct –

Here to die in peace...

(slide 12)

If his friends felt this way about Vampilov’s untimely death, one can imagine what it was like for a mother who outlived her son.

Student message

Anastasia Prokopyevna Kopylova - Vampilova was a mathematics teacher in a rural school. It was to her that Valentin Rasputin dedicated his masterpiece - the story “French Lessons”. People who knew her well recall that the playwright’s mother was a person of the greatest tact and nobility.

From the memoirs of Anastasia Prokopyevna Kopylova - Vampilova: “From his first years at university, Sanya began to write stories, read them to me, and when he said that he wanted to write plays, I expressed great doubt whether he could do it? And Sasha said: “You, mom, don’t believe in me.” To which I replied: “Mothers should always be strict with their children and their abilities.” And shortly before his death, Sasha told me: “But you, mom, didn’t believe in me.” Having given me the play “The Eldest Son,” published in Moscow, Sasha wrote on it: “To my dear mother from my youngest son.”

(slide 13, list of books by A. Vampilov)

Recording in notebooks the most important dates in the life and work of A. Vampilov (slides 14,15)

1937 – A.V. was born. Vampilov. The village of Kutulik. Irkutsk region. A playwright was born who brought to the stage “an amazing, all-powerful sense of truth.”

1960 - graduated from the Faculty of History and Philology of Irkutsk University. Work in the newspaper "Soviet Youth". Passion for drama.

1965 – Arrival in Moscow to the Sovremennik Theater

1966 – “Farewell in June”

1970 – “Eldest Son”, “Duck Hunt”

1972 - “Last summer in Chulimsk.” August 1972 - tragic death of the writer

Alexander Vampilov liked to repeat: “A chance, a trifle, a coincidence of circumstances sometimes becomes the most dramatic in a person’s life.” Let's move on to discussing the play "The Eldest Son". In the late 60s and first half of the 70s, the play was staged in more than 50 cities in our country, as well as abroad (in Bulgaria, Hungary, Germany, Poland). In 1976, director Vitaly Melnikov made a film based on this work, inviting wonderful actors who were able to masterfully embody the characters of the main characters and convey the intention of the author, playwright Alexander Vampilov.

Questions to consider

Remember what combination of circumstances brought the main character and his companion to the house of the Sarafanov family? (slide 16)

What can you tell about the members of this family? Why did Andrei Grigorievich believe and recognize Volodya Busygin as his eldest son? Can he be called a loser? (slide 17)

What do you like about Nina? Why are you judging her? How and why does Nina change at the end of the play? (slide 18)

How can you explain Vasenka’s actions? How does the author’s affectionate address to him help to understand the character of the hero? Has Vasenka changed at the end of the play? (slide 19)

Tell us about Volodya Busygin. What are the main traits of his character? How does Volodya characterize his attitude towards the Sarafanov family? Did meeting this family change him? (slides 20, 21)

Prove that Silva is essentially also an orphan with living parents. Where does Silva's cynicism and practicality come into play? (slide 22)

What is your opinion about Nina’s fiance, Mikhail Kudimov? What's alarming about him? What, in your opinion, is the main trait of his character? (slide 23)

Alexander Vampilov used several titles for his work - “The Suburb”, “Moral Teachings with a Guitar”, “The Sarafanov Family”.

Why is “The Eldest Son” the most successful? What does Alexander Vampilov say about a person? ( slide 24)

The main thing is not where events take place, but who participates in them. To be able to listen, understand another, and support in difficult times - this is the main idea of the play. Being kindred in spirit is more important

consanguinity.

To summarize, let us turn to V. Rasputin’s statement about Vampilov’s work: “It seems that the main question that Vampilov constantly asks: will you, a man, remain a man? Will you be able to overcome all the deceitful and unkind things that are prepared for you in many everyday trials, where the opposites have become difficult to distinguish - love and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement? (slide 25)

I hope that the work of A. Vampilov left a deep imprint on your souls, made you think about a lot, rethink a lot, and set life priorities. Today we have just opened the door to the world of a talented great writer. This world must be comprehended through his works.

D/Z: prepare a review of the book you read according to the following plan:

What is the theme and main idea of the work?

Where and when do the events take place?

What parts of the book made the strongest impression on you?

Which of the characters did you like the most? Why?

Which of the heroes do you think deserves condemnation?

How did the book enrich you? What questions did it make you think about?

Review of a book read (student work)

“Let’s be kinder and more attentive to each other, because then it’s too late,” the Siberian poet Mark Sergeev dedicated these words to his friend Alexander Vampilov. They essentially became the life rule that the playwright followed. Vampilov wanted to see character traits such as kindness, responsiveness in the heroes of his plays. Volodya Busygin from the comedy “The Eldest Son” was no exception.

What is this book about? The plot is simple: two young men accompany girls home on a spring evening, hope that they will be invited, the acquaintance will continue, but in the end they are forced to stay on the street all night. Mistrustful residents are in no hurry to help overnight guests. Chilled and already desperate, Volodya and Silva knock on one of the apartments, where Silva introduces Busygin as the eldest son of the family. This meeting of the “father” and the imaginary son will become important for both Volodya and all the Sarafanovs. After all, the main thing is not how many relatives you have, but whether there is at least someone on whom you could rely, who you can trust; what is important is not kinship by blood, but kinship of souls.

Volodya Busygin pretends to be the son of Andrei Grigorievich, but only pretends at the very beginning. Perhaps the young man feels that he needs Sarafanov just as Andrei Grigorievich needs him. The elder Sarafanov is an intelligent, kind, trusting, lonely person; those around him do not always understand him, even his own children; his wife, who left him, called her husband “blessed.” When a new family member appeared - the “eldest” son, he grabbed at him like a drowning man at a straw. The father of the family says: “For me, the fact that you appeared is real happiness, son.”

Andrei Grigorievich’s children did not even notice that they had forgotten about their father and stopped needing him.

Nina is getting married and is leaving with her fiancé for Sakhalin the other day; Vasenka goes to the taiga to work on a construction site, running away from unrequited love. Which of the heroes did I like? This is Volodya Busygin. There is something about him that attracts you from the first minutes of meeting him. He is a medical student, his fate was not easy. An orphan, he never knew his father, but he did not lose his kindness, love, and responsiveness to people. Volodya is ready to stay with a complete stranger to help and support. Nina and Vasenka also owe him a lot. Busygin helped the younger Sarafanovs understand what real feeling is, love, affection, caring for loved ones.

