- Do you think the situation depicted in the play is believable? Motivate your opinion.
- Why did Sarafanov believe Busygin that he really was his eldest son?
- Why does Sarafanov refuse to believe Busygin’s exposure and his own confession?
- How would you characterize Sarafanov’s relationship with Nina and Vasenka?
- What attracts Busygin to Sarafanov and his family? Why does he constantly postpone his departure and actually take on the role of eldest son and brother?
- Compare the relationship of Busygin and Sarafanov’s own children to their father. What similarities and differences do you find in the characters’ feelings? What are the reasons?
- What role do you think Silva plays in the play, inventing the story with the “eldest son”? Why do you think he has such a nickname?
- What moral issues are raised by the playwright in this play?
From an everyday point of view, the situation is unlikely. And even the similarity of circumstances can be explained by the conventions of a dramatic work.
The romantically inclined, extremely trusting hero, who also needed contact with children and could not find it, hopefully believed in the put forward version that Busygin was his eldest son. He believed because at that moment he needed him, his help, in order to somehow positively influence the situation in the family, he needed an older brother for his children, more experienced and reasonable than them. It is impossible not to take into account that Busygin made a good impression on Sarafanov even at the first meeting.
In a short time, Sarafanov managed to fall in love with Volodya and feel his filial attitude toward him. And therefore his first reaction to exposure is to drive away the whistleblower himself. “You are a real Sarafanov! My son! And a beloved son at that!” - this is the hero’s key line in this scene. Finally, realizing that it was a joke, Sarafanov declares that he will still consider Busygin his son. As a romantic dreamer, he strives to create a new reality for him from this situation: “You are all my children, because I love you.”
Sarafanov raised Nina and Vasenka after his wife left him. Children do not take his dreams and creative impulses seriously and sometimes make fun of him. However, they love their father in their own way and protect his “secret.” They never tell him, although the whole city knows, that he has not worked at the Philharmonic for six months, that he moved to the cinema, then to the railway club, and plays in funeral processions. The fact that the father has been composing either a cantata or an oratorio called “All Men are Brothers” for more than one year is also not subject to discussion in the family, hopelessly stuck on the first page.
Sarafanov worries about the children, especially the youngest, Vasenka, who has unrequited love for Makarskaya, a woman much older than him and who does not reciprocate. Vasya wants to leave, to run away from himself. And this worries Sarafanov very much, and he acutely feels the need for his eldest son to help Vasenka.
An idea that began anecdotally turns into a serious life lesson for Busygin, an acquaintance with a completely different, sublimely poetic view of this “crazy”, unsettled world, life, where illusion can be more attractive than the truth, where there is openness, reckless gullibility. Communication with Sarafanov, on the one hand, frightens Volodya; he realizes that together with Silva he is committing a moral crime (“this dad is a holy man”; “God forbid you deceive someone who believes your every word "), and on the other hand, he is fascinated by his sincerity, the hope that the “eldest son” will help solve family problems. And it turns out to be very difficult to get out of this game. M.I. Gromova, a famous theater critic, rightly points out that Vampilov “managed, within the framework of everyday comedy, to create passions for the spiritual closeness of people, for kindness and mutual understanding.”
Busygin was able to look not from the inside, but from the outside at the family problems of the Sarafanovs. His view and attitude towards his father is deeper than the usual view of children who live and communicate with him constantly. He appreciates more deeply the subtle, poetic world of the hero, albeit in many ways a failure in life, and understands his vulnerability better than others. Material from the site
Silva is a nickname of operetta origin. He is a cynic, not used to sparing people’s feelings and understanding them. For him, momentary pleasures are more important. He comes up with this story only in order to comfortably settle down for the night, knowing about Vasenka’s suffering, he enters into a love affair with Makarska, and is ready to leave in time to avoid danger. He is the antipode of Busygin and Sarafanov, he is the embodiment of lack of spirituality. His role in the play is a background role, in contrast to which the characters’ craving for sincerity and warmth of relationships appears especially clearly.
They have already been mentioned in the answers to previous questions. This is, first of all, a problem of man and human dignity, the spiritual value of family ties, which we must learn to protect. Family closeness arises not only due to formal kinship (Sarafanov’s wife left him), but also due to the spiritual attractiveness of people. This is what happened with the relationship between Sarafanov and Busygin.
