Image of everyday life of human vices. Abstract: D

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Denis Ivanovich Fonvizin Magic land! There, in the old days, the bold ruler of Satyrs, Fonvizin shone, a friend of freedom ... A.S. Pushkin. "Eugene Onegin" (1745 -1792) Teacher of the Russian language and literature, MBOU "Secondary School No. 30 with UIPO "Physical Education" Khisamutdinova F.R. …

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"The action produced in me by the theater is almost impossible to describe: the comedy that I saw, rather stupid, I considered the work of the greatest mind, and the actors - great people, whom I thought would be my well-being."

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1759 - 1762 - gymnasium at Moscow University "My sharp words, Fonvizin recalls, rushed around Moscow; and as they were caustic for many, the offended ones announced me as an evil and dangerous boy; all those whom my sharp words only amused glorified me amiable and agreeable in society."

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Satire and journalism were his weapons. A courageous protest against the injustices of autocracy and angry accusations of serf abuses sounded in his works. This was the historical merit of D. I. Fonvizin

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Peculiarities of drama as a kind of literature The basis of drama is action, the speech of the hero is the main means of creating an image; the absence of a detailed narrative and descriptive image; the important role of scenery and artistic details (interior, costume, etc.) their gestures, facial expressions, intonation, pauses, etc.)

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The basic rules of classical comedy Depiction of everyday life, human vices Heroes are people of low class, with base interests worthy of ridicule; each of them is the bearer of one trait, one vice; a clear division into positive and negative characters Speaking surnames One idea Unity of action (comedy should be based on one conflict) Unity of place and time (action takes place in one place during the day) Heroic and tragic are not allowed (comedy should execute vices with laughter) spoken language happy ending

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Theory of Literature Fonvizin's comedy "Undergrowth" is a satire. Satire is a kind of comic, angry denunciation of social phenomena with laughter.

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Which of the rules and techniques of classical comedy did D.I. Fonvizin, and which ones did he break? Let's think about the deviation from the unity of action (in the comedy "Undergrowth" there are two storylines) the negative characters are interesting and ambiguous when creating the characters of the characters, the speech characteristic is used the unhappy end the unity of the place (the village of the Prostakovs) the unity of time (one day) one idea (the upbringing of a worthy citizen) the division of heroes on negative and positive "speaking" surnames, emphasizing the dominant character trait, the carrier of which is the character

DI. Fonvizin and his time. Traditional elements of classicism and innovation in the comedy "Undergrowth".

Lesson Objectives:

To acquaint students with the personality of D.I. Fonvizin.

Repeat the genres of literature and features of the drama.

Create conditions for the formation of the initial concept of various trends in literature.

To create conditions for revealing traditional elements of classicism and innovation in comedy

DI. Fonvizin "Undergrowth".

5. To reveal the reader's perception of comedy by students.

Equipment: computer, multimedia projector, computer presentation for the lesson, task cards.

During the classes.

1. Introduction (slides 1-4)

Magic edge! There in the old days

Satyrs are a bold ruler,

Fonvizin shone, friend of freedom...

A.S. Pushkin. "Eugene Onegin"

... The satirist is excellent

Ignorance was executed in folk comedy.

A.S. Pushkin. "Message to the Censor"

What contributed to the fact that Pushkin praised the work of Fonvizin so highly, calling him an excellent satirist? Probably, first of all, Fonvizin was a master who, using traditions in his work, created an innovative work. What is the playwright's innovation and what traditions did he adhere to in his work, we have to find out today.

Acquaintance with the biography of D.I. Fonvizin (video film).

Fonvizin's literary activity begins in the 60s of the 18th century. An inquisitive and witty man, he was created in order to become a satirist. And there were enough reasons for bitter laughter in the Russian reality of that time.

DI. Fonvizin is a representative of Russian classicism, one of the literary movements.

What is a literary movement? Attention to the screen.

What information did you get from this table?

What are the literary trends? (with the coincidence of creative settings, themes, genres and style in the writer's work)

List the named literary trends.