Vampilov's play teaches us to be kinder, to love, to respect our parents. No matter how your life turns out, no matter what, try to remain human.

Let us remember the words of Andrei Grigorievich Sarafanov: “Every person is born a creator, each in his own business, and each, to the best of his strength and ability, must create so that the best that was in him remains after him.”

I think Alexander Vampilov, who made a significant contribution to Russian literature, also thought so. His comedy, written in 1970, has not lost its modernity and significance even today: at all times, society will need kind, honest, decent, sympathetic people.

Bibliography:

Reader on literature for high school. Educational manual for grades 10 - 11 / Compiled by: Alamdarova E. N., Bezruk Yu.L., Evdokimova L.V. and others - St. Petersburg: Corvus; Astrakhan: Publishing house of the Astrakhan Pedagogical University. In – ta, 1994.

Vampilov A.V. Notebooks. – Irkutsk: Publishing house of Irkutsk University. 1996.

Wreath for Vampilov. : Sat. / Comp. L. V. Ioffe. Irkutsk: Publishing House of Irkutsk University, 1997.

The world of Alexander Vampilov. : Life. Creation. Destiny: Materials for the guide. - Irkutsk. GP edition. "Irkutsk regional printing house No. 1" 2000.

Class: 10

Goals and objectives:

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

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

During the classes

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

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

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

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

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

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

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

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

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

The conflict of the play.

Sarafanov and his children.

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

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

Problems and idea of the play.

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

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

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

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

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

How do children relate to their father? Match them.

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

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

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

What type of person is Kudimov? (Episode Analysis)

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

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

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

Genre of the play.

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

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

Problems and idea of the play.

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

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

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

Because I love you.

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

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

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

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

Literature lesson in 10th grade based on the play by A.V. Vampilov "Elder Son"

1.Acquaintance with the biography of A.V. Vampilova.

2. Analysis of the play by A.V. Vampilov "The Eldest Son".

To interest students in the personality of A.V. Vampilova.
Encourage students to seriously think about the meaning of life, about the purpose of man on earth, about responsibility for their deeds and actions.
Develop the ability to think and empathize.

Decor:

Exhibition of books with works by A.V. Vampilov, books about Vampilov.
Portrait of A.V. Vampilova, Illustrations for
Fragments from the feature film "The Eldest Son".
Presentation about the life and work of A. Vampilov

Preparatory work:

Read the play by A.V. Vampilov "The Eldest Son".
Think over answers to questions, support with excerpts from the work
Questions for analyzing the play “The Eldest Son”

What is the plot of the play?
Who are its main characters? Secondary?
Who can be classified as off-stage characters?
Reveal the meaning of the names of the play (“Moral teaching with a guitar”, “The Suburb”, “Elder Son”) Which of them is the most successful?
What collision is the play based on?
What can you tell us about the members of the Sarafanov family?
What does their comparison give us to understand the images of Busygin and Silva?
How do you feel about Nina Kudimov’s fiance?
What is the role of Makarska, the neighbor, in the play?
What are the problems and the main idea of the play?
What genre can we classify the play into and why?
How is the work constructed? What was the author's position?
We read the last page and closed the book. What would you say to your friends about this play?

Individual tasks

a) find material related to Vampilov’s biography, read

b) learn the poem by P. Reutsky “Remember me cheerfully”

Student: (reading by heart the poem by P. Reutsky “Remember me cheerfully”)

Remember me cheerfully

In a word, the way I was.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

I don’t want her to remember me sad.

I'll go under the wind boom.

Only songs full of sadness,

I value it more than everyone else.

I walked the earth in joy.

I loved her like God

And no one to me in this smallness

I couldn’t refuse anymore...

Everything that is mine will remain with me,

Both with me and on earth

Someone's heart is hurting

In my native village.

Will there be springs, will there be winters,

Sing my song.

Just me, my loved ones,

I won't sing with you anymore.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

Remember me cheerfully

In a word, the way I was.

Close friends, including writers Valentin Rasputin and Vyacheslav Shugaev, affectionately called him Sanya.

From this name the pseudonym A. Sanin was formed, with which the writer signed his first book “Coincidence of Circumstances”.

Student: (continues the story)

(Romance sounds)

He loved fishing and hunting.

After graduating from school, he studied at the Faculty of History and Philology of Irkutsk University, and since 1960 he worked in the editorial office of the regional newspaper “Soviet Youth”.

He became interested in dramaturgy and began writing plays.

A, V. Vampilov was buried in Irkutsk.

We heard a short story about the life of A. Vampilov. And now…

The teacher announces the topic and purpose of the lesson. Students write in a notebook: Alexander Valentinovich Vampilov (1937-1972).

They remember what is called an epigraph. Writing in a notebook.

And the young playwright was concerned about moral problems.

What is morality?

Morality - rules that determine human behavior; spiritual and mental qualities necessary for a person in society, as well as the implementation of these rules, human behavior.

A moral person is a deeply conscientious person.

What is conscience?

Conscience is the ability to distinguish between good and evil, to give a moral assessment of one’s actions.

Conscience condemns a person if he acts immorally, contrary to the demands of conscience.

And now we will talk with you about the issues that were proposed in advance.

(Each student has cards with questions for analyzing the play “The Eldest Son”)

Working with the word.

During the conversation, students remember what a plot is? moralizing? suburb? collisions?

Moral teaching - teaching, instilling moral rules.

Suburb is a village directly adjacent to the city, but not within its boundaries.

Collision. A clash of some opposing forces, interests, aspirations.

During the conversation, students noted: (1-3 questions)

The students conclude that he cannot be called a loser, since at the very peak of his mental crisis, Sarafanov survived when others broke. Sarafanov values his children.

In Nina, an intelligent, beautiful girl, the guys noted practicality and prudence, manifested, for example, in choosing a groom. But these qualities were the main ones in her until she fell in love.

10) The issues and the main idea of the play are to be able to listen, understand each other, support in difficult times of life, and show mercy. To be related in spirit is more than by birth.

Bibliography:

Vampilov A.V. Dramatic heritage. Plays. Editions and variants of different years. Skits and monologues. - Irkutsk, 2002.

Vampilov A.V. Duck hunting. Plays. - Irkutsk, 1987.

Alexander Vampilov in memories and photographs. - Irkutsk, 1999.

