The genre of the work belongs to the comedic style with the inclusion of tragic motifs in the content, creating the impression of a kind of philosophical parable.

The storyline of the play is based on a strange coincidence of circumstances, dramatic moments that are the driving force in the development of the narrative action built around the Sarafanov family.

All the characters in the work are presented by the writer as key images, starting with two young friends Silva (Semyon Sevostyanov) and Vladimir Busygin, who by chance found themselves on the outskirts of the city and found an overnight stay in the apartment of Sarafanov, the head of a small family consisting of Vasenka, who is finishing school, and his daughter Nina, recently married cadet Kudimov.

The events of the play, having begun with a simple deception of young men looking for an overnight stay, unfold in a serious direction, since the elder Sarafanov unexpectedly recognizes in Busygin his eldest son, illegitimate twenty years ago, and the rest of the family members subsequently see their external resemblance. Thus, Busygin finds himself accepted into the family relationships of the Sarafanovs, which are not prosperous.

The eldest Sarafanov is an elderly, intelligent man with a failed career, long abandoned by his wife, raising children alone who do not plan to connect their future lives with their aging father, dreaming of leaving for Sakhalin and the taiga. In Busygin, Sarafanov hopes to find his lost son's love, without feeling deception and lies, and subsequently not wanting to notice them.

Vladimir gradually gets used to the invented role of his son and begins to accept Active participation in the life of the family, giving advice to younger children in their personal life, sometimes rudely interfering in private relationships.

The semantic load of the play lies in the writer’s depiction of the acute human need for a constant feeling of spiritual kinship and the desire to find a home.

Busygin, being a complete stranger to the Sarafanovs, unexpectedly begins to feel a family connection between them and feels responsible for their future fate. Despite youthful bravado and cynicism, the young man is born with the ability to express true feelings in the form of love, forgiveness, and compassion.

The narrative content of the play “The Eldest Son” throughout the development of the action is demonstrated by the example of a simple household history universal humanistic problems in the form of an acute shortage of human kindness, trust, mutual understanding and responsibility, and also depicts the possibility of finding spiritual kinship between people who are not connected by formal close relationships, who met only through a happy accident.

The writer raises a deeply moral issue in the play, which lies in the dream of every person to find common family blissful harmony.

Analysis 2

Work by A.V. Vampilov’s “Elder Son” can be classified as a comedy genre. But despite this, there are tragic moments in the plot. Therefore, the play is more reminiscent of a philosophical parable. In the work, events happen as if by chance. All actions revolve around the Sarafanov family.

Absolutely all the characters are the main characters. We can say that the writer did not deprive anyone of attention. Even seemingly random characters (several guys asked to spend the night in the Sarafanov family’s apartment) play a significant role in the work. The Sarafonov family is small; schoolchild Vasenka is brought up there and daughter Nina lives with her husband, cadet Kudimov.

The work begins with a story about how the guys were looking for accommodation for the night and found it in the apartment where the Sarafonovs lived. From that moment on, events began to unfold in a serious direction. The head of the family recognizes one guy (Vladimir Busygin) as his illegitimate eldest son. He should have been twenty years old. But after some time, all family members began to note the external similarity of the elder Sarafanov and Busygin. The poor guy was literally dragged into a family relationship that was not healthy.

The head of the Sarafan family is an elderly man, intelligent, but who has not had a successful career. His wife left him, leaving him with two children. The children do not want to live and continue to look after the old man. They plan to leave the city for Sakhalin. Sarafanov saw his son in Busygin. The old man hoped that the guy would stay with him. Sarafanov believed that his newfound son needed him. Therefore, he did not notice the deception that was happening before his eyes.

Vladimir was not against playing along with the old man and pretending to be his son. He actively entered into character. The guy quickly gained confidence. Vladimir treated his younger children as if they were his own brothers. He gave them advice and instructions. He tried to teach them about life. Sometimes he went too far and interfered where he shouldn't.

In fact, Busygin was not Sarafanov’s own child. But, despite this, feelings of compassion, fatherly love and understanding arose between them.

The main idea of ​​the work is that every person wants to feel needed, loved and irreplaceable. The author tried to convey to the reader the idea of ​​how important family relationships and relationships are. The play “The Eldest Son” demonstrates the problem of the lack of goodness, affection, care, trust and love in family relationships.

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Analysis of Vampilov’s work The Eldest Son

Vampilov’s work “The Eldest Son” is one of the outstanding plays of Russian drama. The author tells the viewer the fate of a typical loser who, despite all the failures of his life, remains an honest and conscientious person. A bright soul and a mind unclouded by dirt attract Sarafanov a large number of people, one of whom becomes the second main character plays by Vladimir Busygin.

The plot of the work is based on two characters - Sarafanov and Busygina. They are separated from each other by a large difference in age, but despite this, both heroes have a certain attraction to each other, they are, as they say, kindred spirits. Sarafanov is a man so pure and immaculate that no one can help but notice his strange attractiveness, his honesty towards himself and the people around him.

The hero truly loves absolutely all people, trustingly looking into the eyes of everyone who deigns to speak to him. It is because of this “bliss” that Sarafanov is abandoned by his wife, who later finds herself a man, as they say, serious. And it is difficult to condemn her for this, because such people cause surprise and distrust in everyone, they say, it is impossible to live in this world and be such a kind and honest person. You can't live like that. But why then don’t the children leave him? Moreover, not only your own, but also others’? Maybe because only children, thanks to their purity, can look into the very essence of the person in front of them? Each of us has probably met such “strange” people who do not demand anything from anyone, live hand in hand with their conscience and do not wish harm on anyone. And let's remember how society treats them? Incredulously, with surprise, contempt, and sometimes even with outright anger.