DI. Fonvizin is a representative of classicism. What is characteristic of this literary movement? Working with a spreadsheet.

Do you understand all the features of classicism? A printout of this table is on your desks. This is card number 1. In the future, you can use it as a reference material. Mark on the card what you do not understand with a question mark.

Today, Veronica Kopina and Sveta Breeva were preparing an advanced individual task for the lesson. They will try to answer your questions. What features of classicism do you not understand?

^ 2. Review (slides 5)

Consider the genres of literature. What type of literature does the work of Fonvizin you read belong to?

What are the characteristics of a dramatic work? Each of you has card number 2, which indicates the features of the drama. But there are errors in the card. Fix them.

So what are the features of drama? (Checking work with cards)

^3. Explanation of the new.

Classical comedy was built according to certain canons (slide 7 of the presentation)

Today we have to find out if Fonvizin adheres to these rules in his comedy.

But first, let's explain the name of the comedy and get acquainted with the characters.

Who was called an undergrowth in the 18th century?

What features of the characters' names attract attention? Can surnames and names be called speaking? (^ Yes.) Mitrofan from Greek. “like a mother”, Sophia - “wisdom”, etc.)

4. Dramatization of comedy episodes (slide 8)

The heroes of comedy are visiting us today.

5. Conversation.

There is almost no commentary in the list of actors in the comedy. Did your initial idea of ​​the characters in the play match what you saw? What features of the comedy heroes did the actors of the drama circle try to embody? (students' statements)

From the very first pages of the comedy, conflict flares up. What is conflict in a work? (the collision underlying the development of the action)

Between whom does the collision take place in the first phenomenon? (between Prostakova and Trishka)

What phrase does Prostakova think of driving Trishka into a dead end? And how does Trishka parry this remark? (“So is it really necessary to be a tailor in order to be able to sew a caftan well. What a bestial reasoning. “But the tailor studied, madam, but I didn’t”).

Does Prostakova understand the importance and necessity of education?

Why does she hire teachers? (firstly, she declares: “We are no worse than others”, and secondly, there is a decree of Peter 1 on the nobility, according to which every nobleman had to learn different sciences before entering the public service, since educated people can bring more benefit to the state

What is the theme of Fonvizin's comedy? (the topic of education and upbringing)

Who else from the heroes of the play opposes Prostakova? (Starodum). Write down your homework. Write out quotes about education and enlightenment from the replicas of comedy heroes. Now let's work in groups and individually.

^ 6. Work in groups. I remind you of the rules of working in groups. We are discussing in an undertone. We express all your opinions. The group commander sums up and answers, who has the right to entrust the answer to any of you.

Group 1 (strong students) You will conduct a study and answer the question: “Which of the rules and techniques of classical comedy, in your opinion, did D.I. Fonvizin, which ones did he violate? You have card number 3 - a table of canons for the construction of a classic comedy. + mark the traditions followed by Fonvizin. In the second column, write the playwright's innovation.

The 2nd group (middle students) will match quotes from the comedy to these illustrations.

The 3rd group (members of the drama circle) will remember the text and try to restore the aphorisms from the comedy, which, unfortunately, have crumbled.

4th and 5th groups (other students, mixed groups). You have the most serious and responsible task. You work individually with a control test built according to the USE type. Answer options are marked in the boxes next to the question.

^ 7. Summing up the results of the lesson (group reports on the work done, except for the 4th and 5th groups, which pass the completed tests to the teacher) (slides 9-14)

8. The final word of the teacher (slide 15)

Today we met D.I. Fonvizin, made the first attempt to penetrate the secrets of his immortal comedy "Undergrowth". We will continue talking about her heroes, about the problems raised by the author in the next lessons. For this work, highly appreciated by Russian critics, requires careful reading.

“Russian comedy began long before Fonvizin, but began only with Fonvizin. His "Undergrowth" and "The Brigadier" made a terrible noise when they appeared and will forever remain in the history of Russian literature, if not art, as one of the most remarkable phenomena. Indeed. These comedies are the work of a strong mind. A gifted person."