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Literature lesson in 10th grade based on the play by A.V. Vampilov "Elder Son"
Subject:
1.Acquaintance with the biography of A.V. Vampilova.
2. Analysis of the play by A.V. Vampilov "The Eldest Son".
Target:
- To interest students in the personality of A.V. Vampilova.
- Encourage students to seriously think about the meaning of life, about the purpose of man on earth, about responsibility for their deeds and actions.
- Develop the ability to think and empathize.
Decor:
- Exhibition of books with works by A.V. Vampilov, books about Vampilov.
- Portrait of A.V. Vampilova, Illustrations for
- Fragments from the feature film "The Eldest Son".
- Presentation about the life and work of A. Vampilov
Preparatory work:
- Read the play by A.V. Vampilov "The Eldest Son".
- Think over answers to questions, support with excerpts from the work
- Questions for analyzing the play “The Eldest Son”
- What is the plot of the play?
- Who are its main characters? Secondary?
- Who can be classified as off-stage characters?
- 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?
- What collision is the play based on?
- What can you tell us about the members of the Sarafanov family?
- What does their comparison give us to understand the images of Busygin and Silva?
- How do you feel about Nina Kudimov’s fiance?
- What is the role of Makarska, the neighbor, in the play?
- What are the problems and the main idea of the play?
- What genre can we classify the play into and why?
- How is the work constructed? What was the author's position?
- We read the last page and closed the book. What would you say to your friends about this play?
- Individual tasks
a) find material related to Vampilov’s biography, read
b) learn the poem by P. Reutsky “Remember me cheerfully”
Teacher:
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.
Teacher:
Close friends, including writers Valentin Rasputin and Vyacheslav Shugaev, affectionately called him Sanya.
From this name the pseudonym A. Sanin was formed, with which the writer signed his first book “Coincidence of Circumstances”.
Pupil:
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”.
Pupil:
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.
Student:
“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.
Teacher:
We heard a 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.
Teacher:
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?
Fable is the content of a literary work and the events depicted in it.
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).
How does the author relate to his main characters? What affirms in a person and what denies in him?
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
Municipal educational institution
Shushkodom secondary school named after I.S. Arkhipov
Buysky municipal district of Kostroma region
Literature lesson in 11th grade
Topic: “Problems of morality
in A. Vampilov’s play “The Eldest Son”.
Teacher:
Selezneva Natalia Nikolaevna
s.Shushkod
Topic: “Problems of morality in Vampilov’s play “The Eldest Son.”
Goals and objectives of the lesson:
show the significance of Vampilov’s dramaturgy for Russian literature;
understand the artistic features and ideological originality of the play “The Eldest Son”;
improve students’ ability to analyze a dramatic work,
reveal the problem: “will a living soul overcome the routine of life”,
develop children's creativity, cognitive and research activity, analytical thinking.
Methodical techniques: analytical conversation, viewing and analysis of fragments of the feature film “The Eldest Son”.
Lesson type : lesson-learning new knowledge through solving educational problems, combined
Lesson form: lesson with application technologies of educational dialogue, project methods with multimedia support
Lesson equipment: video film “The Elder Son”, presentation for the lesson (based on the play “The Elder Son”; student presentations about the life and work of the playwright; text of the play “The Elder Son”
Information: Before the lesson, students receive the necessary material, it is heterogeneous, it should be studied and systematized.
Tasks for students:
Prepare a message with a presentation on the biography of the playwright.
Prepare a report on the features of Vampilov’s dramaturgy.
Explore the ideological concept of the play “The Eldest Son” and the grouping of characters. Create a compositional structure for the play.
During the classes.
I Recording of the epigraph. Motivation and goal setting (preparing students to perceive the material, focusing on the predicted result).
Teacher's word: It’s hard to imagine Vampilov as a seventy-year-old. He entered literature young and remained young in it. Life was cut short at the very takeoff, in its prime.
(The student reads P. Reutsky’s poem “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,
And with me and on earth.
Someone's heart is hurting
In my home 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.