Play by A.V. Vampilov "The Eldest Son". Materials for the extracurricular reading lesson.//Russian language and literature, No. 3, 1991.-p.62

Composition

“A chance, a trifle, a coincidence of circumstances sometimes become the most dramatic moments in a person’s life,” Vampilov developed this idea in his plays. A. Vampilov was deeply concerned about moral problems. His works are written on life material. Awakening conscience, cultivating a sense of justice, kindness and mercy - these are the main motives of his plays. The plot of the play “The Eldest Son” is simple. Two young men - a medical student Volodya Busygin and a trade agent nicknamed Silva (Semena Sevastyanova) - were brought together by chance at a dance. Having escorted home two girls living on the outskirts of the city, they are late for the last train and have to look for accommodation for the night. The young men call the Sarafanovs’ apartment. The resourceful Silva comes up with the idea of inventing a story that Busygin is the eldest son of Andrei Grigorievich Sarafanov, that he was allegedly born to a woman with whom fate accidentally brought Sarafanov together at the end of the war. In order to somehow pass the night, Busygin does not refute this fiction.

Sarafanov’s life did not work out: his wife left, things didn’t work out at work - he had to leave his position as an actor-musician and work part-time in an orchestra playing at funerals. Things are not going well with the children either. Sarafanov's son, tenth-grader Vasenka, is in love with his neighbor Natasha Makarskaya, who is ten years older than him and treats him like a child. Daughter Nina is going to marry a military pilot, whom she does not love, but considers a worthy couple, and wants to go with him to Sakhalin.

Andrei Grigorievich is lonely, and therefore becomes attached to his “eldest son.” And he, who grew up without a father in an orphanage, is also drawn to the kind, nice, but unhappy Sarafanov, and besides, he liked Nina. The end of the play is happy. Volodya honestly admits that he is not Sarafanov’s son. Nina does not marry someone she doesn't love. Vassenka manages to persuade him not to run away from home. The “eldest son” becomes a frequent guest of this family.

The title of the play “The Eldest Son” is most apt, since its main character, Volodya Busygin, fully justified the role he took on. He helped Nina and Vasenka understand how much their father, who raised them both without a mother who abandoned the family, meant to them. The gentle character of the head of the Sarafanov family is evident in everything. He takes everything to heart: he is ashamed of his position in front of the children, hides the fact that he left the theater, recognizes his “eldest son,” tries to calm Vasenka down and understand Nina. He cannot be called a loser, because at the very peak of his mental crisis, Sarafanov survived, while others broke. Unlike the neighbor who refused Busygin and Silva a place to stay for the night, he would have warmed the guys up even if they had not made up this story with the “eldest son”. But most importantly, Sarafanov values his children and loves them. Children are callous towards their father. Vasenka is so carried away by his first love that he does not notice anyone except Makarska. But his feeling is selfish, because it is no coincidence that, having become jealous of Natasha and Silva, he starts a fire and does not repent for what he has done. There is little truly lyrical in the character of this young man. Nina is an intelligent, beautiful girl and at the same time practical and calculating. These qualities are manifested, for example, in the choice of a groom. However, these qualities were predominant in her until she fell in love. Love completely changes her position in life. Busygin and Silva, having met by chance while dancing, behave banally, courting the first girls they meet, and in this they are similar to each other. But, finding themselves in a non-standard situation, the heroes manifest themselves in different ways. Volodya Busygin loves people, he is conscientious, sympathetic, sympathetic to the misfortune of others, obviously, that’s why he acts decently. The “positivity” of aspirations makes him strong and noble.

Silva, like Volodya, is essentially also an orphan: with living parents, he was raised in a boarding school. Apparently, his father’s dislike was reflected in his character. Silva told Volodya about how his father “admonished” him: “For the last twenty rubles, he says, go to a tavern, get drunk, make a row, but such a row that I won’t see you for a year or two.” It was no coincidence that Vampilov made the origins of the heroes’ destinies similar. By this he wanted to emphasize how important a person’s own choice is, independent of circumstances. Unlike the orphan Volodya, the “orphan” Silva is cheerful, resourceful, but cynical. His true face is revealed when he “exposes” Volodya, declaring that he is not a son or a brother, but a repeat offender. Nina's fiance, Mikhail Kudimov, is an impenetrable man. You meet such people in life, but you don’t immediately understand them. “Smiles. He continues to smile a lot. He’s good-natured,” Vampilov says about him. In fact, the most precious thing to him is the word that he gave himself for all occasions. He is indifferent to people. This character occupies an insignificant place in the play, but represents a clearly defined type of “correct” people who create a suffocating atmosphere around themselves.

Involved in a family intrigue, Natasha Makarskaya is shown as a decent, but unhappy and lonely person. Vampilov deeply reveals in the play the theme of loneliness, which can drive a person to despair. In the image of the Sarafanovs’ neighbor, a type of cautious person, an ordinary person, who is afraid of everything (“looks at them with caution, suspicion,” “removes silently and fearfully”) and does not interfere in anything, is deduced. The problematic and main idea of the play are stated in the very title of the dramatic work. It is no coincidence that the author replaced the original title “Suburb” with “Elder Son”. The main thing is not where events take place, but who participates in them. To be able to think, understand each other, support in difficult times, show mercy - this is the main idea of Alexander Vampilov’s play. Being kindred in spirit is more than being related by birth. The author does not define the genre of the play. Along with the comic, there are many dramatic moments in the play, especially in the subtext of the statements of Sarafanov, Silva, and Makarska.

What does the author affirm in man and what does he deny in him? “It seems that the main question that Vampilov constantly asks is: will you, a human being, remain a human being? Will you be able to overcome all the deceitful and unkind things that are prepared for you in many everyday trials, where love and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement have become difficult and opposite..." (V. Rasputin).

Biography of A. Vampilov

Alexander Vampilov was born on August 19, 1937 in the regional center of Kutulik, Irkutsk region, into an ordinary family. His father, Valentin Nikitovich, worked as the director of the Kutulik school (his ancestors were Buryat lamas), his mother, Anastasia Prokopyevna, worked there as a head teacher and mathematics teacher (her ancestors were Orthodox priests). Before Alexander was born, the family already had three children - Volodya, Misha and Galya.

Valentin Nikitovich never had the chance to raise his son. Literally a few months after his birth, one of the teachers at his own school wrote a denunciation against him to the NKVD. The charge was serious and did not give the arrested person any chance of survival. The court sentenced him to death, the sentence was carried out in early 1938 near Irkutsk. Only 19 years later Valentin Vampilov was rehabilitated.

