Keywords

HISTORICAL CHRONICLE/ REMARKA / AUTHOR'S POSITION / SPEECH CHARACTERISTICS / LANGUAGE FACILITIES / LEXICO AND SYNTAX/ HISTORICAL CHRONICLE / STAGE DIRECTION / AUTHOR "S POSITION / SPEECH CHARACTERISTICS / LANGUAGE MEANS / LEXIS AND SYNTAX

annotation scientific article on linguistics and literary criticism, the author of the scientific work - Maslennikov Semyon Vladimirovich

The article discusses the structure, semantics and functions of remarks in historical chronicle A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky". Remarks in modern linguistics have not been sufficiently studied. Remarks (stage directions) are a special type of compositional and stylistic units that are included in the text of a dramatic work and, along with monologues and replicas of characters, contribute to the creation of its integrity. The remark has important functional and communicative features that make it possible to determine rather strict norms in the construction of a work. V historical chronicle A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky" uses a large number of directions. The author of the chronicle often creates remarks for the replicas of those characters who play the main role in the storyline of the work. The number of remarks increases towards the end of the dramatic work and increases in crowd scenes, since the remarks convey the dynamics of events, show the development of the action. The concentration of remarks to the remarks of a particular character indicates that the author's "voice" is required to reveal the inner world of this particular hero of the drama. Remarks in Ostrovsky's chronicle are divided into several types and serve to reveal the characters' images, characterize the dramatic action of the chronicle. With the help of remarks, it is revealed author's position, a text modality is created.

Related Topics scientific works on linguistics and literary criticism, the author of the scientific work is Maslennikov Semyon Vladimirovich

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Functions of stage directions in the historical chronicle by Alexander Ostrovsky “False Dmitriy and Vasili Shuysky”

In the article, the structure, semantics and functions of stage directions in the historical chronicle by Alexander Ostrovsky “False Dmitriy and Vasili Shuysky” are considered. Stage directions in modern linguistics are insufficiently studied. Stage directions (scenic instructions) are a special type of the composite and stylistic units included into the text of drama work and along with monologues and cues of the characters, promoting creation of integrity of the play. The stage direction possesses the important functional and communicative signs allowing to define rather rigid norms in construction. In the historical chronicle by Alexander Ostrovsky “False Dmitriy and Vasili Shuysky”, what is used is a large number of stage directions. The author of the chronicle often creates stage directions for cues of those characters who play a major role in the subject line of work. The number of stage directions increases by the final of the drama work and especially in crowd scenes as stage directions transfer dynamics of events, show action development. Concentration of stage directions for cues of the specific character testifies that disclosure of the inner world of this character of the drama requires the author's “voice”. Stage directions in Alexander Ostrovsky's chronicle are subdivided into some types and serve to disclosure of images of characters, characterise drama action of the chronicle. By means of stage directions, the author's position reveals, the text modality is created.

The text of the scientific work on the topic "Functions of remarks in the historical chronicle of A. N. Ostrovsky" Dmitry the Pretender and Vasily Shuisky "

Functions of remarks in the historical chronicle of A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky"

UDC 821.161G19 '

Maslennikov Semyon Vladimirovich

Kostroma State University named after N.A. Nekrasov

[email protected]

FUNCTIONS OF REMAROK IN THE HISTORICAL CHRONICLE of A.N. OSTROVSKY "DMITRY SAMOZVANETS AND VASILY SHUISKY"

The article discusses the structure, semantics and functions of remarks in the historical chronicle of A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky". Remarks in modern linguistics have not been sufficiently studied. Remarks (stage directions) are a special type of compositional and stylistic units that are included in the text of a dramatic work and, along with monologues and replicas of characters, contribute to the creation of its integrity. The remark has important functional and communicative features that make it possible to determine rather strict norms in the construction of a work. In the historical chronicle of A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky" uses a large number of directions. The author of the chronicle often creates remarks for the replicas of those characters who play the main role in the storyline of the work. The number of remarks increases towards the end of the dramatic work and increases in crowd scenes, since the remarks convey the dynamics of events, show the development of the action. The concentration of remarks to the remarks of a particular character indicates that the author's "voice" is required to reveal the inner world of this particular hero of the drama. Remarks in Ostrovsky's chronicle are divided into several types and serve to reveal the characters' images, characterize the dramatic action of the chronicle. With the help of remarks, the author's position is revealed, a text modality is created.

Key words: historical chronicle, remark, author's position, speech characteristics, linguistic means, vocabulary and syntax.

Remarks in modern linguistics have not been studied enough. Let us name the names of scientists who studied the functions of remarks in dramatic works. The dissertation research of K.K. Asanova, V.A. Bezrukova, A.V. Khizhnyak, V.P. Khodus, as well as scientific articles devoted to some aspects of the existence of a remark in an artistic context (E.K. Abramova, K.F. Baranov, M.B. Borisova, N.S. Zhuikova, I. P. Zaitseva, L. V. Ilyicheva, I. N. Levina, E. A. Pokrovskaya, T. V. Sedova, G. A. Ustimenko, M. Yu. Khvatova, L. A. Shuvalova and others).