2. The first group of students is introduced to the biography of the playwright.
Student's message about A.V. Vampilov (accompanied by a presentation)
A. Vampilov entered literature young and remained young in it. “I laugh at old age, because I will never be old,” Vampilov wrote in his notebook. And so it happened: Vampilov died a few days before his 35th birthday. On August 17, 1972, on Lake Baikal, the boat at full speed hit a driftwood log and began to sink. The water, cooled to five degrees by the recent storm, the heavy jacket... He almost swam... But his heart could not stand it a few meters from the shore...
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.”
His father’s prophetic dream came true; a future writer and playwright was born, bringing to the stage “an amazing, all-powerful sense of truth.”
Anastasia Prokopyevna had four children in her arms, the eldest of whom was seven years old.
From her, from her mother, a person of amazing kindness and purity, Sanya, as his family called him, adopted his best qualities. V. Rasputin dedicated the story “French Lessons,” published on the anniversary of his friend’s death, to this woman who experienced so much.
In youth Vampilov read the works of N.V. Gogol and V. Belinsky, everyone remembers that Alexander sang beautifully, only among his close friends, in a good moment. He 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.
With great difficulty, the plays of the young author made their way to the audience and brought him wide fame. But during his lifetime, Vampilov never saw a single play of his on the capital’s stage.
Vampilov writes mainly about the intelligentsia, drawing attention to their problems. Has the intelligentsia retained its high purpose? Does she follow cultural traditions? What are its goals and ideals in the modern world? Does the “eternal” questions still torment her? What does freedom mean to her?
On August 17, 1972, two days before his 35th birthday, Vampilov and his friends went on vacation to Lake Baikal.
When the life of Alexander Vampilov was tragically cut short, an unfinished work lay on his desk - the vaudeville “The Incomparable Tips”...
In 1987, the name of Alexander Vampilov was given to the Irkutsk Theater for Young Spectators. There is a memorial plaque on the theater building.
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.
“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 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.
No sooner had the earth cooled down on Vampilov’s grave than his posthumous fame began to gain momentum. His books began to be published (only one was published during his lifetime), theaters staged his plays (The Eldest Son alone was shown in 44 theaters across the country), and studio directors began filming films based on his works.
3. The second group of students talks about Vampilov’s dramaturgy (presentation).
The significance of Vampilov’s phenomenon was emphasized by V. Rasputin, who had been friends with him since his student days: “Together with Vampilov, sincerity and kindness came to the theater - feelings as old as bread, and like bread, necessary for our existence and for art. It cannot be said that they did not exist before him - they were, of course, but not in that, obviously, convincing way and closeness to the viewer... It seems that the main question that Vampilov constantly asks: will you remain a person, a person? Will you be able to overcome all the deceitful, unkind things that are prepared for you in many everyday trials, where even the opposites have become difficult to distinguish - love and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement? The play “The Eldest Son” gives answers to these questions.
In the cinema and theater of the 70s, stories about returning and finding a home, loved ones, and the choice between blood and spiritual relatives turned out to be popular. There was a craving for simple human joys, for love stories, for plots of finding happiness and losing it. I fell into the orbit of this kind of dramatic addiction. "Eldest son."
II Analytical conversation. (Accompanied by presentation).
Teacher: As an epigraph to today’s lesson, I will offer two quotes from A. Vampilov: “Everything decent is rash, everything thoughtful is meanness...”, “A chance, a trifle, a coincidence of circumstances sometimes becomes the most dramatic in a person’s life...”
Do you remember what combination of circumstances brought the main character and his companion to the house of the Sarafanov family? What is the plot of this play?
Student:(sample answer)
XOn 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.
Teacher: The author structured the plot in such a way that he never allowed anyone to doubt the vitality of what was happening. At first glance, the plot is simple, but it contains a deep moral meaning. This is what we have to figure out. What do you think is the key line of the play?
Student: In my opinion, these are the words of Busygin:
“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. They need to be scared or moved to pity.”
Teacher: Let's get to know the heroes. In the course of our research, we will need to answer the question: “Why did the Sarafanov family so easily believe in their family ties with Busygin?
— What can you tell about the members of this family?
Student: Andrey Grigorievich Sarafanov is the head of the family. He is a musician, but he was fired from the orchestra. He plays at funerals and dances, but hides it from the children. The children know everything, but they pretend that they don’t know that their father does not work in the orchestra. Sarafanov will write a musical composition entitled “All people are brothers.” For him this is not just a declaration, but a principle of life
Teacher: Can he be called a loser?