So highly appreciated the work of Fonvizin V.G. Belinsky in the article "Woe from Wit". Let's try to comprehend the secret of the immortal work of D.I. Fonvizin.

Features of classicism

Idealization of heroes

Features of classicism

Appeal to samples and forms of antiquity as an ideal

The principle of rationalism, the cult of reason

Strict observance of the rules, the canon in the construction of a work of art

Compliance with the unity of place, time and action in the drama

The desire to capture the essential properties of life phenomena

Appeal to public issues

Adoption of the ideas of absolutism, patriotism, citizenship

The straightness of the presentation of human characters

Idealization of heroes

Classicism as a literary movement

Classicism arose in the first half of the 18th century. During this period, the autocratic system was strengthened in Russia. The main support of the autocracy was the nobility. The literature of classicism served the needs of the absolute state. She preached the ideas of citizenship associated with this form of social structure, the ideas of an enlightened monarchy.

Translated from the Latin "classicism" - "exemplary", "first-class". In the 17-18 centuries, works of ancient Greco-Roman art were considered exemplary, worthy of imitation.

The study of works of ancient art allowed the theorists of classicism to derive the canons by which writers had to follow in artistic creation.

Classicist writers believed that human feelings are deceptive, that only with the help of the mind can life be known and harmoniously reflected in literature.

The rules of classicism provided for the division of literature into strictly defined genres of high (ode, poem, tragedy) and low (comedy, satire, fable).

Human characters were outlined one-sidedly, acting usually were carriers of any one trait. The actors were clearly divided into carriers of good or evil.

Dramatic works obeyed the rules of the three unities. Events took place within one day, in one place, the plot was not complicated by side episodes.

^ CARD #3

Canons of classic comedy

Fonvizin's innovation

Image of everyday life, human vices

Heroes are people of low class, with base interests worthy of ridicule;

Each of the heroes is the bearer of one trait, one vice

A clear division into positive and negative characters

Speaking surnames

one idea

Unity of action (comedy must be based on one conflict)

Unity of place and time (the action takes place in one place during the day)

The heroic and tragic are not allowed (comedy should execute vices with laughter)

Setting to spoken language

A happy ending

^ CARD #2

Task: find errors in the features of drama as a kind of literature.

The basis of drama is the narration of events

The portrait of the hero is the main means of creating an image

The drama has a detailed narrative and descriptive image

The role of landscape and artistic details is important

^ CARD #1

Features of classicism

Appeal to samples and forms of antiquity as an ideal

The principle of rationalism, the cult of reason

Strict observance of the rules, the canon in the construction of a work of art

Compliance with the unity of place, time and action in the drama

The desire to capture the essential properties of life phenomena

Appeal to public issues

Adoption of the ideas of absolutism, patriotism, citizenship

The straightness of the presentation of human characters

Idealization of heroes

Classicism in Russian and world art

The purpose of the lesson: general review "The Development of Russian Literature in the 18th Century"; introduction of the concept of "classicism".

Vocabulary work: statehood, "secular" culture, classicism, citizenship.
During the classes

I. Writing epigraphs for the lesson, talking about them
It was that troubled time

When Russia is young

Straining strength in the struggles,

Husband with the genius of Peter.

A. S. Pushkin
Our literature suddenly appeared in the thirteenth century.

A. S. Pushkin
Questions:

Why is Russia "young"?

How is the formation of Russian statehood in the eighteenth century?

How is this process connected with the activities of Peter I?

How do you understand the meaning of the second epigraph? What is inversion used for, what words are logically highlighted?

Pushkin's assessment of the literature of the 18th century was voiced.

