Ostrovsky Snow Maiden main events. "The Snow Maiden" (Ostrovsky): description and analysis of the play. eternal Russian story

Spring fairy tale by A.N. Ostrovsky “The Snow Maiden” Features of the play.

“The Snow Maiden” is a fairy tale, a dream, a national legend, told in the magnificent verses of Ostrovsky...

K.S.Stanislavsky

Ostrovsky Alexander Nikolaevich

OSTROVSKY Alexander Nikolaevich (1823 – 1886), Russian writer, playwright, corresponding member of the St. Petersburg Academy of Sciences (1863).

V. G. Perov. "Portrait of A. N. Ostrovsky." 1871 Tretyakov Gallery.

• reveal the features of the work and the main moral conflict of the play, determine life values Berendeev, to identify the level of knowledge of the content and understanding of the fairy tale by students.

• “The Snow Maiden” is an amazing fairy tale that shows the beauty of the world around us, love, nature, and youth. Ostrovsky's play is an amazingly beautiful fusion of folklore and literature. Using the motifs of the folk tale about the snow girl, enriching them with scientific data about life, the playwright created an original “spring fairy tale”, full of secrets, the splendor of characters conveyed in a musical style and in truly Russian language.

1 group."Berendei".

Where there is love and advice, there is heaven, there is light; and quarrels and disputes are just nonsense.

Russian proverb.

2nd group."Snow Maiden".

• Let me perish, there is only one love

moment

• More dear to me are the years of melancholy and

A.N. Ostrovsky.

3rd group. "Lel."

• Through the beautiful - to the humane.

V. A. Sukhomlinsky.

• Multi-layering
• multi-genre
• eternal stories
• synthesis
• moral
• conflict

• Multi-layering
• multi-genre
• eternal stories
• synthesis
• moral
• conflict

• Morality (Ushakov's Dictionary)- a set of norms that determine human behavior in society.

• Conflict(“Modern Explanatory Dictionary”, published by “Bolshaya” Soviet Encyclopedia") is defined as a clash of sides, opinions, forces.

The main moral conflict of the work. Cross-sectional survey.

• Brusila and Berendey are timid.

Costume design, 1885 – 1886.

The harmony of the eternal and harsh laws of nature, according to which human existence must proceed, is indestructible.

The reason for all the misfortunes of the land of the Berendeys is

in human selfishness, in the loss of human kinship,

in the loss of love and sense of beauty:

In the hearts of people I noticed that I was cooling

Considerable; fervor of love

I haven’t seen the Berendeys for a long time,

The service of beauty has disappeared in them.

In these words of the wise king it is revealed

the deep meaning of the play, where the ethical

the beauty of a person is determined

relationship with nature and others

A final words Berendey:

“Let us banish the last trace of cold from our souls and turn to the Sun” reveal the ideological basis of the entire play; they express Ostrovsky’s dream of a world free from cold, calculating people.

The playwright affirms the human right to a full spiritual life, expresses the dream of creating new forms of relationships between people, and freedom in love, its high appreciation, recognition of the best for it moral qualities, ennobling a person, is a significant condition for creating a happy state.

Filling out the table “Known, special, new.”

famous

special

new

• “The Snow Maiden” by A.N Ostrovsky, created for a festive performance and intended for a democratic viewer, is of great interest. This “multi-layered, multi-level work”, which contained a folk tale, an idea of ​​​​the ancient Berendey tribe(Turkic nomads who lived in the southern Russian steppes (XI-XIII centuries); from 1146 they became vassals of Russian princes. The name in the chronicles disappears by the 13th century) , ancient calendar rituals, songs, spells.

• The poetic drama was based on one of eternal stories of Russian folklore about how a beautiful girl, the Snow Maiden, comes into the world and dies from sunbeam. And the closest source was the folk tale about the Snow Maiden, published in 1862 by the collector I.A. Khudyakov. The playwright very carefully read the work of the famous mythologist and folklorist A.N. Afanasyev: collection “Russian folk tales” (1826-1871) and study “Poetic views of the Slavs on nature” (1865-1869). The “borrowed” plot was just a reason for the birth original artistic design.

V.M. Vasnetsov Berendeyevka

N. Roerich Yarilina Valley

The prototype of the Berendey kingdom was the Shchelykovo estate, acquired

playwright in 1867

In Berendey's kingdom intertwined real and fantastic. Here the images of Slavic paganism come to life: Spring-Red, Sun-Yarilo, Leshy, Lel (the son of the goddess of beauty and love Lada, the same as the Greek Eros or Roman Cupid), Father Frost (is the prototype of Veles, Studenets, Treskun, Morozko), Snow Maiden (Goddess of love Lada or Kastroma). Fairy-tale creatures communicate with real people: Mizgirem (spider, tarantula), Kupava ( « water lily, flower bud" (V.I. Dal)) The Berendeys perform their spring rituals, sing folk songs - “the same ones that may have once sounded on our land during the time of spring games, in distant pagan times.”

V.M. Vasnetsov Vesna-Krasna

N. Roerich Father Frost

In the play two main, independent, but united into a single

whole conflict: the first is the confrontation between Cold and Heat, Frost and

Yarily, the second - the own structure of the kingdom of the Berendeys. Both conflicts

are developing into a conflict in the area moral relations at the basis of which wealth is poverty, love is cold.

• Special:

1. “Snow Maiden” is multilayer work, since the play includes different genres of folklore.

Berendey- a tribe that lived in the XI-XIII centuries.

2. Multi-genre work.

The work was conceived in the “extravaganza” genre, fashionable in the 70s of the 19th century,

plays are masks.

3. B eternal plot of Russian folklore one that has existed for a long time regardless of its authors.

• 1862 collector I.A. Khudyakov published a fairy tale.

4. The fairy tale shows fairytale kingdom of the Berendeys, where the Snow Maiden came to live.

5. Synthesis of the real and the fantastic, that is, Slavic pagan deities communicate with real people.

6. Two main, independent, but united conflicts.

This is a conflict between Moroz and Yarila and a conflict within the Berendey kingdom.

Let's check the table “Known, special, new”.

• Known:

• “The Snow Maiden” was written on the plot of folk tales, it uses calendar poetry, sayings, proverbs, spells, songs, traditions and legends.
• Ostrovsky defined the genre as a lyrical “spring” fairy tale play, drama.
• Everyone knows the plot of the folk tale about how a beautiful snow maiden girl comes into the world and dies from a ray of sunshine.
• The basis of Berendey's kingdom is peace, freedom, conscience, harmony with nature, service to the beauty of human relations, fair laws.
• « water lily, flower bud" (V.I. Dal)).
• There are two conflicts in the play: the first is between Cold and Warmth, Frost and Yarila; the second - within the kingdom itself, as well as between the Berendeys and Mizgir as a resident of a foreign country.

Let's check the table “Known, special, new”.

• New:

• Berendeys are Turkic nomads who lived in the XI-XIII centuries in

southern Russian steppes.

2. “Extravaganza” - a festive fairy-tale performance, fashionable in the 70s of the 19th century.

A mask play is a combination of a variety of texts: literary, dance, political - the relatively free creativity of the author.

3. 1862 collector I.A. Khudyakov published a fairy tale.

1826-1871 A.N. Afanasyev published a fairy tale in the collection “Russian Folk Tales”.

1865-1869 A.N. Afanasyev in his work “Poetic Views of the Slavs on Nature” explored the fairy tale.

4. The fairy-tale kingdom of the Berendeys is Ostrovsky’s dream about a social future, about the peaceful life of the people, free from the power of arbitrariness and violence, about the fact that good must be done with one’s own hands.

5. Santa Claus is an image that combines the features of pagan gods: Veles, Varun, Student, Treskun, Morozk. The prototype of the Snow Maiden was the goddess of love Lada.

6. The conflict of the play develops into a conflict in the area of ​​moral relations at the core, which are wealth and poverty, love and cold.

Let's check the table “Known, special, new”.

famous

special

Russian folk tale, ancient calendar rituals, songs.

new

multi-layered work.

berendei

ancient tribe of Turkic nomads in the southern Russian steppes

Let's check the table “Known, special, new”.

Lyrical “spring” fairy tale play,

drama.

multi-genre work.

Extravaganza

festive fairytale performance

mask play

the combination of a wide variety of texts: literary, dance, musical, political - the relatively free creativity of the author. .

Let's check the table “Known, special, new”.

A beautiful girl, the Snow Maiden, comes into the world and dies from a ray of sunlight.

eternal Russian story

folklore

1862 collector I.A. Khudyakov

1826-1871 A.N.Afanasyev

collection “Russian folk tales”

1865-1869 A.N. Afanasyev “Poetic views of the Slavs on nature”

researched the fairy tale.

Let's check the table “Known, special, new”.

the basis is peace, freedom, conscience, harmony with nature, serving the beauty of human relations, fair laws.

fairytale kingdom of the Berendeys

the playwright’s dream about a social future, about the peaceful life of the people, free from the power of arbitrariness and violence, about the fact that good must be done with one’s own hands.

Let's check the table “Known, special, new”.

Slavic deities: Spring - Red, Sun - Yarilo, Leshy, Lel (son of the goddess of beauty and love Lada, the same as the Greek Eros or Roman Cupid) - communicate with real people: Mizgirem (spider, tarantula), Kupava ( « water lily, flower bud" (V.I. Dal))

WITH synthesis of the real and the fantastic

Santa Claus - Veles, Varun, Studenets, Treskun, Morozko (night, moon, stars, winter, frost, water, world of the dead).

Snow Maiden - Goddess of love Lada.

Let's check the table “Known, special, new”.

1. Confrontation

Cold and Warmth,

two main, independent, but united conflicts.

Moroz and Yarila.

conflict in the field of moral relations:

2. kingdom

wealth - poverty,

Berendeev-Mizgir

love is cold.

Pyotr Ilyich Tchaikovsky (1840-1893) Russian composer

• P. I. Tchaikovsky while working on “The Snow Maiden” he wrote: “I’ve been sitting at work without getting up for about a month now; I'm writing music for a magic play

Ostrovsky’s “The Snow Maiden,” he considered the dramatic work itself to be the pearl of Ostrovsky’s creations, and said about his music for it: “This is one of my favorite creations.

It was a wonderful spring, I felt good in my soul... I liked Ostrovsky’s play, and in three weeks, without any effort, I wrote the music.”

Vasnetsov Viktor Mikhailovich (1846-1926) Russian painter

• And this poem “Snow Maiden” -

the best there is.

Russian prayer and wisdom, the wisdom of the prophet.

Nikolai Andreevich Rimsky-Korsakov 1844 -1908 Russian composer

• “...I listened to the voices of folk art and nature, took what they sang and suggested as the basis for my creativity.” ON THE. Rimsky-Korsakov in the opera “The Snow Maiden” glorified the life of a people living in harmony with nature, showed wealth folk customs and rituals, without which the picture of fabulous Rus' would not be so colorful.