Student (sample answers): I think I can be called a loser. 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.
Another answer: Sarafanov, although he does not have fame, may not be able to complete a piece of music, has great life experience: he defended the Fatherland, gave people joy and consolation through his performance of music. He is driven by nobility and purity of thoughts. He raised the children alone and is a very kind and open person. Therefore, he cannot be called a failure.
Teacher: Why did Andrei Grigorievich believe and recognize Volodya Busygin as his eldest son?
Student: Andrei Grigorievich is lonely and therefore becomes attached to his “eldest son.”
Teacher: What do you like about Nina? Why are you judging her? How and why does Nina change at the end of the play?
Nina is purposeful and took upon herself the cares of the mistress of the house.
She is going to marry an unloved person, insensitive towards Vassenka and her father. The meeting with Busygin changes her. She refuses marriage, stays with her family
Teacher: 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?
Student: (example options): Vassenka behaves like a child, his actions are impulsive. To some extent, he is selfish... Vasenka plays the role of a lover, misunderstood.
Teacher: What can you say about the attitude towards each other in the Sarafanov family?
Student:(sample answer) One can say about the father that he is soft, kind, a little eccentric, on whom the burden of material worries falls. They are given in Vasenka’s replicas. We immediately learn that in this family no one understands each other, they do not worry about souls.
"Vasenka ( Nina). Leave me alone. ( Breaks out.) What do you want? What are you missing? Rely on dad, he will arrange everything.
S a r a f a n o v. Vasenka!
Vassenka. Why did you go to her ( to Makarska. – E.S..) at night? Who asked you?
Vassenka. …Crazy! It was better when you didn’t care about me!”
From the point of view of spiritual kinship, the closest people, connected by blood ties, are far from each other, embittered, each preoccupied with himself. Sarafanov wants to help his son, but he does it ineptly and absurdly. Nina constantly bullies Vasenka and insults his feelings for Makarskaya. Constant scandals, misunderstanding of each other.
"Sarafanov ( ran around the room). ...Send your father to hell. You won't stand on ceremony with me!
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
S arafanov ( appearing). ...I am an old sofa that she has long dreamed of taking out... Here they are, my children, I just praised them - and on you, please... Receive for your tender feelings! ( Nina appears and stops at the door..) Yes, I raised cruel egoists. Callous, calculating, ungrateful."
Teacher: So, scandals, a showdown, apparently, the hidden pain of Sarafanov the father. Nina is nineteen years old, Vasenka is still a schoolboy, and the atmosphere in the family is oppressive, hysterical, unbearably joyless. The desire of Vasenka and Nina Sarafanov to leave, or more honestly, to escape from home, the desire to break free is understandable. The eternal theme of fathers and sons!
“N and na. ...Don't you know that I'm leaving?
Vassenka. I'm leaving too.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Nina ( crouching). Listen, Vaska... You are a bastard, and no one else. I would take you and kill you.
Vassenka. I don't touch you, and you don't touch me.
Nina. You don't care about me - okay. But you should think about your father.
Vassenka. You don't think about him, why should I think about him?
Nina. My God! ( rises.) If you only knew how tired I am of you!”
Teacher: Spiritual catastrophe, the theme of the internal disintegration of the family, despite the fact that outwardly the family seems to be normal - one of the modern dangers, according to Alexander Vampilov.
Teacher: Describe Busygin and Silva.
Student: (approximate answer) The heroes are young, energetic, they are typical for the time both in terms of social status and social role (student, dude), kind and conscientious Busygin, frivolous Silva.
Both of them are deprived of the warmth of their home, their parents' home. Silva's house is a family circle, where there is no hint of the affection of relatives for each other. Silva has a father - and he doesn't exist. Here is a shelter where the son is not only allowed, but almost ordered: do not return. That's fatherly love.
“S i l v a. Eh! I'd rather stay at home. Warm, at least, and fun too. My dad is a big joker... He tells me he’s tired of your outrages. At work, he says, I feel these awkwardnesses because of you. For the last twenty rubles, he says, go to a tavern, get drunk, make a row, but such a row that I won’t see you for a year or two...”