Among the literary works of a different nature, related to this topic, the researches of S.D.Balukhaty, T.G. Ivlieva, S.N. Kuznetsova, N.K. Piksanova, A.P. Skaftmova, V.V. Sperantova

S.V. Shervinsky. An analysis of the formal functions of remarks is proposed in the monograph by the German researcher G.H. Dams, mainly based on stage experience, are based on essays by S.V. Krzhizhanovsky "Theatrical remark" and B.V. Golubovsky "Read the remark!"

In our study, we focus on the definition and classification of remarks, which are given in the book by N.A. Nikolina "Philological Analysis of the Text". The author provides a system of remarks and traces their evolution, from the 18th century to the 19th century. Remarks (stage directions), according to N.A. Nikolina, is a special type of compositional and stylistic units included in the text of a dramatic work and, along with monologues and replicas of characters, contribute to

creating its integrity. The main function of the remarks is to express the intentions of the author. At the same time, this means of transmitting the author's voice serves as a way to directly influence the director, actors and the reader of the drama.

The main types of remarks developed in Russian drama of the 18th - early 19th centuries. (influenced by Western European drama). In the same period, their leading functional and communicative features were determined, which made it possible to determine rather strict norms in the construction of remarks. Let us list these norms typical for dramatic works of the 18th-19th centuries.

1. Remarks directly express the position of the "omniscient" author and the communicative intentions of the playwright. At the same time, the author's consciousness is objectified as much as possible. The remarks do not use the 1st and 2nd person forms.

2. The time of the remarks coincides with the time of the stage realization of the phenomenon (scene) of the drama (or its reading). Despite the fact that the remark can be related in duration to the action of the whole picture or act, the dominant time for it is the present, the so-called real stage time.

3. The local significance of the stage direction is determined by the nature of the stage space and, as a rule, is limited by it.

4. A remark is a stating text. Accordingly, it does not use either interrogative or motivating sentences. Remarks avoid evaluative means, means of expressing uncertainty and tropes, they are stylistically neutral.

5. The remarks are characterized by the standardization of construction and a high degree of repetition in them of certain speech means.

© Maslennikov S.V., 2015

Bulletin of KSU named after ON THE. Nekrasov "S> No. 6, 2015

LINGUISTICS

Remarks in the drama are quite varied in function. They model the artistic time and space of the work, indicate:

Place or time of action: June 19, 1605 (hereinafter, examples from the play by A. Ostrovsky "Dmitry the Pretender and Vasily Shuisky" are given);

The actions of the heroes or their intentions: gives a silver penny to the holy fool;

Features of the behavior or psychological state of the characters at the moment of the action (introspective remarks): stopping in thought before Osinov;

Non-verbal communication: shrugging shoulders;

Replica addressee: Dmitry (Basmanov);

Remarks to the side related to the character's self-reflection, decision-making, etc.: The cook (with himself).

Note that the play "Dmitry the Pretender and Vasily Shuisky" contains a large number of remarks (160 units), which are represented by verbs and verb forms expressing the semantics of the process. Most of all the directions are verb-remarks (46 units) and adverbial remarks (32 units). Therefore, we see that there is more dynamics in the chronicle than statics.

The author of the chronicle often uses remarks only to the replicas of those characters who play the main role in the storyline of the work. For example, remarks are most often found next to the statements of Vasily Shuisky, Dmitry the Pretender, Kalachnik, Basmanov. And the reader feels the author's attention to the characters depicted. Interestingly, the number of stage directions increases towards the end of the piece and increases in crowd scenes. This can be explained by the fact that the remarks give dynamics to the work, show the development of the action. Let's consider the most interesting remarks that we analyze taking into account their interaction with the characters' lines.

Kurakin (quietly to Golitsyn)

And Belsky remembers all Ivana;

Anyone who is cute is dreaming about it ...

Masalsky

(quietly to Basmanov)

And Shuisky is all proud of his relatives.

Dmitry Shuisky (quietly to Vasily Shuisky)

Golitsyn all wills

Lacking.

In this episode, the directions are similar in structure: they contain an indication of the addressee in combination

with the adverb quietly. In this passage, the boyars talk about the coming to power of Dmitry the Pretender, they are afraid of something to anger him, and therefore they talk in a whisper. Thanks to the quiet remark, a special, conspiratorial atmosphere is created in the scene.

Margeret

Vive l'empereur!

(To the soldiers.)

Ruft: “Hoch! vivat der Kaiser! "

Vivat! hoch! hoch!

Kalachnik

The dogs groaned.

There is laughter among the people.

Remark among the people laughter shows the reader the ironic reaction of the people to the speech of the Germans, which for a Russian person is similar to the barking of a dog. Ostrovsky was able to portray the speech of the Germans in the form of onomatopoeia. The word dog has a negative connotation. Thus, we see the negative attitude of the people towards foreign invaders.

Belsky

(takes a reed from a German)

Can't be tolerated! Free our hands

And we will blow it apart!

Basmanov

(takes the reed from another)

A traitor is one who can be indifferent

In the eyes of the king to listen to such speeches!<...>

Basmanov

(bringing up the cane)

Do not spew your nasty curses,

Otherwise I'll kill you!

Belsky

(bringing up the cane)

Shut up! Not a word more! ...