The Vampilov family lived a very difficult life, literally surviving from bread to water. Even during his lifetime, Valentin Nikitovich’s relatives did not like his Russian wife, and when Vampilov Sr. died, they completely turned away from her. Anastasia Prokopyevna continued to work at the school, and her salary was barely enough to support herself and four young children. Sasha Vampilov received his first suit in his life only in 1955, when he finished ten years of high school.

Sasha grew up as a completely ordinary boy, and his loved ones did not recognize any special talents in him for a long time. After graduating from school, Vampilov entered the Faculty of History and Philology of Irkutsk University. Already in his first year, he began to try his hand at writing, composing short comic stories. In 1958, some of them appeared on the pages of local periodicals. A year later, Vampilov was enrolled in the staff of the Irkutsk regional newspaper “Soviet Youth” and in the Creative Association of Young People (TOM) under the auspices of the newspaper and the Writers’ Union. In 1961, Alexander’s first (and only lifetime) book of humorous stories was published. It was called "Coincidence of Circumstances." True, on the cover it was not his real name, but his pseudonym - A. Sanin. In 1962, the editors of Soviet Youth decided to send their talented employee Vampilov to Moscow for the Higher Literary Courses of the Central Komsomol School. After studying there for several months, Alexander returns to his homeland and immediately rises one step higher in his career: he is appointed executive secretary of the newspaper. In December of the same year, a creative seminar was held in Maleevka, at which Vampilov presented two of his one-act comedies to the readers: “Crow Grove” and “One Hundred Rubles in New Money.”

In 1964, Vampilov left Soviet Youth and devoted himself entirely to writing. Soon two collective collections of his stories will be published in Irkutsk. A year after this, Vampilov again goes to Moscow in the hope of attaching his new play “Farewell in June” to one of the capital’s theaters. However, these attempts then ended in vain. In December he enters the Higher Literary Courses of the Literary Institute. Here, in the winter of 1965, he unexpectedly met the then fashionable playwright Alexei Arbuzov.

In 1966, Vampilov joined the Writers' Union. Vampilov wrote his first play in 1962 - “Twenty Minutes with an Angel.” Then appeared “Farewell in June”, “The Incident of the Master Page”, “The Eldest Son” and “Duck Hunt” (both 1970), “Last Summer in Chulimsk” (1972) and others. They evoked the warmest responses from those who read them, but not a single theater in Moscow or Leningrad agreed to stage them. Only the provinces welcomed the playwright: by 1970, his play “Farewell in June” was performed in eight theaters at once. But his native Irkutsk Youth Theater, which now bears his name, never staged any of his plays during Vampilov’s lifetime.

By 1972, the attitude of the capital's theater community towards Vampilov's plays began to change. “Last Summer in Chulimsk” was staged by the Ermolova Theater, “Farewell” by the Stanislavsky Theater. In March, the premiere of “Provincial Anecdotes” takes place at the Leningrad Bolshoi Drama Theater. Even cinema is paying attention to Vampilov: Lenfilm signs an agreement with him for the script for Pine Springs. It seemed that luck had finally smiled on the talented playwright. He is young, full of creative energy and plans. His personal life with his wife Olga is also going well. And suddenly - an absurd death.

On August 17, 1972, two days before his 35th birthday, Vampilov, together with his friends Gleb Pakulov and Vladimir Zhemchuzhnikov, went on vacation to Lake Baikal.

According to the description of witnesses to the incident, the boat in which Vampilov and Pakulov were caught on a snag and capsized. Pakulov grabbed the bottom and began to call for help. And Vampilov decided to swim to the shore. And he reached it, touched the ground with his feet, and at that moment his heart could not stand it.

No sooner had the earth cooled down on Vampilov’s grave than his posthumous fame began to gain momentum. His books began to be published (only one was published during his lifetime), theaters staged his plays (The Eldest Son alone was shown in 44 theaters across the country), and studio directors began filming films based on his works. His museum was opened in Kutulik, and a Youth Theater was named after A. Vampilov in Irkutsk. A memorial stone appeared at the site of the death...

The play "The Eldest Son"

A. Vampilov’s play “The Eldest Son” exists in several versions. Vampilov’s earliest notes related to the play “The Eldest Son” date back to 1964: the title is “Peace in the House of Sarafanov.” A version of the play entitled "Grooms" was published in excerpts on May 20, 1965 in the newspaper "Soviet Youth". In 1967, the play was called “The Suburb” and was published in 1968 in the anthology “Angara”. In 1970, Vampilov finalized the play for the publishing house “Iskusstvo”, where it was called “The Elder Son” and was published as a separate publication.

Note that the name “Eldest Son” is the most successful. For the author, the main thing is not where the events take place, but who participates in them. To be able to listen, understand another, and support in difficult times - this is the main idea of the play. Being kindred in spirit is more important than blood relationship.

In addition, Volodya Busygin justified the role he took on: he helped Nina and Vasenka understand how much their father, who raised them both without a mother who abandoned the family, meant to them, and Father Sarafanov, in turn, found support and understanding in Volodya.

Vampilov himself wrote: “ ...At the very beginning... (when it seems to him that Sarafanov has gone to commit adultery) he (Busygin) does not even think about meeting him, he avoids this meeting, and having met, he does not deceive Sarafanov just like that, out of evil hooliganism, but rather, acts like a moralist in some ways. Why shouldn’t this (father) suffer a little for that (Busygin’s father)? Firstly, having deceived Sarafanov, he is constantly burdened by this deception, and not only because it is Nina, but also in front of Sarafanov he has downright remorse. Subsequently, when the position of the imaginary son is replaced by the position of the beloved brother - central situation of the play, Busygin’s deception turns against him, it takes on a new meaning and, in my opinion, looks completely harmless».

The plot of the play “The Eldest Son” is born from accidents, from a strange coincidence of circumstances. Like in no other play by Vampilov, in “The Eldest Son” “random coincidence” is the engine of the plot. An accident, a trifle, a coincidence of circumstances become the most dramatic moments in the development of the action of this play. By chance, the heroes meet in a cafe, accidentally end up in the suburbs, accidentally overhear Sarafanov's conversation with a neighbor, accidentally learn about the relationship between Vasenka and Makarska, and accidentally find themselves privy to a family secret. Busygin later confesses to Nina: “It all happened completely by accident.” Busygin and Silva don’t know each other well; in the cafe they didn’t even hear each other’s names and as the play progresses they become acquainted again, but this does not prevent them from understanding each other literally without a word.