In order to make it clear to students, you can invite them to draw a "time beam".
II. Drawing up a reference diagram

On the temporal ray, we will place what the students already know quite well, but at the same time we will designate the question for subsequent lessons: how was it prepared, how did the unprecedented flourishing of Russian literature in the 18th century become possible.
III. Work on the table (photocopies are distributed to each table). Learning to take notes from the textbook and teacher's lectures

Comment. Russian literature of the eighteenth century. adopted the experience of European literature (the influence of classicism), but also retained the best traditions of the literature of Ancient Russia, primarily citizenship, interest in the human person, and a satirical orientation.

IV. Definition of "classicism". Classicism in Russia

The origins of world classicism are in France of the 17th century, in the views of the outstanding French playwrights Corneille and Moliere and the literary theorist N. Boileau. Here is a fragment from Boileau's treatise "Poetic Art":
Whatever the plot, lofty or funny,

The meaning should always be in harmony with the smooth rhyme.

In vain it seems that she is at war with him:

After all, rhyme is only a slave: it must be obedient.

If you look carefully, then soon a sharp mind

Get used to finding it easily and at once;

Subjugating the yoke of sound mind,

She gives him a valuable frame.
The heroes of classic works, as a rule, had a dominant character trait, were divided exclusively into positive and negative ones, especially in works of dramatic genres.

Here is another quote from Boileau:
Save your hero skillfully

Traits of character among any events.

But strict logic is expected from you in the theater;

It is ruled by law, exacting and harsh.

Are you bringing a new face to the stage?

Let your hero be carefully thought out,

Let him always be himself.
Main property - appeal to the images and forms of ancient art as classical and ideal samples; normative poetry.

At the core of aesthetics - the principle of rationalism and "imitation of nature."

Characteristic features of classicism (written in notebook):

Cult of the mind

A work of art is organized as an artificial, logically constructed whole;

Strict plot-compositional organization, schematism;

Life phenomena are transformed in such a way as to reveal and capture their generic, essential features and properties;

Human characters are outlined in a straight line; positive and negative characters are opposed;

Idealization of heroes, utopianism, absolutization of ideas;

The objectivity of the narration is emphasized;

Active appeal to public, civic issues.

The main slogan of classicism of the XVII-XVIII centuries. - imitation of nature, where everything, according to the classicists, is clear, precise, subject to the rules. A work of art should be like an algebraic formula. Thus, the basis of the aesthetics of classicism is rationalism (from lat. ratio- intelligence).

The characters are clearly divided into positive and negative , the author's assessment is clearly expressed. Each hero is the bearer of some trait (virtue or vice), which is reflected in speaking surnames (Skotinin, Prostakov, Milon, Pravdin, Starodum at Fonvizin).

Classical plays are characterized by " role system ».

Role - the type of character that moves from play to play. For example, the role of a classic comedy is ideal heroine, hero lover, second lover (Jonah); reasoner - a hero who almost does not take part in the intrigue, but expresses the author's assessment of what is happening; soubrette - a cheerful maid, who, on the contrary, is actively involved in the intrigue.

The plot is usually based on love triangle :
heroine - hero-lover - second lover.
At the end of a classic comedy, vice is always punished and virtue triumphs.

Principle three unities due to the requirement to imitate nature:
But we must not forget, poets, about reason:

One event per day

In a single place, let it flow on the stage

Only in this case will it captivate us
- unity of time: the action develops no more than a day;

- unity of action: one storyline, the number of characters is limited (5-10), all characters are necessarily connected by the story, i.e. there should be no side effects, characters.

Requirements for a classic composition: in a play, as a rule, there are 4 acts: in the third - the culmination, in the fourth - the denouement. Features of the exposition: the play is opened by secondary characters who introduce the viewer to the main characters and tell the background. The action is slowed down by long monologues of the main characters.

A clear division into high and low genres.