B.V. Asafiev wrote about “The Snow Maiden”: “The inspiration of Rimsky-Korsakov glows with an even light, but at other moments the music deepens to comprehend only the audible secrets and origins of life, about which the word, being bound by reality, involuntarily MUST be silent... It seems , the opera sounds all the mighty elements of Russian nature, the spirits and forces of which are integral part life and the people themselves - the inhabitants of the Berendey kingdom"

“In the winter of 1879-1880, I read The Snow Maiden and definitely saw its amazing beauty. I immediately wanted to write an opera based on this plot; I felt more and more in love with A.N. Ostrovsky’s fairy tale.”

Fragment from the opera “The Snow Maiden” by N. A. Rimsky-Korsakov. Scene of the Snow Maiden melting. “The Snow Maiden” by N. A. Rimsky-Korsakov is “the delicate color of Russian opera.” B.V. Asafiev ( musical critic). Compiling tests.

• 1 group."Berendei". Where there is love and advice, there is heaven, there is light; and quarrels and disputes, there is only nonsense (the image of Berendey’s kingdom).
• 2nd group."Snow Maiden". The image of the Snow Maiden as perceived by N. A. Rimsky-Korsakov.
• 3 group. "Lel." Lel is the son of the Sun and the singer of love.

Homework

• Invent and write down a “scary” story about some representative of the lower class Slavic mythology(mermaid, merman, goblin, brownie).

Ministry of Education and Science of the Republic of Kazakhstan

State Institution "City Department of Education" Physical culture and Sports of Temirtau"

KSU "Comprehensive secondary school No. 22 of Temirtau"

Subject:Interpretation of the drama-fairy tale by A.N. Ostrovsky "Snow Maiden"

Supervisor:teacher of Russian language and literature, Nadezhda Viktorovna Lepekhina

Temirtau, 2012

annotation

This paper examines the interpretation of A.N. Ostrovsky’s play-drama “The Snow Maiden” in other forms of art and the effectiveness of its influence on the reader’s perception of students when studying the work. Presented in an accessible form theoretical material about the creation of the play - the fairy tale “The Snow Maiden” by A.N. Ostrovsky; about its embodiment on the theater stage, including opera (composer N.A. Rimsky - Korsakov), in painting (Vasnetsov, Korovin, Roerich, Levitan), in animation. To identify the level of students' knowledge on this topic, a test (with answer keys) for self-control is offered.

While working on the project, a hypothesis was put forward:if when studying dramatic work plays - A.N. Ostrovsky's fairy tale "The Snow Maiden" - use its interpretation in other forms of art, then as a result, students will be able to more accurately and deeply reveal the ideological and compositional basis of the work.

Objectproject is the dramatic work of A.N. Ostrovsky “The Snow Maiden”.

Subject project activities are the features of the interpretation of A.N. Ostrovsky’s dramatic work “The Snow Maiden” in other forms of art.

Goal of the work:get acquainted with the interpretation of A.N. Ostrovsky’s play-drama “The Snow Maiden” in other forms of art and determine the effectiveness of its influence on the reader’s perception of students when studying the work.

interpretation of the Snow Maiden reader student

Introduction

1.Interpretation of the play - A.N. Ostrovsky’s fairy tale “The Snow Maiden” in other forms of art

.Research

1 Organization of primary perception and commentary of the text

2 Specifics of reading and analyzing the fairy tale play by A.N. Ostrovsky “The Snow Maiden” (results of the experiment)

Conclusion

List of used literature

Application

Introduction

Relevance: B modern times There is an increased interest in the problems of expanding the reader's horizons, improving the quality of reading, the level of understanding, and in-depth penetration into a literary text. The tasks of activating the artistic and aesthetic needs of children, developing their literary taste and preparing for independent aesthetic perception and analysis work of art can be carried out through the study of dramatic works, in particular when studying the play - the fairy tale by A.N. Ostrovsky “The Snow Maiden” and its interpretation in other forms of art.

Hypothesis: if, when studying the dramatic work of the play - A.N. Ostrovsky's fairy tale "The Snow Maiden", we use its interpretation in other forms of art, then as a result, students will be able to more accurately and deeply reveal the ideological and compositional basis of the work.

The object of the project is the dramatic work of A.N. Ostrovsky “The Snow Maiden”.

The subject of the project activity is the peculiarities of interpretation of the dramatic work of A.N. Ostrovsky “The Snow Maiden” in other forms of art.

Goal: to get acquainted with the interpretation of A.N. Ostrovsky’s play-drama “The Snow Maiden” in other forms of art and determine the effectiveness of its influence on the reader’s perception of students when studying the work.

.Study and analyze the material on this issue.

.To expand students’ understanding of the creation of the play - A.N. Ostrovsky’s fairy tale “The Snow Maiden”.

.Develop research writing skills.

.Increase motivation to study drama

.Foster a love of literature and other forms of art.

Research methods:

.Study of literary sources.

.Questioning students.

.Collection of creative works of students.

Testing.

.Analysis, synthesis and generalization of the results obtained.

We recommend using it in Russian literature lessons as additional material, both for self-preparation and as a Toolkit, which allows you to adjust and deepen the reading perception of students when reading the dramatic work of A.N. Ostrovsky “The Snow Maiden”.

1. Interpretation of the play - A.N. Ostrovsky’s fairy tale “The Snow Maiden” in other forms of art

Ostrovsky's spring fairy tale "The Snow Maiden" was first published in the magazine "Bulletin of Europe", No. 9 for 1873. It caused literary circles conflicting opinions. “Editor of the magazine “Bulletin of Europe” M. Stasyulevich, writers I.A. Goncharov, I.S. Turgenev and others were captivated by the beauty and lightness of the language of “The Snow Maiden,” “by the power of the playwright’s imagination, by how excellently he studied and reproduced the fairy-tale world, perceived as a kind of reality thanks to the author’s skill,” notes Lebedev.

Some contemporaries did not understand Ostrovsky’s plan. They reproached the author for the fact that, when creating his play “The Snow Maiden,” he completely neglected the laws of dramatic art. “A poetic vinaigrette”, “a fantastic whim, refined from any real impurities”, “a puppet comedy” - such is the bouquet of witticisms addressed to one of Ostrovsky’s most sincere creations. “The play was so unexpected that it confused its first readers.” Even Nekrasov was confused, after quickly reading the play, he answered the author with a business note, which offended him greatly. To which Ostrovsky replied: “...you value my new, dear work as cheaply as you have never valued any of my works.”

A modern researcher of Ostrovsky’s work, Ko Yong Ran, believes that when the play appeared, it caused bewilderment among his contemporaries, since they “were already accustomed to the fact that every year Ostrovsky gave readers and the theater a realistic social comedy or drama from modern Russian life. That is why in the 1860s. Ostrovsky’s historical drama did not find general approval.”

The Snow Maiden was not too lucky in the first production, although Ostrovsky himself staged the play at the Maly Theater. All the troupes of the then Imperial Theater were invited to participate in it: drama, opera and ballet, and they tried to give solemnity and festivity to the spectacle. “I stage the play myself, as a complete master,” wrote Ostrovsky. “They understand very well here that only under this condition will it be successful.”

The editors of the book “History of Russian Literature of the 19th Century” note that during the production of the opera, Ostrovsky himself zealously discussed the costumes, scenery and magical kelp proposed by the inventive K.F. Waltz. The playwright was thinking about how to make the scene of the melting of the Snow Maiden more technically successful. “The complex effect of the disappearance of the melted Snow Maiden - behind the illuminated and gradually thickening streams of water, the figure of the artist Fedotova went into the hatch - was a perfect success.” Quoting Lebedev, we would like to note that according to the writer’s plan, the musical accompaniment was supposed to merge in the play with the dramatic action. At the request of Ostrovsky and the order of the directorate of the imperial theaters, the music for the “spring fairy tale” was composed by Pyotr Ilyich Tchaikovsky, who called “The Snow Maiden” one of his favorite creations.

Getting acquainted with Lebedev's article "The Snow Maiden" we learn that the music for the play was written by the composer as he was sent individual scenes on which the playwright was working. The enthusiastic, poetic mood that Tchaikovsky usually experienced with the arrival of spring and the awakening of nature from hibernation seemed to be transmitted to the music. The score of “The Snow Maiden,” created in the spirit of folk melodies, amazes with the generous variety of “joyful spring mood” expressed in it, which does not exclude notes of light sadness and “major-Russian, cheerful and courageous tone.” “Tchaikovsky’s music for The Snow Maiden is charming,” wrote Ostrovsky.

But overall the Moscow performance was not a success. The reason for the failure first theatrical production“The Snow Maiden” critic A.N. Chebyshev-Dmitriev saw the “spring fairy tale” as fundamentally non-dramatic. In his interpretation, Ostrovsky's drama is a deeply lyrical thing. Subtle, elusive movements of spring feelings and moods awakening in the soul of the heroine of the fairy tale, the fantastic nature of her external and internal appearance - all these qualities of the Snow Maiden, according to the critic, are inexpressible on stage, they are accessible only to lyrical and epic poetry. No most brilliant actress will a real Snow Maiden, for “one of the essential features of the Snow Maiden lies in the seductive unimaginability of the Snow Maiden.”

“Drama requires action, movement, external events,” the critic summarized, “while the story of the Snow Maiden is the story of the inner world of the soul, rich in sensations, thoughts, feelings, but this life of a young heart is expressed too little externally and, in turn, almost depends on the course of external events... the fairy tale dances and sings, but does not move.”

“The reproaches of Chebyshev and Dmitriev are thorough, but only from the standpoint of theatrical aesthetics of the 70s of the 19th century,” noted E.M. Sakharov and I.V. Semibratova.

At the beginning of the 20th century, the play was staged in the best Russian theaters by directors L.P. Lensky, K.S. Stanislavsky. With their productions they wanted to “revive the fairy tale.”

Ostrovsky's dramatic tale enjoyed the greatest success when performed by the Moscow Art Theater, directed by K.S. Stanislavsky, who wrote: “The Snow Maiden” is a fairy tale, a dream, a national legend, written and told in the magnificent sonorous verses of Ostrovsky. One might think that this playwright, the so-called realist and everyday writer, never wrote anything except wonderful poetry, and was not interested in anything else except pure poetry and romance.” The play was staged accompanied by music by A. Grechaninov. Many tricks and directorial innovations were included in the performance: omitting part of the text, changing the order of scenes. Stanislavsky introduced a goblin with her cubs into the play; the Snow Maiden was accompanied by a bear with whom she played. The Snow Maiden's conversation with Spring took place against the backdrop of the Berendeys snoring in their sleep, etc.