Therefore, such ease in cruelty, such crippled spirit in Silva probably originates in the house where his son is asked not to return by his own father. It’s easy for Silva, because his “philosophy” is this: “...the best thing is this: don’t think about anything and don’t go crazy. It's calmer that way. In my opinion". “Mental meanness,” plus cowardice in the face of the truth, plus envy of the warmth that is born before our eyes (and between strangers) forces him to act mercilessly. Ridiculously, pathetically, he takes revenge, trying to destroy and denigrate the good things he has witnessed. He disappears from the comedy as a scoundrel, because he doesn’t trust anyone, doesn’t love anyone and doesn’t understand anyone.
Busygin is fatherless. He generally does not know what a son, a father, a father’s love for a son, a home, a brother, etc. are. Therefore, his desire to become a son, a brother, even if only for a short time, is understandable.
Teacher: In a dramatic work there are no portrait characteristics of the characters. We learn about them from remarks, actions, relationships to other characters in the play .
— In your opinion, is Kudimov a positive or negative character?
Student: (sample answer) Overly reasonable, “correct”. It cannot be said about him that he is good or that he is bad.
Teacher: We can say about him that he is an indifferent, understanding nothing, smug intellectual. Such people are destructively dangerous, since everything passes by the heart, by the soul. A. Vampilov felt that the emptiness of the soul, covered with “impeccable honesty,” was becoming an everyday danger. He saw Kudimov and his division in life in order to show how indifference, which has become a principle, a moral norm, becomes impudent and dominates.”
There are no ideal, positive heroes, as well as negative ones. The point is that some are bad and some are good. It turns out that every person has something to repent of. Therefore, Sarafanov believes that Busygin is his son - after all, he once left the woman he loved.
Teacher: How does Busygin turn from an impostor son into a person close to the Sarafanovs? What is the meaning of this transformation?
Student:(sample answer) Through a joke-deception, the simplicity and complexity of the truth is revealed. A cruel joke parodies the idea of universal brotherhood. Sarafanov composes the oratorio “All people are brothers.” Busygin argues at the beginning of the play that “people have thick skin, and it’s not so easy to break through it. You have to lie properly, only then will they believe and sympathize. They need to be frightened and moved to pity.” Everyone lies, but that's just the rule of the game. And when the “honest” Kudimov reveals the deception and insists on his own, this “truth” turns out to be of no use to anyone, even cruel.
The same thing happens to Silva when he “opens his eyes” to Sarafanov, admitting to deception. Sarafanov does not want such a truth and also expels Silva from the house. What is paradoxical is not that Sarafanov believed Busygin’s invention, but that Busygin behaved in accordance with his invention. Busygin is called a son and subsequently behaves like a son. From this moment, not only the course of the intrigue turns, but the artistic structure of the play also changes, it ceases to be a story with lies, it becomes a story with transformations.
Teacher: What could have happened to the Sarafanov family if Busygin had not appeared on time?
Student:(sample answer) What would happen is that the family could collapse. And Busygin became, as it were, that unifying, binding spiritual force with which a whole range of problems of the family and home are connected.
Teacher: It turns out how important spiritual strength is in a family - this is the continuity of faith. Spiritual connections between people turn out to be higher than blood and family ties - this is the conclusion that follows in the course of self-development of the idea of “brotherhood”. — Why was the concept of “eldest son” necessary for the author? It’s like some significant force brings harmony into an unhappy house, ties up broken threads.
How did Nina react to the fact that Busygin admitted that he was not her brother?
Student:(sample answer) Nina does not want to give up her faith under any circumstances. Busygin explains to her that he is not joking, he is telling the truth, but she does not believe him.
Teacher: This is what the author wanted: when a person has faith, any kind of faith, even if, at first glance, it is completely implausible, they don’t want to lose it, they don’t want to let it go. This heart center, once lit, cannot go out. Nina had a hard time believing in her “brother,” but having believed, she came to life and does not want to part with what is internal, warming and bright.
The finale of the play. Stills from the feature film "The Eldest Son".
Teacher: What happened to our heroes?