Strict hierarchy of genres 2

They reflected the public. They described the daily

life, history; heroes acted, the lives of ordinary people. allowed

commanders, monarchs. Also, the use of prose or

used mythological and bib verses, everyday details,

lay stories. The time of the classic style of speech.

ma - the time of the enlightened abso- French classicists: drama-

luteism: the idea of ​​the turgis Corneille, Racine, Molière,

serving the state, performing the fabulist Lafontaine, author

civic duty. treatise "Poetic Art"

Usually written in Alexandrian Boileau, Voltaire.

verse, they were not allowed to use Comedy, satire, fable.
the formation of colloquial turns, and

specific names are often replaced-

were generic (for example, instead of

wolf is an animal).

Tragedy, epic, ode.
Next, you can invite students to get acquainted with the article of the textbook "Russian literature of the eighteenth century" (according to G. Makogonenko) and supplement the abstract material, mainly with information about the activities of individual "writers".
V. Work with the article of the textbook "Classicism"

The definition of classicism, the differences between Russian and Western European classicism are written out in the notebook.

The teacher needs to emphasize that classicism as a literary trend arose in the countries of Western Europe and is correlated with the process of creating unified national states. The idea of ​​civic service becomes all-encompassing. The need to streamline life in such a state leads to normalization in art, following certain rules and imitation of recognized (mainly ancient) models. Art consciously set itself the task of social and moral education of fellow citizens.
Homework

1. In written reflection, try to determine the role of literature of the eighteenth century. in the history of Russian literature in general.

Lessons 5-6. Classical play.

J.-B. Molière "The tradesman in the nobility"

Lesson Objectives: consider the signs of classicism in drama; get acquainted with the biography and essay on the work of J.-B. Molière.

Vocabulary work: reasoner.
During the classes

I. Working with the textbook

Reading the article "French Classicism" with additions and comments of the teacher.

As a result of the work in the students' notebooks, a plan should remain.

1. Strict hierarchy of genres in classicism.

2. Comedy in the system of genres:

a) depiction of everyday life, human vices;

b) conditional plot, comedy scheme;

c) the task "to make people laugh and enjoy";

d) installation on the spoken language;

d) happy ending

e) 5 actions.

3. The rules of the three unities in a dramatic work:

a) unity of place;

b) unity of action;

c) the unity of time.

4. Heroes of the plays of classicism:

a) “the immutability of the hero (lack of internal development);

b) the hero is the embodiment of one trait (speaking surnames);

c) the division of heroes into strictly positive and strictly negative;

d) hero-resonator.

Vocabulary work.

reasoner - character of the literature of the XVII-XVIII centuries. (a feature of comedies), which does not take an active part in the development of the action and is called upon to exhort or denounce other characters, expressing moralizing judgments from the author's positions.
II. Molière is a representative of French classicism of the 18th century.

1. You can start by reading Ch. 33 novels by Mikhail Bulgakov "The Life of Monsieur de Molière" (the scene of Molière's death and the story of his burial).
2. The word of the teacher.

In Mikhail Bulgakov's biography of Molière, there is a chapter called Bru-ga-ga, dedicated to the first performance of Molière's theater at court. This happened in the halls of the Louvre on October 24, 1658. The evening opened with Corneille's tragedy Nycomedes. In the hall - the king, courtiers, actors of the Burgundy hotel, recognized masters of the tragic genre. In the course of the performance, the hall gets bored, the king's brother, the young Philippe of Orleans, huddled in his chair. It was he who won the right for the provincial troupe to play in the Louvre. And what is failure? It seems to have already happened when, after Nicomedes, Molière appears on the stage and offers a comedy of his own composition - “Doctor in Love”: the province laughed at it. The king nodded.

In the title role, as in the just-failed "Nycomede", the theater director himself, Molière, acted. He ran onto the stage, and “the audience began to smile. After the first remark, they began to laugh. A few minutes later, the laughter turned into a roar. And it was seen how the arrogant man in the chair [the king] fell back on his back and began, sobbing, to wipe his tears. Suddenly, quite unexpectedly for himself, Philippe d'Orleans laughed shrillly nearby. In the eyes of the enamored doctor suddenly brightened. He realized that he was hearing ... the famous, indescribable, speaking of the complete success of the comedy, a collapse in the hall, which in the troupe of Molière was called "bru-ha-ha."