The performances were so bright, colorful, and expensive that some critics even began to write that the excessive luxury of the production took the actors and spectators away from Ostrovsky’s play itself.

Gorky wrote to A.P. Chekhov: “The Snow Maiden” is an event! A huge event - believe me!.. The artists stage this play wonderfully, magnificently, amazingly well!.. Everyone is good, one is better than the other, and - by God - they are like angels sent from heaven to tell people the depths of beauty and poetry.”

However, E.M. Sakharov and I.V. Semibratova note the following: “Getting acquainted with the critics’ reviews of the production of “The Snow Maiden” on May 11, 1873 at the Moscow Maly Theater, you involuntarily pay attention to the fact that only certain parts of the play were a success. The whole thing turned out boring, sluggish and drawn out. The reason for the failure was hidden not so much in the negligence of the production, but in the absence of an acting ensemble, and, consequently, of that dramatic and intense lyricism that underlies the artistic unity of the fairy tale.” A similar picture is found in other productions.

Ostrovsky’s “The Snow Maiden” gained wide popularity in the opera by Nikolai Andreevich Rimsky-Korsakov, written in 1880-1881.

Even during Ostrovsky's lifetime, a play that did not find soil on the Russian stage drama theater, found a new and full life on opera stage in musical arrangement by Nikolai Andreevich. And this is far from accidental, since the construction of Ostrovsky’s play was approaching musical composition.

“In the winter of 1879/80, I read The Snow Maiden again and seemed to see its amazing beauty,” the composer recalled. - I immediately wanted to write an opera on this plot, and as I thought about this intention, I felt more and more in love with Ostrovsky’s fairy tale. The attraction that had appeared in me to the ancient Russian custom and pagan pantheism now flared up with a bright flame. Wasn't there for me best story“, there were no better poetic images for me than the Snow Maiden, Lel or Spring, there was no better kingdom of the Berendeys with their wonderful king, there was no better worldview and religion than the worship of Yarila - the Sun.”

Composer Rimsky-Korsakov asked Ostrovsky for permission to use the play for an opera and compiled a libretto, which the playwright approved. The plot of “The Snow Maiden” gave the composer the opportunity to glorify the life of the people, which proceeds simply, artlessly, in accordance with nature, to depict their way of life and colorful rituals.

I.F. Kunin, in his article “The Snow Maiden,” indicates that the outline of the opera was completed on August 12, and the orchestration was completed upon returning to St. Petersburg on March 26, 1881. “To a large extent, the music of the opera relied on folk melodies, but not everyday songs, like Tchaikovsky’s,” notes Lebedev, “but on ritual melodies and ancient Slavic melodies.” We feel sorry for the Snow Maiden, we feel sorry for the past spring with its tender dawns, quiet light evening and modest white lilies of the valley,” composer B. Astafiev summed up his impressions of Rimsky-Korsakov’s music.

Nikolai Andreevich, with his musical flair, grasped the basis of the artistic unity of the stage images of the fairy tale. “Listening to the opera, we feel a gradually increasing warmth, which reaches its peak in the hymn to the god Yaril”

To this fabulous musical theme, marking the gradual triumph of warmth and light over cold and darkness, with the help of a very complex system of leitmotifs and leitharmonies Rimsky - Korsakov, according to E.M. Sakharov and I.V. Semibratov, connects thematic lines different heroes. In the center is the theme of the Snow Maiden, which adds dynamics to the musical fabric of the entire opera.

Making a general analysis of the music of The Snow Maiden, the composer wrote: it should be said that in this opera I largely used folk melodies, borrowing them mainly from my collection... Moreover, many small motives or chants, components of more or less long melodies, undoubtedly, I drew from similar small chants in various folk melodies ... "

The entire musical fabric of the opera is folk. “Taken from ancient songs, from instrumental playing and re-discovered by Korsakov in his arrangement for opera choir and orchestra, or created by the composer himself, the melodic, harmonic, timbral elements of “The Snow Maiden” delight with their, as Balakirev used to say, “folk truthfulness” and at the same time impeccability taste, grace, nobility."

In the subsequent history of opera productions, the performance on the stage of the Moscow Private Russian Opera by S. Mamontov in 1885 became a significant phenomenon. This production was preceded by the amateur dramatic performance “The Snow Maidens,” performed at Mamontov’s home theater in 1882. “V.M. took over the artistic part of the production. Vasnetsov - that’s when he developed his talents to the fullest extent,” recalled S. Mamontov’s son V.S. Mamontov. “At the same time, he not only himself was imbued with the poetry of this wondrous fairy tale, felt its Russian spirit, appreciated its incomparable pure authentic Russian language, but, I think, he infected all the participants in this performance with his passion.”

The scenery for the play was magnificent, made by the artist who created the whole poetic world of “ancient Russian architecture in an invented fairyland Berendeev. The performers were dressed in authentic national Russian costumes stored in the Abramtsevo Museum.” Vasnetsov himself played Father Frost and was very good in this role. An even greater success was the opera production of The Snow Maiden. The creative talent of Viktor Mikhailovich Vasnetsov, who designed the performance, was in amazing harmony with the style of the music. Vasnetsov's decorations and costumes, fabulous and at the same time authentic, delighted his contemporaries.

I.F. Kunin notes that “for the opera performance, the artist painted Kupava’s house with beautiful ornaments, and made the clothes of the boys and girls more festive.

“The Chambers of Tsar Berendey” (appendix) - a sketch of the scenery for the opera “The Snow Maiden” - a vivid example of the talent of the decorator, the wonderful artist-storyteller V. Vasnetsov. This decoration was made by an artist in Abramtsevo on the amateur stage of S. Mamontov. Vasnetsov's scenery impressed everyone so much that it was transferred to a large professional opera stage.

K. Korovin and I. Levitan helped Vasnetsov work on the scenery. Korovin defined the task of the decorator when staging “The Snow Maiden”: “Here it is necessary to give a poem to Russia, a poem of Russian nature... Her awakening of spring... After all, “The Snow Maiden” is the most touching poem of Russian nature!” The artist chose homespun white canvas as the basis for all costumes. He painted it himself with colorful ornaments, creating a decorative spectacular mise-en-scène.

V.S. Kuzin and E.I. Kubyshkina believes that among the fairy-tale heroines of Viktor Vasnetsov, the sweetest is the Snow Maiden. “The artist was fascinated by this marvelous poetic image..." Researchers of Vasnetsov's works noticed that on the sheet of paper traces of a pencil and spots of transparent watercolor applied with a thin brush were visible. Moreover, Vasnetsov does not paint over the paper, and its pale color becomes part of the face, figure, dress. The artist tinted the paper behind the figure with blue watercolor - and the colored spot immediately highlighted the figure of the Snow Maiden. Her appearance was born from a soft combination of blue, ocher, and gold. The girl’s figure is slightly touched with whitewash, as if powdered with snow. And although the Snow Maiden stands at the spinning wheel, holds the spindle, but does not spin the yarn. It’s as if she’s not here, but somewhere in fairy tale world.

The Snow Maiden is a dream, nature itself, who for some time became a pretty girl.

This was one of the first cases in Russian opera house, when a close connection arose between the theater artist and the musical type,” points out I. Kunin.

Contemporaries understood the value of the artistic synthesis of three arts: dramatic, musical and stage action. The stylization of folk art in plays, music and stage design are in the same vein of artistic searches. One of his contemporaries wrote: “The poetic work of A.N. Ostrovsky...received perfect harmony with the sounds and palette of the composer and artist.” The 1910 Yearbook of the Imperial Theaters shows: “In The Snow Maiden a rare unanimity of author, composer and artist appeared.”

The trio Ostrovsky - Vasnetsov - Rimsky-Korsakov created a work of art artistic beauty- the only unique thing in the history of culture.

In the middle of the 20th century, based on the play “The Snow Maiden”, feature and animated films of the same name were made. In 1952, the Soyuzmultfilm Film Studio and director A. Snezhko-Blotskaya made an animated film in which N.A.’s music was used. Rimsky-Korsakov. The use of V. Vasnetsov’s sketches to depict costumes is also unexpected. characters, decoration.

In the work of Alexander Nikolaevich Ostrovsky, the spring fairy tale “The Snow Maiden” occupies a special place. She is the pinnacle of the playwright's poetic activity. In it he expressed his dream of a peaceful, free and joyful life of the people, sang the beauty and power of nature and love. The play is a magnificent artistic fusion of fantasy and everyday life, symbolism and reality.

Researchers of Ostrovsky’s work, analyzing the play, drew attention to the fact that the playwright, while working on “The Snow Maiden,” used various sources. Some claim that in the guslar choir from the second act of the “spring tale” the motifs of “The Tale of Igor’s Campaign” are heard, others in Bobyl’s monologues felt the intonation of I.S. “Bobyl’s Song”. Nikitin, others point out that in the image of Moroz there is a continuation of Nekrasov’s poems “Who Lives Well in Rus'” and “Frost, Red Nose”. There have been convincing attempts to compare The Snow Maiden with W. Shakespeare's drama A Midsummer Night's Dream. Based on the article by E.M. Sakharova and I.V. Semibratova, we can note that the main source of the fairy tale was the poetry of peasant holidays. “Among the playwright’s papers... there is a copy of an article describing the May holiday in the Tver province, material about wedding ceremonies in the Danilovsky district of the Yaroslavl province. The chorus of birds was borrowed by the playwright from the folk song “What is it like for birds to live overseas”, the monologue of Kupava offended by Mizgir bears traces of processing found in Ostrovsky’s papers “Song of Hop”, etc.”

The playwright's poetic imagination was enriched by the study of the works of Russian folklorists of the mythological school. Ostrovsky became interested in reading “Russian folk tales” by A.N. Astafiev, was familiar with the famous book of this remarkable scientist “Poetic views of the Slavs on nature. »

After the science of the 19th century identified the most general universal themes of mythology, many writers began to deliberately structure their works so that they were perceived against the backdrop of these mythological models and from this acquired a deeper and more meaningful meaning, and Ostrovsky, as a writer, was no exception. “A. N. Ostrovsky’s lyrical play “The Snow Maiden” is a work that contains a folk tale about the Snow Maiden girl, a folk legend about the ancient Berendey tribe, ancient calendar rituals, songs, therefore “The Snow Maiden” is a multi-layered, multi-level, multi-genre work.”

“This is a social utopia,” is what A.I. calls Ostrovsky’s play “The Snow Maiden.” Revyakin. “It has a fabulous plot, characters, and setting. Deeply different in form from the playwright’s social and everyday plays, it is organically included in the system of democratic, humanistic ideas of his work. In this delightful tale, woven from motifs and images of oral poetry, Ostrovsky embodied his dream of a peaceful, joyful, free life for the people.”