Student: (sample answer) At the end of the play, Sarafanov, Busygin, Nina, Vasenka seemed to become one. They are all together, next to each other. Makarska aside. Busygin shows a need to be needed by someone, to be loved, to be a member of the family. That's why he's nearby. He admits: “Frankly speaking, I myself no longer believe that I am not your son.”
Teacher: What did the author want to remind us of?
Student:(sample answer) He seemed to force us to remember about conscience, about human family relationships. According to the author, a strong spiritual foundation and high moral guidelines are inherited from the father, which should help people live.
Teacher: How does Busygin turn from an impostor son into a person close to Sarafanov? What is the meaning of this transformation?
Student: The important thing is not that Busygin deceived the old man Sarafanov by calling himself his son. The important thing is that he loved him like a father and became close to him like a son.
Teacher: After reading the play, many find themselves turning into Sarafanov’s eldest son in order to help this kind man, who has preserved his bright soul into old age in our complex and confusing life. What do you think is the main idea of the play?
Student: The spiritual kinship of people turns out to be more reliable and stronger than formal family ties. Busygin unexpectedly discovers in himself the ability for compassion, love, forgiveness: “God forbid you deceive someone who believes your every word.” Thus, from a private, everyday story, the play rises to universal humanistic problems.
Teacher: What is the paradox of the play?
Student: The paradox is that people become family and begin to feel responsible for each other only by luck.
“A chance, a trifle, a coincidence of circumstances sometimes become the most dramatic moments in a person’s life”
Teacher: Vampilov used several titles for his work: “The World in Sarafanov’s House”, “The Suburb”, “Moral Teachings with a Guitar”, “The Sarafanov Family”,
"Eldest Son"
Why is “The Eldest Son” the most appropriate title for the play?
Student: 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 a conscientious, sympathetic person who sympathizes with the misfortune of others, obviously, that is why he acts decently. The “positivity” of aspirations makes him strong and noble.
III Lesson summary. The well-known beginning of Anna Karenina: “All happy families are alike, each unhappy in its own way.”
So what should hold a family together to make it happy? Love, faith, spirituality. Simple, familiar words on which peace and tranquility depend in every family.
IV Homework.
Write an essay “For me, Vampilov is...”
V . Reflection.
At the end of the lesson, each participant continues the phrase:
“Today in class I realized that...”
A person cannot live by calculation, cynicism, and hatred.
We must strive for spiritual rapprochement, openness of love for each of the people, the ability, forgetting personal interest, to take care of another, a stranger.
The students and teacher take turns reading the poem:
More precious than blood kinship,
And he doesn’t need words
Who understands us with soul.
When just a glance is enough
And everything is clear at a glance.
And there is no need for loud phrases at all,
The warmth of the soul is the basis of all feelings.
Souls towards others,
It gives birth to strong friendship in us.
Souls mutual attraction,
Having given us love, it burns with fire.
A comrade-in-arms who is close to us in soul,
He will always be able to understand us.
He will be able to cheer you up on holiday,
And will calm you down in difficult times.
More precious than blood kinship,
We have closeness of souls in our lives.
And they will become whole: one - two,
When she gives birth to love.
Shushkodom secondary school named after I.S. Arkhipov
Buysky municipal district of Kostroma region
Literature lesson in 11th grade
Topic: “Problems of morality
in A. Vampilov’s play “The Eldest Son”.
Teacher:
Selezneva Natalia Nikolaevna
s.Shushkod
year 2014
Topic: “Problems of morality in Vampilov’s play “The Eldest Son.”
Goals and objectives of the lesson:
show the significance of Vampilov’s dramaturgy for Russian literature;
understand the artistic features and ideological originality of the play “The Eldest Son”;
improve students’ ability to analyze a dramatic work,
reveal the problem: “will a living soul overcome the routine of life”,
develop children's creativity, cognitive and research activity, analytical thinking.
Methodical techniques : analytical conversation, viewing and analysis of fragments of the feature film “The Eldest Son”.
Lesson type: lesson - learning new knowledge through solving educational problems, combined
Lesson form: lesson with application technologies of educational dialogue, project methods with multimedia support
Lesson equipment: video film “The Elder Son”, presentation for the lesson (based on the play “The Elder Son”; student presentations about the life and work of the playwright; text of the play “The Elder Son”
Information: Before the lesson, students receive the necessary material, it is heterogeneous, it should be studied and systematized.