The poetics of the play retains the main features of Vampilov’s dramaturgy: this, as O. Efremov noted, is a craving for a sharp form, a non-standard situation, and an unconventional technique; according to V. Rozov - a vaudeville and even farcical beginning, rapidly reaching the utmost dramatic tension; prominent everyday materiality, physicality of life, acute plot tension, as E. Gushanskaya believes; a combination of philosophical depth with a dazzlingly bright purely theatrical form, according to A. Simukov.

In “The Eldest Son,” the anecdote becomes a genre-forming component—a kind of novelization of the genre occurs. It is the novelistic intrigue that gives the play what critics almost unanimously call “high skill in plot construction.”

Undoubtedly, the adventurous idea of meeting the Sarafanov family belongs to Busygin, and Silva cowardly warns his friend: “This night will end in the police station. I feel". But the idea to marry Busygin to his eldest son belongs to Silva. Rhetorical biblical figure of “suffering, hungry, cold” the brother standing at the threshold takes on the features of the real Busygin. Busygin does not immediately accept the role offered to him; he hesitates. The heroes seem to change places: now Silva is ready to stay, and Busygin is in a hurry to leave. However, the cowardice of Silva and Busygin has different roots: if the first is driven by fear of the police, then the second is driven by fear of conscience.

The father’s naivety, purity, gullibility, word of mouth, Nina’s sober skepticism and mistrust, which develops into open sympathy for her imaginary brother, Vasenka’s enthusiasm, Busygin’s own charm and intelligence, and Silva’s assertive impudence condense and materialize the image of the eldest son. The family faced a situation where he, the eldest son, was supposed to appear and he appeared.

At the same time, the image of another “eldest son” materializes - Nina’s husband, cadet and future officer Kudimov. It is created mainly by Nina and jealously corrected by Busygin. We know almost everything about Kudimov, even before he appeared on stage. Busygin is in an incomparably more advantageous position: no one knows anything about him and he communicates about himself what he wants to communicate. Already in Nina’s assessment, Kudimov appears as a rather limited person. The appearance of the hero only confirms this.

The scene of Kudimov’s appearance (second act, second scene) is a mirror reflection of another scene - the appearance of Busygin and Silva in the Sarafanovs’ house (first act, second scene): acquaintance, offer of a drink, claims to sonship (“Where is daddy?”– asks Kudimov).

The clash between Busygin and Kudimov is a kind of duel, the reason for which is Nina. But behind this reason there are other reasons hidden, which lie in the belonging of these people to different spheres of human life and their different understanding of life itself.

Like a spell, Nina’s continuously repeated words addressed to Kudimov, “It doesn’t matter if you’re even late today”, “Today you’ll be a little late”, “Just like that, you’ll be late and that’s it”, “Today you’ll be late, I want it that way”, “No, you’ll stay”- not easy "caprice", as Kudimov believes, but the last attempt to humanize his fiancé, who is ready to bring the spirit of the barracks and discipline into family life.

Nina talks about Kudimov : “Let’s say he doesn’t have enough stars in the sky, so what? I think this is even for the better. I don’t need Cicero, I need a husband.” Excellent in combat and political training Kudimov now, in the future he is capable "signs of darkness" grab it, because he is never late and does not do anything that he does not see the point in. By holding back Kudimov, Nina restrains herself from loving Busygin. Nina does not have the opportunity to choose, but ultimately she makes her choice: “I’m not going anywhere.”

If in Busygin’s phrase “a brother suffering, hungry, cold is standing at the threshold...” The elder brother begins to enter the Sarafanov family, then with Nina’s remark addressed to Kudimov: “Enough for you! You can remember this until you die!”- the reverse process begins.

The image of a funeral begins to hover invisibly over the Sarafanov family: the head of the family himself buries his dreams of being a composer (“I won’t make a serious musician, and I have to admit it.”); Nina gives up her hopes ( "Yes. Go. But what the hell, you’ll actually be late.”), Vasenka arranges a funeral pyre, burning Makarska's carpet and his rival's pants. But death is ambivalent: the Sarafan family is reborn, Nina finds new love, Makarskaya’s interest in Vasenka flares up.

The image of the funeral of “some driver” - a symbol of an interrupted path, both life and professional - is ambiguous in the play. Flight school cadet Kudimov leaves, Sevostyanov “disappears”. Silva’s last attempt, who is no longer satisfied with the secondary role, to annoy his successful rival and expose the impostor is belated and unsuccessful: physical kinship ceases to be decisive and significant and gives way to real kinship - spiritual: “You are a real Sarafanov! My son. And a beloved son at that.” In addition, Busygin himself admits : “I’m glad that I came to you... Frankly speaking, I myself no longer believe that I am not your son.”

Reasonable and serious Nina, ready to repeat her mother’s act and leave with a “serious man,” at the end of the play realizes that she "father's daughter. We are all like dad. We have the same character". They, the Sarafanovs, are wonderful people, blessed.

A. Demidov also called the comedy “Eldest Son” "a kind of philosophical parable".

Beginning as an everyday anecdote, the play gradually develops into a dramatic story, behind which one can discern the motives of the biblical parable of the prodigal son.

At the same time, the famous biblical parable undergoes a certain transformation: the prodigal “son” returns to the house from which he never left; Sarafanov’s “prodigal” children return to the house from which they never left. They stay in the House to rebuild it.

This play is a kind of philosophical parable about the kinship of souls and finding a home. A new person appears in the Sarafanov family, introducing himself as the “eldest son” of the head of the family. In the whirlwind of family troubles and problems, Busygin really begins to feel like family in the Sarafanovs’ house and responsible for their lives.

The spiritual kinship of people turns out to be more reliable and stronger than formal relationships. Behind the external bravado and cynicism of young people, an unexpected ability for love, forgiveness, and compassion is revealed. So from a private everyday story the play rises to universal humanistic problems (trust, mutual understanding, kindness and responsibility). And the paradox is that people become family and begin to feel responsible for each other only by luck. The play shows the moral essence of the eldest son - everything is on his shoulders: hope, the future of the family. And Busygin revived the family.