I. Medvedeva, in her article “Three Playwrights,” expresses her opinion that the play “The Snow Maiden” is organically connected with one of the themes raised in that last cycle, which researchers called a “novel.” Many chapters (plays) of this “novel” treat love, with its highest human uninhibition, liberation from deadening loneliness. This theme seems to be enshrined in the abstract folk image of a girl - the Snow Maiden, who, having fallen in love, freed herself from the icy shackles, but died. “This is how Ostrovsky transforms folk image for a topical comedy" This is what I. Medvedev calls the play: "Topical Comedy."

« It's about about romantic mystery,” says A.V. Mankovsky, discussing the genre nature of The Snow Maiden. “The main features of a romantic mystery are: the two-dimensionality of the action taking place in it; and the picture of the world depicted in it; the presence of fantastic characters in the background of the mystery; inserted numbers as a result of the use of “the technique of non-genre inclusions (thanks to them, the frame of the drama is, as it were, blurred by the lyrical and epic elements); stylistically brightly colored remarks." Considering artistic originality play "The Snow Maiden", comparing it with this definition, we could agree with the opinion of A.V. Mankovsky.

“The action takes place in the country of the Berendeys, in prehistoric times,” is the first remark of “The Snow Maiden,” “a spring fairy tale in four acts with a prologue.” Reading about the life origins and stage fate of the play, we know that this country is fictional. “While traveling along the Volga, A. Ostrovsky could hear about the Berendeyev swamp located in the Aleksandrovsky district of the Vladimir province. This information could reinforce the old Russian legends about the ancient people of the Berendeys, ruled by Tsar Berendey. Berendey - nomadic people of Turkic origin." This material was used by the author to create the Berendey kingdom, turning Turkic people into a sedentary Slavic living in Rus' in prehistoric times.

The remark paints a fantastic picture: “The whole sky is covered with birds flying in from across the sea. Spring - Krasna descends to the ground on cranes, swans and geese, surrounded by a retinue of birds.” Referring to the statement of A.L. Stein, we can note that this picture is poetic exaggeration. The entire sky is covered with birds flying in from across the sea. That's all. The entire horizon was occupied by birds. This creates a striking picture of multitude, movement, diversity. And yet, at the heart of the fantastic image - real fact- spring return of birds.

“The prologue is surprising precisely because of this constant and very subtly executed combination of fairy-tale fantasy with the depiction of the real, psychological and even everyday appearance of each of the characters,” notes A.L. Matte. In the prologue of the play, the straw effigy of Maslenitsa is designated as a character, and at the end of the fourth act, Yarilo appears - at a festival in his honor. Thus, we can conclude that the plot of the play unfolds over the course of one spring. “To be more precise, let us turn to the literature devoted to Slavic paganism. “Ancient Maslenitsa, judging by the abundant solar symbolism, was supposed to be celebrated in one of the solar phases - on the days of the spring equinox, March 20-25.” Note that these days symbolized not only the victory of heat over cold and the beginning of the expulsion of winter. The Spring Festival was at the same time a holiday in honor of deceased ancestors, the usual time of communication with them, visiting cemeteries and funerals. It is at such a time that the Snow Maiden appears in the kingdom of the Berendeys. As for the date of the celebration of Yarilin’s Day, “June 30th is straw doll, they dress her up with a kumak sundress, a necklace and a kokoshnik, carry her around the village singing, and then undress her and throw her into the water.” This means we can come to the conclusion that the action of the play covers three months - from the end of March to the end of June.

In Ostrovsky's work, the usual annual change of seasons, the spring awakening of the forces of nature, are poetically embodied in the images of Spring - Red, Father Frost, and their daughter - the fragile and tender Snow Maiden, who asks to be released to people from the wilderness of forest solitude. She is ready to listen day and night to the songs of the shepherd Lel, whose singing captivates the soul, open to the impressions of life and art. The Snow Maiden’s heart is cold, she does not know the feeling of love, “the spring warmth of languishing bliss,” according to Moroz, is deadly for her:

He is going to destroy the Snow Maiden; only

And is waiting to be planted in her heart

With its ray the fire of love; Then

There is no salvation for the Snow Maiden, Yarilo

It will burn it, incinerate it, melt it.

I don’t know how, but it will kill. How long

Her soul is pure as a child,

He has no power to harm the Snow Maiden.

So, at the very beginning of the play, the playwright outlines the possibility of its tragic ending. In the dispute between Frost and Spring, the eternal question of happiness arises. This dispute outlines one of the main themes of the “spring fairy tale.” Ostrovsky formulated this topic as follows:

“Happiness is not loving” (Frost)

“Happiness is in loving” (Spring)

Everyone imagines their daughter’s happiness in their own way, causing the reader or viewer to think about this topic.

The struggle between Frost, cold, numbness, and the Sun, warmth, love, forms the content of Ostrovsky’s “spring fairy tale”. The field of this battle was the heart of the Snow Maiden.

The fate of the Snow Maiden is closely intertwined with the fate of the fairy-tale people of the Berendeys, to whom she leaves the forest. It is in her that “the reason for the cruel winters and colds of spring”, the Sun looks at her jealously and gloomily, angry at the daughter of his brother Frost, and at the “cold feelings” of the people of the Berendey kingdom, which denies them the desired warmth.

The kingdom of the Berendeys itself, as Lebedev points out, is a kind of utopian harmonious society, living in truth and conscience, respecting freedom of feelings, based on admiration for beauty. The warm-hearted and wise ruler of this country is Tsar Berendey. His name sounds like the name of the tribe itself - Berendei.

Quoting A.I. Revyakin, it can be noted that “in the kingdom of the Berendeys, devoid of arbitrariness and violence, hostile egoism, self-interest and predation, “there are no bloody laws”... among the Berendeys, living in truth and conscience, freedom of public and personal relations reigns. For them, the shepherd and the king are equal before the law. The people and the king are united in their aspirations.”

“The wisest Tsar,” is how A.I. Revyakin calls Tsar Berendey. A representative of the people, a tireless defender of their interests, a father among his children. He equally shares with his people work and play, sorrow and joy. And the grateful people sing his glory:

Hello to you, wise one,

Great, Berendey,

The silver-haired Lord, the father of his land.

For the happiness of the people

Gods keep you

And freedom reigns

Under your scepter...[d.II, iv.3]

All over the world there is a fierce struggle: while gaining glory for their princes, people are dying in unknown fields, their orphaned wives are shedding tears; The fields are trampled, the trees and grass are gone. Among the surrounding states, where strife and war are raging, the playwright created with his poetic imagination an unprecedented kingdom of peaceful Berendeys, which is an amazing exception:

Merry towns in the land of the Berendeys,

Joyful songs through the groves and valleys,

Berendya's power is red in the world... [ch.II, yavl.1]

Quoting A.L. Stein, we would like to note that “the characteristics of the Berendeys are imbued with good-natured, purely Russian humor.” “In the guise of many Berendeys,” notes A.L. Stein, - there is something stupid, clownish. The Kid is an instigator, Brusilo is a braggart, Smoking Room is a bully. A.I. Revyakin adhered to the same point of view. He very accurately determined that First Minister Berendey Bermyata is a humorous figure. He believes that this image is depicted from a popular perspective. Bermyata is crafty and does not worry much about the affairs of the government. Berendey wants to know about everything, Bermyata knows nothing for sure.

Their funny conversation is directly related to the plot development of the play. Tsar Berendey is worried. It’s not enough for him that the people are not hungry, don’t wander around with knapsacks, and don’t rob on the roads. What does he see as the main problem? Berendey is worried about the change happening to his subjects:

I noticed in people's hearts that there was a cooling

Considerable; fervor of love

I haven’t seen the Berendeys for a long time.

The service of beauty has disappeared in them.

Why, the king thinks, and is angry

Yarilo - the Sun on his people.

“People should serve love and beauty. Love is instilled in people by nature and the gods; it is a great gift of nature, the happiness of life, a spring flower. The service of love is the service of beauty.”

Berendey is going to unite all the brides and grooms in an “indissoluble union” on Yarilin’s day, hoping to appease the deity. But is this possible? With the appearance of the beautiful Snow Maiden in the settlement, the boys quarreled with their girlfriends, although their efforts to awaken love in the Snow Maiden’s heart are in vain. “The Snow Maiden’s supra-stellar, unearthly purity is beautiful. Beautiful and dangerous. She inherited two natures - the living, warm beginning of love from Mother Spring and the icy indifference of Father Frost. For the time being, she does not know how to love, she likes only beauty: listening to Lelya’s songs is her joy.” Even the ardent, crazy passion of the dashing merchant Mizgir, who has fallen out of love with his bride Kupava, cannot melt the ice of the Snow Maiden’s feelings.

“But the real, living human heart, the “hot heart,” does not belong to the Snow Maiden, but to Kupava. Her love, her suffering, her warm tears are humanly understandable to everyone. There is no icy cold beauty in her. This image is filled with the spring wind, green May, and the smell of wildflowers, and it is not for nothing that Tsar Berendey patronizes her fatherly.” As A.L. correctly noted. Stein, the character of Kupava was chosen by Ostrovsky with unmistakable accuracy. It was precisely such a woman who should have stood in the play - a fairy tale next to the Snow Maiden. “The name Kupava comes from the name white flower. In regional dialects it means a magnificent and proud beauty. Coop - passion. Kupava is a pagan, she is obedient to the god Yarila.”

Kupava is a woman to the core; a woman endowed with all the qualities of her sex - amorous, sensual, vain, touchy, devoid of logic, devoted to the one who loves her in return.”

In this love conflict, which forms the basis of the play, in addition to the Snow Maiden herself and Kupava, Lel and Mizgir participate.

Lel fulfills the position of a shepherd who neither sows nor plows, lies in the sun, and has only girlish caresses on his mind. “Lel is a radiant and light creature, he gives and snatches kisses, his songs, permeated with the sun, awaken love.”

“Lel’s songs give the theme of love a broader and more universal sound. They represent a kind of poetic allegory that makes more clear topic plays."

Mizgir acts as Kupava's gentleman. The name is also meaningful. “Mizgir is a tarantula, an evil spider that sucks the life force out of a person.” Referring to Lebedev’s statement, “this is a guy with a dashing spirit. He is endowed with typical features masculine character- male inconstancy and male egoism. Mizgir is a man with a broad outlook, he walked around the world as a trade guest, saw overseas countries and the beauties there. As a developed individual, he acts by personal choice, is capable of falling in love and falling out of love.”

Kupava’s complaint to Tsar Berendey about the treachery of the groom is so touchingly natural in the mouth of an abandoned girl, and the anger of the always merciful and benevolent king at the criminal who violated love forces him to condemn Mizgir to eternal exile. However, the appearance of the Snow Maiden amazes the king, who is sensitive to everything beautiful. “Mighty nature is full of wonders!” - he exclaims, admiring the perfect beauty of the girl, and calls on the Berendeys to kindle her infant soul with the desire for love. Mizgir and Lel respond to his words.