An inattentive reader may think that Busygin, in his relationship with Sarafanov, is driven only by sympathy for Nina, but after flipping through the book further, we understand that this is not entirely true. The decisive role is played by Sarafanov himself, who attracts Vladimir Busygin with his attitude to life, spiritual purity and complete absence of any malice. Busygin, being “fatherless,” suddenly faces an unknown and incomprehensible condition. It turns out that there are people in the world who under no circumstances should be lost or abandoned. After all, they love you.

Many, one way or another, openly call Sarafanov “blessed,” but it is thanks to him and his unstoppable faith that everyone begins to think about the hero and try to help him. This faith becomes a powerful impetus to unite children around their unfortunate father.

Just one day spent in the Sarafanov family allows Busygin to think deeply. He learns a wonderful moral lesson and eventually finds the family he has dreamed of for many years. In just one day, he finds people close to his heart and soul.

Analysis 2

Vampilov wrote a huge number of different works, but the most popular and interesting is “The Elder Son”.

Everything happens in one city where two young people live. One guy's name is Vladimir, and the second guy's name is Semyon. They want to find their soulmate as quickly as possible, but until this happens, they can calmly and easily enjoy freedom. And today they got the card of escorting beautiful girls home, and then maybe they’ll get something else. And they really hope so. But the girls are not quite as accessible as the guys might think, and they didn’t need anything more than to walk them home. It turns out that the girls lived outside the city and it was very far to get there. When they got to the girls’ house, they said goodbye to them and went home, but the guys were left on the street in the cold and now they couldn’t get home, but that’s all, because the last bus had already left.

The guys here don’t know anyone, and around them there are two multi-story buildings and several small houses. And then they have only one choice, which is to seek shelter from one of these residents. But not every person will accept strangers into their home. They would really like to ask someone to spend the night, but no one agreed.

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And the guys were already desperate to find a place to stay for the night, but suddenly they saw an elderly man going not to his home, but to the apartment where their teacher lived and trying to get through to her. More than anything else, he enjoys playing different tunes. But most often they have to be played at funerals. The guys think this man is trying different ways to get into her house in order to later win her heart, because it is still free. And in order to find out all this, they decide to get into her apartment by any means.

From the very beginning, the guys seem stupid and even frivolous to readers. They don't care what's going on in the world. But as the story progresses, the characters develop differently, and their minds begin to think in a different way.

Meanwhile, the apartment of this very elderly man remains open and the guys do not miss the opportunity to sneak in there. Although there were people there, each of them was minding their own business and they simply didn’t care about new and uninvited guests. It turns out that this man has a beloved and only daughter named Nina, who has already found her love and tomorrow will go to live with her beloved in Sakhalin.

At first glance, you might think that the work is written in the form of a comedy, but when you start to read the plot, it turns out that everything is different.

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Picture for the essay Analysis of Vampilov’s work The Eldest Son

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Analysis of Vampilov’s play “The Eldest Son”

1. The history of the creation of the work.

The play "The Eldest Son" has a rich creative background. Work by A.V. Vampilova has several editions. The first version of the play, called “The World in Sarafanov’s House,” was published in 1964. The second version - “Grooms” - was published by the newspaper “Soviet Youth” in 1965. The next version was released in 1968 by the Angara almanac and was entitled “Suburb”. Only in 1970 did the writer finally finalize the work, call it “The Eldest Son” and release it as a separate edition.

Play by A.V. Vampilov’s “The Eldest Son” is in some ways a continuation of the problematics of the play “Farewell in June.”

2. Genre of the work. Signs of genre (genres).

A.V. himself Vampilov calls his play a comedy. An anecdote becomes a genre-forming component, which contributes to the novelization of the genre. However, it is worth noting that only the first plot films are subject to comedy specificity. The play gradually develops into a philosophical story or parable, where biblical motifs about the prodigal son appear. Moreover, the parable in the work “The Eldest Son” is transformed.

3. The title of the work and its meaning.

As noted, the titles of the play by A.V. Vampilov was enough, but “The Elder Son” is the most successful, since this title conveys the main idea of ​​​​the work. For the writer, it was not the location of the action that was important, but the participants in the events. Busygin introduces himself as the eldest son, who ends up in the house of the Sarafanov family. At the end of the work, Busygin, who pretended to be Sarafanov’s son, actually accepts all the responsibilities of his son and feels like a family member in the house.

4. On whose behalf is the story being told? Why?

The narration, in accordance with the family affiliation, is carried out using the characters’ remarks.

5. Theme and idea of ​​the work. Issues.

The main idea that permeates the play “The Eldest Son” is that spiritual closeness turns out to be more important than blood relationship. The kinship of souls is much stronger and stronger than the official ones family relations. The ability to listen and understand, help and support, and most importantly, love - these are the main components of family relationships.

A.V. Vampilov raises the eternal universal problems of goodness, conscience, and justice. Here the writer raises the problem of truth and lies. The play destroys the idea that “bitter truth” is better than “sweet lies.”

In addition to moral issues, family issues are also raised. So, related to this is the topic of fathers and sons, which is considered in an unconventional way. The writer raises family problems, which are considered not in the context of official relationships, but in the context of kinship of souls.

6. The plot (storylines) of the work. Conflict. Key episodes.

The plot of the play is distinguished by its spontaneity. It is born from various accidents that lead strangers to one place. Coincidences are the main driver of the entire plot, and coincidences are the culminating events of the play “The Eldest Son.”

The fate of Sarafanov becomes central to the narrative. It is she who is the author’s ideal, since the hero is a man of honor and conscience. This is the reason that Busygin cannot part with Sarafanov. Pragmatic at first, the hero understands that “father” is a good man.

7. The system of images of the work.

In "The Eldest Son" two stand out central image: Sarafagin and Busygin. There is a kinship of souls between them, the ability to understand each other.

Busygin is first introduced in the story as an impudent young man.