Literature

Vampilov A.V. Eldest son. – M.: Pushkin Library: AST: Astrel, 2006. – P. 6 – 99.
Gushanskaya E. Alexander Vampilov: Essay on creativity. – L.: Sov. Writer. Leningr. department, 1990. – 320 p.
The World of Alexander Vampilov: Life. Creation. Fate. – Irkutsk, 2000. – P. 111-116.
About Vampilov: Memories and reflections // Vampilov A. House with windows in the field. Irkutsk: East Siberian Book Publishing House, 1981. - P. 612-613.
Russian literature of the 20th – early 21st centuries: textbook. manual for higher students ped. textbook institutions: in 2 volumes. T. 2. 1950 – 2000s / (L.P. Krementsov, L.F. Alekseeva, M.V. Yakovlev, etc.); edited by L.P. Krementsova. – M.: Publishing Center “Academy”, 2009. – P.452 – 460.
Sushkov B.F. Alexander Vampilov: Reflections on the ideological roots, issues, artistic method and the fate of the playwright’s work. – M.: Sov. Russia, 1989. – 168 p.

"Eldest Son"

In the evening, when Nina Kudimov’s fiance comes to the house, Sarafanov raises a toast to his children and utters a wise phrase that reveals his philosophy of life: “...Life is fair and merciful. She makes heroes doubt, and she will always console those who did little, and even those who did nothing but lived with a pure heart.”

The happy ending of the play reconciles its central characters. It is symbolic that both the main deceiver and adventurer Silva, and the truth-loving to the core Kudimov leave Sarafanov’s house. This suggests that such extremes are not needed in life. A.V. Vampilov shows that a lie is still sooner or later supplanted by the truth, but sometimes it is necessary to give a person the opportunity to realize this himself, and not bring him to light.

teacher of Russian language and literature,

MBOU Khadakhan Secondary School,

With. Khadakhan, Nukutsky district

Irkutsk region

e-mail:

VAMPILOV, FAMILIAR AND STRANGER, BUT TODAY, ALIVE.

You need to write about

what keeps me awake at night.”

A. Vampilov

The purpose of the literature lesson in 11th grade:

introduce students to the life and work of A. Vampilov.

R develop the skills of analyzing literary text, speech and thinking of students.

understand the moral issues of the play “The Eldest Son”;

cultivate moral ideals.

Equipment:

Portrait of the playwright, exhibition of books with the works of A. V. Vampilov, electronic presentation.

During the classes:

The teacher's introductory speech about the playwright A. Vampilov :

VAMPILOV, ALEXANDER VALENTINOVICH

(1937–1972),

Russian playwright, prose writer, publicist.

On August 17, 1972, on Lake Baikal, the boat in which A. Vampilov was, at full speed, encountered a driftwood log and began to sink. The water, cooled to five degrees by the recent storm, the heavy jacket... He almost swam... But his heart could not stand it a few meters from the shore...
“I think that after the death of the Vologda poet Nikolai Rubtsov, literary Russia did not have a more irreparable and absurd loss than the death of Alexander Vampilov. Both of them were young, talented, had an amazing gift to feel, understand and be able to express the most subtle and therefore unknown to many movements and desires of the human soul,” wrote V. Rasputin with bitterness and pain.

Today we will talk about Russian drama of the twentieth century. We will talk about the work of a writer whose anniversary date, whose name is given to an entire era of Russian drama – the Vampilov drama.

And where did it all begin? From childhood and adolescence.

2. Student's message about Vampilov

Alexander Valentinovich Vampilov was born on August 19, 1937 into a family of hereditary teachers in the village of Kutulik, Irkutsk region.Subsequently, the writer will say about his small homeland: “Wooden, dusty, with vegetable gardens, with a herd of private cows, but with a hotel, police and a stadium. Kutulik lagged behind the village, but did not stick to the city either. In short, a regional center from head to toe. A regional center, similar to all regional centers in Russia, but still one and only one in all of Russia.”

Father, Valentin Nikitovich Vampilov, is a Buryat, from a clan of lamas, a teacher of Russian language and literature, director of the Kutulik secondary school. Mother, Kopylova Anastasia Prokopyevna, Russian, from a priest’s family, mathematics teacher, head teacher of the school. V. G. Rasputin dedicated his story “French Lessons” to her.

The moral values ingrained in both families fostered in him all the best traits of an intellectual and a decent person.

“Dear Tasya! - Vampilov’s father turns to his wife in anticipation of his birth... - I’m sure everything will be fine. And there will probably be a robber son, and I’m afraid that he might not be a writer, since I see writers in my dreams.
The first time, when you and I were getting ready on the night of departure, I was looking for fractions in a dream with Lev Nikolaevich Tolstoy himself, and we found...”

August 19, 1937: “Well done, Tasya, she finally gave birth to a son. My premonition was justified... son. No matter how I justified the second... I, you know, have prophetic dreams.”

The dreams really turned out to be prophetic.

The year of Vampilov’s birth was the year of the 100th anniversary of the death of Pushkin, in whose honor he was named Alexander. But in my father’s prophetic dreams there was not only light. According to popular wisdom, a shot means tears: they shed in the same year - V. Vampilov was repressed, and in 1938 he was shot.

A. Vampilov’s childhood, judging by the memories of his mother and peers, was ordinary - a typical regional center post-war childhood: school, hiking, throwing in all directions at once: sports, tomorrow - school theater, the day after tomorrow - music and books, and all without fail with fervor.

He didn’t get in right away: he didn’t pass the German language test. I studied the language at home with a teacher.

He entered the university at the Faculty of History and Philology and started theater from his first year. His sketches and sketches, sometimes written directly at lectures, are readily published by the university's large circulation and the Irkutsk newspaper "Soviet Youth".

Soon after graduating from university, Vampilov published the book “Coincidence of Circumstances” under the pseudonym A. Sanin. He worked as a journalist and headed the working youth department. FinishedHigher literary courses in Moscow.

A. Vampilov’s main passion was theater, and in literature - drama. He died at the age of 35, having never seen a single one of his plays on the capital’s stage, and during his lifetime he published only a small collection of stories.

Valentin Rasputin, who had been friends with him since his student years, said: “In poetry, Nikolai Rubtsov, in prose, Vasily Shukshin, in drama, Alexander Vampilov... - it seems that Russian literature lost its very soul and very hope almost simultaneously with these names...”

What struck you in the writer’s biography?

We will now find out how his worldview was reflected in his work.

3. Lecture by the teacher “The originality of Vampilov’s dramaturgy”:

As a playwright, Vampilov began with one-act joke plays: “Angel” (later - “Twenty Minutes with an Angel”, 1962), “Crow Grove” (1963), “House with Windows in a Field” (1964), etc. By 1972. all the main plays that created the Vampilov Theater were written: “Fair” (1964; later renamed by cultural officials as “Farewell in June”), “Elder Son”, “Duck Hunt” (both 1967); “The Story with the Page” (1968) is combined with the early joke “Twenty Minutes with an Angel” into a tragicomic performance in 2 parts “Provincial Anecdotes” (1970); “Last summer in Chulimsk” (1972). The vaudeville “The Incomparable Tips” (1972) has not been completed.