The Snow Maiden does not know love and does not understand why the guys were chasing her. She is even ready to pretend for the benefit and interests of the boys. The Snow Maiden does not know how to love. But it hurts her when Lel kisses someone else. Her vanity demands that everyone see how much Lel loves her. “For now, the Snow Maiden only has access to the external forms of relationships between a man and a woman, and not the essence of love.”

Meanwhile, Mizgir fell in love with the Snow Maiden. He liked what distinguished her from Kupava - purity, inaccessibility, he liked that the Snow Maiden was “not of this world.”

But love transformed Mizgir himself. He had not known the suffering of love before. He knew only her pleasures. A.L. Stein here speaks of Mizgir - “terrible”.

At the end of the third act, he chases the ghost of the Snow Maiden. This is a symbol of what is about to happen. “All his love for the Snow Maiden was a pursuit of a ghost.”

Mizgir’s burning feeling frightens the Snow Maiden. And yet she longs to love and asks Spring to give her love. “Love will be your destruction,” the mother warns. But the girl is adamant:

Let me perish, one moment of love

More precious to me are the years of melancholy and tears.

A magical wreath given to her daughter in the Spring awakens the Snow Maiden’s soul and evokes a whole range of new, unusual and sweet sensations. Ostrovsky wonderfully depicts the moment when a young girl has a need for love and when, under the influence of this need, the world is transformed:

Oh, mom, what's wrong with me? What a beauty

The green forest has dressed! Shores

And you can’t stop admiring the lake.

The water beckons, the bushes are calling me

Under your canopy; and the sky, mother, the sky!

The dawn spills out in shifting waves.

Here, as A.I. Revyakin correctly noted, Ostrovsky resorts to symbolism in constructing the plot of “The Snow Maiden”. “The main dramatic knot that binds the play is the struggle of Santa Claus, personifying spiritual coldness and evil, with the Sun, a symbol warmth and love." The Snow Maiden is doomed. The victory of the Sun brings her joyful death - the Snow Maiden melts from love. Dying, she knew the happiness of love.

This departure of the Snow Maiden sounds in the play as a sacrifice to the fertility and prosperity of the Berendey kingdom. Her death can also be interpreted as a victory of the living over the dead, but not in the understanding of the calendar change of seasons, but in a broader, sacred sense. “The Snow Maiden is an unreal, mythological creature, it is as if she does not exist from the very beginning - she does not feel, does not suffer, she does not have what other girls have... she is completely devoid of the ability to love... While the Snow Maiden does not have a “girl’s heart”, she is not suitable for sacrifice, however, having received it, or rather the wreath symbolizing it, a sign of fertility and new life, expressed in the plant code, she immediately falls into Yarila’s zone of influence and “dies” in the rays of the sun. Note that, according to tradition, Yarilo was depicted in a wreath of wild flowers, similar to the one that the Snow Maiden’s mother gave and which has a magical effect.”

“The victory of the Sun is the victory of justice,” notes A.I. Revyakin. She stopped Frost’s interference in the lives of the Berendeys, which had cooled their hearts, and returned to them the joy of love.” The tragic rebellion of Mizgir, protesting against the injustice of the gods who deprived him of his beloved, does not destroy the overall bright mood of the work. After all, warmth and sun are returning to the world of the Berendeys again, and beauty surrounding nature inspires people with love of life and optimism.

Admiring “The Snow Maiden” by A.V. Lunacharsky wrote: “Ostrovsky gave in “The Snow Maiden” an incomparable masterpiece, one of the greatest pearls of Russian fairy-tale poetry...”

2. Research work

.1 Organization of primary perception and commentary of the text

Methodological science offers to help the modern literature teacher a wide range of methods and techniques aimed at developing the reading perceptions of schoolchildren. The quality of perception of a literary work largely depends on the interpretation and implementation of these techniques.

Required component literature lesson is the teacher’s word, which serves as an example of correct speech. At the center of this technique is the teacher’s story about the writer’s creative activity and his biography. Getting to know a writer is an opportunity to help the writer truly and fully understand the ideological content of a work of art.

We believe that in our particular case creative biography A.N. Ostrovsky should be revealed as fully as possible, since not all schoolchildren know the name Ostrovsky, especially since they meet this name for the first time in Russian literature lessons. In order for children to get a more complete understanding of the life and work of the writer, a presentation was used using photographs depicting the Ostrovsky house, portraits of Alexander as a child and teenage years, photographs of books.

The next stage of our work was a preliminary acquaintance with A. Ostrovsky’s “spring fairy tale” “The Snow Maiden”. At this stage, reading with a “stop” was used in order to interest students and encourage them to independently read a fairy tale at home. We stopped at the moment when the action begins to unfold: “The Snow Maiden goes to live with the Berendeys.” We tried to introduce the students to the action of the play and began an analytical reading, asking a series of questions that allowed us to recreate in the students' minds visual images heroes of the play - fairy tales.

Thus, in the process of reading the play, the children had to see and hear in their imagination what was happening on stage, to be a potential spectator of the play, to imagine how the character moves, speaks, and lives, which greatly facilitates further reading and perception of the play.

We began the text analysis stage with a conversation, during which we tried to find out: whether the fairy tale had been fully read and mastered: what impression the children had about the work and its characters: what and who the author was telling us about.

Next group The questions were focused on discussing the compositional features of the play. Here we pay attention to the folklore basis of the play. At this stage of mastering this text and activating their knowledge. We invite students to answer the question: “The signs of which literary genre are manifested in the play?” Here the children had to find out by what laws this play was structured, what the author used to write it, what elements of oral folk art were used in the work, and what genre features were observed.

In the process of analyzing the work, we draw attention to the fact that the play - a fairy tale by A. Ostrovsky - is a dramatic work. At its core is conflict. Here it is necessary to find out how students understand the meaning of this word and what conflict lies at the heart of the play - Ostrovsky’s fairy tale “The Snow Maiden”.

Another group of questions was aimed at identifying the semantic accents placed by the children and their understanding of the significance of certain episodes. A paraphrase of the text was used here.

The task was also proposed to talk about the system of characters in the play, divide them into groups in accordance with the nature of the dramatic action and plot development, and give a description. The discussion began with the characteristics of the inhabitants of the country, the Berendeys: Berendey, Mizgir, Kupava, Lelya - in order to identify, in the process of analysis, the spiritual values ​​of the heroes and how they characterize them. As a conclusion, we asked students to answer the question: “What character traits of the Russian people did you notice in the Berendeys?” Next, the children were asked to create illustrations depicting their favorite character from the play - a fairy tale. This task gave us the opportunity to analyze students' perception of the text. Together with the guys, we examined and commented on the illustrations, and then asked them to choose the best one and justify their choice.

Next, we determined the control and experimental groups by dividing the class into two parts. In the control group, the study of the work ended. As homework, they were asked to write an essay on the topic: “My impressions of A. Ostrovsky’s play “The Snow Maiden”.”

The experimental group continued working on the piece.

In order to increase students’ interest in the work, to give them the opportunity to enter into the work and get used to it, to awaken the children’s imagination and empathy for literary images, we gave the following homework - to prepare a script for the play based on the prologue of the fairy tale play.

Before completing this task, preliminary work was carried out in the form of a conversation:

What characters will take part in the play?

How would you set the scene?

What costumes will your heroes have?

Is it possible to depict twilight on stage? What's the best way to do this? What available tools can be used for this?

How can you depict the crow of a rooster? (Pay attention to noise effects), etc. To complete this task, we divided the group into two subgroups. This work, first of all, encourages students to be creative, translate literary images, activate the reader's perception, allows them to more sharply draw plot lines in the minds of students, sharpens reading and attention to the literary text.

Further work on the work proceeded as follows: we finished work on the analysis of the fairy tale play “The Snow Maiden”, introduced the children in more detail to the life and work of V.M. Vasnetsov, P.I. Tchaikovsky, N.A. Rimsky-Korsakov and summarized everything that they learned in connection with the study of this work.

Completing our work on the play, we reflect in detail on the image of the vowel heroine - the Snow Maiden. The students in the group were divided into subgroups. Each subgroup received its own task. These tasks were formulated in the form of questions, which were not numerous, so as not to scatter the students’ thoughts, but to help them better understand the ideological and artistic content. The analysis used expressive reading and selective reading. During the discussion, each subgroup received consultations from the teacher.

Then the fine arts teacher introduced us to the life and work of Viktor Vasnetsov, talking about his interest in folk art. She demonstrated Vasnetsov’s works for A. Ostrovsky’s fairy tale play “The Snow Maiden”. It was noted that the inhabitants of the fairy-tale kingdom of the Berendeys in Vasnetsov’s drawings are like real people, Russian peasants in folk sundresses, colorful shirts, patterned ports, high hats, bast shoes or smart boots. The scenery for the play is also made in folk style. At the end of the story, the question was asked: “What do you guys think, why did V. Vasnetsov portray the heroes of the play in exactly these outfits?”

The music teacher talked about the role played by composers P.I. Tchaikovsky and N. Rimsky-Korsakov in the production of the play, and suggested watching a fragment from the animated film “The Snow Maiden”, in which the music of N. Rimsky-Korsakov was used.

After watching an excerpt from the film, students were given the opportunity to evaluate their creative writing efforts. The children were able to see what they more or less succeeded in doing this type of work.

To lead students to comprehend the idea of ​​the work, we complete the analysis with a generalizing conversation, during which the following questions were asked:

How did the Berendeys perceive the ending of the love story between Snow Maiden and Mizgir?

What new things have you discovered about yourself and those around you thanks to the fairy tale?

Thus, during the analysis, we brought the children to an understanding of the author’s intention, the idea of ​​the play, and were able to pay attention to the features of the dramatic text.

During the experiment, the following types of control were used: self-control, testing.

At the end of the experiment, we conducted a survey of students in the control and experimental groups. The questionnaire included the following questions:

Did you like the play?

Which characters do you remember?

How do you feel about the characters in the play?

Do you know which artist illustrated the play?

Which composer wrote the opera for the play “The Snow Maiden”?

Would you like to see a film based on this play?

What conflict is at the heart of the fairy tale play?

What is the idea of ​​this piece?

The questionnaire made it possible to determine the degree of assimilation of the material covered.

2.2 Specifics of reading and analyzing the fairy tale play by A.N. Ostrovsky “The Snow Maiden” (results of the experiment)

The results of the experiment can be revealed as a result of the analysis of students’ oral responses, answers to questionnaires, testing, creative works, drawings obtained in the process of working on the test.