Sarafanov is a person who does not know how to pretend, he is always honest and sincere. It is he who contributes to Busygin’s transformation. The hero opens up from a completely new side. The man not only calls himself the son of Sarafanov, but also becomes one. Busygin finds a man whom he can call father. He understands that he does not want to leave his family's home.

8. Composition of the work.

The main location of the action becomes the Sarafanovs' house. The play “The Eldest Son” takes three days. During this time, the heroes had to go through a lot, but all events were closely intertwined with family nest Sarafanova. It’s as if his house is holding Busygin and his friend, stopping him and not letting him go. At the end of the work, it generally seems to the reader that Busygin is the real son of Sarafanov, since there are indeed many coincidences.

9. Artistic means, techniques that reveal the idea of ​​the work.

The peculiarity of the play by A.V. Vampilov is plot tension. Moral issues are connected with universal and eternal issues. When characterizing Busygin, the author uses the technique of psychologization, which allows the hero to evolve.

10. Review of the work.

“The Eldest Son” is a play that makes you think about harmony between people. A close person can be considered not only relatives, but also those who are close in moral values.

“The eldest son” (A. Vampilov)

Quote: “Whatever you say, life is always smarter than all of us who live and think».

History of creation

This plot interested Vampilov from an early age. The playwright made sketches, but came to the final plot only in the second half of the 1960s.

Issues:

• moral (conscience, justice, goodness);
• family (kinship in spirit and blood).

Meaning of the name: The main character of the play, Volodya Busygin, who almost accidentally passed himself off as a descendant of the Sarafanovs, at the end of the play actually takes on all the functions of the eldest son and takes care of every member of the family.

Literary direction: realism.

Literary genre: comedy, drama.

Genre features:“The Eldest Son” combines the characteristics of the comic and the tragic, which allows us to talk about the very special genre nature of this work. The philosophical “play of life” combines the funny and the sad as naturally as life itself.

Time and place of action: The play takes place in a small village, set in the mid-1960s.

Characters

• Volodya Busygin- medical student, 21 years old.
• Semyon Sevostyanov (Silva)- a friend of Volodya Busygin, a sales agent by profession.
• Andrey Grigorievich Sarafanov- father of the family, 55-year-old man. By profession he is a musician (plays the clarinet in a club).
• Nina- daughter of Andrei Sarafanov. She is going to marry Mikhail Kudimov.
• Mikhail Kudimov- cadet, future husband Nina.
• Vasenka - younger son Andrey Sarafanov, tenth grader. In love with a neighbor, Natalya Makarskaya.
• Natalia Makarskaya- a 34-year-old woman, a neighbor of the Sarafanovs, by profession a secretary in court.

Act one

Volodya Busygin and his friend Silva saw off the girls and were late for the train. They go into the first house they come across (it belongs to the Sarafanovs). Approaching the house, the guys saw the owner of the house and heard him say his name, so they can tell who they came to.

Before Busygin and Silva’s visit, there was a quarrel in the house: Vasenka, who was rejected by his beloved, wants to leave home. His sister Nina is against it: she herself plans to get married and leave, and if Vasya leaves his home, then his father will be left alone.

To prevent the guys from being kicked out right away, Silva tells Vasenka an incredible story: they say, Volodya Busygin is the illegitimate eldest son of Sarafanov, Vasenka’s brother.

Vasenka is dumbfounded. Sarafanov, who came, asks all sorts of questions, but the answers confirm Andrei Grigorievich’s fears: this guy could really be his son. Nina wakes up and also tries to take Busygin to clean water, but all the answers indicate that the story he told is true.

Sarafanov sincerely and sincerely talks with Busygin, asking him to influence the lover Vasenka. Andrei Grigorievich is very glad that he has a son, because his daughter Nina is getting married and leaving. Then everyone goes to bed.

The next morning Busygin wakes up Silva and wants to leave as quickly as possible. But Andrei Grigorievich appears. He is very upset that his son is leaving and wants to give Volodya a gift. While Sarafanov goes to get a gift, Nina wakes up and attracts the attention of Volodya Busygin. Volodya thinks how beautiful Nina is, and then Sarafanov brings him a silver snuff box, informing him that this little thing always belongs to the eldest son of the Sarafanov family. Busygin says that he will stay one more day. Everyone is happy about this. Volodya and Nina are cleaning the house and talking about Nina’s fiancé (Volodya no longer likes him, even though they haven’t met yet).

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Act two

Natalya Makarskaya speaks to Vasenka and sends him to buy movie tickets. As soon as Vasenka leaves, Silva appears and begins to court Makarska.

At this time, Nina tells Busygin about her father: Andrei Grigorievich was fired from the Philharmonic, now he plays at funerals, but he hides it from the children, and Nina and Vasya pretend that they don’t know anything. A joyful Vasenka enters; he bought cinema tickets.

Makarskaya undertakes to sew Vassenka a button, but flatly refuses to go to the cinema. Vasya guesses that Makarskaya has a date. Annoyed by his intrusiveness, Natalya says that she is only talking to Vasenka out of pity for Andrei Grigorievich. The young man runs away: he wants to leave home again, but then he simply locks himself in his room and doesn’t talk to anyone.

Nina's fiance Mikhail Kudimov visits the Sarafanov family. Busygin categorically does not like him: he is too indifferent, he behaves like a master. Kudimov is never late, so he doesn’t intend to wait for Andrei Sarafanov. But Sarafanov still comes. Kudimov looks closely at Sarafanov, trying to remember where he saw him, and finally joyfully remembers: at the funeral! Andrei Grigorievich played music at the funeral. Everyone is trying to convince Kudimov that he was mistaken. Sarafanov is upset. And then Vasenka leaves home again. Silva is also going - “on business”.