Vampilov brought into dramaturgy a strange hero, a hero of extremes, weak and strong at the same time, a familiar stranger, and discovered the character of a spiritual wanderer, a man with a split consciousness, a suffering personality, a repentant sinner, traditional for Russian classical literature.

Vampilov rehabilitated forgotten genres in drama - vaudeville and farce (“Twenty Minutes with an Angel”, “The Incomparable Tips”); genres of high satire - tragifarce and tragicomedy ("The Story with the Master Page", "The Eldest Son"); returned to Russian drama its cathartic meaning (“Duck Hunt”, “Last Summer in Chulimsk”). In his plays, the conflict between good and evil is freed from purely everyday straightforwardness.

Each of Vampilov’s dramas has its own history of creation, stage biography. At the same time, the works complement and clarify each other, creating two large dramatic cycles - satirical and tragic, giving Vampilov's dramaturgy integrity and organic artistic completeness. In different plays, the author examines different options for the hero’s behavior and the motives for his actions. The heroes of one play become secondary in the next. The secondary ones come to the fore and, turning into the main ones, again demand in Vampilov’s dramas the extension of their lives.

The moral quest of the hero, starting in the early play, continues in the next and ends quite unexpectedly in the story described by the author later. The internal kinship of the plays is thought out and organized. For example, an ordinary chance date turns into a date with death in Vampilov's plays. This is the main crisis moment - the hero’s recognition of himself, the discovery of his true face. Playful pranks lead to serious consequences. The device of fiction, an imaginary fact (“Twenty minutes with an angel” - there is no angel; “The story with a stage manager” - there is no stage manager; “Duck hunting” - there is no duck hunting, etc.) connects Vampilov’s plays with an atmosphere of conventionality of what is happening.

The cyclical nature is emphasized by the dialogical endings of the plays, unusual for Soviet drama. The end of the previous play in Vampilov’s dramaturgy gives rise to the beginning of the next one. The mysteries of its endings are unraveled in subsequent plays.

We can say that his dramaturgy is divided into 2 stages.

The first stage is pedagogical, i.e. the author grows with his hero. In this period, A. Vampilov relies on the inexhaustible forces of youth “a person must walk on the earth proudly and easily,” therefore, optimism is inherent in his works.

The conflict is two-pronged:

youth - on the one hand;

the wisdom of the fathers is on the other hand.

Humor serves a task: the resurrection of a person; behind a frivolous look at things, a deep form of knowledge of reality is revealed.

Heroes are able to draw conclusions based on internal spiritual values, so the author easily and naturally leads the heroes to proper actions that meet the highest human interests.

The second stage: the new hero, resisting the author, contrasts his ideal situation with his own, real one, in which there is no place for selfless love for one’s neighbor, good for the sake of good. Consequently, the author’s position is that of an honest artist, therefore the main mood of the work is sadness, which permeates all the plays of stage II.

Together with Vampilov, sincerity and kindness came to the theater - ancient feelings, like bread, and, like bread, necessary for our existence and for art.

What features of the writer’s creativity can you name?

Now let’s analyze the playwright’s work using the information obtained.

4. Analytical conversation on the play “The Eldest Son”:

This comedy is light and sad; What are the distinguishing features of the Eldest Son play genre?

What is special about the play's character system?

(This is a dramatic work, a conflict between two groups of heroes: normal and abnormal).

Which characters in the play can you classify as normal and abnormal?

Support your answer with lines from the text.

What age group does Sarafanov belong to?

How does he treat children?

How does he receive the news of the existence of his eldest son?

Busygin. Who is this young man?

How does he feel about his lie about being his son?

Why can’t he be indifferent to the Sarafanov family?

(Busygin took upon himself the problem of someone else’s family and, from a moral point of view, helps revive the family).

What are the similarities and differences with Silva?

(These heroes have the same destinies, but the spiritual world is different).

How do Nina and Vasya feel about their father, and why?

How do they accept "big brother"?

Kudimov, Makarskaya, Silva. What can you say about these people?

What do they have in common?

What happens to these people in the end? Have they changed?

Understanding the theme, the idea of conflict.

The first title, “The Suburb,” indicates the place where the action takes place. Why did the author change the title?

(Understanding what is happening in the play is very important).

What problems are being solved?

(Problems of trust, mutual understanding, kindness, responsibility).

What is the duality of the play?

How is the issue of truth addressed in the play? Compare with the question of truth in M. Gorky’s play “At the Depths”.

Why do the heroes of the play “The Eldest Son” lie? Is there any justification for this lie? Is the truth always needed?

What is the theme, idea of the work?

(The hero’s internal conflict due to the impossibility of achieving harmony between the ideal and reality).

Why do you think the play is called that?

The ending of the play is optimistic. Do you think this could happen in real life?

How do you think the fate of the heroes will develop in the future?

5.Final words from the teacher:

The spiritual kinship of people turns out to be more reliable and stronger than formal relationships. Behind the external bravado and cynicism of young people, an unexpected ability for love, forgiveness, and compassion is revealed. Thus, from a private everyday story, the play rises to universal humanistic problems. And the paradox is that people become family and begin to feel responsible for each other. Everything is on his shoulders: hope, the future of the family, and Busygin, the eldest son, is worthy of the honor, the moral basis of the “father,” therefore, he revived the family.

Vampilov's play teaches us to be kinder, to love, to respect our parents. No matter how your life turns out, no matter what, try to remain human.

6. Reflection:

What did the play make you think about? What did you take away from this lesson?

7. Differentiated homework:

1. Write a description of the character you like.

2. Write a review of the film “The Eldest Son”, comparing it with the play by A. Vampilov.

Literature:

Vampilov A. I'm with you, people! - M., 1988. - P. 413.

Russian writers of the 20th century: Biographical dictionary. - M.: Great Russian Encyclopedia; Rendezvous - A. M., 2000. - P. 133.

"Eldest Son"
The play “The Eldest Son” was declared by A. V. Vampilov as a comedy in genre. However, only the first picture in it looks comedic, in which two young men, who were late for the train, decide to find a way to spend the night with one of the residents and come to the Sarafanovs’ apartment.
Suddenly, things take a serious turn. The head of the family innocently recognizes Busygin as his eldest son, since twenty years ago he actually had an affair with one woman. Sarafanov’s son Vasenka even sees the resemblance

Hero with his father.