The presentation (for the experimental group) and micro-lecture (for the control group) about the life and work of A. Ostrovsky included facts about where and at what time the Ostrovsky family lived, about their way of life; about childhood, about the years of study and service of the writer, his first plays, his role in drama. We considered it an opportunity to note the fact that the “spring fairy tale” “The Snow Maiden” is significantly different from all of Ostrovsky’s works. She has never received recognition in criticism or on the theater stage. And only thanks to such outstanding people as the artist V.M. Vasnetsov and composers N.A. Rimsky-Korsakov and P.I. Tchaikovsky, the play was a great success.

When generalizing and clarifying the reader's perception of the text, we considered it necessary to identify the reproducibility of this material.

In the control group, where the survey was individual, high-performing students reproduced about 70% of the material presented. The name of the city where the writer was born and raised remained unnoticed by the students; date of publication of his first works; writer's place of work.

In the experimental group, a frontal conversation was conducted. When asked about the most memorable facts of the writer’s life and work, we received the following answers: “The Ostrovsky family lived in a one-story house, and the streets were dirty and deserted,” “He studied at the Faculty of Law at Moscow University, but left it and decided to completely engage in literary activity.” , “Ostrovsky was very interested in theater.” This indicates the attention of children to the events of the writer’s childhood. After a series of questions, we were able to reconstruct the main stages of the writer’s life and work.

The use of “reading while stopping” has proven to be effective. Almost all students read the work. The leading motive for reading was the desire to find out what will happen next: “Will the Snow Maiden be able to live among people?”

A conversation to identify the reader’s perception of the work showed that students’ answers to some questions were completely different. In this conversation we used the following questions: “Did you like the play? How did you feel when you finished reading? If you were offered paints, what colors would you choose to paint your mood?” In their perception of the fairy tale, despite personal differences, many students were unanimous. The most typical answers: “... yes, I liked the fairy tale.” But the children also expressed their surprise at the ending of the fairy tale, which was not typical this genre. At the emotional level on the scale of feelings: sadness, melancholy, pity, surprise.

Discussing the compositional features of the play, the guys noted that “The Snow Maiden” was written based on Russian folk tales. It is based on elements of calendar and ritual poetry: the holiday of Maslenitsa. We noted the presence of lyrical songs in the play. Students independently noted that the work is similar to a Russian folk tale, because it is a fairy tale that is characterized by the struggle of opposites: goodness and wisdom, stupidity and ingenuity, cold and warmth, Frost and the Sun; animation of creatures: Spring, Frost, Snow Maiden, goblin and others: a fabulous resolution to the difficulties of the heroes. The students also came to the conclusion that the plot was based on fiction. They called it fabulous compositional structure works: beginning, plot, development of action, climax, denouement.

The students independently and quite easily identified the conflict of the play: the confrontation between the natural elements - Frost and the Sun. They noted that the conflict arises in the “Prologue” and runs through the entire play. Also, with the help of the teacher, they saw another conflict - a conflict in the Snow Maiden’s soul: to live without knowing what love is, or, having learned the miracle of true love, to die.

Revealing the system of characters in the play, the children were asked to divide them into two groups and give a name to each group of characters. In the process of this work, the students tried to answer the question: “Which of the groups they proposed should the Snow Maiden belong to?” In the course of their reasoning, they came up with the following table:

Characters embodying natural forces and elements Characters representing the world of the Berendeys Spring, Frost, Leshy, birds, the Sun. Bobyl, Bobylikha, Lel, Kpava, Mizgir, Tsar Berendey and others. The Snow Maiden is a child of nature living in the world of people.

At this stage of the experiment, the children completed drawings at home. The assessment of the work took place together with the children: the student told which character of the play he portrayed and why he chose him. We collected 16 drawings depicting the characters in the play. In their works, the guys portrayed different heroes: “The Snow Maiden” - 7, “Mizgir” - 2, “Spring is Red” - 3, “Frost” - 2. "Lel" - 1, "Kupava" - 1.

In the drawings we saw the students’ attitude towards the fairy tale play. The bright palette of colors allows us to judge the good perception of the fairy tale and the mood it created. A large and varied range of colors - yellow, orange, red, green, blue, as well as their combination - speaks of positive attitude to the work. The depiction of the human figure in detail communicates a thoughtful approach to completing the work. Detailedly drawn faces, i.e. the presence of eyes, nose, mouth, their image in the desired color perspective allows you to judge your passion for work by depicting the subject. This approach of students to work, the originality of the drawings, makes it possible to judge the students’ interest in this work.

To systematize and generalize students’ reading impressions, we chose to work in groups (2-3 people). The groups were asked questions of a problematic nature: Group 1 - How does the main character change as the story develops? What is the nature of these changes? Group 2 - Read the dialogue between Spring and Frost (phenomenon 2) in roles. What are Frost and Spring arguing about? Group 3 - What is happiness for the Snow Maiden? Why does she want to go to people? Group 4 - Why does Snow Maiden choose love over life? Group 5 - How can you explain Vesna’s decision to give her daughter love, thereby dooming her to death?

In general, the students understood the questions and they could answer them fully: “We observed a change in the Snow Maiden’s state: from complete indifference to love to a passionate desire to gain this ability at the cost of own life", "Frost and Spring are arguing about future fate to his daughter Snegurochka,” “Happiness for Snegurochka is to find herself in the world of people.” “The Snow Maiden understands that having known love, she will die, but she will no longer be able to live without love,” “We believe that the gift of Spring is a law of nature: all living things must love,” “Love for the Snow Maiden is not death, but the finding of a new life " When answering questions, the guys tried to use quotes from the text, demonstrating a good knowledge of the plot of the work.

Analyzing creative work By drawing up the script for the play, we can note that the guys were thinking about how to depict the crow of a rooster on stage, and they suggested turning on the sound recording; How to convey the onset of spring: “Smooth, calm music sounds”, “It’s twilight on the stage: the light bulbs are gradually getting brighter”, “In the background an image of Spring appears - Red surrounded by birds”, “Before Santa Claus appears, sprinkle “snow” on the stage”, and when he appears on stage, turn on the steam.” Next, the work comes down to retelling or copying the text. There is an omission of some lines from the characters in the play. Comparing the excerpt from the cartoon they watched with their scripts for the play, the guys were clearly convinced that not everyone literary text can be transferred to the screen.

While working on the material for this homework, students needed to provide the scenery for the production of the play. Discussing the question: “Why is the Red Hill so named?”, the children expressed two opinions: “The Red Hill is so named because red flowers bloom on it in spring and summer,” “When the sun rises, the hill is illuminated with red light, so it was called Red "slide."

Illustrations depicting the scenery were completed by 7 students. I would like to note that the guys tried to depict in their drawings everything that Ostrovsky writes about when describing the setting of the play. When depicting the “Red Hill,” the children showed the sunrise and red flowers growing on the hill. The children completed the task well. This indicates that students’ interest in the work does not fade away throughout the entire period of work on it.

The data obtained during testing showed the following results: 12 people participated in this type of control, of which 6 students wrote work “excellent”, “good” - 4 students, “satisfactory” - 2 students. Conclusion: the play “The Snow Maiden” was mastered by the children quite well (quality 92%). Almost all students remembered the names outstanding people, which brought great popularity to the fairy tale play.

Analyzing the questionnaires of students from the control group, we came to the following results:

Almost all the children liked the fairy tale, many of them would like to watch the film.

Only a few students were able to remember the name of the artist who illustrated the play. But not a single child remembered the name Rimsky-Korsakov.

Not all children remember the names of the characters in the play, so they could not express their attitude towards them.

Not all children indicated what conflict lies at the heart of the play. Many of them did not understand what the idea of ​​this work was.

Analyzing the questionnaires of the experimental group, we saw that almost all the children remembered the names of the composers and artist who drew attention to the play. It was easy for children to indicate what conflict was at the heart of the play, while indicating both external and internal conflicts. The guys very accurately defined the idea of ​​the work, listed all the characters in the play - a fairy tale and indicated their different attitudes towards them: “I feel pity for the Snow Maiden and Mizgir”, “Tsar Berendey is kind and caring”, “Kupava is unfortunate, I feel sorry for her”, “ Spring is a mother who loves her daughter Snegurochka” “Santa Claus is evil, but he was afraid for his daughter.”

The results of the survey in the experimental class allow us to talk about the effectiveness of using interpretation when getting acquainted with a dramatic work, which made it possible to activate students, their mental activity, independence, interest in reading. Mastering the text of Ostrovsky’s play “The Snow Maiden” will be deeper if you use the study of the work in connection with other forms of art, which will contribute to the development of visual, auditory, emotional images of the work and the reader’s perception of the work as a whole.

Conclusion

Reader perception is considered as the basis school analysis literary text. The specifics of the analysis depend on the reader's experience and artistic features the work being studied. It is possible to correct and deepen the reader's perception by applying the interpretation of the work in other forms of art.

The tasks proposed for the experiment are determined by the specifics of the fairy tale play and the characteristics of the reader's perception of the dramatic text by 6th grade students, and above all by the openness of the emotional state of children of this age. Different kinds of the proposed works were aimed at mastering the position of the author, at developing perception and awareness of the laws of construction of a dramatic text, and also focused on creative and research work.

The experimental test took place in the 6th grade of KSU “Secondary School No. 22 in Temirtau”.

To identify the dynamics of reader perception, a survey was conducted, the results of which allow us to judge some positive changes in the perception of the dramatic text. This was especially clearly manifested in the increased attention to the writer’s style and to his selection of linguistic means when creating the play - the fairy tale “The Snow Maiden”.

The use of illustrations, reproductions, music, animated films - gave more high level reader reception and text reproduction with delayed control, more accurate and deeper understanding author's position and the main idea of ​​the text.

Analysis of the color scheme of the drawings allows us to judge the emotionally positive perception of the play. We can also note a high level of activity in the process of studying the play. In general, the work performed (analysis of student responses, good reproducibility of the text, identification of the most significant problems, understanding the role of detail, commenting on the author’s position) allows us to conclude that sixth-graders can successfully master the work.

The effectiveness of the “drawing up a script” we used turned out to be somewhat lower than expected, but at the same time, the knowledge acquired by the students in the process of this work allowed them to more vividly perceive the world of a dramatic work.

In the process of work, we came to the conclusion that analysis should not suppress, but enhance emotional perception and deepen students’ understanding of the literary text. And for this it is necessary to connect literature with other forms of art.

It should also be noted that the reading impression of students and the interpretation of the work make it possible to increase the significance of initial observations of the text, to develop creative imagination, create interest in text analysis through observations of the ideological and compositional significance of individual episodes, dialogues, descriptions.

List of used literature

1 Alshwang A. P. I. Tchaikovsky. - Ed. 3rd. - M.: Music, 1976. - 916 p.

Arzamastseva I.M. Children's literature. - M.: Academy, 1977. - 310 p.

Vasnetsov V. Working on the image of “The Snow Maiden”. 1985 // Art. - 2002. - No. 5 - P. 8-9.