This scene is interesting to us because the remark is repeated takes a reed, which explains the actions of the heroes. Berdysh is a wide, long ax with a crescent-shaped blade on a long shaft. It can be assumed that the reed in this scene is a symbol of punishment and judgment. The action of this scene takes place in the chambers of Dmitry the Pretender, where he tries to condemn Osipov for organizing a popular riot. Basmanov with Belsky, loyal servants of the Pretender, are trying to intimidate the character with the help of cane and want to get a confession. Consequently, the remark in this context acquires a symbolic meaning and adds additional emotionality to the scene.

Yes, they are running! Dear

They are being dragged to them.

Poles with a girl at the gate of the house where Vishnevetsky stands

Kalachnik

Day robbery, timid!

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Functions of remarks in the historical chronicle of A.N. Ostrovsky "Dmitry the Pretender and Vasily Shuisky"

To the rescue! Work with anything.

They break the trays on which the trays are placed, and fight with the Poles with the fragments. They beat off the girl.

Vishnevetsky's people with guns are coming out of the gate.

Kalachnik

With squeaks ?! Click the people, you guys!

Get out, people! The Poles have offended! ...

In the last scene, the uprising of the people and the overthrow of Dmitry the Pretender take place. Mass scenes prevail here, almost all key characters meet and, in order to more accurately convey the dynamics, to show the actors the sequence of actions, Ostrovsky introduces a large number of remarks that represent whole sentences.

Thus, the number of remarks accompanying the monologues and remarks of the characters is associated with the images of the characters to which Ostrovsky wanted to draw the attention of the reader and viewer. For example, there are many remarks in the monologues of Dmitry the Pretender and Vasily Shuisky, while the remarks of other characters are made out with a minimum number of remarks. Remarks that introduce the lines of the Pretender and Vasily Shuisky or indicate their actions are varied in lexical content, name different addressees of speech or mark the fact of self-addressing, emphasize the rapid change in the characters' emotions. The concentration of the remarks that introduce or accompany the speech of certain characters indicates that the author's “voice” is required to reveal the inner world of this particular character in the drama. As our research has shown, the remarks in the chronicle of A.N. Ostrovsky are subdivided into non-

how many types that perform different functions in the work. First of all, they serve to reveal the images of the characters, characterize the dramatic action of the chronicle. With the help of remarks, the author's position is expressed, a text modality is created.

Bibliographic list

2. Nikolina N.A. Philological analysis of the text: textbook. allowance. - M .: Publishing Center "Academy", 2003. - 256 p.

3. Ostrovsky A.N. Complete works: in 12 volumes - Moscow: Art, 1973.

4. Ostrovsky A.N. Encyclopedia / Ch. ed. [and compiled by] I.A. Ovchinin. - Kostroma: Kostromaiz-dat; Shuya: Publishing house of FGBOU VPO "TTTGPU", 2012. -660 p.

5. Piksanov N.K. Comedy by A.S. Griboyedov "Woe from Wit" // Griboyedov A.S. Woe from wit. - M .: Nauka, 1987 .-- 478 p.

6. Skaftmov A.P. To the question of the principles of constructing the plays of A.P. Chekhov // Chekhov A.P. Three Sisters: Plays. - SPb .: Azbuka-Klassika, 2008.-544 p.

7. Ushakov D.N. Explanatory dictionary of the modern Russian language. - M .: Alta-Print, 2008 .-- 512 p.

8. Fokina M.A. Philological analysis of the text: textbook. allowance. - Kostroma: KSU im. ON THE. Nekrasov, 2013 .-- 140 p.

9. Khodus V.P. Remark in the dramatic text of A.P. Chekhov: stereotypicality and new models // Changing language world: abstracts of international reports. scientific. conf. - Perm, 2001 .-- S. 34-36.

Bulletin of KSU named after ON THE. Nekrasov "S> No. 6, 2015

Kommersant, March 6, 2007

Time of Troubles has come at the Maly Theater

The Maly Theater presented the premiere of the play "Dmitry the Pretender and Vasily Shuisky" based on Ostrovsky's half-forgotten historical chronicle. The impostor seemed to ROMAN DOLZHANSKY as a ray of light in the dark kingdom.

The chronicle of Alexander Nikolaevich Ostrovsky on the stage of the Maly Theater has not been staged for a hundred years, and on other stages it is not that they dragged it out to the point of indecency. This is the very case when not exclaiming "Where did everyone look!" I would like to ask the theater again: maybe there is some reason that the people were not eager for this play? Maybe not everything that came out of the pen of a genius is worth worrying about? True, Alexander Nikolayevich himself highly appreciated his work, but he had such a forgivable weakness: to declare each new play almost his best.

"Dmitry the Pretender and Vasily Shuisky" is a kind of sequel to "Boris Godunov", in structure reminiscent of the tragedy of Pushkin. The chronicle begins after the death of Godunov and describes the short reign of Tsar Dmitry, who went down in history with the prefix "false": the conquest of Moscow, the intrigues of the boyars, the arrival of Poles and Marina Mnishek, the condemnation of Vasily Shuisky, his return and election to the kingdom after the death of the impostor.

Not the best, to put it mildly, Ostrovsky's play in Maly was staged by Vladimir Dragunov. Directing it, in truth, is not worth the paper on which it can be described: these come out on the right, those come out on the left, disturbing music is turned on at disturbing moments, emotions are transmitted by voice modulations, the actors are dressed in approximately historical costumes. It seems that the artist Larisa Lomakina tried to give the performance a certain degree of detachment with her design - this is a system of lifting concert curtains imitating half-burnt drawings with views of Moscow. But on stage there is no agreement, and the actors play the way they would have played, on an empty stage or among tons of natural scenery. In general, we have before us a typical pseudo-academic production, marked by signs of deafness and discord between the theater and life.

