Folk drama boat summary read. Folk heroic-romantic drama "Boat"

Dramatic area folk art Slavs is vast.

Russian folk drama and folk theater art in general are a most interesting and significant phenomenon of national culture. Even at the beginning of the 20th century, dramatic games and performances formed an organic part of festive folk life, be it village gatherings, religious schools, soldier and factory barracks, or fair booths. Collectors of our days have discovered original theatrical “hearths” in the Yaroslavl and Gorky regions, Russian villages of Tataria, on Vyatka and Kama, in Siberia and the Urals

Folk drama is a natural outgrowth of folklore tradition. It compressed the creative experience accumulated by dozens of generations of the broadest strata of the people. In later times, this experience was enriched by borrowings from professional and popular literature and democratic theater.

Folk actors for the most part were not professionals, they were a special kind of amateurs, experts in folk tradition, which was inherited from father to son, from grandfather to grandson, from generation to generation of village youth of pre-conscription age. A man would come home from work or a trade and bring back to his native village his favorite play, memorized by heart or copied into a notebook. Even if at first he was just an extra in it - a warrior or a robber, but he knew everything by heart. And now a group of young people is gathering and secluded place adopts the “trick”, learns the role. And at Christmas time there is a “premiere”.

At city and later rural fairs, carousels and booths were set up, on the stage of which performances on fairy-tale and national historical themes were performed, which gradually replaced earlier translated plays. Haven't left for decades mass scene performances dating back to the dramaturgy of the early 19th century - “Ermak, the Conqueror of Siberia” by P. A. Plavilshchikov, “Natalia, the Boyar’s Daughter” by S. N. Glinka, “Dmitry Donskoy” by A. A. Ozerov, “The Bigamist” by A. A. Shakhovsky, later - plays about Stepan Razin by S. Lyubitsky and A. Navrotsky.

First of all, the confinement of folk ideas was traditional. Everywhere they settled down for Christmastide and Maslenitsa. These two short theatrical “seasons” contained a very rich program. Ancient ritual actions in late XIX- at the beginning of the 20th century, already perceived as entertainment and, moreover, mischief, were performed by mummers.

The Yuletide and Maslenitsa games of mummers are accompanied by small satirical plays “The Master”, “The Imaginary Master”, “Mavrukh”, “Pakhomushka”. They became a “bridge” from small dramatic forms to large ones. The popularity of comic dialogues between master and headman, master and servant was so great that they were invariably included in many dramas.

A special role is played in folk drama by songs performed by the heroes at critical moments for them or by the choir - a commentator on the events taking place. Songs were required at the beginning and end of the performance. The song repertoire of folk dramas consists mainly of original songs of the 18th-19th centuries, popular in all strata of society. These are the soldiers’ songs “The White Russian Tsar Rode”, “Malbrouk left on a campaign”, “Praise, praise to you, hero”, and romances “I walked in the meadows in the evening”, “I’m heading off into the desert”, “What’s clouded, the clear dawn " and many others.

Drama heroes

Freedom-loving chieftain, robber, brave warrior, the rebellious royal son Adolf.

The “robber” drama is especially loved by the people for its atmosphere of romantic freedom, in which it was possible to exist outside the social hierarchy of society, take revenge on offenders, and restore justice. However, the drama did not avoid dark collisions: the constant feeling of danger, the restlessness of the robbers, their “rejection” were fraught with cruelty.

The most popular of the “robber” dramas are “Tsar Maximilian” and “The Boat”.

"Tsar Maximilian":

The basis of the play is the conflict between the king and his son Adolf, who abandoned the pagan gods and believes in Jesus Christ. The king orders his son to be imprisoned, then shackled and starved. Adolf remains adamant, and his father orders his execution. The executioner also kills himself (“I chop him and destroy myself”). In parallel, another line develops: the gigantic knight threatens the king, demands an “enemy,” the king calls Anika the warrior, who defeats the knight. At the end of the play, Death appears, she does not give the king a reprieve and hits him on the neck with his scythe. The struggle for faith was interpreted as steadfastness in convictions, the ability to resist a tyrant.

"Boat":

The “Boat” is based on a plot about the voyage of robbers led by an ataman along the Volga River, their subsequent molestation at a “farmstead” or an attack on a landowner’s estate. Subsequently, the plot developed: a scene appeared in a bandit camp, a scene of the arrival of a stranger who is accepted into the gang, a scene of a girl being captured by robbers, her refusal to marry the ataman, etc. In the description of the ataman of the robbers, the hero of the drama “The Boat,” the folklore legendary traits of invulnerability are “I blow away small bullets with my spirit (i.e., breath”).

Distinctive feature folk drama are the weekend monologues of her characters. They were often repeated and easily remembered by listeners. The hero had to tell who he was, where he came from, why he came, what he was going to (could) do. The performances were performed without a stage, curtain, wings, props and props - indispensable components of a professional theater. The action took place in the hut, among the people; The actors not participating in the scene stood in a semicircle, coming forward as needed and introducing themselves to the audience. There were no interruptions in the performance. The conventions of time and space are the brightest feature of folk theatrical performance. It required the active co-creation of the audience, who had to imagine, guided by the words of the characters, the place of events.

The main thing in this play is the originality of its language, the scope and color of the Russian character, they push the content into the background. I think the main thing here is not what it’s about, but how they say it. I'm like young director, I was infinitely pleased by this remark: “There are no scenery, no backstage, no prompter, or any stage devices at all.” I'm being sarcastic, of course, but it struck me as remarkable. Indeed, the time of this work and even its understanding are far from us, and in my time it is completely incomprehensible to me how to make a performance out of nothing (although it seems to me that this can be organically included in the Maslenitsa script, as a prologue to fist fights). And yet, despite the fact that I understand the gulf between me and this work, I am touched by its spontaneity. After reading it, the phrase “Wow!” remains in my mind! A?! This is necessary!!!”, because the play ends in a fight! And for some reason, the good feeling that each of us experienced in childhood upon first contact with folk art...

Ataman. Esaul!
Come to me quickly
Speak to me boldly!
You won't come soon
You won’t speak out boldly -
I'll tell you to roll a hundred,
Your Esaul service will be lost for nothing!
Esaul. What do you order, mighty Ataman?
Ataman. We'll hang out here,
Let's go down the Mother Volga for a walk.
Build me an inert boat instantly!
Esaul. Ready, Ataman:
Rowers in places
Oars on the sides!
Everything is in perfect working order.

At this time, all the robbers sit on the floor, forming between themselves an empty space (boat), in which Ataman and Esaul walk.

Ataman (addressing Esaul) Well done! Got it soon! (Addressing the rowers.) Pray to God, guys! Fuck off.

Volga open spaces and songs, the mere thought of this inspires me, because I know what the Volga is like, you can go down to it, feel the spirit and character with which it filled its cities. Then it seems natural that the Ataman should stomp his foot every time and pronounce the same text. Is it because this play itself is more like a song...

Comments:

First published. in the book: Sipovsky V.V. Historical Reader on the History of Russian Literature, vol. 1, no. 1, 5th ed. St. Petersburg, 1911, p. 239-242. See also: Berkov P. N. Russian folk drama of the 17th-20th centuries: Texts of plays and descriptions of performances / Ed., intro. Art. and comment. P. N. Berkova. – M., 1953, p. 143-149.

Down the Mother Volga - song unknown author XVIII-early XIX century.

Among the dense forests is a song version of F. B. Miller’s poem “The Burial of the Robber (from Freiligrat).”

There were two of us - my brother and I - the monologue was based on a fragment of A. S. Pushkin’s poem “The Robber Brothers”.

Hey mustache! Here's the mustache! Ataman's mustache! - a daring or robber song, the hero of which is considered to be the robber Ivan Us, who acted in the 17th century in the Voronezh province.

The attachment:

04. Folk drama. The dramatic elements listed above: ritual agricultural and family peasant actions, round dance games, types of buffoon creativity, church service, school spiritual theater with its interludes, nativity scenes, the sayings of the raeshnik, the booth and the Petrushka theater - all this together provided the necessary dramatic material for the creation of Russian D. N. in the proper sense. Repertoire of Russian D. science. small: only a few plays in terms of plot. But we must take into account the improvised nature of D. science, leading to a large number variations of the same piece. The most famous Russian legend, “Tsar Maximilian,” is registered in more than two hundred versions, often significantly diverging from each other.