Tasks for students:
Prepare a message with a presentation on the biography of the playwright.
Prepare a report on the features of Vampilov’s dramaturgy.
Explore the ideological concept of the play “The Eldest Son” and the grouping of characters. Create a compositional structure for the play.
I Recording of the epigraph. Motivation and goal setting (preparing students to perceive the material, focusing on the predicted result).
Teacher's word: It’s hard to imagine Vampilov as a seventy-year-old. He entered literature young and remained young in it. Life was cut short at the very takeoff, in its prime.
(The student reads P. Reutsky’s poem “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,
And with me and on earth.
Someone's heart is hurting
In my home 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.
2. The first group of students is introduced to the biography of the playwright.
Student's message about A.V. Vampilov (accompanied by a presentation)
A. Vampilov entered literature young and remained young in it. “I laugh at old age, because I will never be old,” Vampilov wrote in his notebook. And so it happened: Vampilov died a few days before his 35th birthday. On August 17, 1972, on Lake Baikal, the boat at full speed hit a driftwood log and began to sink. The water, cooled to five degrees by the recent storm, the heavy jacket... He almost swam... But his heart could not stand it a few meters from the shore...
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.”
His father’s prophetic dream came true; a future writer and playwright was born, bringing to the stage “an amazing, all-powerful sense of truth.”
Anastasia Prokopyevna had four children in her arms, the eldest of whom was seven years old.
From her, from her mother, a person of amazing kindness and purity, Sanya, as his family called him, adopted his best qualities. V. Rasputin dedicated the story “French Lessons,” published on the anniversary of his friend’s death, to this woman who experienced so much.
In youth Vampilov read the works of N.V. Gogol and V. Belinsky, everyone remembers that Alexander sang beautifully, only among his close friends, in a good moment. He 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.
With great difficulty, the plays of the young author made their way to the audience and brought him wide fame. But during his lifetime, Vampilov never saw a single play of his on the capital’s stage.
Vampilov writes mainly about the intelligentsia, drawing attention to their problems. Has the intelligentsia retained its high purpose? Does she follow cultural traditions? What are its goals and ideals in the modern world? Does the “eternal” questions still torment her? What does freedom mean to her?
On August 17, 1972, two days before his 35th birthday, Vampilov and his friends went on vacation to Lake Baikal.
When the life of Alexander Vampilov was tragically cut short, an unfinished work lay on his desk - the vaudeville “The Incomparable Tips”...
In 1987, the name of Alexander Vampilov was given to the Irkutsk Theater for Young Spectators. There is a memorial plaque on the theater building.
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.
“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,” V. Rasputin wrote with bitterness and pain.
No sooner had the earth cooled down on Vampilov’s grave than his posthumous fame began to gain momentum. His books began to be published (only one was published during his lifetime), theaters staged his plays (The Eldest Son alone was shown in 44 theaters across the country), and studio directors began filming films based on his works.
3. The second group of students talks about Vampilov’s dramaturgy (presentation).
The significance of Vampilov’s phenomenon was emphasized by V. Rasputin, who had been friends with him since his student days: “Together with Vampilov, sincerity and kindness came to the theater - feelings as old as bread, and like bread, necessary for our existence and for art. It cannot be said that they did not exist before him - they were, of course, but not in that, obviously, convincing way and closeness to the viewer... It seems that the main question that Vampilov constantly asks: will you remain a person, a person? Will you be able to overcome all the deceitful, unkind things that are prepared for you in many everyday trials, where even the opposites have become difficult to distinguish - love and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement? The play “The Eldest Son” gives answers to these questions.
In the cinema and theater of the 70s, stories about returning and finding a home, loved ones, and the choice between blood and spiritual relatives turned out to be popular. There was a craving for simple human joys, for love stories, for plots of finding happiness and losing it. I fell into the orbit of this kind of dramatic addiction. "Eldest son."
II Analytical conversation. (Accompanied by presentation).
Teacher: As an epigraph to today’s lesson, I will offer two quotes from A. Vampilov: “Everything decent is rash, everything thoughtful is meanness...”, “A chance, a trifle, a coincidence of circumstances sometimes becomes the most dramatic in a person’s life...”