So the capital learned about the new troupe and its leader, an unimportant performer of tragic roles, but a magnificent farce and author of comedies. The king legitimized the existence of the new theater by giving him the Petit Bourbon hall. According to the unofficial title of the brother of the king, the theater was called the troupe of Monsieur.
III. Work with the textbook. Reading an article about Molière

Opinion exchange. Can you, following M. A. Bulgakov, say: “I love Molière very much”? What comedies have you read? What is your reaction to Molière?
Homework

1. Reading the comedy "The tradesman in the nobility."

2. Individual task-message: "From the history of the creation of comedy."
Information for the teacher

Real name Molière - Jean-Baptiste Poquelin(1621-1673). He is the son and grandson of a royal upholsterer. An enviable position, which he abandoned in favor of his brother, choosing another field - the theater - and adopting a stage name that has become world famous.

Molière received a good education at Clermont College (now the Lyceum of Louis the Great), completing his studies in 1639. He studied law for the next three years. In 1641, at the house of his friend, Moliere listened to the lectures of the philosopher Pierre Gassendi (1592-1655). If the tragedy of classicism with the intellectual harmony of its conflict is seen as a parallel to the rationalism of Descartes, then is it not logical that Gassendi, a staunch opponent of the theory of innate ideas, preaches to the comedian? The world, according to Gassendi, is not created by the Divine mind, but is born by self-creating matter for the joy and enjoyment of man. The extent to which Molière was fascinated by this way of thinking can be judged by the fact that his first literary creation was the translation of the ancient Roman poem of Lucretius "On the Nature of Things."

In 1643, Jean-Baptiste Poquelin made the final choice. On January 1 next year, the Brilliant Theater opens, and among its creators is a new theatrical name - Molière. Among his associates is the Bejart family, including Madeleine Bejart, a stage partner and friend of Molière.

The French Renaissance was not marked by the flourishing of theatrical art. Attempts were made to create a new drama, the first professional troupes played, but the efforts of poets and actors remained scattered. The people still preferred medieval farces. The power of the past was tangibly manifested in the fact that in Paris the corporation of artisans, the Brotherhood of the Passion of the Lord, owned a monopoly obtained for the production of mysteries as early as 1402, as well as the only theater building. Erected in 1548 on the site of the palace of the Dukes of Burgundy, it was called the Burgundy Hotel. Both French farce performers and visiting Italian troupes had to rent it from the Brotherhood. Here, since 1625, a troupe led by the talented actor Mondori began to play. In 1630, she received the right to be called "actors in the constant service of the king" and often performed in the royal palace. In 1634, Mondori settled in the Marais hall, intended for playing ball. The name of the hall (in translation - “swamp”, after the name of the area inhabited by the poor) becomes the name of the second Parisian theater.

Moliere is trying to create another theater in the capital. The first period in Paris in his theatrical career did not last long - just over a year - and ended ingloriously. In the autumn of 1645 the Brilliant Theater went bankrupt. Molière spent several days in a debtor's prison, and then, with the rest of his not very professional troupe at that time, he went to the provinces on a tour that lasted thirteen years. He wandered from city to city, endured the hardships of the path and the miserable life of an actor. The profession of an actor at that time was not considered noble. Molière had to change the status and meaning of his craft.

What could they play then? Old farces were turned over. A new experience in France was an acquaintance with the Italian theater of masks, comedy del arte. Like the French farce, it inherited the old traditions of folk culture, but, formed only in the 16th century, it represented a higher stage of its development. In terms of stage, this comedy involved the creation of an ensemble of actors, consisting of four masks. The most famous - "northern" - four were Pantalone (merchant, stingy), Doctor and two simpletons - Zanni Brighella (originally a cunning, dodgy, evil peasant) and Harlequin (originally stupid, later a rogue).