Nina asks Kudimov for forgiveness for her brother’s behavior and insists that Mikhail stay, but he is indifferent to everything: it’s time for him to go to the barracks. Sarafanov becomes completely upset and shouts that he is the one who will leave now. Volodya Busygin unexpectedly says that he will not leave his father and, if necessary, will live with him.

Later, Busygin talks with Nina alone. The girl decided not to go anywhere: she couldn’t leave her father. Busygin admits that he is not Nina’s brother and says that he loves her. Nina is very angry. Then Andrei Grigorievich comes with a new idea: he will go to Chernigov, Busygin’s hometown, and marry his mother to restore the family. Immediately after this, Vasenka comes running: he realized that a man had come to Makarskaya and set fire to the house of his unfaithful lover. Silva appears in burnt pants: of course, he was Makarska’s lover. He is followed by Natalya Makarskaya herself.

Busygin is very angry with Silva and wants to kick him out. Then Silva reveals Busygin’s secret: he is not Sarafanov’s son at all. Andrei Grigorievich hears, but does not want to admit it. He insists: be that as it may, Volodya Busygin is his son. Sarafanov asks Volodya to live with them. Busygin is confused, touched, in love and promises to come every day, but today he was late for the train again.

Screen adaptation

“The Eldest Son” (USSR, 1976, Andrei Sarafanov - Evgeny Leonov, Volodya Busygin - Nikolai Karachentsev, Silva - Mikhail Boyarsky).

Assignments for preparing for the Unified State Exam and the Unified State Exam

What is the commonality between the images of Andrei Sarafanov and Volodya Busygin?

Answer. Both the first and the second are characterized by humanity, a reverent attitude towards one’s neighbor, towards family.

What did Andrei Grigorievich Sarafanov want to give to his “eldest son” Volodya Busygin?

Answer. Silver snuff box.

“The Eldest Son” - a summary of the play by A. Vampilov

The beginning of the story

The first chapter begins with sales agent Semyon, nicknamed Silva, and the future doctor Vladimir Busygin meet girls they like. They accompany the beauties to their home, counting on their continued hospitality, but in the end they are left with nothing. Suddenly the guys discover that their train has already left. It's dark and cold outside. They understand that they will have to look for shelter in a foreign area. The guys barely know each other, but misfortune brings them together. In addition, both have a sense of humor. They do not despair and decide to use every opportunity to warm up.

They knock on the house of Makarskaya, a lonely thirty-year-old girl, who some time ago drove away the high school student Vasenka, who was in love with her with all his heart. The boys suffer the same fate.

The guys have no idea what to do next. Suddenly they see a middle-aged man calling out to the girl. Apparently, this is Makarska's neighbor. He introduces himself as Andrey Sarafanov, the son of Grigory. They assume that this is a romantic date and want to warm up a little in the man’s house while he is visiting his neighbor. When they get to his apartment, they find Vassenka there.

It turns out that this is Sarafanov’s son. The guy suffers from unrequited love. Busygin pretends to be an acquaintance of Andrei Grigorievich. Vassenka does not believe him, but the man still convinces him that he is telling the truth. He says that all people are brothers, and it is important to be able to trust each other.

Silva misunderstands his friend, he thinks that he wants to play a prank on the boy by introducing himself as the son of Andrei Grigorievich. He plays along with his friend. Busygin is shocked, because he did not intend to put on such a performance. Now Vasenka thinks that this is his older brother, who decided to find his father. Semyon wants to build on his success and invites the deceived guy to have a drink on the occasion of finding his brother - to find some alcohol in his home bins and to celebrate this wonderful meeting.

Sarafanov gains a second son

While they are relaxing in the kitchen, the elder Sarafanov returns. In fact, he went to a neighbor to ask for Vassenka, who was suffering from unrequited love. The drunken son tells him incredible news. The man is lost, at first he does not believe, but then, remembering past years, he still admits that this may be true. After all, the war had just ended, and he “was a soldier, not a vegetarian.” Sarafanov reports the name of the one from whom he could have a son. According to his calculations, the son should now be 21 years old.

Busygin hears all this, and now he is even more confident in himself. The head of the family asks more and more questions to his new son. Now he is sure that this is indeed his own blood. He believes that the son found his father because he loves him, and a man now needs such affection because:

• daughter is going to get married and go to Sakhalin;
• Vasenka tries to fight off the hands.

The man left Symphony Orchestra and now plays at funeral processions and dances, which he thinks his children do not know. In fact, they are aware of what is happening, they just don’t show it. Vladimir copes well with his role. Even Nina, Sarafanov’s grown-up daughter, believes his words.

All night Andrei Grigorievich and his newly-minted son talk heart to heart. A man tells a guy about his difficult life, talking about his innermost things. His wife left him because she didn’t like the fact that he spent too much time playing the clarinet. However, despite this, Sarafanov is still proud of himself, because he did not allow himself to dissolve in the bustle and continued to write music.

Busygin's jealousy, Vasenka's suffering

When morning comes, Silva and Busygin try to sneak out of the house, wanting to remain unnoticed. however, they encounter the elder Sarafanov. When he finds out about the guys leaving, he is very upset. In memory of himself, he gives his “son” a silver snuff box. He explains that this thing in their family always belonged to the eldest son. Busygin is touched, he wants to stay one more day. He and Nina are cleaning the house. A strange relationship develops between them. Their mutual sympathy and interest in each other clearly does not fit into the framework of family relationships.

Vladimir asks Nina to tell him about the man she is going to marry. Involuntarily he makes jealous barbs at the groom. Nina gets offended and a small quarrel ensues. After a while, the girl will also be jealous of Busygin’s neighbor.

The guy reproaches Nina that she intends to leave her father alone. They also talk about Vassenka, who constantly wants to run away from home, because he believes that no one needs him here.

At this time, the schoolboy himself is going to go to the cinema with his beloved; after Andrei Grigorievich’s visit, she agreed to accompany Vasenka. Now the guy is not going to leave his father’s house, but soon his joy disappears, because at 10 o’clock Makarskaya is going to go on a date with Semyon, whom she likes.