There is, however, one curious circumstance. It concerns the contrast between the protagonist, Dmitry the Pretender, and Vasily Shuisky. It is known that Dmitry at Ostrovsky at first appeared as almost a positive hero - a reformer, a rather merciful person who tried to make the state he inherited more rational and modern. Then, however, the author corrected the image of the king. But even in the current edition of the Maly Theater, Dmitry looks like a much more attractive character than the half-caricatured boyars-intriguers who first swore allegiance to him and then killed him. We can say that the Polish protégé in the current performance illustrates a rather popular historical theory that the reign of Dmitry was a chance Russia missed to follow the European path of development.

I don't think that was the director's intention. Judging by his statements in the program, the director’s sympathy is on Shuisky’s side, and it’s probably strange to expect such heresy on the patriotic stage as sympathy for a foreigner. The conflict of the protagonists lies not so much in their actions as in the manner of performance and stage drawings. Boris Nevzorov, under the leadership of Vladimir Dragunov, does everything to bring the viewer together with Vasily Shuisky, a personality, according to historians, unattractive in every sense. Dumpy, solid Shuisky is strong in his epic might. Mr. Nevzorov is loud, unhurried, he suffers pathetic and heartfelt in the foreground, changes little from stage to stage, even after the chopping block, on which he was laid before reading the decree of pardon, and in the finale he wanders meaningfully around the stage, apparently, depicting painful thoughts about the fate of the state.

Gleb Podgorodinsky, who plays Dmitry, is not entrusted with such theatrical outrages. He is a very gifted actor - very agile, technical, independent, modern. And he does his role not according to the laws of a cardboard booth, but with a nerve and a lively eye. So his character also becomes sympathetic: he is kind of unkind to his temper, and he looks like a human being, and the state wants something good.

By the way, about Russian customs. Since your reviewer is never invited to the Maly Theater (apparently, my criticism is considered unfair, and the above will also be considered the same), I usually buy a ticket for premieres at the Ostrovsky House. It so happened that I was late for "The Pretender ...", I ran into the theater literally with the third bell, immediately to the box office, and the cashier offered the remaining single ticket. Names the price - one thousand rubles. It’s not cheap, but there’s nothing to do, you have to write a review, so I put the bill in the window, grabbed the ticket and ran to my place. Then, already late in the evening, I began to consider a ticket for nothing to do: bah, but there is no price on it at all, and below you can see traces of the overprinting "free", carelessly cut off with scissors. And they sold it to me, I emphasize, at the box office of the theater - a national treasure. Eh, impostor father, where are you ...

Novye Izvestia, March 6, 2007

Olga Egoshina

Vague play

Another Tsar was shown at the Maly Theater

The Maly Theater hosted the premiere of Alexander Ostrovsky's dramatic chronicle "Dmitry the Pretender and Vasily Shuisky". The performance continues the "historical and everyday" repertoire of the theater, the playbill of which includes the plays "Tsar Ivan the Terrible", "Tsar Fyodor Ioannovich", "Tsar Boris", "Tsar Peter and Alexei".

Having finished the chronicle "Dmitry the Pretender and Vasily Shuisky" in 1866, while still warm from work, Alexander Ostrovsky wrote to Nekrasov: new activity will start; everything that I have written up to now has only been attempts, and this, I repeat again, badly or well written, is a decisive work. " Ostrovsky doubted in vain about the merits of the chronicle: the carefully written broad historical background (it’s not for nothing that the playwright spent so much time studying the chronicles), the wonderful role of the Pretender — all this was clearly written “well”. As to the place of this play in his dramatic legacy, Ostrovsky was decisively mistaken: the rarely staged play was by no means included in his "golden canon."

"Dmitry the Pretender and Vasily Shuisky" rarely appears on stage, and the history of its productions is not rich in successes. It seems that this time, too, when choosing a play, the theater was guided not so much by its merits as by the needs of the repertoire. The Maly Theater is one of the few theaters today, in relation to which one can speak of the "construction" of the repertoire, of the repertoire line verified for centuries. Small insists on his loyalty to the author. At a time when the district committees were watching for "loyalty to the letter", the persistence of the leadership of the oldest theater in Moscow caused bewilderment. Now, the more freedom and even frivolity around the classical text, the more respect the Maly Theater evokes, which continues to observe copyright. In a sense, it gives our chaotic life a sense of immutability (at least in one particular place). In England there are shops that preserve the 18th century assortment (natural wax for boots and fixators for mustaches). The Maly Theater preserves not only principles, but also whims.

150 years ago, Ostrovsky suffered from the stinginess of the management, which decidedly did not want to spend money on a historical play, preferring to use the scenery "from the selection." Today's scenery and costumes for "Dmitry the Pretender and Vasily Shuisky" were probably created by the artist Larisa Lomakina specifically for this production, but they seem to be rented. On the stage there is a wooden platform and hanging panels with architectural drawings (as if slightly scorched at the edges). You can play anything in this entourage, but you cannot extract artistic energy and meaning from it.