Origin "Tsar Maximilian" has not yet been clarified. Some researchers, e.g. V.V. Kallash suggested that this play is a dramatic alteration of the life of the martyr Nikita, the son of the persecutor of Christians Maximilian, who subjected Nikita to torture for confessing the Christian faith. Others (P. O. Morozov and Academician A. I. Sobolevsky), based on foreign names in the play (Maximilian, Adolf, Brambeul or Brambeus, Venus, Mars), it is assumed that this D. n. dates back to some school drama first half of the XVIII century, in turn based on some translated story of the late 17th, early 18th centuries. But from these possible prototypes of theirs, the story and school drama, “The Comedy about Tsar Maximilian and his son Adolf” should have preserved, in any case, only very little - maybe only scenes where the pagan king demands from his Christian son the worship of “idol gods.” The rest of the content is filled with scenes borrowed apparently from some interludes (one has already been established - “About Anika the Warrior and his struggle with death”), episodes from the nativity scene, Petrushka, as well as from other folk plays related to “Tsar Maximilian”: “Boats”, “Master”, etc. Moreover, the text of “Tsar Maximilian” is filled with excerpts from folk songs and romances, as well as distorted quotes, folk 559 alterations of poems by Pushkin, Lermontov and other poets. As you can see, the improvisational principle is used very widely in the play. In its original form, in early XVIII century, the play “Tsar Maximilian” could be perceived from political urgency: in it (these are the assumptions of Shcheglov, Vinogradov and others) contemporaries could see a satire on the attitude of Peter the Great, who married a Lutheran and fought against many traditions of the church, towards Tsarevich Alexei (according to the play, Tsar Maximilian marries the “idol goddess”).

The second most widespread Russian folk drama goes by different names: "Boat", “Boat”, “Gang of Robbers”, “Ataman”, one of the more complicated options is “Mashenka”. In its basic scheme, this play is very close to the traditional beginning of several robber songs, often dedicated to the name of Stepan Razin: a boat is described floating down the river (Volga, Kama) with robbers sitting in it and an ataman standing in the middle of the boat. The content of the play is as follows: the ataman asks the captain what is visible in the distance. IN different options the drama is complicated by introductory episodes, e.g. borrowings from the third folk play “The Imaginary Master”, or “The Naked Master”. The last play based on a popular folk anecdote about a master and a headman, who informs the landowner that everything is fine with him, “only... mummy died, the house burned down, the cattle died,” etc. The play “Barin” is a parody scene of a master’s ships and the master's purchase of a horse, bull and people. Apparently the play originated among the landowners. In the play “The Horse”, or “The Rider and the Farrier”, although in a very confused form of dialogue between the rider (originally the master) and the farrier, the relationship to the landowners and various authorities is also parodically depicted. The play “Mavrukh,” representing a folk adaptation of the song “Malbrouk is about to go on a campaign,” contains a satire on the church funeral of the deceased and on the life of the clergy. Recorded in 1926 in Zaonezhye scientific expedition State Institute history of art, the play “Pakhomushka”, for all its outward rudeness, is very interesting as a parody of traditional peasant wedding ceremonies and for a church wedding ( cm. book "Peasant Art of the North", ed. State inst. History of Arts, Leningrad, 1927).

In terms of his composition and style, D. n. can be characterized the following features: the construction of each play is determined by a very faintly outlined plot core (this core is even clearer than others in “Tsar Maximilian,” where at least the intrigue of the struggle between father and son is given). In "The Lifeboat", or "The Boat", the predetermined requirements of the plot are limited only to the motive of the robbers' trip in the boat 560 and meetings along the way with the captain, with old people, etc. In “The Master” only the motive of the master’s comic purchase is given various items and people. In "Horse" the plot is a meeting between a horseman and a rider. In “The Imaginary Master” there is a meeting between the master and the headman, the latter’s comic report on the state of the estate. Consequently, the dramatic interest of the plays is caused not by the complex development and internal interweaving of the action, but either by the rapid change of scenes strung one on top of another (in “Tsar Maximilian”), or simply by the comic dialogue (in “The Master” and in “The Imaginary Master”). The comedy of the dialogue is based on a few, very simple techniques. One of the favorite techniques is the so-called. oxymorons, built on the combination in one or several phrases of contradictory concepts or images, which can create a comic impression of absurdity: “I skillfully heal: from the dead I draw blood to the sword, the healthy are brought to me, the weak are taken away from me” (“Tsar Maximilian” ") or: "All of us, good fellows, soaked, so that it didn’t leave a single thread wet, but all dry” (“Boat”). “The Imaginary Master” is almost entirely built on oxymorons. An even more external technique of comedy is also often encountered - metathesis, i.e. changing words in places in one or more phrases, resulting in “the lady is beating”, “the horse is dying”, etc. (“The Imaginary Master”). The technique of playing with homonyms (that is, words that sound the same, but have different meanings) and synonyms (close in meaning, but different from each other in form) is also widespread. Often the play with homonyms is intensified and facilitated by the motive of the deafness of one of characters. At the last appointment, for example. The entire scene with two old gravediggers in “Tsar Maximilian” is based entirely on the following: “Vaska the old man, go to the Tsar. - To which mower? “Not to the mower, but to the king,” etc. The method of implementing metaphors is also used (understanding them in the literal sense): “Is this a colonel? - Raise it higher. “Isn’t that the one who walks on the roof?” (“Tsar Maximilian”). These simple techniques of comedy contrast extremely with the pompous and florid speech of a number of characters, and the resulting grotesque impression is not always recognized as such by the participants and spectators of the D.N. In the speeches of Tsar Maximilian one can hear echoes of church and official clerical speech. As for the direction of satire in Russian literature, its arrows ch. arr. are directed, as in Russian folklore generally, to two social groups: on landowners and the clergy (cf. “The Master”, “The Imaginary Master”, “The Boat”, where the landowners are affected, and “Mavrukh”, where the priests are shown). In some versions of “Tsar Maximilian” and other plays, the officers are occasionally affected and the merchants are relatively rarely mentioned, which, again, corresponds to the specific gravity 561 these characters in general satirical folklore - in fairy tales and songs. Observations of ethnographer collectors (Onchukov, Vinogradov and many others), as well as analysis of the content and style of scientific research. lead us to assume that these plays, which perhaps arose initially among schoolchildren, became most widespread among soldiers and part of the peasantry, who were separated from the village thanks to latrine trades, especially since the conditions of barracks or artel life, implying accumulation in one place large quantity familyless people naturally contributed to the creation of peculiar theater groups. The plays learned in the city or at the factory were spread throughout the villages, usually included in the number of Christmas entertainments, involuntarily absorbing the dramatic elements of traditional ritual folklore.

In conclusion, it is impossible not to note quite numerous experiments in transferring forms of D. n. (in particular “Tsar Maximilian”) on the school stage ( cm. eg book by M. A. Rybnikova “Tsar Maximilian”). IN last decades, especially during the years of the revolution, many traditional forms D.N. supplanted by new spectacles: club and other public theater stages and ch. arr. cinema, which, with technical improvements, eclipsed the puppet theater, the booth, and the paradise. However, in many other places, for some social strata, traditional forms of D. n. could be used for propaganda, political and educational purposes. But relatively few practical attempts have been made in this direction (compare, for example, the persistent work of the Moscow “puppeteer” artists Efimovs). The fundamental possibility of the Soviet puppet theater, as far as we know, is not disputed.