When the girl finds out that the film starts at the same time, she refuses Vassenka. The guy is unhappy, he tries to convince his beloved, but this only angers her. She admits that she agreed to go to the cinema only at Sarafanov’s request. The guy is desperate, he packs his things, and Busygin, who was just about to leave, has to stay again.

Meeting Nina's fiance

In the evening, Nina's fiancé comes and brings drinks with him. This is a pilot named Kudimov, an ordinary guy who takes everything too straightforwardly and is proud of it. Silva and Vladimir make fun of him all the time. In response, he just smiles and offers a drink, not wanting to waste time. He promised himself to never be late, and his word is law. After a while, Nina and Andrei Grigorievich join. Everyone drinks to get to know each other.

Nina’s fiancé is trying to remember where he could have seen Sarafanov before; his beloved is trying to stop him, assuring him that he certainly could not have met her father anywhere except the Philharmonic. However, the guy is principled and stubborn, he still remembers that noticed Andrei Grigorievich at the funeral. The man has to tell the truth about his work.

Vladimir tries to calm him down, he says that people need music not only in times of fun, but also in times of sorrow. Vasenka, meanwhile, leaves home, despite attempts to stop him. Kudimov also wants to leave, he may be late for the barracks. Nina reproaches Vladimir for treating her fiancé badly. In the end, the guy admits to her that he is not who he said he was. He says that he is not Nina’s brother, and, moreover, he loves her. At that time offended Andrey Grigorievich packs his suitcase, wanting to go with Vladimir.

Presentation. PRT.

Reading a poem by Peter Reutsky:

Remember me cheerfully

In a word, the way I was.

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

Or did I not like it?

I don’t want her to remember me sad.

I'll go under the wind boom.

Only songs full of sadness,

I value it more than everyone else.

I walked the earth in joy.

I loved her like God

And no one to me in this smallness

I couldn’t refuse anymore...

Everything that is mine will remain with me,

Both with me and on earth

Someone's heart is hurting

In my native village.

Will there be springs, will there be winters,

Sing my song.

Just me, my loved ones,

I won't sing with you anymore.

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

Or did I not like it?

Remember me cheerfully

In a word, the way I was.

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

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

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

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

Student's message about A.V. Vampilov

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

My father's prophetic dream came true, I was born future writer, a playwright who brought to the stage “an amazing, all-powerful sense of truth.” (slide 4 parents)

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

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

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

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

« Duck hunting", "Provincial Anecdotes", "Last Summer in Chulimsk" saw the light and were staged after the death of the writer.

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

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

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

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

Student message

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

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

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

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

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

Student reading a poem by Alexander Vampilov (slide 11)

What is unfriendly, wide valley, making noise?

Can't forgive me for separation?

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

That, Eternal One, you both remember and keep.

I am forever in your endless meadows,

I am forever in your dense meadows.

And after all the roads of fate -

Random,

Twisting, confusing, steep -

The last road for me

Direct –

Here to die in peace...

(slide 12)

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

Student message

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

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

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

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

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

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

1965 – Arrival in Moscow to the Sovremennik Theater

1966 – “Farewell in June”

1970 – “Eldest Son”, “Duck Hunt”

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

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

Questions to consider

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

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

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

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

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

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

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

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

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

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

consanguinity.

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

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

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

What is the theme and main idea of ​​the work?

Where and when do the events take place?

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

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

Which of the heroes do you think deserves condemnation?

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

Review of a book read (student work)

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

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

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

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

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

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

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

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

Bibliography:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Decor:

1. Exhibition of books with works by A.V. Vampilov, books about Vampilov.
2. Portrait of A.V. Vampilova, Illustrations for
3. Fragments from feature film"Eldest son."
4. Presentation about the life and work of A. Vampilov

Preparatory work:

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

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

1. Individual tasks

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

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

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

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

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

Remember me cheerfully

In a word, the way I was.

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

Or did I not like it?

I don’t want her to remember me sad.

I'll go under the wind boom.

Only songs full of sadness,

I value it more than everyone else.

I walked the earth in joy.

I loved her like God

And no one to me in this smallness

I couldn’t refuse anymore...

Everything that is mine will remain with me,

Both with me and on earth

Someone's heart is hurting

In my native village.

Will there be springs, will there be winters,

Sing my song.

Just me, my loved ones,

I won't sing with you anymore.

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

Or did I not like it?

Remember me cheerfully

In a word, the way I was.

Close friends, and among them - writers Valentin Rasputin, Vyacheslav Shugaev, they affectionately called him Sanya.

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

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

Student: (continues the story)

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

(Romance sounds)

He loved fishing and hunting.

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

He became interested in dramaturgy and began writing plays.

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

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

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

A, V. Vampilov was buried in Irkutsk.

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

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

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

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

And the young playwright was concerned about moral problems.

What is morality?

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

A moral person is a deeply conscientious person.

What is conscience?

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

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

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

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

Working with the word.

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

Moral teaching - teaching, instilling moral rules.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bibliography:

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

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

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

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

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

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

Failed party for four

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

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

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

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

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

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

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

Unexpected addition to the family

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

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

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

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

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

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

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

Love as a unifying force

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

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

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

Divergence in different areas of Busygin and Sevostyanov

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

Appearance of the groom

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

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

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

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

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

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

Catharsis

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

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

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

A family at a standstill

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

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

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

Busygin as a savior

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

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

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

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

The play "The Eldest Son" (1967, first published in the anthology "Angara", 1968, No. 2) became one of the most famous works Soviet drama, based on it, director V. Melnikov made a wonderful film in which Evgeny Leonov (Sarafanov) and Nikolai Karachentsov (Busygin) shone. In the story of the “loser in life” Andrei Grigorievich Sarafanov, Vampilov finds high meaning, because this man lived his life honestly, trying to always live according to his conscience, and his spiritual purity and insecurity attract completely strangers to him, such as a rather tough and pragmatic young a man, Vladimir Busygin, who understands that “this dad is a holy man.”