Stereotyped mise-en-scenes directed by Vladimir Dragunov; the actors' intonations are familiar, correct, but taken, as it were, from a general dramatic selection. Finally, the choice of performers is not very accurate. It is hard to believe that Vasily Shuisky, as Boris Nevzorov plays him, is capable of systematic intrigue - he is too noble, wide open and hot. It is even more difficult to believe in the reckless passion of Dmitry the Pretender - Gleb Podgorodinsky for Marina Mnishek - Elena Kharitonova, who suits him more as an aunt than as a bride (the Maly Theater's custom of giving the roles of brides to honored actresses sometimes interferes).

But not clouded by the decisions of the director and the talents of the actors, Ostrovsky's text, as they say, “catches” the audience. The tragic twists and turns of native history, the characters of the Time of Troubles, the collision of Russia and the West - all this resonates in a surprisingly receptive auditorium.

Not becoming an artistic event, the new production organically blended into the repertoire line. And, by God, when the theater is built as a whole, the quality of a separate brick-performance is not as important as its integration into the whole. Once upon a time, 150 years ago, reviewers joked that Moscow high school students could learn history from the Maly Theater poster. Now the educational pathos does not seem to be the subject of jokes, and the goal of "teaching native history" seems to be quite worthy.

Culture, 15 March 2007

Irina Alpatova

Kush served

"Dmitry the Pretender and Vasily Shuisky". Small theater

Under the jackpot, of course, one should understand the Russian throne, which for so many centuries in a row has attracted sovereigns called and self-appointed, indigenous and foreign, worthy and not quite. The endless regal history in the Maly Theater is full from year to year. Ivan the Terrible and Fyodor Ioannovich, Tsar Boris, Emperor Peter with Tsarevich Alexei, and even during perestroika times, the last Russian autocrat Nicholas II - all appeared on this stage. Now the turn of "Dmitry the Pretender and Vasily Shuisky" has come.

This play by Ostrovsky is one of the little-known, even in the theater that they used to call the House of Ostrovsky. In the capital (and, probably, and not only), it has not been staged for a hundred years. On the one hand, it is understandable - the "dramatic chronicle" is long, ponderous and in places very pompous, although all these signs are legitimate companions of the genre. On the other hand, its appearance today on this very stage is quite understandable. Ostrovsky remains a good psychologist here, too, trying to deduce the universal laws of the eternal Russian turmoil and human adaptation to it. Historical nuances are, of course, important, but they do not determine everything. Moreover, it seems that it is people who place all these accents - according to their desire and understanding.

Perhaps that is why they did not build luxurious everyday interiors on the Maly stage this time. On the contrary, everything is very stingy and creates a deceptive image of the historical distant. The artist Larisa Lomakina seemed to have found all these cathedrals, bell towers, chambers on the pages of old manuscript books that miraculously survived in numerous Moscow fires. Burnt pages, continually replacing each other, hover over the stage, denoting the place of action - both conditional and quite definite, where still the main thing dominates - the Russian square for popular riots and regal revelations with the indispensable Execution Ground.

Director Vladimir Dragunov also did not neglect the historical circumstances of the Time of Troubles, he nevertheless tried to make a performance about the ever-repeating signs of "palace coups" of all times and eras. Where the people, hearing the "ringing" of the speeches of the rulers, at first rebel senselessly and mercilessly, and then, as usual, are silent. Where real and potential sovereigns and their retinue flatter, incite, hypocritically repent and occasionally try to understand themselves. Where the throne is a coveted toy, with which they sometimes do not know what to do, the toy is deadly.

Dmitry the Pretender - Gleb Podgorodinsky and Vasily Shuisky - Boris Nevzorov in Dragunov's play are not so much opposed to each other as exist in parallel, but in one situation - the thirst for the throne. The first has already got it: The Pretender - Podgorodinsky appears to the "people" on stage and in the hall wearing a Monomakh hat and other attributes of power. He is young and playful, partly cunning, but more simple-minded, despite the "Jesuit" background. A sort of "young reformer" echoing enlightened Europe only because dresses are more comfortable there, customs are freer and music is not so mournful. Ready, due to his youth, to throw everything at the feet of the adored Marina Mnishek (Elena Kharitonova), whose domineering appetites grow hour by hour. However, this Pretender is no stranger to nobility and youthful romanticism in the desire to "know himself", to unravel the mysteries of the dark past and to understand his own destiny. But in his virtuoso game with an imaginary mother, Tsarina Martha (Tatyana Lebedeva), one can already clearly feel not only desire, but also the ability to go to the goal in any way.

Shuisky - Nevzorov, in terms of strength of mind and experience of power intrigues, is not like young Dmitry. Despite his boyar rank, this Vasily Ivanovich is a strong Russian peasant, with deceptively democratic simplicity, but he knows how to calculate everything a hundred moves ahead. However, a certain glorification of the next Russian autocrat nevertheless happened here, although there is not a hint of operatic stilt in Nevzorov's play. But all these beautifully designed light changes and solemn musical "atmosphere" (composer Grigory Gobernik), his monologues in the hall are doing their job. And this staged publicity of internal monologues, perhaps, gives them a tinge of declarativeness - not in the manner of performance, but in the form of presentation. Although Shuisky - Nevzorov remains so sincere and temperamental that the audience, already listening to the whole performance with reverence for what is happening, immediately bursts into applause.