04. Russian folklore (folk) dramaturgy. Russian folklore drama is characterized by a stable plot outline, a kind of script, which was supplemented with new episodes. These inserts reflected modern events, often changing general meaning script. IN in a certain sense Russian folklore drama resembles a palimpsest (an ancient manuscript, from the cleared text of which a new one is written), in it for more modern meanings There are whole layers of early events. This is clearly visible in the most famous Russian folklore dramas - Boat and Tsar Maximilian. The history of their existence can be traced back to no earlier than the 18th century. However, in the construction of the Boat, archaic, pro-theatrical, ritual roots are clearly visible: the abundance of song material clearly demonstrates the choric beginning of this plot. The plot of Tsar Maximilian is interpreted even more interestingly. There is an opinion that the plot of this drama (the conflict between the despot-tsar and his son) initially reflected the relationship between Peter I and Tsarevich Alexei, and was later supplemented storyline Volga robbers and tyrant-fighting motives. However, the plot is based on earlier events related to the Christianization of Rus' - in the most common lists of the drama, the conflict between Tsar Maximilian and Tsarevich Adolf arises over issues of faith. This allows us to assume that Russian folklore drama is older than is commonly believed and dates back to pagan times.

The most common subjects of folklore drama theater, known in many lists, are the Boat, Tsar Maximilian and the Imaginary Master, while the last of them was played not only as a separate scene, but was also included integral part in the so-called "great folk dramas".

Boat combines a cycle of plays with a “robber” theme. This group includes not only the plots of The Boat, but also other dramas: Band of Robbers, The Boat, The Black Raven. In different versions - different ratios of folklore and literary elements(from the dramatization of the song “Down the Mother Volga” to popular robber stories, for example, The Black Hump, or The Bloody Star, Ataman Fra-Diavolo, etc.). Naturally, we are talking about later (starting from the 18th century) versions of the Boat, which reflected the campaigns of Stepan Razin and Ermak. At the center of any version of the cycle is the image of the people's leader, the stern and brave chieftain. Many motifs of the Boat were later used in the dramaturgy of A. Pushkin, A. Ostrovsky, A. K. Tolstoy. The reverse process was also underway: excerpts and quotes from popular literary works, especially known from popular prints, were included in folklore drama and were fixed in it. The rebellious pathos of the Boat led to the repeated ban on its showings.

Tsar Maximilian also existed in many versions, in some of them the religious conflict between Maximilian and Adolf was replaced by a social one. This version was formed under the influence of the Boat: here Adolf goes to the Volga and becomes the chieftain of the robbers. In one version, the conflict between the king and his son occurs on family grounds - because of Adolf’s refusal to marry the bride chosen by his father. In this version, the emphasis is shifted to the farcical, farcical nature of the plot.

Lessons 77 - 94

Homework assignment . Read a piece of oral folk art "Boat".

Lessons 77-78. Drama as a genre of literature

CHARACTERS

Recorded by N.N. Vinogradov

Ataman, a menacing looking man, in a red shirt, a black jacket, a black hat, with a gun and a saber, with pistols in his belt; the jacket and hat are richly decorated with gold paper.

Esaul 1, dressed almost the same as Ataman; silver paper jewelry.

Robbers, dressed in red shirts, on their heads fur hats with icons from multicolored paper, various weapons in his belt.

Unknown (aka B ezobrazov), dressed in a soldier’s uniform, with a gun in his hands and a dagger on his belt.

A rich landowner, elderly, sometimes gray-haired, wearing shoes, a jacket or robe, a bowler hat on his head, and a pipe with a long stem in his hands.

The action takes place on the wide expanse of Mother Volga, on a sluggish 2 boat; last scene on the shore, in the house of a rich landowner. There are no scenery 3, no backstage 4, no prompter 5, or any stage equipment at all.
Everyone participating in the performance enters a predetermined hut while singing a song. The most commonly performed is the following:
You have permission, master.

Enter the new town!

P r i p e v: Oh, viburnum, oh, raspberry!

Black currant. (twice)

Enter the new mountain,

Walk along the hill, (twice)

Say a word.

In your house, master,

Is there any extra log?

If there is an extra log,

Let's knock him out!
At the end of the song, Esaul comes forward and, turning to the owner, says: “Would you like, owner, to watch the performance?”

The owner usually replies: “You are welcome!”, “Welcome!” or something like that.

All participants in the performance go out to the middle of the hut and form a circle, in the middle of which they stand opposite each other.
Scene 1
And that man (stomps his foot and shouts menacingly). Esaul!

E s a u l (stomps his foot in the same way and shouts back). Ataman!

Speak to me boldly!

You won't come soon

You won’t speak out boldly -

I'll tell you to roll a hundred,

Like a leaf before the grass!

What do you order, Ataman?

A t a m a n. Something is boring... Sing me my favorite song

E s a u l. I'm listening, Ataman! (He starts a song, the choir picks it up. The beginning of each line is sung by Esaul.)
Oh you mountains, my mountains,

Vorobievskie Mountains!

Nothing, oh, yes, the mountains.

They didn't argue.

You just gave birth to mountains,

White-flammable stone.

Runs from under a pebble

The river is fast... etc.

Come to me quickly

Speak to me boldly!

You won't come soon

You won’t speak out boldly -

I'll tell you to roll a hundred,

Your Esaul service will be lost for nothing!

A t a m a n. We'll hang out here. Let's go down the Mother Volga for a walk. Build me an inert boat instantly!

E s a u l. Ready, Ataman.

Rowers in places

Oars on the sides!

Everything is in perfect working order.
At this time, all the robbers sit on the floor, forming an empty space between them (a boat), in which Ataman and Esaul walk.
A t a m a n (addressing E s a u l u). Well done! Got it soon! (Addressing the rowers.) Pray guys to God! Fuck off.
The rowers take off their hats and cross themselves; then they begin to sway back and forth, clapping hand to hand (representing rowing and the splash of oars).
A t a m a n. Esaul! Sing my favorite song!
E s a u l sings along with all the robbers:
Down the Mother Volga...
A t a m a n (interrupting the song). Esaul!

Come to me quickly

Speak to me boldly!

You won't come soon

You won’t speak out boldly -

I'll tell you to roll a hundred,

Your Esaul service will be lost for nothing!
E s a u l. What do you order, mighty Ataman?

A t a m a n. Pick up the suspicious phone

Go to the Ataman's cabin,

Look in all directions:

Are there any stumps, roots or small places?

E s a u l. I look, I look and I see!

A t a m a n. Tell me what you see?

E s a u l. I see: there is a deck on the water!

Ataman ( as if he hadn’t heard).

What the hell is the governor!

Whether there are a hundred or two hundred of them -

Let's put them all together!

I know them and I'm not afraid

And if I get hot,

I'll get even closer to them.

Well done Esaul!

Take my suspicious pipe

Go to the ataman's cabin,

Look at all four sides

Are there any stumps or roots somewhere?

Small places

So that our boat doesn't run aground!

Look more accurately

Tell me quickly!

The robbers are coming...

A t a m a n (stomps angrily and screams).

Who is this walking in my protected forests?

And sings songs so loudly?

Take it and bring it here immediately!

E s a u l (jumps out of the boat, but returns immediately).

A daring stranger is walking in your protected forests

And he sings daring songs,

But you can't take it,

Threatens to kill with a gun!

A t a m a n. You are not Esaul, but a woman,

Your guts are weak!

Take as many Cossacks as you want.

Bring the daring alien!
E s a u l takes several people and jumps out of the boat with them.
Scene 2
Esaul and the robbers return and bring with them a bound Stranger.
A t a m a n (menacingly). Who are you?

Unknown. Sergeant Major 6 Ivan Pyatakov!

A t a m a n. How dare you walk in my protected forests

And sing daring songs.

Unknown. I don't know anyone:

Wherever I want, I walk there

And I sing daring songs!

A t a m a n. Tell us, whose tribe are you?

Unknown. I don’t know my family and tribe,

And recently I’ve been walking by choice.

There were two of us - brother and me,

Fed and nourished by someone else's family.

Life was not sweet

And envy took us;

I'm tired of the bitter lot,

I wanted to take a walk at will.

My brother and I took a sharp knife

And they set out on a dangerous trade:

Will the moon rise among the heavens,

We are from the underground - into the dark forest,

Let's hide and sit

And we keep looking at the road:

Whoever walks along the road -

Rich Jew

Or a pot-bellied gentleman, -

We beat everyone

We take everything for ourselves!

Otherwise, in the dead of night

Let's lay down a daring three,

We are approaching the tavern,

We drink and eat everything for nothing...