The plot of the comedy is well known, so it is necessary to dwell on the characters, who determine the main conflict and plot of the work. At the center of the play are two characters: Sarafanov and Busygin. These are people who are united by an incomprehensible kinship of souls; they are truly able to understand each other, despite the difference in age. The attractiveness of the spiritual purity of Andrei Grigorievich Sarafanov is so great that it is almost impossible to resist it, and this happens because the hero does not pretend, does not play, he truly loves all people, he openly and trustingly looks into the world, and the ironically sad “blessed "(this is how she addressed him in his letters ex-wife, the mother of his children, who left him for a “serious man”) most accurately characterizes this man. Yes, in ordinary life such people cause surprise, irritation, distrust, they contrast too strongly with how “one should be able to live,” but why then can’t children leave him - both their own and others? “No, no, you can’t call me a loser. I have wonderful children...” says Sarafanov after his daughter’s fiancé, who “doesn’t care” what his bride’s father does, unwittingly “exposes” the clarinetist fired from the orchestra, whose family and he himself pretend that he still plays in the orchestra... In the same way, nothing can change in his attitude towards the “eldest son” and the “exposure” of Silva, Sarafanov is unable to believe that he has become his family Busygin is not his son as a person.

It may seem that the determining factor in Busygin’s attitude towards Sarafanov is that he really likes Nina (by the way, in the first version of the play love line had much greater significance than in the final one), but this is not so. The main thing for the hero is Sarafanov, who lives in a way that is “not customary” to live, but at the same time maintains spiritual purity, and “fatherlessness” is acutely felt by Vladimir Busygin, an ordinary , in general, a young man who suddenly faced an inexplicable condition: there are people who cannot be abandoned because they love you. “You are my children, because I love you. Whether I’m bad or good, I love you, and this is the most important thing...” says Sarafanov, and Busygin understands him. He understood a lot during those 24 hours, and this happened thanks to a failed musician who has a great gift of love for people and generously gives them this love...

teacher of Russian language and literature,

MBOU Khadakhan Secondary School,

With. Khadakhan, Nukutsky district

Irkutsk region

e-mail:

VAMPILOV, FAMILIAR AND STRANGER, BUT TODAY, ALIVE.

You need to write about

what keeps me awake at night.”

A. Vampilov

The purpose of the literature lesson in 11th grade:

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

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

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

cultivate moral ideals.

Equipment:

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

During the classes:

introduction teachers about playwright A. Vampilov :

VAMPILOV, ALEXANDER VALENTINOVICH

(1937–1972),

Russian playwright, prose writer, publicist.

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

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

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

2. Student's message about Vampilov

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

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

Moral values, embedded in both families, brought up in him all the best traits of an intellectual, a decent person.

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

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

The dreams really turned out to be prophetic.

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

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

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

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

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

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

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

What struck you in the writer’s biography?

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

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

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

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

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

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

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

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

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

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

The conflict is two-pronged:

youth - on the one hand;

the wisdom of the fathers is on the other hand.

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

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

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

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

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

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

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

This comedy is light and sad; what are distinctive features genre of the play "Eldest Son"?

What is special about the play's character system?

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

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

Support your answer with lines from the text.

What age group does Sarafanov belong to?

How does he treat children?

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

Busygin. Who is this young man?

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

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

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

What are the similarities and differences with Silva?

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

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

How do they accept "big brother"?

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

What do they have in common?

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

Understanding the theme, the idea of ​​conflict.

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

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

What problems are being solved?

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

What is the duality of the play?

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

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

What is the theme, idea of ​​the work?

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

Why do you think the play is called that?

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

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

5.Final words from the teacher:

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

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

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

6. Reflection:

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

7. Differentiated homework:

1. Write a description of the character you like.

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

Literature:

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

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

The relationship between “fathers and children” is a special page in the history of mankind. And these relationships are often difficult and dramatic. They require wisdom, patience, generosity, generosity, love. And paternal feelings sometimes extend not only to their own children, but also to other people who are close in spirit and in destiny. This motif is heard in A. Vampilov’s play “The Eldest Son”.

This work of criticism was compared with a philosophical parable. The main theme of the play is the theme of home, family, spiritual closeness of people. The main character is student Busygin. This is a smart, subtle man, good psychologist. An accident becomes a kind of test of the hero’s decency, sensitivity, his moral guidelines. Vampilov’s plot grows out of an ordinary situation: in a cafe Busygin meets Semyon Savostyanov, nicknamed Silva. After walking with the girls, they went to see them off and late in the evening they found themselves outside the city. The last train had already left; they had nowhere to spend the night. And the friends decide to take an adventure. Once in the apartment of the musician Sarafanov, Busygin pretends to be the owner’s eldest son. He hints at Sarafanov's casual relationship during the war. And the simple-minded musician accepts him into his own family, without requiring any documentary evidence of this relationship. This situation is very important for clarifying the characters of the characters, indicating the complexity of relationships in the Sarafanov family, presenting them life values. As the researchers noted, “the mere invasion of Busygin and Silva into the unfamiliar world of intimate family relationships does not lead to the emergence of a conflict - it is important for the playwright rather as a conditional device that allows these two characters to witness complex intra-family conflicts.”

As the action develops, it turns out that his wife left Sarafanov, his children have grown up, each of them has their own life: daughter Nina is getting married, dreams of leaving with her husband for Sakhalin, and the youngest, Vasenka, is experiencing unhappy love. The hero was fired from the Philharmonic long ago, his career did not take off. In fact, Sarafanov is depicted in a situation of a life impasse. Here the motive of the hero’s loneliness arises. At the same time, he is a subtle, sensitive person: he writes music, tries to help his children, and gives his “eldest son” a family heirloom - a silver snuff box.