History of Russian literature of the 19th century. / Ed. CM. Petrova. - T. II. - M.: Education, 1963. - P. 300-344.

History of Russian literature in volumes III / Literature of the second half of the 19th - early 20th centuries. - T. III. - M.: Nauka, 1964. - 903 p.

Kalmanovsky E. Fairy tales and thoughts // New world. - 1961. - No. 2. - pp. 205-215.

Ko Young Ran. An artist in the world of the Berendeys // Bulletin of Moscow State University “Philology Series”. - 2002. - No. 1. - P.142 - 147.

Kogan D. Mamontov circle. - M.: Izobr. art, 1970. - 218 p.

Kunin I.F. Nikolai Andreevich Rimsky - Korsakov. - M., 1989. - P.40-47.

Lakshin V.Ya. A.N. Ostrovsky. - M.: Art, 1976. - 528 p.

Lebedev. Snow Maiden // In the middle of the century. - M., 1989. - P.98-109.

Lunacharsky A.V. “The Snow Maiden” by A.N. Ostrovsky. / Collection works., 8 volumes, - T.III. - M.: Khud. Lit., 1964. - 14 p.

Mankovsky A.V. “The Mermaid of A.S. Pushkin and the Snow Maiden of A.N. Ostrovsky” // Bulletin of Moscow State University “Philology Series”. - 2002. - No. 3. - P. 121-128.

The legacy of A.N. Ostrovsky and World culture. - M.: USSR, 1974. - 352 p.

Revyakin A.I. Ideas, themes and social characters of the dramaturgy of A.N. Ostrovsky. - Ed. 2nd. - M., education, 1974. - P. 140-142.

Tumashena N. Tchaikovsky: The Path to Mastery. 1840-1877. - Part 1. - M.: Publishing House of the USSR Academy of Sciences, 1962. - 559 p.

Stein A.L. “Master of Russian Drama” // Sketches about Ostrovsky’s work. Soviet writer. - M., 1973. - 432 p.

Application

Test.

1.What conflict is the basis of the play?

a) The Snow Maiden cannot love

b) Reflections on the dramatic nature of human fate

c) Snow Maiden’s passionate desire to find happiness

d) Confrontation between Frost and the Sun

How many conflicts are the basis of the play:

a) external

b) internal

c) internal and external

d) no conflict

Which artist did the costume sketches for the play “The Snow Maiden”:

a) Shishkin

b) Vasnetsov

d) Antokolsky

Which composer wrote the opera of the same name based on A. N. Ostrovsky’s play “The Snow Maiden”:

a) Mozart

b) Tchaikovsky

d) Rimsky - Korsakov

Where does the action take place in the play?

a) in the country of the Berendeys, in prehistoric times

b) in the forest, on the border of spring and winter

c) on the red hill

d) in a Russian village

How many parts does the play consist of - Ostrovsky’s fairy tale “The Snow Maiden”:

a) from 4 actions

b) of 3 acts and a prologue

c) of 5 acts and a prologue

Name the characters in the play:

a) Gerasim, Svetlana, Snegurochka, Lel

b) Kupava, Lel, Mizgir, Bobyl

c) Mizgir, Snegurochka, Eroshka, Berendey

d) guys, berendei, buffoons, guslars

What Spring gave to her daughter Snow Maiden:

a) new life

b) happiness

c) love

d) immortality

Which group of characters does the Snow Maiden belong to:

a) embodying natural forces and elements

b) to both groups

c) representing the world of the Berendeys

d) to none of the groups

When the climax of the play occurs:

a) when the Snow Maiden gets to Berendey

b) in the scene of receiving the gift of love

c) in the prologue

d) at the end of the play

Answer Key:

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The creative history of the play “The Snow Maiden” Why did A.N. Ostrovsky’s play “The Snow Maiden” so surprise readers, critics, and spectators? Why did A. N. Ostrovsky’s play “The Snow Maiden” so surprise readers, critics, and spectators? How was the original concept of the play changed by A.N. Ostrovsky? How was the original concept of the play changed by A.N. Ostrovsky? What difficulties do you think the great playwright might have experienced when creating the play “The Snow Maiden”? What difficulties do you think the great playwright might have experienced when creating the play “The Snow Maiden”? Individual work with article (c): How was the play assessed by individual writers? What is the reason ambiguous assessment? How was the play assessed by individual writers? What is the reason for the mixed assessment?

Composition diagram Contents of the composition parts 1. Exposition 2. Commencement 3. Plot development 4. Climax 5. Denouement Presence of older and younger generations. Absence of elders. The protagonist or heroine discovers a loss or shortage, or a prohibition is broken, and disaster follows. Finding what is lost or missing, correcting a mistake The main character or heroine fights an opposing force and always defeats it Overcoming a loss or lack, accession (gaining a higher status)

Outline of the composition Contents of the parts of the composition 1. Exposition 2. Commencement 3. Development of action 4. Climax 5. Denouement Meeting the parents of the Snow Maiden The wonderful child of Frost and Spring asks to people. The prohibition of Frost: “fear Lel, his speeches and songs” The test of the heroine who finds herself among people: the conflict with Bobyl and Bobylikha, the conflict with the girls of the Berendey kingdom, the conflict with Kupava, the conflict with Lel Acquisition of a forbidden quality - love The death of the heroine. The triumph of the Sun and harmony in the life of the Berendeys

Ostrovsky, unlike a folk tale, transfers the conflict of the work to an internal psychological plane. If in a folk tale the test of the hero is to fight against dark forces, then in Ostrovsky’s “spring fairy tale” the struggle of “hot” and “cold” feelings in the soul of the Snow Maiden is shown. The playwright filled the borrowed central motif of the death of the Snow Maiden with new content; he was able to transfer from the fairy tale a life-affirming principle, which determined the spring tone of the play, associated with the revival of nature and love in the hearts of the Berendeys. Ostrovsky, unlike a folk tale, transfers the conflict of the work to an internal psychological plane. If in a folk tale the test of the hero is to fight against dark forces, then in Ostrovsky’s “spring fairy tale” the struggle of “hot” and “cold” feelings in the soul of the Snow Maiden is shown. The playwright filled the borrowed central motif of the death of the Snow Maiden with new content; he was able to transfer from the fairy tale a life-affirming principle, which determined the spring tone of the play, associated with the revival of nature and love in the hearts of the Berendeys.

Genius test Once a young man came to Brecht and said: Once a young man came to Brecht and said: “I have a lot of creative ideas in my head, I can write good novel. The only thing stopping me from writing is not knowing how to start. - My head is full of creative ideas, I can write a good novel. The only thing stopping me from writing is not knowing how to start. Brecht smiled and advised: Brecht smiled and advised: - Very simple. Start with... - Very simple. Start with... Bertolt Brecht was a German poet, prose writer, playwright, theater reformer, founder of the Berlin Ensemble theater. Laureate of the International Stalin Prize “For Strengthening Peace Between Nations” (1954).

The World of the Berendey Kingdom What events fill the life of the Berendeys? What events fill the life of the Berendeys? Give a description of the inhabitants of the Berendey kingdom: Bobyl and Bobylikha, Murash, Lelya, Kupava. Prove your conclusions with text. What do the names of the heroes mean? Are they some kind of characterization of the heroes? Give a description of the inhabitants of the Berendey kingdom: Bobyl and Bobylikha, Murash, Lelya, Kupava. Prove your conclusions with text. What do the names of the heroes mean? Are they some kind of characterization of the heroes?

Alexander Nikolaevich Ostrovsky can rightfully be considered the creator of the repertoire for the national Russian theater. Despite the fact that he became most famous for his works about the morals of the Russian merchants (which the critic Nikolai Dobrolyubov very aptly nicknamed “the dark kingdom”), among the gloomy and slightly scary stories from the life of Zamoskvoretsky merchants there is a very bright and fabulous work - "Snow Maiden", written in 1873.

At the core plot For the play, the playwright used a Russian folk tale from Alexander Afanasyev’s collection “Poetic Views of the Slavs on Nature.” That is why the Slavic higher and lower deities act in the play: Yarilo, Frost, Spring, Leshy. The peculiarity is that the play “The Snow Maiden”, unlike all the previous ones, is written in verse, but without rhyme. However, the single rhythm of the work made it possible to set it to music. The whole play is a kind of poetic stylization of Russian folklore, which Ostrovsky was then passionate about.

This is explained by the fact that in 1873 the Maly Theater troupe was forced to move to the Bolshoi Theater for the duration of repairs. This is how opera, ballet and drama troupes found themselves under one roof. Then the commission of management of the Moscow Imperial Theaters decided to stage an extravaganza with the participation of all the artists. Ostrovsky composed the play in a short time, finishing it on his fiftieth birthday. And the music for the play was written by a young and then little-known composer Pyotr Ilyich Tchaikovsky.

Thus, Ostrovsky’s lyrical play became a multi-level, multi-layered work, as it embodied both the folk tale about the Snow Maiden girl, and the folk legend about the ancient Berendey tribe, and the mythological features of Slavic legends, and ancient rituals and songs. And Ostrovsky’s “spring tale” breathes such purity of poetry that it is reminiscent of Pushkin’s fairy tales. And in its meaning there is a lot of Pushkin in it: life appears as the magic of beauty and tragedy at the same time, and goodness in a person turns out to be the natural basis.

Therefore, the life of nature in the play looks like a kingdom of harsh contrasts of cold and heat, lifelessness and bloom. Ostrovsky writes about nature as about man. The landscape resembles a portrait into which the artist peers. An abundance of emotional epithets, comparisons that put natural phenomena on a par with human feelings, emphasize the closeness of natural and human beginnings in the mind of the playwright.

The play takes place in the kingdom of Berendey. It is more reminiscent of a kind of utopian state in which people live according to the laws of honor and conscience, fearing the wrath of the gods: this is a certain ideal of social order created by Ostrovsky. Even the tsar, who in Rus' was the sole ruler, autocrat, embodies folk wisdom in his work. He worries about his people in a fatherly way: it seems to him that his subjects have stopped noticing the beauty of nature, but are more likely to experience vanity and envy. This is why Yarilo got angry with the Berendeys, who every year freezes people more and more. Then Berendey reveals one of the main laws of nature: “Every living thing must love”. And he asks his assistant Bermyata to gather as many brides and grooms as possible on Yarilin’s day in order to sanctify their marriage and make a sacrifice to the Sun God.

However, the main dramatic conflict is connected precisely with the confrontation between love and "cold heart" in the soul of the Snow Maiden, who lives in the cold purity of loneliness, and with her soul strives for the fire of love, which is why she must die. Father Frost warns mother Vesna-Krasna about this: he says that Yarilo has vowed to take revenge on him using their daughter Snegurochka. They say that when she truly falls in love, Yarilo will melt her with his hot rays.