This experience gave Moliere a lot. We can say that he forced him to become a playwright, since the commedia dell'arte is a theater of improvisation. There is only a general, as they would now say, scenario plan, and the text of the role is created by the actor himself. Molière began sketching roles, varying subjects, adapting Italian masks to French life. In some names of Moliere's characters, their pedigree is guessed much later: for example, the hero of several comedies, Sganarelle, comes from Zanarello (Zanni). From there, the Doctor in Love, who brought the first Parisian success.

The success confirmed the skill of the troupe, but to no lesser extent the skill of its comedian, whose creation was replaced by recognizability in masks of real life types. For Molière, this was only one of the first sketches. It is now that he begins to write in detail and in detail from life.

(Lesson 2)

Lesson Objectives: to study the history of the comedy "The tradesman in the nobility"; reveal the intrigue in the play; meaning and images of comedy.

Vocabulary work: intrigue.

J.-B. Molière is a representative of French classicism of the 17th century.

Goals: consider the signs of classicism in drama; to acquaint with the biography and work of Molière.

During the classes

I. Learning new material.

1.Note-taking training teacher's lectures.

The teacher's story about French classicism.

The heyday of classicism is associated with the period of establishment of the absolute monarchy in France. By the middle of the XVII century. royal power has become a historically progressive force, opposing the willfulness of large feudal lords and contributing to the development of the economic, social and spiritual life of the country. Under the auspices of the king, the French bourgeoisie grew rich. It was the king who managed to soften the fierce religious hostility within the country. The personality of the king was perceived as the embodiment of reasonable will and enjoyed unquestioned authority. This era is called enlightened absolutism.

The historically necessary measures of royal power, however, did not provide for concern for the welfare of the broad masses of the people.

Louis XIV, or, as he was called, the "Sun King", maintained his court with unprecedented luxury. The best artists, writers, musicians and artists were called to the court. The king built himself a new residence near Paris - Versailles. Its architects created a style that, in its strict artlessness and majesty, resembled ancient buildings. The style was based on the principle of attraction to the center, which symbolized the central government. The principle of strict regulation, which was imposed at the royal court, extended to the culture of the era. This is how the art of classicism arose, in line with which great works of architecture, sculpture and literature, especially dramaturgy, were created.

Classicism in France brought forward great writers - masters of the tragic genre Corneille and Racine, the fabulist Lafontaine, the comedian Molière.

The method of depicting a person by the playwrights of French classicism differs significantly from that which the realists of the 19th century began to use later. In contrast to the realism of the 19th century, in whose works characters are connected with circumstances and are most often determined by these circumstances, classic tragedy puts forward character in itself, circumstances here play a subordinate role.

Classicism tried to emphasize the universal meaning of the depicted conflicts. On the stage of the French tragic theater of the XVII century. the characters act as participants in the most acute conflicts, the plot is built on a clash of opposing feelings - duty and passion.

The focus of the tragic poet on the depiction of the human character, the moral principles that the hero follows, largely determines the structure of the tragedy, the arrangement of characters in it.

Here the principle of “three unities”, traditional for the dramaturgy of classicism, is also explained: place, time, action.

The art of Molière - playwright and actor - grew up in the artistic atmosphere of mature classicism. By this time, Corneille had already completed his activities, Racine was a contemporary of Molière.

Moliere is connected with classicism by an in-depth development of characters, an interest in the human personality in its complex relationships with other people.

2.Recording the Basics on the topic "French Classicism":

1) Strict hierarchy of genres.

2) Comedy in the system of genres:

a) depiction of everyday life, human vices;

b) conditional plot, comedy scheme;

c) the task is to “make and enjoy laughter” (that is, to treat);

d) installation on the spoken language;

d) happy ending

e) 5 actions.

3) The rule of three unities:

a) unity of place;

b) unity of action;

c) the unity of time.

4) Heroes of classicism:

a) "immutability" of the hero (lack of internal development);

b) the hero is the embodiment of one trait (speaking surnames);

c) the division of heroes into strictly positive and strictly negative;

d) the hero-reasoner (expressing moralizing judgments from the author's positions).