As the action progresses, the characters of Busygin and Silva are revealed. From the very first scenes, Savostyanov appears as a complete cynic. Silva and Kudimov are contrasted with all the other characters in the play. Having quickly adjusted to the new situation, Silva begins to care for Nina. At first, Busygin also approaches the position of a new friend. “People have thick skin, and it’s not that easy to break through. You have to lie properly, only then will they believe you and sympathize with you.” And already this remark reveals the spiritual inconsistency and ambiguity of the hero - a certain cynicism is combined in him with disappointment in people, with a longing for sympathy and compassion. Having presented Sarafanov with the “legend of his eldest son,” Busygin at first does not think about the possible dramatic consequences of his action. However, he suddenly realizes the cruelty of what is happening and begins to experience mental discomfort.

Having gotten to know everyone better, Busygin develops sympathy for this family. And he organically “enters” it. The spiritual kinship of the characters is indicated in the scene with Nina’s fiancé, Kudimov. This hero embodies in the play the soldier's straightforwardness, mechanicalness, and primitive perception of life. Dismissed from the Philharmonic, Sarafanov plays at dances and funerals. Children, sparing their father’s pride, hide this situation from others and keep silent about it.

Kudimov notes that he saw Sarafanov in the funeral orchestra, once again reminding the hero of his professional failure. Thus, Vampilov’s “love of truth” turns into not only tactlessness, but also cruelty. In the same scene, words are heard that reveal Sarafanov’s spiritual essence: “...Life is fair and merciful. She makes heroes doubt, and she will always console those who did little, and even those who did nothing but lived with a pure heart.”

The main idea of ​​the play is the affirmation of the genuine, spiritual kinship of people, independent of family ties and based on the unity of their moral principles, the unity of their life philosophy. As the researchers noted, “Vampilov consistently brings the movement of the comically acute situation of “The Elder Son” to the limit when it should turn into a dramatic one, but then confidently and easily removes the drama, based not only on the requirements of the chosen genre.” In the finale, Busygin admits to his own lies. However, for Sarafanov Sr., this deception does not have much significance, so the exposure of the hero leads not to a tragic, but to a happy ending, which is natural within the confines of a lyrical comedy. Busygin's frivolity and lies are not the result of the hero's immorality, but rather a consequence of his youth and, perhaps, longing for a real family. And he finds this family he dreamed of.

Thus, the spiritual kinship of people is determined not by blood relationship, but by a common worldview, outlook on life, and attitude towards people.

Slide 1

Problems of morality in A. Vampilov’s play “The Eldest Son”
Everything decent is rash, everything thoughtful is meanness... Alexander Vampilov

Slide 2

A chance, a trifle, a coincidence of circumstances sometimes becomes the most dramatic in a person’s life... Alexander Vampilov
Remember what combination of circumstances brought the main character and his companion to the house of the Sarafanov family?
Film "The Eldest Son" directed by Vitaly Melnikov, starring: Evgeny Leonov - Sarafanov, Nikolai Karachentsov - Busygin, Mikhail Boyarsky - Silva

Slide 3

On a cold spring evening, Busygin and Silva, who had just met in a cafe, accompany their friends home, hoping to continue their relationship. However, right at the house the girls turn them away from the gate, and the young people, realizing that they were late for the train, look for accommodation for the night. But “nobody opens it for them.” Afraid". By chance they see Sarafanov leaving his house, hear his name and decide to take advantage of this: go into his apartment, introducing themselves as acquaintances, and at least warm up. However, in a conversation with Vasenka, Sarafanov’s son, Silva unexpectedly reveals that Busygin is his brother and Sarafanov’s son. Returning Sarafanov takes this story at face value: in 1945 he had an affair with a girl from Chernigov, and now he wants to believe that Volodya is really his son. In the morning, friends try to escape from the hospitable house, but Busygin feels like a deceiver: “God forbid you deceive someone who believes your every word.” And when Sarafanov hands him a family heirloom - a silver snuff box, which was always passed on to the eldest son - he decides to stay.
Plot of the play

Slide 4

Key line of the play
Busygin: “People have thick skin, and it’s not so easy to break through it. You have to lie properly, only then will they believe you and sympathize with you. They need to be scared or moved to pity.”

Slide 5

Let's think!
Why did the Sarafanov family easily believe in their family ties with Busygin?

Slide 6

Andrey Grigorievich - head of the Sarafanov family

Slide 7

Andrey Grigorievich Sarafanov
Writes musical composition entitled "All Men Are Brothers". For him this is not just a declaration, but a principle of life.

Slide 8

Can Sarafanov be called a loser?
Let's bet!

Slide 9

Why did Andrei Grigorievich believe Volodya Busygin and recognize him as his eldest son?
Sarafanov’s life did not work out: his wife left, things didn’t work out at work - he had to leave his position as an actor-musician and work part-time in an orchestra playing at funerals. Things are not going well with the children either. Son Vasenka is in love with his neighbor Natasha Makarskaya, who is ten years older than him and treats him like a child. Daughter Nina is going to marry a military pilot, whom she does not love, but considers a worthy couple, and wants to go with him to Sakhalin. Andrei Grigorievich is lonely and therefore becomes attached to his “eldest son.”
Film “Eldest Son” directed by Vitaly Melnikov, starring: Evgeny Leonov-Sarafanov, Nikolay Karachentsov-Busygin

Slide 10

Children in the Sarafanov family: Nina
What do you like about Nina? Why are you judging her? How and why does Nina change at the end of the play?

Slide 11

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

Slide 12

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

Slide 13

Makarskaya, the Sarafanovs' neighbor

Slide 14

Mikhail Kudimov - Nina's fiance
What is your opinion about Nina’s fiance, Mikhail Kudimov? What's alarming about him?