But the fellows didn’t walk for long,

We were soon caught

And together with my brother the blacksmiths forged,

And the guards took him to prison,

I lived there, but my brother couldn’t:

He soon fell ill

And he didn’t recognize me

And he recognized everything as some old man.

My brother soon died, I buried him,

And he killed the sentry.

He ran into the dense forest himself

Under the cover of heaven;

Wandered through thickets and slums

And I came across you.

If you want, I will serve you,

I won’t let anyone off the hook!

A t a m a n (addressing E s a u l u). Write it down! This will be our first warrior.

E s a u l. I’m listening, mighty Ataman! (Addressing Unfamiliar) What is your name?

Unfamiliar Write - Bezobrazov!

A t a m a n (as if he hadn’t heard).

What the hell?

These are worms in the mountains,

There are devils in the water

There are bitches in the forest,

In the cities there are judge hooks

They want to catch us

Yes, seat them in the prisons.

Only I'm not afraid of them,

And I’ll get closer to them myself.

Look better,

Tell me quickly

Otherwise I’ll order you to roll in a hundred times -

Your Esaul service will be lost for nothing!

E s a u l (looking into the pipe again). I look, I look and I see!

A t a m a n. What do you see?

E s a u l. I see a large village on the shore!

A t a m n. It would have been like this a long time ago, otherwise our belly gave out a long time ago. (Addressing the rowers.) Turn it on, guys.
All the robbers pick up the song in chorus and cheerfully sing:
Turn it up guys

Along a steep bank... etc. to end.

Is he happy for us?

Welcome to guests?
Scene 3

E s a u l (gets out of the boat and, approaching one of the participants in the performance, asks). Is the owner at home? Who lives here?

Landowner. Rich landowner.

E s a u l. We need you!

Are you happy with us?

Dear guests?

The landlord. Glad!

E s a u l. How glad are you?

L o u d e r . Like the devil!

E s a u l (menacingly). How? Repeat!

E s a u l. Well. That's the same! […]

And the aman orders the robbers to go to visit the rich landowner. The gang gets up and circles the hut several times, singing a “rolling” song: “Hey, mustache! Here's the mustache! Ataman's mustache!

Having finished the song, the gang approaches the rich room.

And with the landlord, the dialogue with the landlord is repeated almost literally

e s a u l o m.
A t a m a n. Do you have money?

L o u m d e r . No!

A t a m a n. You're lying, there is!

Landlord. I’m telling you - no!

A t a m a n. (addressing the gang, shouts). Hey, well done, burn the rich landowner!

U. At home you became acquainted with a piece of oral folk art called "Boat". And you, of course, have already noticed that this work is somehow special: it begins with a list of characters, then we're talking about about the scenery, then comes “Scene 1”. In the scenes, the characters talk and sing different songs, mainly about the life of robbers. You have to find out the features of this work. Where should I start?

D. First you need to find out what kind of work it is. This is a play. Written for stage production. We have already read the plays of Maeterlinck and Marshak.

U. The plays are intended to be staged on theater stage. But this play is special. It is not intended for the theater. Judging by the beginning of the text, it was played out by peasants in some kind of hut. Let's try to understand the features of this folklore genre. What determines the construction of each genre?

D. The task of the genre.

U. And what is the leading level that corresponds to the task of the genre in such works as a fairy tale, a story, a song?

D. Picture of life.

U. Where is it better to start: with the task of the genre or with the picture of life?

D. It is easier to first understand the picture of life, and then think about what problem the author is solving by choosing just such a picture of life.

U. Well, let's start with a picture of life. What is she like?

D. The robbers are sailing on a boat and talking, then they meet an unknown person and rob the landowner.

U. The characters in “The Boat” talk and perform some actions. What is this all for? What task is “hidden” here? Is this task similar to the task of genres you already know? (You can invite the children to look at the diagrams.)

D. General task epic genres- talk about events and the manifestation in them of the inner world of the characters in the narrator’s assessment. And here the heroes commit some actions, by which we learn about what kind of characters they have. There is their speech, from which we learn what they think and feel. Heroes are tested in confrontation, in conflict. There's just no narrator. He shouldn’t be in the play, because the play is not told, but shown.

U. This means that this play cannot be classified as an epic genre.

What can you say about the spiritual qualities of the characters in the play? How do the author-people evaluate them?

D. The heroes of the play are robbers. They rob the rich landowner. And the people don’t feel sorry for the landowner at all: “Hey, well done, burn the Rich Landowner!”

U. Do you like robbers?

U. Didn't you find it funny when you read this play?

D. The robbers are funny - they say funny: “ suspicious a tube". It's funny when Ataman pretends that he didn't understand Esaul. Or he's actually deaf, and that's funny too.

U. Often in this play, the funny thing is that the characters say “wrong” words like “suspicious pipe” and other words called “vernacular”. After all, the people spoke in simple language, did not know literary language, in which educated people wrote and spoke.

And I would like to emphasize one more thing: the word “Jew” in those days was not abusive or offensive. It meant the same thing as the word "Jew".

Summary of the discussion.

The robbers in this play are not scary and even funny. The attitude towards them is complex. The Ataman and the captain evoke laughter, and the Stranger talking about his life evokes sympathy. The rich landowner who first declares that he is glad is funny uninvited guests"like hell." And then, frightened, he says, “like dear guests.” He does not want to give away his wealth, which is for him more valuable than life, and provokes the wrath of the robbers. The performance ends with a "dump". Which is also funny. On the other hand, the free life of robbers is attractive to the creators of this drama.

In general, folk works often depict " noble"Robbers who stand up for the poor, rob the rich and distribute their wealth to the poor, that is, in the opinion of the people, they act justly.

In folklore, real-life leaders of popular riots - Stepan Razin, Emelyan Pugachev - also became noble robbers.

But there are other works of folk art in which cruel murderous robbers are depicted. Such robbers rob and kill everyone, and their people condemned them.

A. Pushkin “Robber Brothers”.

But were the real robbers actually noble? To answer this question, let's turn to the unfinished poem Alexander Sergeevich Pushkin “The Robber Brothers.”

Listen to the beginning of this poem (reads an excerpt from the poem - see task No. 12 in the literature notebook).
Not a flock of ravens flew together

On piles of smoldering bones,

Beyond the Volga, at night, around the lights

A gang of daredevils was gathering.

What a mixture of clothes and faces,

Tribes, dialects, states!.

From huts, from cells, from prisons

They flocked 8 for acquisitions 9!

Here the goal is the same for all hearts -

They live without power, without law.

The fugitive is seen between them

From the shores of the warlike Don,

And in black curls a Jew,

And the wild sons of the steppes,

Kalmyk, ugly Bashkir,

And the red-haired Finn, and with idle laziness

There's a wandering gypsy everywhere!

Danger, blood, depravity, deception -

The essence of the bond of a terrible family;

The one with the stone soul

Passed through all degrees of villainy;

Who cuts with a cold hand

A widow with a poor orphan,

Who finds it funny when children moan?

He who does not forgive does not have mercy,

Who enjoys murder?

Like a young man on a date with love.
Everything is quiet, now the moon

It points its pale light at them,

And a glass of foamy wine

It passes from hand to hand.

Stretched out on the damp ground,

Others fall asleep lightly, -

And ominous dreams fly

Over their criminal heads.

Others' stories are shortened

A gloomy night is an idle hour;

A new alien's story,

And everyone around him listens:

We grew up together; our youth

Brought up by an alien family:

For us children, life was not a joy;

We already knew the needs of the voice,

They endured bitter contempt,

And it worried us early

Cruel envy is torment.

There were no orphans left

Not a poor hut, not a field;

We lived in grief, amid worries,

We are tired of this share,

And they agreed among themselves

We have a different lot to try:

We took as our comrades

A damask knife and a dark night;

Forgot shyness and sadness,

And conscience was driven away..."

D. Very similar to the Stranger's monologue.

U. Right. And this happens because Pushkin’s poem is connected with a folk robber song about two robber brothers. AND " Boat", And poem Pushkin based on the same plot. Folklore researchers believe that the folk play includes an excerpt from Pushkin’s poem in a modified form. After all, in the text of the folk play there is no explanation for why the sick brother mistook the Stranger for “some old man.” Who is this old man? And in Pushkin’s poem, the alien talks about the old man and explains why his brother remembered him:
Then they flared up in him again

A boring conscience is tormented:

Ghosts crowded in front of him,

threatening a finger from afar.