Maly's audience generally amazes in a good way with its spontaneous "selection" and understanding of where and what it is going to. Your attention and respect for what is happening on the stage. This, judging by the contrast with many other performances on other stages, the Maly Theater, despite all the vicissitudes of times and the change in stage styles, stubbornly retains its serious tradition and does not need any justifications. Although this full contact with your viewer can serve as such an excuse. Well, someone must in the end maintain stability in an unstable world. Let it not to everyone's taste, but to everyone - his own. In addition, in the Maly, actors, especially the older generation, already involuntarily get lost in an ensemble, where everyone sings (Boris Klyuev - Golitsyn, Vladimir Safronov - Tatishchev, Vladimir Bogen - Basmanov, Vladimir Nosik - Mstislavsky, and others), and the general melody of themes most only asserts.

The final of Shuisky's sovereign ambitions is predetermined by history, Ostrovsky, and the director. Despite the appearance of a "good" and "wise" tsar, justified by the artist in every possible way, in this situation he is one of the many throne holders, whose age is short and inglorious. The director releases Shuisky - Nevzorov onto an empty and bare stage, only illuminated by bloody reflections, and seems to be ready to give him the floor again. But Shuisky is doomedly silent in this eerie emptiness. And this silence is much more eloquent than many fiery monologues.

Results, March 12, 2007

Elena Sizenko

Hats down! ..

The Maly Theater turned to the chronicles of Alexander Ostrovsky

I am sure that many spectators were not without apprehension going to the premiere of Ostrovsky's dramatic chronicle "Dmitry the Pretender and Vasily Shuisky": again these boyar hats and bows, caftans and false beards, obligatory in a historical performance. In a word, living pictures, mummers. And then there is the white, as it were, "epic" verse The director of the play, Vladimir Dragunov, seems to have foreseen these alarming forebodings and tried as best he could to overcome the existing "decorative" canon. He staked on the emphasized asceticism, dryish graphics. The events of the Time of Troubles of 1605-1606, the invasion of foreigners, the confrontation between the Pretender and Shuisky, the fierce struggle for power of different boyar parties - all this unfolds on an empty stage board with a dim, wavering candle flame against the background of monochrome lifting curtains resembling burnt drawings of cathedrals. Kremlin Chambers (artist Larisa Lomakina). And historicism in costumes is rather arbitrary. Not to mention the fact that luxurious glued beards, as well as wigs and all sorts of thicknesses, were given a well-deserved resignation here. The director is passionate about something else. And the viewer is trying to captivate either by researching the sophisticated political technologies of that time, or by a completely ideological dispute. About what? About the past and future of the country, about "Westernism" and "Slavophilism". It turns out? Sometimes yes. And then the audience, being surprised at the relevance of what is happening, vividly reacts to the remarks, as if taken from yesterday's newspaper. We are talking about imposture - a very typical Russian phenomenon, and also about the guilt of the boyars before the people, about the export of the Russian treasury by foreigners abroad. In general, there is not enough to bend the fingers. But the main thing is, of course, thinking about the essence of Russian statehood, about the sad cyclical nature of its development, when the fall into chaos is inevitably replaced by the appearance of a new tyrant, and so on ad infinitum. Pushkinskaya is essentially a thought.

Curious, you might say, but how is it expressed on stage? Not in the form of a real dispute? Of course not. In the best moments, the outlines of a not outstanding, but serious dramatic performance appear, sincere in their desire to reach the foundation, to the roots of what has been happening to us for the past century. Another thing is that it was not without placards and templates. But I would like to blame not only the director for this, but also the play, which, frankly, is not the most successful of the classic. (No wonder she was not disturbed in the theater for more than a hundred years.) Actors have to heroically overcome the schematism of characters and situations. Someone pierces at the very first phrase and then begins to habitually grab at cliches: to break a hat in a servile manner, to tear a shirt on his chest, or, like Marina Mnishek (Elena Kharitonova), to depict high-class arrogance. And someone manages to get off the voice and other "koturn". This is especially true of Gleb Podgorodinsky. One wants to peer at his Pretender, he is so accurate, modern in intonation, in every gesture. He is charming, uncommon and, what is most interesting in the actor's interpretation, clearly wishes Russia well. But Boris Nevzorov (Vasily Shuisky), apparently, still does not understand everything in the role. And that is why it is tempting to imagine our statesman as just a dumpy, epic "hope-sovereign" ... In a word, an amazing thing, but it is sometimes much easier for us to play some Shakespearean chronicle than our own, dear. Maybe a little more detachment is needed?

Original language: Date of writing: Date of first publication:

"Dmitry the Pretender and Vasily Shuisky"- a play (in fact, "a dramatic chronicle in two parts") by Alexander Ostrovsky. Written in 1866.

Writing history

Ostrovsky began work on "Dmitry the Pretender ..." in early February 1866. As Ostrovsky himself testifies, "Dmitry the Pretender ..." is "the fruit of fifteen years of experience and long-term study of sources."

Having completed work on the chronicle for publication, Ostrovsky set about creating a stage version of the play. The discrepancies between print and stage text are significant.