So, Busygin and his friend are part of the Sarafanovs’ family problems. It turns out that his wife left the musician long ago. And the children, having barely grown up, dream of flying out of the nest: daughter Nina gets married and leaves for Sakhalin, and Vasenka, not having finished school, says that she is going to the taiga to work on a construction site.

One has a happy love, the other has an unhappy one. That's not the point. The main idea is that caring for an elderly father, a sensitive and trusting person, does not fit into the plans of grown children.
Sarafanov Sr. recognizes Busygina as his son, practically without requiring significant evidence or documents.

He gives him a silver snuff box - a family heirloom that passed from generation to generation into the hands of his eldest son.
Gradually, the liars get used to their roles as a son and his friend and begin to behave at home: Busygin, already as a brother, intervenes in the discussion of Vasenka’s personal life, and Silva begins to look after Nina.
The reason for the excessive gullibility of the Sarafanovs Jr. lies not only in their natural spiritual openness: they are convinced that an adult does not need parents. This idea is voiced in the play by Vasenka, who later misspoke and, in order not to offend his father, corrects the phrase: “Someone else’s parents.”
Seeing how easily the children he raised rush to leave their home, Sarafanov is not very surprised when he finds Busygin and Silva preparing to leave secretly in the morning. He continues to believe the story about his eldest son.
Looking at the situation from the outside, Busygin begins to feel sorry for Sarafanov and tries to persuade Nina not to leave her father. During the conversation, it turns out that the girl’s fiancé is a reliable guy who never lies. Busygin becomes interested in looking at him.

He soon learns that Sara Fanov Sr. has not been working at the Philharmonic for six months, but is playing at a dance in the railway workers’ club. “He’s a good musician, but he’s never been able to stand up for himself. Besides, he drinks, and so, in the fall there was a layoff in the orchestra...”
– says Nina. Sparing their father's pride, the children hide from him that they know about the dismissal. It turns out that Sarafanov himself composes music (a cantata or oratorio “All Men Are Brothers”), but he does it very slowly (he got stuck on the first page).

However, Busygin treats this with understanding and says that maybe this is how serious music should be composed. Calling himself the eldest son, Busygin takes on the burden of other people's worries and problems. His friend Silva, who started the mess by introducing Busygin as Sarafanov’s son, is only having fun participating in this whole complicated story.
In the evening, when Nina Kudimov’s fiance comes to the house, Sarafanov raises a toast to his children and utters a wise phrase that reveals his philosophy of life: “...Life is fair and merciful. It makes heroes doubt, and it will always console those who did little, and even those who did nothing but lived with a pure heart.”
Truth-loving Kudimov finds out that he saw Sarafanov in the funeral orchestra. Nina and Busygin, trying to smooth out the situation, claim that he made a mistake. He doesn’t let up, continuing to argue. In the end, Sarafanov admits that he has not played in the theater for a long time. “I didn’t turn out to be a serious musician,” he says sadly.

Thus, the play raises an important moral issue. What is better: the bitter truth or the saving lie?
The author shows Sarafanov in a deep impasse in life: his wife left, his career did not take place, his children do not need him either. The author of the oratorio “All Men Are Brothers” feels like a completely lonely person in real life. “Yes, I raised cruel egoists. Callous, calculating, ungrateful,” he exclaims, comparing himself to an old sofa that they have long dreamed of throwing away.

Sarafanov is already planning to go to Chernigov to visit Busygin’s mother. But suddenly the deception is revealed: after quarreling with a friend, Silva betrays him to imaginary relatives. However, this time the good-natured Sarafanov refuses to believe him. “Whatever it is, I consider you my son,” he says to Busygin. Even after learning the truth, Sarafanov invites him to stay in his house.

Nina also changes her mind about leaving for Sakhalin, realizing that Busygin, who lied, is at heart a good, kind person, and Kudimov, who is ready to die for the truth, is cruel and stubborn. At first, Nina even liked his honesty and punctuality, his ability to keep his word. But in reality these qualities do not justify themselves.

Kudimov’s straightforwardness becomes not so necessary in life, as it makes the girl’s father grieve for his creative failures and exposes his spiritual wound. The pilot's desire to prove that he is right turns into a problem that no one needs. After all, the children have long known that Sarafanov does not work at the Philharmonic.
Putting a special meaning into the concept of “brother,” A.V. Vampilov emphasizes that people should treat each other more carefully, and most importantly, not try to play with other people’s feelings.
The happy ending of the play reconciles its central characters. It is symbolic that both the main deceiver and adventurer Silva, and the truth-loving to the core Kudimov leave Sarafanov’s house. This suggests that such extremes are not needed in life.

A.V. Vampilov shows that a lie is still sooner or later replaced by the truth, but sometimes it is necessary to give a person the opportunity to realize this himself, and not bring him to light.
However, there is another side to this problem. By feeding himself with false illusions, a person always complicates his life. Afraid to be frank with children, Sarafanov almost lost his spiritual connection with them.

Nina, wanting to quickly arrange her life, almost left for Sakhalin with a man she did not love. Vasenka spent so much effort trying to win Natasha’s favor, not wanting to listen to his sister’s sensible reasoning that Makarskaya was not a match for him.
Sarafanov Sr. is considered by many to be blessed, but his endless faith in people makes them think and care about him, becoming a powerful unifying force that helps him hold on to his children. It is not for nothing that during the development of the plot, Nina emphasizes that she is daddy’s daughter. And Vasenka has the same “fine mental organization” as her father.
As at the beginning of the play, in the finale Busygin is again late for the last train. But the day spent in the Sarafanovs’ house teaches the hero a good moral lesson. However, by joining the fight for the fate of Sarafanov Sr., Busygin receives a reward. He finds the family he dreamed of.

In a short period of time, people who were completely strangers to him become close and dear. He breaks up with the empty and worthless Silva, who is no longer interesting to him, and finds new true friends.

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Analysis of the play “The Eldest Son” by A. V. Vampilov

A.v. Vampilov "eldest son"

Failed party for four

Unexpected addition to the family

Busygin begins to believe in his own game. Character rebirth point

Love as a unifying force

Divergence in different areas of Busygin and Sevostyanov

Appearance of the groom

Catharsis

A family at a standstill

Busygin as a savior

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