Most often the image of an old man,

Long ago slaughtered by us,

It came to his mind;

The patient, covering his eyes with his hands,

I prayed for the elder like this:

"Brother! Have pity on his tears!

Don't cut him in his old age...

His decrepit cry is terrible to me...

Let him go - he is not dangerous;

There is not a drop of warm blood in him...

Don't laugh, brother, at gray hairs,

Don't torment him... maybe with prayers

He will soften God’s wrath for us!..”
Now open it in your literature notebooks task number 12. First, write yourself: which text do you like best and why.

Children in writing answer the assignment question and then compare their answers orally.

U. Do the stranger in the folk play and the alien in Pushkin’s poem evaluate their actions in the same way?

D. In the folk play, the Stranger says nothing about conscience. This means that his conscience does not torment him. But Pushkin’s hero says that they “drove away their conscience.”

U. How does the narrator of Pushkin's poem evaluate the robbers? Let's find evaluation words in the text and underline them.

Children, under the guidance of the teacher, complete the task.

Summary of the discussion. Pushkin has a completely different assessment of robbers. Yes, Pushkin feels sorry for the brothers when they were little orphans, he sympathizes with their grief, but, unlike the creators of “The Boat,” he does not sympathize with robbery, as a result of which people die. Pushkin is bitter, for him the robber is, first of all, a villain who awaits “God’s wrath.”

IN folk work everything is different: there the robbers are cheerful, free people, although funny in some of their manifestations. For no apparent reason they attack the Rich Landowner, who has done nothing wrong to them. And the scene of their collision is also presented not as scary, but funny.

U. Let's return to our task. You have to understand the features of this play as a type of folk art. Think about whether “The Boat” and any particular type of fairy tale have similar features?

D. Eat. It looks like an everyday fairy tale. The purpose of an everyday fairy tale is to ridicule a person’s bad traits and express admiration for his intelligence and resourcefulness. The picture of life is everyday, there are heroes - ordinary people, they perform actions in which their spiritual qualities are tested.

U. What is the leading emotional tone in an everyday fairy tale?

D. (vying with each other). Smile. Laughing at people's bad traits. Joyful surprise at ingenuity.

U. Is there anything funny in Pushkin's poem about robbers?

D. No. Everything is very sad there, seriously. And even scary.

U. Is everything funny in “The Boat”, or is there sadness here too?

D. I feel sorry for the Stranger - in childhood he and his brother had a “bitter share.” It's sad when the Stranger says that his brother died.

U. Plays can be funny - they are comedies. There are sad, mournful ones - these are tragedies. There is laughter and tears in plays; such plays are called " drams"(from the Greek “action”). So, you have found similarities in the play! Boat" with everyday fairy tale. Is there any difference? If so, what is it primarily expressed in?

D. (vying with each other). There is no narrator. "Boat" has no effect. The actors play it. This is a play.

U. And at the beginning of the lesson you correctly noted that there are similarities folk play "Boat" with original plays Maurice Maeterlinck's "Blue Bird" And Samuil Marshak« Twelve months". But before we talk about the similarities between folk plays and author’s plays, remember what features of author’s plays you “discovered” for yourself last year.
Note. For further “memories”, the teacher should re-read the relevant lessons in the previous manual. It is advisable to restore the texts of Maeterlinck and Marshak’s plays in children’s memory.
As a result of the discussion children “discover” the concept “ drama as a type of literature". As the lesson progresses, the teacher is on the board, and the children fill out the “Drama” column in diagram No. 14 in their notebooks. (After the lesson, the table is entered into the class book.)

Conclusion.

The task of drama is to show on the theater stage the actions of the heroes, their behavior in conflict, revealing their personal traits. In front of the audience, the characters perform some actions and talk to each other. This is how the heroes of the play are “tested.” Plays have no narrator.

The main feature of the play is that it is not intended to be read, but to be staged. Many people work on the production: director, set designer and costume designer, music designer performance, lighting and, of course, actors who play the roles of heroes. And the heroes are called “actors”. And they are called that because act: moving around the stage, talking. And everything that the actors should not say, but all the directors of the play should know, the author writes down for them in a special font - in stage directions(from the French “author’s explanation”, “author’s instructions”). Before the start of the play, a list of actors (heroes) is given, then he writes about what decorations should be on the stage, and everything that the actor needs to do is written along the text of the play, usually in parentheses.

U. Today you got your first glimpse of the drama as sort of literature. In the future, you will have to deepen these concepts, get acquainted with dramatic genres, learn to apply them in your reading practice.

Please note that the term “drama” refers to both a type of literature and one of its genres. The third meaning in which this word is used in ordinary speech is “a difficult event, an experience that causes moral suffering.

Now we can talk about similarity author's plays and folk plays. What are the similarities between these works?

D. They are composed for production, for the performance of performers. They, of course, have a similar task - to show the inner qualities of the heroes through their actions and statements, to express the author's assessment of what is happening.

U. Is there any difference in what the author expects from the directors? Well, for example, compare how the look of the scene is described in Marshak and how it is described in “The Boat”?

D. Marshak is counting on real theater, with decorations, lighting. But in a folk play the action takes place in a hut, there is no scenery, I even “make” a boat out of robbers.

U. Yes. This is a folk play - " folk drama". Are you ready to fill out the diagram for constructing “folk drama” as a genre?

D. ...

U. Usually, before drawing conclusions about the structure of a genre, do we analyze one work or several? Why?

D. Some. It is impossible to judge a genre by one text, because a genre is general features different works of this type.

U. It is true that the scheme includes the most common features of many works. And it was all the more easy for you because with works of all previous genres (with different fairy tales and with fables) you were familiar with in advance. It’s just that you didn’t know the long songs well, but they were small in volume, and you were able to quickly get to know several of them. And “folk dramas” are long texts. Moreover, there are few of them at all (this was not the most widespread genre of folk art). What should we do with the scheme?

D. ...

U. So as not to make a mistake (suddenly some features, most likely not the main ones, but will still appear in other dramas or, conversely, they will not appear in other dramas), we will make the scheme more specific, not for folk drama in general, but to a certain folk drama "The Boat".

The teacher is at the blackboard and the children are in their notebooks begin recording scheme No. 12 (see the final form of the scheme below).

Problem of the play- make the audience laugh in relation to the characters, cause sympathy for some of them. Leading levelPicture of life– the actions of the heroes, their speech. Heroes are ordinary people. Actions and conversations that reveal inner world heroes.

U. What is the next level you should identify?

D. Building a picture of life.

U. What determines the construction of a picture of life in epic works, similar in task to folk drama?

D. Plot.

U. Yes, the development of action, the development of the conflict in which the heroes participate. What moments did you highlight in the plot of fairy tales?

D. Pre-action, beginning of action, peak of action, denouement and after-action.

U. Does the drama "Boat" have all this?

The teacher, under the “dictation” of the children, draws a plot diagram on the board (options are possible).

Z1 – “Build me a boat.”

B1 - rowers sit on the floor.

R1 – “Fuck off!”

Z2 - “Who is this... walking... bring him here immediately!”

Q2 – “How dare you...?” - “Where I want, I walk there...”

R2 – “Write it down! This will be our first warrior."

Z3 – “Is he happy to see us, dear guests?”

Q3 – “Do you have any money?” - "No".

R3 - “Burn, burn the Rich Landowner!”

D. Actors act and speak.

U. And from their actions, from their words, we learn about events. How, for example, do you learn about the Unknown?

D. A song is heard behind the stage, and then the Ataman orders to find the one who sings.

U. How will you know how this meeting ended?

D. From the words of Ataman: “This will be our first warrior.”

U. This means that we learn about the development of actions, the actions, the characters of the heroes when we see the actions of the actors playing the roles of the heroes, and we hear their conversation is a dialogue. But in this conversation - characters dialogue- the Unknown bursts into a long story about his fate. Is this statement the same as all the others, or does it have some peculiarities?