The Snow Maiden did not immediately learn what it was real love. Finding herself in the family of childless Bobyl, the girl expects the same love that she received from her mother and father. But Bobyl and Bobylikha perceive adopted daughter as a kind of bait for rich suitors. Only the suitors are not the same: many guys quarreled with their girlfriends over the Snow Maiden, but neither she is ready to give her heart, nor foster parents Ordinary Berendeys are not suitable.

The Snow Maiden herself likes the shepherd boy Lel, who generously bestows his songs on all the girls in the area. This is what hurts the heroine: she wants only her to be loved. When the rich groom arrives, "trade guest" Mizgir, ready to give up all his wealth for the sake of the Snow Maiden, she cannot find feelings for him in her heart. Everyone is unhappy: Kupava, Mizgir’s failed bride, Mizgir, who can no longer think about anyone except the Snow Maiden, who captivated him with her beauty, and the Snow Maiden herself suffers because she does not know what true love is.

By turning to her mother for help, the heroine receives what she wanted more than anything else in the world - the opportunity to love. Spring-Red says that she will love the first person she meets. Fortunately, it turns out to be Mizgir, and the reader can imagine that now everything will end happily. But no, Mizgir, intoxicated by the Snow Maiden’s love, wants to show everyone that he was able to achieve his goal - the beauty’s reciprocity. Not listening to the girl’s requests, he literally drags her up the mountain where the Berendeys met the dawn, and under the first rays of the sun the Snow Maiden dissolves. Having yielded to human law, she melts “from the sweet feelings of love.”

The melting of the Snow Maiden is a victory over the “traces of cold” in the heart. She was ready to die for the right to love with all her heart. Mizgir said about this: “Love and fear fought in her soul”. Now fear has been abandoned, and the Snow Maiden in the last minutes of her short life is given only to love.

Mizgir is also fearless. He kept his promise: “Trouble will come - we will die together”. The death of the Snow Maiden is a disaster for him, so he rushes into the lake to unite with the cool water into which the Snow Maiden has turned, recently warm in his hot embrace.

But Tsar Berendey calls the death of the Snow Maiden "sad", Then "wonderful". The difference between these epithets suggests to the reader a way out of tragedy into affirmation of life. The death of the Snow Maiden and the Berendey holiday are nearby. Its extinction brings a flood of light into the world. No wonder the king says:

Snow Maiden's sad death
And the terrible death of Mizgir
They cannot disturb us; The sun knows
Whom to punish and pardon...

Thus, the tragedy of the individual dissolves in the general chorus of nature. In the words of Pushkin, the author’s sadness is light because the human soul is light: it turns out to be free and fearless in love, it is stronger than the fear of self-preservation.

Material from the manual by Solovyova F.E. Workbook for the textbook “Literature. 8th grade". (compiled by G.S. Merkin): at 2 hours. Part 2 / F.E. Solovyova; edited by G.S. Merkina - M.: LLC " Russian word- textbook", 2013

Lessons 1 - 2. Brief information about A.N. Ostrovsky. Fairy tale play "The Snow Maiden". The originality of the plot. Connection with mythological and fairy tale traditions. Elements of folklore in a fairy tale.

1.Listen to the teacher’s message about A.N. Ostrovsky. Complete the second part of the table.

Biographical information	My comments on what I heard
Nikolai Fedorovich Ostrovsky, Lyubov Ivanovna Savvina - father and mother
Primary home education
In 1835 - 1840 - studied at the Moscow provincial (first) gymnasium
1840 - 1843 - studied at the Faculty of Law of Moscow University. Passion for theater
1843 - 1851 - service in court, first literary experiments
Themes of creativity of A.N. Ostrovsky

2. Make up questions for the textbook article “Creative history of the play “The Snow Maiden””

3.Write down the most characteristic features of a literary fairy tale.

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4. Relate the events of the fairy tale play with the events fairy tale. Fill out the third part of the table according to the sample. What are the similarities between the composition of a fairy tale and a fairy tale play by A.N. Ostrovsky?

Fairy tale composition		Events of the fairy tale play
Exposition	The reasons that gave rise to the plot: prohibition and violation of the ban on some actions	“Yarilo will burn her, incinerate her, melt her, I don’t know how, but it will kill. How long Her soul is pure as a child, He has no power to harm the Snow Maiden.” “Snow Maiden, run away from Lelya!”
The beginning	The protagonist or heroine discovers a loss or shortage
Plot development	Finding what is lost or missing. Meeting with the donor
Climax	The protagonist or heroine fights an opposing force and always defeats or solves it difficult riddles
Denouement	Overcoming loss or lack. Wedding and accession of the hero

5. Write down in the second part of the table the names of ritual songs, variations and arrangements based on the model.

Russian songs and rituals	Songs
Arrangements and variations of folk songs	“Birds gathered, singers gathered”; “What is it like for birds to live at sea”; “Strawberry-berry...”; “Khmelinushko, blade of stamen…”
Magic ritual associated with sowing, reaping and threshing crops
Folk songs, chants accompanying the Maslenitsa funeral ritual
Rituals associated with the celebration of Semik (Thursday in the seventh week after Easter)
Elements of the wedding ceremony

6.Name the sources that served as the basis for the creation of the fairy tale play.

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Lessons 3 - 4. Features of the play-fairy tale conflict. Berendey's kingdom in the play by A.N. Ostrovsky.

1. Write out phrases from Spring’s monologue in the Prologue that recreate the picture of the kingdom of the Berendeys.

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2.Make a brief description of the inhabitants of the Berendey kingdom and Tsar Berendey by filling out the fourth part of the table according to the sample.

Heroes	Meaning of the name	Quotes for commenting	a brief description of heroes
Bobyl	A poor peasant who does not own land; lonely, lives among people as a backbone or among farm laborers, watchmen, shepherds	Prologue, phenomenon 4; d.1, iv.1 “And bow down, and I will break.” “I’m lazy myself, so there’s no point in blaming poverty. You wander around doing nothing all day long.”	They do not know how to appreciate beauty, they are envious, cunning, greedy, lazy, vain
Bobylikha	Bobylikha - Bobylya's wife; a homeless and poor widow living among people, in the backyards, outside the village	“What is your job! Who needs it! You will not be rich from it, but only full; this way, without work, you can feed yourself on scraps of the world.” The heroes’ dream: “every day is a feast, every morning is a hangover”; “with the horns of a kika”, looking at which “the nobles would die of envy”
Murash	Ant, insect, a small type of ant, goosebump, found in residential buildings and kitchens	D.1, appearance 1 “Go ahead and deceive others with your bows; and we, my friend, know you quite well. What is taken care of is intact, they say"
Berendey and Berendey's kingdom	Berendei, a nomadic tribe of Turkic origin, mentioned in Russian chronicles from 1097 to the end of the 12th century. In connection with the invasion of the Mongol-Tatars in Rus' in early XIII century, part of the Berendeys went to Bulgaria and Hungary, the rest merged with the population of the Golden Horde	D.2, appearance 1 Dialogue between the king and Bermyata. D.2, appearance 2 “They steal a little, well-being is a great word, I haven’t seen it among the people for a long time.” “I noticed a considerable cooling in the hearts of people.” “Vanity, envy of other people’s outfits.” “Marital fidelity has lost a little of its inviolability and certainty”

3.What does Berendey see as the cause of misfortune?

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4. Write down a brief description of Lel, Kupava, Snegurochka, Mizgir in the fourth part of the table.

Heroes	Meaning of the name	Quotes for commenting	Brief description of the hero
Lel	The name of an ancient Russian god, compared to Cupid, Cupid. Some Slavic peoples spring was called Lyalya or Leleya	D.1, appearance 3 “You see, they are waiting for me and beckoning me with their hand. Let’s run around, joke, laugh, whisper near the road to the noise of the angry mothers on the sly.”
Kupava	Kupava, kupavna (Psk. Tver.), lush, proud. Kupala, deity of summer	D.1, appearance 5 “Me, Snow Maiden, how happy I am! You can’t live without your sweetheart, you have to love someone, you can’t get by.” “Then goodbye. In his house, in the large royal estate, in full view of the rich housewife, I will indulge.” D.2, appearance 3 “I forgot everyone... I know and remember only my dear friend” D.3, appearance 6 “My love, until forever and ever, blue-winged darling”
Mizgir	Spider, flycatcher; earthen, evil spider, tarantula. If you kill Mizgir, you will pay forty sins	D.1, appearance 5 “Good-looking, ruddy, chubby, red, curly.” "Trading guest from Tsar's Posad." D.1, appearance 6 “However, Mizgir laughs in our eyes (Brusilo).” D.1, appearance 7 “And there is no return for extinguished love, Kupava.” “Love me, Snow Maiden! I will shower your beauty with priceless gifts and give your life in addition.”
Snow Maiden		D.1, appearance 1 “My trouble is that there is no affection in me.” D.1, appearance 4 “With a heavy insult, like a stone, the flower crushed by Lelem fell on my heart.” D.2, appearance 5 “Her beauty will help us, Bermyata, Yarilin’s anger to soften.” D.3, appearance 1 “Love me a little; wait, - the Snow Maiden will love you herself.” D.4, appearance 2 “I want to love; but I don’t know the words of love.” “That everything that is dear in the world lives in just one word. This word: Love"

5. Why are Snegurochka and Mizgir not accepted in the kingdom of the Berendeys?

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6. How are the images of Moroz and Mizgir similar?

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7. Why did the Snow Maiden fall in love with Mizgir?

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8. Why can’t Lel love the Snow Maiden?

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9.Why did Lel and Kupava fall in love with each other? How are these heroes similar?

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10. What is the meaning of the king’s phrase: “The Snow Maiden’s sad death and the terrible death of Mizgir cannot disturb us”?

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11. Write down the names of the composers who wrote the music for A.N.’s “Spring Tale”. Ostrovsky

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Lesson 5. Defending abstracts

Questions and tasks for self-control

1.What is the name in literary criticism for works of folklore that arose and were performed during rituals - established actions that have religious, everyday or ritual-game significance for the performers?

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2. Write down examples of inversion. Write down the definition of this literary term.

Let's go quickly! The shadows of the night are fading.

Look, the dawn is a barely visible stripe

Cut through the eastern sky,

It grows, expanding more clearly. This

The day woke up and opened his eyelids

Shining eyes. Let's go to! The time has come

Meet the rising of Yaril the Sun. Proudly

Lel will show the Sun in front of the crowd

My beloved friend.

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3.What works of oral folk art are characterized by following features: the principle of analogy between the natural world and the inner world of man; broadcast internal state hero through external forms; various compositional and stylistic techniques (parallelism, repetitions, lyrical appeals, tropes)?

Write down the most typical example from the text of the fairy tale play.

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4.What is a gender called in literary criticism? literary works, constructed in the form of dialogue without author's speech and intended for performance on stage?

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