Slide 15

On whose side do the author of the play sympathize?
Film "The Eldest Son" directed by Vitaly Melnikov, starring: Evgeny Leonov - Sarafanov, Nikolai Karachentsov - Busygin, Natalya Egorova - Nina Sarafanova, Vladimir Izotov - Vasenka Sarafanov, Svetlana Kryuchkova - Natalya, Mikhail Boyarsky - Silva.
Which side are your personal sympathies on?

Slide 16

Vladimir Busygin
“God forbid you deceive someone who believes your every word.”

Slide 17

Volodya Busygin
Did the meeting with the Sarafanov family change Volodya?

Slide 18

How does Volodya Busygin help revive the family?
Film "Eldest Son" directed by Vitaly Melnikov, starring: Evgeny Leonov - Sarafanov, Nikolai Karachentsov - Busygin, Natalya Egorova - Nina Sarafanova
Volodya Busygin, who grew up without a father, is drawn to the kind, glorious, but unhappy Sarafanov. In addition, he liked Andrei Grigorievich’s daughter Nina. The ending of the play is happy: Volodya honestly admits that he is not Sarafanov’s son, Nina does not marry an unloved person, Vasenka manages to persuade him not to run away from home. The “eldest son” becomes a frequent and welcome guest of this family.

Slide 19

Which moral problems decides A. Vampilov in his play?
“It seems that the main question that Vampilov constantly asks: will you, man, remain human? Will you be able to overcome all the deceitful and unkind things that are prepared for you in many everyday trials, where love and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement have become difficult and opposite..." (V. Rasputin)

Slide 20

The final debunking of the heroes' lies

Slide 21

Let's think!
Why doesn’t Sarafanov, even after learning about Busygin’s lies, drive him away?

Slide 22

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

Slide 23

The paradox of the play
People become family and feel responsible for each other only by luck.

Slide 24

Why is “The Eldest Son” the most appropriate title for the play?
Vampilov used several titles for his work: “The World in the House of Sarafanov” “The Suburb” “Moral Teachings with a Guitar” “The Sarafanov Family” “The Eldest Son”
The title of the play “The Eldest Son” is most apt, since its main character, Volodya Busygin, fully justified the role he took on as the “eldest son.” He helped Nina and Vasenka understand how much their father, who raised both children without a mother who abandoned the family, meant to them. Volodya Busygin loves people, he is conscientious, man of heart who sympathizes with someone else's misfortune, obviously, therefore acts decently. The “positivity” of aspirations makes him strong and noble.

Slide 25

A. Vampilov's play as assessed by critics
Mark Lipovetsky: The rogue Busygin literally becomes the hope and support of a collapsing house. Sarafanov and his children grasp at the idea of ​​the eldest son like a straw... And Busygin suddenly feels responsible, this is expressed in the fact that he not only continues the deception started by Silva, but also becomes a participant in intra-family deceptions. The mask, a role that is deliberately untruthful, unexpectedly meets Busygin’s inner need to be needed by someone, to belong to the house, to be loved, to be a member of the family.
Vladimir Klimenko: Vampilov gradually and unobtrusively leads us to the idea that the kinship of people in spirit is more important than family ties, and the responsiveness of the heart is the most important human dignity... Busygin’s soul is transformed under the influence of the meeting with Sarafanov. An elderly musician, a loser and “blessed”, according to his wife who left him, is in fact a container of the best feelings.

Slide 26

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

Slide 27

note
At the end of the play, Andrei Grigorievich Sarafanov expresses the following thought: “Yes, yes, life is fair and merciful. It makes the heroes doubt, and those who have done little, and then those who have done nothing but lived with a pure heart, it will always console ". Sarafanov himself, although he has no fame, cannot complete a piece of music, has great life experience: he defended the Fatherland, gave people joy and consolation through his performance of music. His ex-wife, according to Nina’s story, once called Andrei Grigorievich “blessed” in letters. Blessed means “eccentric, holy fool.” But in another, sublime sense, blessed is “full of the highest happiness.” And he achieves the highest happiness due to the fact that he is embraced by selfless service to the cause and people. He is driven by nobility and purity of thoughts. Volodya Busygin’s warm sympathy for Sarafanov arose because both of them can be called people with pure hearts.

Slide 28

What in life is more valuable than blood relationship?
More precious than blood relationship, in our lives there is closeness of souls. And those who understand us with their souls don’t need words. When just a glance is enough, And everything is clear at a glance. And there is no need for loud phrases at all, Warmth of the soul is the basis of all feelings. The soul's disposition towards others gives rise to strong friendship in us.
The souls are mutually attracted, having given us love, it burns with fire. A comrade-in-arms who is close to us in soul, will always be able to understand us. He will be able to cheer you up on holidays, and calm you down in difficult times. More precious than blood relationship, in our lives there is closeness of souls. And they will become whole: one - two, When she gives birth to love.
Markovtsev Yu.

Slide 29

Material used:
Sources of illustrations:
Photo by A. Vampilov: http://area7.ru/images/culture/ii_105.jpg Cover of the book “The Eldest Son”: http://bookfinder.su/ViewImage.php?isbn=9785170315390&psfx=b Stills from the film “ The eldest son" directed by Vitaly Melnikov: http://www.kinopoisk.ru/picture/749647/
1. Klimenko V. N. Thirst for good. Notes on the work of Alexander Vampilov. - M.: Iris-press, 2007. 2. Lipovetsky M. N. Alexander Vampilov // Modern Russian literature. - M.: Art, 2001. 3. Sushkov B. F. Alexander Vampilov. - M.: Raduga, 1989. 4. Markovtsev Yu. More expensive than blood kinship: http://www.sunhome.ru/poetry/171778