D. ...

Summary of the discussion. This is a special statement - it seems to be independent of other remarks. Such a statement introduces the viewer to circumstances that were not embodied on stage: how else could we find out about the hero’s past?

U. There are also special statements in the text of this drama. For example:
E s.a u l. I see: there is a deck on the water!

Ataman ( as if I hadn't heard).

What the hell is the governor!

Whether there are a hundred or two hundred of them -

Let's put them all together!

I know them and I'm not afraid

And if I get hot,

I'll get even closer to them.

A t a m a n (as if he hadn’t heard).

What the hell?

These are worms in the mountains,

There are devils in the water

There are bitches in the forest,

In the cities there are judge hooks

They want to catch us

Yes, seat them in the prisons.

Only I'm not afraid of them,

And I’ll get closer to them myself.
U. You have already said that it turns out very funny when Ataman answers out of place, “as if he didn’t hear.” Is this inserted for laughs? Or is there another goal? Are these words needed to develop the action? Is the ataman actually “getting close” to the governor, to the “judge’s hooks”?

D. No, it doesn't fit. The action does not develop because of these words.

U. Then why?

D. …

Summary of the discussion. The chieftain here expresses some of his thoughts. The creator of the drama, as it were, gives Ataman the opportunity to reveal his inner world to the viewer, to show his attitude to life through a statement that is not directly related to the development of the action. Such statements, independent of the interlocutor’s remarks, reveal the hero’s mental life, his character, and are called monologue(from the Greek “one” and “word”, “speech”), in contrast to dialogue- conversation between two persons. You came across this type of monologue in a fable:
- Undress me, take off my shoes,

Lay me down, cover me up

Turn me over

And then, I guess I’ll fall asleep myself.

Then the children, with the help of the teacher, identify the features of the remaining levels of the form, noting a special non-literary level - the acting ( record “discoveries” in diagram No. 12).

D. Marshak took an existing fairy tale and made a play out of it. And about “The Boat” we have already said that there was a well-known folk robber song about two robber brothers. And Pushkin wrote his poem based on the plot of this song. And in the folk drama, the alien’s monologue from Pushkin’s poem is used.

U. Exist two ways creating plays. You can “translate” into a play some epic work. So Marshak shifted fairy tale - epic genre- into a play, and it turned out “ dramatic tale" Or you can come up with a play right away as a play. And these are different works of authorship. We say all the time: “Author, author.” But depending on what the author writes, it is called differently. What do you call an author who writes poetry?

D. Poet.

D. Storyteller.

D. Playwright.

U. Yes, playwright creates the play himself. What is the name of the work of an author who takes a finished epic work and creates a play based on it?

What does a dramatist need to do to “translate” an epic work into a dramatic one? Compare the objectives of epic and drama (diagram no. 14). What are the similarities? What is the difference?

Children express your opinions.
Homework assignment . Read the articles “Drama” and “Staging” in the textbook. Make a dramatization of the fairy tale “The Golden Sickle” - the first “wave” of the plot: Z1 - the fox’s request, B1 - the fox does not give up the sickle, P1 - the hare is crying. You can work together and then act out the prepared performances.
Lesson 79. Dramatization of the fairy tale “The Golden Sickle”
Collective creative work
U. At home you should have tried to adapt part of the fairy tale “The Golden Sickle” for production on stage. What is this type of author's work called?

Natasha. Staging.

Dima. Yes, sure. I came up with an introduction about the hare.

U. Well, who's ready to try first?

Three come out: Artem , Rafik , Dima .

Artem. Sell the sickle.

Rafik: 10 sous from you.

Dima. Sell.

Artem. Then in parentheses: “The hare pressed a lot.”
U. Such a remark in parentheses can be given in the text of the play, but how can it be shown on stage?

Children do gestures as if they were reaping.

A r t e m. Please. (Pause.) Give me my sickle.

Dima. Get out of here, you wicked one.
U. Let's evaluate the work. What worked in the staging and what didn’t?

Pavlik. It is necessary not to say “in brackets”, but to show it. This is not for reading.

U. Yes. And the actors had to tell. And if you pressed a lot or a little, it’s not visible. What kind of fox did you turn out to be?

D. Cunning.

U. Right away cunning or not right away?

Misha. Here she is a simpleton - she bought herself a bast sickle.

U. Why did she turn out to be stupid?

Mitya. There is no money... And I hoped.

U. You're already making this up. Was this in the text of the fairy tale?

Lena. She is cunning but stupid.

U. And the fox must be greedy. Have you seen this? The bast sickle is cheaper. Did she ask the price of the sickle?

D. No.

U. And one more thing about the price. Can there be “su” in a Russian fairy tale?

Nastya. No, we had pennies.

U. Or polushki, but not sous.

Misha. And if she is greedy, then she would buy a lot: everything for herself and herself.

U. But for this you need to spend a lot of money. You, Misha, are inventing your own fox, but you just have to stage it. You need to depict a fox like she is in a fairy tale. And in the fairy tale it says “supplied.” Do you have to go to Torzhok for this?

D. (vying with each other). Maybe she already had a sickle. I did it myself. It was a pity for money. Too lazy to go. It's hot, it's far away.

U. Let's return to the beginning of the fairy tale: “It was in the summer - from spring to autumn. Mother rye began to rush about on the ear, just in time to pour.” Our authors “translated” this into scenery. And “the time has come to reap”, can this be “translated” into decoration?

D. (one at a time). Words must be done. The hare can run and say: “It’s time to reap.” Add heroes, villagers.

U. Needed here extra heroes? Will such a “translation” spoil the fairy tale?

Olya. The hare was going to the marketplace, and the fox was fiddling around the house. The Hare says to the Fox: “It’s time to reap.”

U. Are these the exact words he will say? Or is it better some other way?

Dima.“Little fox, little fox, it’s time to reap”

U. It’s better, we must not forget about the language of the fairy tale. And how does Lisa respond?

Seryozha.“Lisonka, Foxy, it’s time to sharpen the sickles.” Lisa: “We’ll still have time.”

Misha. A hare passes by: “I’m going to buy a sickle and I can buy it for you.”

U. Okay, but is this how the hare will address the Fox? How does he feel about her?

Folk drama:“The Imaginary Master”, “Mavrukh”, “Parasha” - from N. Onuchkov’s collection “Northern Folk Dramas”; 1911, “Kedril the Glutton” – from “Notes from House of the Dead» F. Dostoevsky; “Boat” - from the anthology of V. Sipovsky, 1908.

Petrushka Theater:"Parsley". Folk puppet comedy - from the book by A. Alferov, A. Gruzinsky “Pre-Petrine literature and folk poetry”, 1911.

Nativity scenes:“King Herod” - from an article by V. Dobrovolsky in the book “Izvestia ORYAS”, 1908; “The Lady and the Doctor” - from the book by E. Romanov “Belarusian texts of nativity scenes”, 1898.

Raek: texts are given from the book by D. Rovinsky “Russians folk pictures", 1881, and articles by A. Gatsisky in the book "Nizhny Novgorod. Guide and index to Nizhny Novgorod and Nizhny Novgorod Fair", 1875.

Bear fun: texts from the books of D. Rovinsky, S. Maksimov, as well as popular print 1866, printed in lithography by A. Avramov.

Jokes from fairground barkers: texts written down at the end of the 19th century are given.

Imaginary master

Characters:

Barin, in military uniform, with shoulder straps; white straw hat, with a mustache, with a cane, with an umbrella.

A lady, a young man in disguise: in a dress, in a cap. Tries to speak in a thin voice.

The innkeeper, in an untucked shirt, a vest, a green apron on his chest, a cap on his head.

A footman, in a tailcoat or frock coat, a cap on his head, gloves on his hands.

The headman, an old man in a sermyag, a black hat with a bowler on his head, a bag over his shoulders, bast shoes on his feet.

Master. Maria Ivanovna, let's go for a walk. (They enter the inn and address the Innkeeper.) Innkeeper!

Innkeeper. Anything, master naked?

Innkeeper. No, good master, I praised you!

Master. Do you have rooms for Marya Ivanovna and I to settle down and drink tea and coffee?

Innkeeper. There are, even upholstered with trellises, sir.