Characters

scene one

• Prince Vasily Ivanovich Shuisky.
• Prince Dmitry Ivanovich Shuisky.
• Timofey Osipov, clerk from the order.
• Fedor Konev, a Moscow merchant.
• Ivan, kalachnik.
• Afonya, the holy fool.
• Moscow, Novgorod, Pskov merchants; clerks, priests without place, wanderers, petty traders, peddlers and peasants.

scene two

• Dmitry Ivanovich, impostor.
• Shuisky, Prince Vasily Ivanovich.
• Shuisky, Prince Dmitry Ivanovich.
• Kurakin, Prince Ivan Semyonovich.
• Rubets-Masalsky, Prince Vasily Mikhailovich,
• Yan Buchinsky, Dmitry's secretary.
• Yakov Margeret, captain of a German company.
• Korela, Don chieftain.
• Kutska, Zaporizhzhya chieftain.
• Savitsky, Jesuit.
• Konev.
• Kalachnik.

• Desyatskie, Hungarians, Poles, Cossacks, Cossacks, Tatars, Germans, Polish men at arms, boyars, nobles, merchants, archers and any people of both sexes.

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An excerpt characterizing Dmitry the Pretender and Vasily Shuisky

- Does he love you?
- Does she love? Natasha repeated with a smile of regret about her friend's incomprehensibility. - You read the letter, did you see it?
- But if he is an ignoble person?
"He! ... an ignoble man?" If you only knew! - Natasha said.
- If he is a noble person, then he must either declare his intention, or stop seeing you; and if you don’t want to do this, then I will do it, I will write to him, I will tell dad, ”Sonya said resolutely.
- Yes, I can not live without him! Cried Natasha.
- Natasha, I don't understand you. And what are you saying! Remember your father, about Nicolas.
- I do not need anyone, I do not love anyone but him. How dare you say that he is ignoble? Don't you know that I love him? - Natasha shouted. “Sonya, go away, I don’t want to quarrel with you, go away, for God's sake, go away: you see how I suffer,” Natasha shouted angrily in a restrained irritated and desperate voice. Sonya burst into tears and ran out of the room.
Natasha went to the table and, without thinking for a minute, wrote the answer to Princess Marya, which she could not write the whole morning. In this letter, she briefly wrote to Princess Marya that all their misunderstandings were over, that, taking advantage of the generosity of Prince Andrei, who gave her freedom when leaving, she asks her to forget everything and forgive her if she is to blame for her, but that she cannot be his wife ... All this seemed to her so easy, simple and clear at that moment.

On Friday, the Rostovs were supposed to go to the village, and on Wednesday the count went with the buyer to his Moscow region.
On the day the count left, Sonya and Natasha were invited to a big dinner at the Karagin's, and Marya Dmitrievna took them. At this dinner Natasha met Anatole again, and Sonya noticed that Natasha was saying something to him, wishing not to be heard, and throughout the dinner she was even more agitated than before. When they returned home, Natasha, first with Sonya, began the explanation that her friend had been waiting for.
- Here you, Sonya, said various nonsense about him, - Natasha began in a meek voice, the voice that children speak when they want to be praised. - We have explained to him today.
- Well, what, what? Well, what did he say? Natasha, how glad I am that you are not angry with me. Tell me everything, the whole truth. What did he say?

According to ed. A. N. Ostrovsky. Collected works in 10 volumes. Under total. ed. G. I. Vladykina, A. I. Revyakin, V. A. Filippova. - M .: State. publishing house thin. literature, 1960. - Volume 5. - Comments by NS Grodskaya. OCR: Piter. A. N. Ostrovsky DMITRY SAMOZVANETS AND VASILY SHUISKY (1866) Dramatic chronicle in two parts I SCENE ONE FACES: Prince Vasily Ivanovich Shuisky. Prince Dmitry Ivanovich Shuisky. Timofey Osipov, clerk from the order. Fedor Konev, a Moscow merchant. Ivan, kalachnik. Afonya, the holy fool. Moscow, Novgorod, Pskov merchants; clerks, priests without place, wanderers, petty traders, peddlers and peasants.

The canopy in the house of Vasily Shuisky.

Merchants and clerks sit on benches; common people are on the floor.

1st Moscow merchant

God has brought! The prince was born On the grandfather's and fatherly thrones And on his own in all the great kingdoms He sat down again and was established ...

2nd Moscow merchant

The Great Miracle has happened! Divine providence The traitors were punished with dignity And kept the branch born from the tribe of the godly kings.

Clerk

Here is a holiday! Moscow has not seen this for a long time. In costly outfits, With triumph shining on their faces, The people are walking with cheerful footsteps In the preceding of banners and icons ...

(Quiet.)

Meet the Antichrist!

1st peasant

2nd peasant

It's time to be free, they cleaned up the fields, sowed, but haymaking did not suddenly ... Well, we agreed ...

3rd peasant

And that's all, brothers, they are happy And cheerful! The joy is, What about the saint, on the great day of Christ.

What a sin! What a sin!

Clerk

They chatted, That the prince was killed in Uglich, And they believed then; and here he is with us! And, therefore, God kept it for us.

1st peasant

There was a rumor, and before it was interpreted that Dmitry, the Uglitsky prince, was alive ...

Merchant Novgorod

There is a rumor in Moscow, and even more so in cities ...

Clerk

And there is no miracle, and there is nothing to wonder that the Lord of the living kept him.

1st Moscow merchant

No one is surprised at this - they know that everything is possible for the Lord: he can also raise the dead from the grave.

Peasant

By itself!

Wanderer

If God wants, He will do it.