3. Teacher's story.

In the artistic biography of Molière, written by M. Bulgakov, there is a chapter "Bru-ga-ga", dedicated to the first performance of the Molière theater at the court. This happened in one of the halls of the Louvre on October 24, 1658. The evening opened with the tragedy of Corneille "Nycomed". In the hall - the king, courtiers, actors of the Burgundy hotel, recognized masters of the tragic genre. In the course of the performance, the hall gets bored, the king's brother, young Philippe of Orleans, shrinks in his chair - it was he who achieved the right to play in the Louvre for the provincial troupe. And what is failure? It seems to have already happened when, after Nycomedes, Molière appears on the stage and offers to play the comedy of his own composition, Doctor in Love, in front of the audience - they say, the province laughed at it. The King nods indulgently.

In the main role, as in the just failed "Nycomede", was the director of the theater - Molière. He ran onto the stage - the audience began to smile. After the first remark, they began to laugh. A few minutes later the laughter turned into a roar. And it was seen how the arrogant man (the king) fell back on the back of his chair and began, sobbing, to wipe his tears. Suddenly, unexpectedly for himself, Philip laughed shrillly beside him. Molière's face brightened suddenly. He realized that he was hearing "... the famous, indescribable, speaking of the complete success of the comedy, a collapse in the hall, which in the Molière troupe was called" bru-ha-ha "...".

So the capital learned about the new troupe and its leader, an unimportant performer of tragic roles, but on the other hand a magnificent farce and author of comedies. The king legitimized the existence of the new theater by giving him the Petit Bourbon hall. According to the unofficial title of the brother of the king, the theater was called the troupe of Monsieur.

4.Student's report about J.-B. Moliere.

Jean-Baptiste Poquelin, who entered literature under the name of Molière, was born in 1622 in the family of a furniture upholsterer, who eventually bought a patent for "the king's personal upholsterer." The future writer was educated at one of the privileged educational institutions - Clermont College (now the Lyceum of Ludwig the Great). As was customary then, he perfectly mastered Latin (even at breaks, students were required to speak only Latin), he knew the ancient classics well. Biographers claim that the circle of his knowledge was wider than it was provided by the program. After graduating from college, Jean Baptiste receives a law degree; 2 years later, in 1643, he renounces the right to the title of "personal upholsterer of the king", which he could inherit from his father, and becomes an actor. With the assistance of several friends, he opens the so-called Brilliant Theater in Paris, where he first takes the stage name Molière. However, this enterprise fails, and the ruined troupe begins to wander through the cities and rich estates of France. It was during this period, which lasted as long as 13 years, that Molière gains life and stage experience and begins to write plays himself.

Moliere's troupe performed, of course, not only before the provincial nobles, but also before the common people. Acquaintance with people from the people during many years of wandering around the country contributed, in particular, to the creation of images of energetic, dexterous and intelligent servants and maids in his comedies.

It meant a lot to Moliere's acquaintance with the folk farce - an eccentric comedy on everyday topics, common in the French fair theater. Moliere used many techniques of farce to create his works. From the Renaissance, Moliere has his cheerfulness, faith in man, the image of the struggle with inert forces that prevent the hero from achieving happiness.

The sudden death of the playwright in 1673 occurred, one might say, on the stage. Playing the title role in his last comedy, The Imaginary Sick, Molière felt really sick and died shortly after the performance. The archbishop of Paris, who belonged to the camp of the enemies of the great comedian, forbade burials in the city cemetery under the pretext that the "comedian" died without repentance. This absurd situation, when the relatives did not know what to do with the body of the deceased Moliere, is reproduced in detail in M. Bulgakov's biographical story "The Life of Monsieur de Molière".

5.Reading by the teacher ch. 33 novel by M. Bulgakov"The Life of Monsieur de Moliere" (the scene of the death of Moliere and the story of his burial).

II. Summing up the lesson.

Homework:

2) individual task: to prepare a message "From the history of the comedy" Philistine in the nobility "".

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