Master. And will it be possible to have lunch?

Innkeeper. How, sir, master, is it possible, sir.

Master. What exactly will be prepared?

Innkeeper. Roast, sir.

Master. Which one exactly?

Innkeeper. A mosquito with a fly, a cockroach with a flea are cut into twelve parts, sir, prepared for twelve persons.

Master. Maria Ivanovna! What a wonderful roast! (To the Innkeeper.) How much will it cost, sir?

Innkeeper. No, we are not fools, but we live with people on deception; they didn’t see such people, they sent them home without an overcoat; and if you are treated decently, you can be released without a uniform; you have a louse on a lasso in one pocket, a flea on a chain in the other!

Master. Ah, Maria Ivanovna! He must have been in our pocket! I don’t want to walk, I move on.

Is his Lackey.

Lackey. What, the master is naked?

Master. Oh, how you shamed me!

Lackey. No, good sir, I praised you.

Master. Little Afonka, have you watered my horse?

Lackey Well, master, he gave me something to drink!

Master. Why is the horse's upper lip dry?

Lackey. Couldn't get it.

Master. And you would have cut it.

Lackey. I already cut off my legs at the knees!

Master. Fool, you would have cut off the trough!

Lackey. I already chopped off all four legs!

The headman enters, bows to the Master and speaks.

Headman. Hello, master-father, gray stallion, Mikhailo Petrovich! I was at the Nizhny Novgorod fair, saw pigs of your breed, and sold your master’s skin; at your mercy, the collar was very strong; I also brought you a gift: a goose and a turkey.

Master. What are you, you fool, is there really a noble breed of pork?

Headman. Your factory.

Master. Oh yes, my factory! Do bars wear collars?

Headman. Very durable, boyar-father!

Master. Well, tell me, headman, where are you from?

Headman. From your new village.

Master. Well, how are the peasants doing in the village?

Here I am in front of you

Like a leaf before the grass!

What do you order, Ataman?

Something is boring... Sing me my favorite song.

I'm listening, Ataman!

He begins to sing a song and the choir joins in.

The beginning of each line is sung by Esaul.

Oh, you, my mountains, mountains.

Vorobievskie Mountains!

You’re okay, oh yes, the mountains,

They didn't argue

You just gave birth to mountains,

White-flammable stone!

Runs from under a pebble

The river is fast... etc.

The chieftain, while singing a song, walks back and forth in deep thought with his arms crossed on his chest. At the end of the song he stops, stomps his feet and screams.

Come to me quickly

Speak to me boldly!

You won't come soon

You won’t speak out boldly -

I'll tell you to roll a hundred,

Your esaul service will be lost for nothing!

What do you order, mighty Ataman?

Let's go down the Mother Volga for a walk

Go to the ataman's cabin,

Look in all directions:

Esaul takes the cardboard tube and looks around.

Look carefully, tell me quickly!

I look, I look and I see!

Tell me what you see?

I see: there is a deck on the water!

(As if he hadn’t heard.)

What the hell kind of governor!

Whether there are a hundred or two hundred of them -

I know them and I'm not afraid

And if I get hot,

I'll get even closer to them!

Well done Esaul!

Take my suspicious pipe

Go to the ataman's cabin,

Look at all four sides

Are there any stumps, roots, small places?

So that our boat doesn't run aground!

Be careful, tell me quickly!

Esaul again begins to look around the surroundings. At this time, a song can be heard singing from a distance:

Among the dense forests

The robbers are coming...

(Angrily stomps and screams.)

Who is this walking in my protected forests?

And sings songs so loudly?

Take it and bring it here immediately!

(Jumps out of the boat, but returns immediately.)

A daring alien is walking in your protected forests

And he sings daring songs,

But you can't take it:

Threatens to kill with a gun!

You are not a captain, but a woman,

Your guts are weak!

Take as many Cossacks as you want,

Bring the daring alien!

Esaul takes several people and jumps out of the boat with them.

Scene 2

Esaul and the robbers return and bring with them a bound Stranger.

Who are you?

Stranger

Sergeant Major Ivan Pyatakov!

How dare you walk in my protected forests

And sing daring songs?

Stranger

I don't know anyone

Wherever I want, I walk there

And I sing daring songs!

Tell us, whose tribe are you?

Stranger

I don’t know my family and tribe,

And recently I’ve been going for a walk...

There were two of us - my brother and me.

Fed and nourished by someone else's family;

Life was not sweet,

And envy took us;

I'm tired of the bitter lot,

I wanted to take a walk at will;

My brother and I took a sharp knife

And they set out on a dangerous trade:

Will the moon rise among the heavens,

We are from the underground - into the dark forest,

Let's hide and sit

And we all look at the road:

Whoever walks along the road -

We beat everyone.

We take everything for ourselves!

Otherwise, in the dead of night

Let's lay down a daring three,

We are approaching the tavern,

We drink and eat everything for nothing...

But the good fellows didn’t walk for long,

We were soon caught

And together with his brother the blacksmiths forged,

And the guards took him to prison,

I lived there, but my brother couldn’t:

He soon fell ill

And he didn’t recognize me

And he recognized everything as some old man;

My brother soon died, I buried him,

And he killed the sentry,

He ran into the dense forest himself,

Under the cover of heaven;

Wandered through thickets and slums

And I came across you;

If you want, I will serve you,

I won’t let anyone off the hook!

(Addressing Esaul.)

Write it down! This will be our first warrior.

I’m listening, mighty Ataman!

(Addressing the Stranger.)

What is your name?

Stranger

Write - Bezobrazov!

The chieftain again orders Esaul to take the telescope and see if there is any danger.

(States.)

(As if he hadn’t heard.)

What the hell

These are worms in the mountains,

There are devils in the water

There are bitches in the forest,

In the cities there are judge hooks,

They want to catch us

Yes, seat them in the prisons,

Only I'm not afraid of them,

And I’ll get closer to them myself!

Look better,

Tell me quickly

Otherwise I’ll tell you to roll in a hundred times -

Your esaul service will be lost for nothing!

(Looking into the pipe again.)

I look, I look and I see!

What do you see?

I see a large village on the shore!

It would have been like this a long time ago, otherwise our belly gave out a long time ago!

(Addressing the rowers.)

Turn it on, guys!

All the robbers

(They pick up the song in chorus and sing the song merrily.)

Turn it up guys

To the steep bank, etc. until the end.

The boat approaches the shore. Ataman orders Esaul to find out who lives in this village.

(Shouts to the audience.)

Hey, semi-respectable ones, who lives in this village?

Someone from the audience responds: “Rich landowner!”

(Sends Esaul to the Rich Landowner to find out.)

Is he happy for us?

Dear guests?

Scene 3

(He gets out of the boat and, approaching one of the participants in the performance, asks.)

Is the owner at home? Who lives here?

Rich landowner.

We need you!

Are you happy with us?

Dear guests!

How glad are you?

Damn it!

Like dear friends.

Well, that's it!

Esaul returns back and reports everything to Ataman. The chieftain tells the robbers to go visit the Rich Landowner. The gang gets up and circles the hut several times, singing a “rolling” song: “Hey mustache! Here's the mustache! Ataman's mustache! Having finished the song, the gang approaches the Rich Landowner. The Ataman and the Landowner repeat the dialogue with Esaul almost literally.

Do you have money?

You're lying, is there?

I'm telling you - no!

(Addressing the gang, he shouts.)

Hey, well done, burn the rich landowner!

There is a dump and the show ends.

Mavrukh

Characters:

Mavrukh, in a white shirt and underpants, on his head is a white cowl, like a shroud, his face is covered, he has shoe covers on his feet. Mavrukh lies on a bench carried by four officers.

Officers, four, in black jackets, straw epaulets on their shoulders, sabers on their belts, caps or hats with ribbons and figures on their heads.

Panya, a guy dressed in women's dress, a scarf on the head.

Pan, in a long black overcoat, in a black hat.

A priest, in a robe made of a tailor's canopy, a hat on his head, in his hands a wooden cross made of sticks, a book “for privilege” and a censer - a pot on a rope, and in it chicken droppings.

A clerk, in a caftan and hat, holding a book.