Peasant

Well, what to say!

1st Moscow merchant

(to Novgorod)

And do you believe, when the news came to us About the death of the tsarevich, tearful sobs spread throughout Moscow; they began to speak, That it is easier for us again Tsar Ivan Torment than to be orphaned at all Without the royal offspring; even though it happened to us terribly, but nevertheless we knew that he was the tsar's industry, not a slave ... And here again the descendants of Monomakh On the formidable table the parent enters!

Spiritual joy and universal joy ...

Well, the joy is not great Under the oath to live! The saint's curse Lies on us and the children. How long have we been the Representative before God, the patriarch, During the service, in full vestments, Brought down from the pulpit, clothed with rags, Shamefully dragged along the streets ?! And he raised his right hand to us, And cursed all Moscow and those living in it, And, like a stone. crushed our souls with the Curse ... Our deeds and thoughts, All the wombs are covered with a curse; Our prayers do not reach God ...

Clerk

You would not talk loudly in front of the people, Otherwise, you will just get into the dungeon.

Silence.

1st peasant

Ahti, sins! Oh, Lord have mercy!

2nd peasant

At least something to chew, for the sake of boredom.

3rd peasant

Over there in his bosom he was blown away ... What do you have: purse ali kovriga?

1st peasant

My purse has gone to people, And it won't go home either.

2nd peasant

You are, apparently, also the Unmercenary?

1st peasant

Naga does not accumulate gold! There is a crumb in stock, an hour with kvass, Or even so. In the morning I went out of the house, And the belly - the enemy - does not remember yesterday.

2nd peasant

Bring it, break it and give it to us! Let's share!

Not about a single bread ...

Yes, you quieter!

Clerk

What a foolish breed! In the boyar's mansion he crept in, Sits like a guest; His Adam's apple will dissolve, And you will not calm down; not by it says: "You plant a pig ..."

1st peasant

You are not angry! We will shut up: timid, chew more quietly!

Silence.

2nd peasant

Than to sit like that, let's change shoes.

Why are you in the barn ?!

Clerk

Call the servant Yes, push you out of the neck by the gate.

Enter the kalachnik and the holy fool.

Kalachnik

Judges, clerks and you, honest fathers, Guests-merchants and other people - Bow to the mother of the damp earth.

(Sits on the floor.)

Wretched, sit next to me!

Foolish

I'm afraid of the Antichrist!

Is it soon, Afonya, to wait for him?

Foolish

The unexpected has come!

1st Moscow merchant

I won’t be surprised! Boyarin, Prince Vasily Ivanovich, the best trading people Equals with the marketplace hucksters; Goes to him and clever and mad, And the buffoon and the Duma nobleman.

Kalachnik

Why are you going to the boyar? To borrow your mind? .. And I sell mine On little things. Eh, beards are big, you would be glad to seize the common people, but there is no will!

Petty trader

(kalachnik)

Where have you been? Neither at the auction nor in the shops can be seen ...

Kalachnik

I was in Tula.

Petty trader

What for?

Kalachnik

I wanted to join the Cossacks ...

Foolish

A Cossack is a Pole!

Kalachnik

To the Poles and the Cossacks Life has come, Afonya; Tsar Demetrius Forward the boyars admit them to their hand. Boyars Cossacks almost beat ...

Foolish

Boyarin - Tatar!

Kalachnik

What a miracle that the boyars were Tataria: the Tatar was a king!

1st Moscow merchant

What happened is gone! Now Dimitri Ivanovich, noble Tsarevich From the tribe of Saint Vladimir ...

Foolish

Dmitry is in the grave!

Clerk

We, blessed one, will bind your hands, and we will smear your mouth ...

Kalachnik

He is unpretentious, you cannot collect from him.

(gives a silver penny to the holy fool)

Blessed one, for a pretty penny! Pray for our sinners!

Petty trader

(kalachnik)

You said to the Cossacks ...

Kalachnik

I went hunting; yes, not much, they said ...

Petty trader

What's gone?

Kalachnik

Stealing is not clever! It’s better to trade than to steal. I’ll become gold and Ugrian. The price is now good for them: The need came to the king to carry as a gift.

1st Moscow merchant

Are you full of kalachi?

Kalachnik

There is little benefit. Here you buy Polish kuntushi, So you will make money, the goods will not stale! .. There is a rumor that Prince Rubets-Masalsky, Pyotr Fedorovich Basmanov and others Want their boyar caftans To change kuntushi ...

Clerk

You let your tongue go for a long time, you would keep it shorter.

Enter Osipov and the butler.

Have you ever been?

Butler

Everything is there as long as, In the Kolomenskoye camp, with the sovereign.

Soon to be, are you drinking?

Butler

Yes, it would be high time; Look, his boyar mercy The people are waiting for - they have accumulated.

PS what?

Butler

They drove from Novgorod, Pskov Posad princes to meet, Moscow marketplace traders, Peasants from nearby villages, Priests without places, clerks from orders, Poor and all sorts of orphans, And business and sluggish people. Not everyone has seen the eyes of Sovereign Dimitri Ivanovich, so flattering To visit our boyar About the tsar's health; not to hear About the mercies for the people ... Do not blame me! Some kind of noise at the gate, So run ... All is somehow out of place. Dear servant; everything crumples, That here will run over ... Wait an hour.

(Leaves.)

(near the window)