The officers carry Mavrukh on a bench into the hut and place him in the middle of it, with his head along the hut.

Priest (begins to walk around the deceased, burns cense and speaks in a drawling voice in a sing-song voice, imitating the priest’s service).

Dead weirdo

Died on Tuesday

They came to bury -

He looks out of the window.

Everyone (participating in the comedy sings).

Mavrukh went on a hike.

Miroton-ton-ton, Miroten.

Mavrukh died during the campaign.

Miroton-ton-ton, Miroten.

A gentleman rides from there in a black dress.

Miroton-ton-ton-Miroten.

- Sir, dear gentleman,

What news are you bringing?

- Madam, you will cry,

Hearing my message:

Mavrukh died on the campaign,

He died from the ground.

Four officers carry a dead man

And they sing, sing, sing:

Eternal memory to him!

Pop. My lord, father, Sidor Karpovich,

How old are you?

Mavrukh. Seventy.

Pop (sings in a church style)

Seventy, grandma, seventy.

Seventy, Pakhomovna, seventy.

(Asks Mavrukh.)

My lord, father,

Do you have many children left?

Mavrukh. Seven, grandma, seven,

Seven, Pakhomovna, seven.

Pop. What will you feed them?

Mavrukh. Around the world, grandma, around the world,

Around the world, Pakhomovna, around the world.

Pop and that's it (they repeat the same phrase while singing further).

Around the world, grandma, around the world,

Around the world, Pakhomovna, around the world.

Pop (speaks drawlingly, in a church manner).

At sea on the island,

On the island on Buyan,

Near a chiseled pillar,

Gilded spindles

Well... crushed garlic.

Our kids found out

They walked towards this bull,

This garlic was dipped

The food was praised:

- Oh, what a dish!

Khvatsko, burlatsko,

Just Lobodytsko!

It's good to eat

Yes walk with. … far:

Twenty-five miles away,

You can't get any closer.

Deacon (sings).

...Terekha, peritoneum pop.

Pop (reads from a book, in a church manner).

My husband gets up in the morning

I wet my eyes,

I asked my wife to have some,

And the wife answers her husband:

- What a hungry beast!

You're not in a hurry to get to work,

You just hit the food.-

The wife's husband answers:

- A good wife gets up in the morning,

Blessed, he floods the stove,

And when the wife gets up,

He floods the stove with curses,

He pours the pots with abuse.

A good broom will plow

And at worst the broom will wave around.

Deacon (sings).

...Terekha, peritoneum pop.

Pop (sniffs).

Cloud, lightning above us

With the rains.

The uterus broke,

The steering wheel broke off

There is no Korshik.

The captain is sitting in the cabin

The pilot is sitting on the bar,

They cry, they sob,

Deaths expected:

- We walked together

We'll die suddenly.

Parasha

Characters:

Stepan, cab driver.

Vasily, cab driver.

Semyon Ivanovich, headman, with a badge.

Parasha, his daughter.

Ivan Petrovich, the caretaker of the postal station, in a long robe.

A passing merchant, dressed in Siberian clothing.

Stepan and Vasily, cab drivers, enter and sing a song.

What a Vanka, daring head,

How daring is your little head,

How far does he go from me?

Who do you blame on, friend, me?

Parasha enters.

Parasha. Hello!

Stepan leaves, Vasily Petrovich is left alone, he approaches Parasha, hugs her and speaks.

Basil. Praskovya Semyonovna! Do you love me? If you don’t love me, I’ll go and say goodbye to the white light. That's right, this is my destiny! (Leaves.)

Parasha. Vasily, don’t go, Vasily, come back!

Vasily Petrovich. Praskovya Semyonovna, do you love me? If you love me, come and give me your right hand.

Parasha comes up and offers his hand, and at this time the elder Semyon comes out, having drunk, and sings.

Headman.

A snowstorm is blowing along the street,

My little darling is walking through a snowstorm.

Ah, you are here!

Parasha and Vasily jump to the sides.

Oh, what a headman! I am headman Semyon Ivanovich. Everyone knows Semyon Ivanovich the headman. Although I’m a badass, I’m still an official, at least a headman. I'll go and see Ivan Petrovich, he'll treat me. (He's pounding outside Ivan Petrovich's house.) Is Ivan Petrovich at home?

Ivan Petrovich. Home, home, Semyon Ivanovich, home!

Headman. Ivan Petrovich! I'm visiting you. Will you treat me?

Ivan Petrovich. Go, go, Semyon Ivanovich, I’ll treat you, I’ll treat you.

Headman. Ivan Petrovich! Do you know my daughter Parenka?

Ivan Petrovich. I know, I know, Semyon Ivanovich, a good girl.

Headman. Yes, nice girl, Ivan Petrovich! I'll give her in marriage to you,

Ivan Petrovich. What are you talking about, Semyon Ivanovich, I heard that she is marrying the cab driver Vasily.

Headman. What do you! My Paranka and for Vasily? Yes, I will give him as a soldier.

Leaves the caretaker.

Vasily Petrovich alone appears on stage, walks around, sad; Stepan enters.

Stepan. Why are you, Vasily Petrovich, upset? It was as if a mouse had landed on a rump.

Vasily Petrovich. Eh, Stepan, how can I not grieve! One horse is worn out - where am I going to drive with one? How will I buy another horse?

Stepan. Yes, you should go to Uncle Semyon Ivanovich and ask for money. Besides, I heard that you want to marry Paranka?

Vasily Petrovich. Eh, Stepan, don’t laugh, she’s far from my equal.

Stepan. Well, go and see Ivan Petrovich. He will probably give you money for a horse.

Vasily Petrovich. And the truth, Stepan, go to Ivan Petrovich. (He comes and hangs out at Ivan Petrovich’s apartment.) Ivan Petrovich at home?

Ivan Petrovich. At home. What do you need?

Vasily Petrovich. Ivan Petrovich, I am at your mercy. My horse is out of stock and I need to buy another one. Won't you give me money?

Ivan Petrovich. Okay, Vasily! Just bring me a horse as collateral, and even take off my boots as collateral. I'll give you money.

Vasily Petrovich began to cry and walked away. Meets Stepan.

Stepan. Well, Vasily, did the caretaker give you money?

Vasily Petrovich. Eh, Stepan! Yes, he demands a horse as collateral, and orders him to take off his boots.

Stepan. Oh, he's a disgusting mug! Here, Vasily, a hundred rubles, get by with God!

At this time, the elder Semyon runs in.

Headman. Hey guys! Stepan, Vasily! Who will go to carry the merchant?

Stepan. Basil! Go ahead, by the way, you’ll get a horse there.

Vasily leaves, and a bell jingles behind the wall.

He comes back and meets Stepan.

Stepan. What, Vasily, did you take the horse?

Vasily Petrovich. No, I didn’t take it, it didn’t fit.

At this time the headman shouts.

Headman. Hey guys, Stepan, Vasily! Which one was carrying the merchant?

Vasily Petrovich. Uncle Semyon, I was driving.

Headman. The merchant lost money, five thousand rubles. Didn't you take it?

Vasily Petrovich. No, uncle, I didn’t take it.

Headman. But we still need to search you.

The merchant enters. Vasily is searched and a hundred rubles are found.

Stepan. This money is mine: I gave it to him for a horse.

Merchant. No, these are not mine. I had five thousand, but here I only had a hundred rubles.

The headman will arrest Vasily.

Stepan. What did Vasily travel in? Was there any money left in the carriage?

Vasily Petrovich. Go, Stepan, look in the cart there.

Stepan goes to look and returns with money.

Stepan. Uncle Semyon, the money was found here.

Merchant. This is my money.

Headman. Oh, did you blindside Vasily in vain?

The merchant gives Vasily five hundred rubles.

Headman (shouting). Vasily is a great guy, Vasily is good, I will give my daughter Paranka for Vasily.

The Warden intervenes.

Caretaker. That you, Semyon Ivanovich, wanted to give Paranka for me, and hand over Vasily as a soldier.

Headman. Oh, you vile mug! Yes, here's a pig's ear, not Paranka.

Shows the corner of the floor.

The caretaker runs away and everyone disperses.

Black.

Should be: baked.