Do you remember what combination of circumstances brought the main character and his companion to the house of the Sarafanov family? What is the plot of this play?
Student:(sample answer)
XOn 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.
Teacher: The author structured the plot in such a way that he never allowed anyone to doubt the vitality of what was happening. At first glance, the plot is simple, but it contains a deep moral meaning. This is what we have to figure out. What do you think is the key line of the play?
Student: In my opinion, these are the words of Busygin:
“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. They need to be scared or moved to pity.”
Teacher: Let's get to know the heroes. In the course of our research, we will need to answer the question: “Why did the Sarafanov family so easily believe in their family ties with Busygin?
What can you tell about the members of this family?
Student: Andrey Grigorievich Sarafanov is the head of the family. He is a musician, but he was fired from the orchestra. He plays at funerals and dances, but hides it from the children. The children know everything, but they pretend that they don’t know that their father does not work in the orchestra. Sarafanov writes a musical composition entitled "All people are brothers." For him this is not just a declaration, but a principle of life
Teacher: Can he be called a loser?
Student (sample answers): I think I can be called a loser. 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.
Another answer: Sarafanov, although he does not have fame, may not be able to complete a piece of music, has great life experience: he defended the Fatherland, gave people joy and consolation through his performance of music. He is driven by nobility and purity of thoughts. He raised the children alone and is a very kind and open person. Therefore, he cannot be called a failure.
Teacher: Why did Andrei Grigorievich believe and recognize Volodya Busygin as his eldest son?
Student: Andrei Grigorievich is lonely and therefore becomes attached to his “eldest son.”
Teacher: What do you like about Nina? Why are you judging her? How and why does Nina change at the end of the play?
Nina is purposeful and took upon herself the cares of the mistress of the house.
She is going to marry an unloved person, insensitive towards Vassenka and her father. The meeting with Busygin changes her. She refuses marriage, stays with her family
Teacher: 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?
Student: (example options): Vassenka behaves like a child, his actions are impulsive. To some extent, he is selfish... Vasenka plays the role of a lover, misunderstood.
Teacher: What can you say about the attitude towards each other in the Sarafanov family?
Student:(sample answer) One can say about the father that he is soft, kind, a little eccentric, on whom the burden of material worries falls. They are given in Vasenka’s replicas. We immediately learn that in this family no one understands each other, they do not worry about souls.
"Vasenka ( Nina). Leave me alone. ( Breaks out.) What do you want? What are you missing? Rely on dad, he will arrange everything.
S a r a f a n o v. Vasenka!
Vassenka. Why did you go to her ( to Makarska. – E.S..) at night? Who asked you?
Vassenka. …Crazy! It was better when you didn’t care about me!”
From the point of view of spiritual kinship, the closest people, connected by blood ties, are far from each other, embittered, each preoccupied with himself. Sarafanov wants to help his son, but he does it ineptly and absurdly. Nina constantly bullies Vasenka and insults his feelings for Makarskaya. Constant scandals, misunderstanding of each other.
"Sarafanov ( ran around the room). ...Send your father to hell. You won't stand on ceremony with me!
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
S arafanov ( appearing). ...I am an old sofa that she has long dreamed of taking out... Here they are, my children, I just praised them - and on you, please... Receive for your tender feelings! ( Nina appears and stops at the door..) Yes, I raised cruel egoists. Callous, calculating, ungrateful."
Teacher: So, scandals, a showdown, apparently, the hidden pain of Sarafanov the father. Nina is nineteen years old, Vasenka is still a schoolboy, and the atmosphere in the family is oppressive, hysterical, unbearably joyless. The desire of Vasenka and Nina Sarafanov to leave, or more honestly, to escape from home, the desire to break free is understandable. The eternal theme of fathers and sons!
“N and na. ...Don't you know that I'm leaving?
Vassenka. I'm leaving too.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Nina ( crouching). Listen, Vaska... You are a bastard, and no one else. I would take you and kill you.
Vassenka. I don't touch you, and you don't touch me.
Nina. You don't care about me - okay. But you should think about your father.
Vassenka. You don't think about him, why should I think about him?
Nina. My God! ( rises.) If you only knew how tired I am of you!”
Teacher: Spiritual catastrophe, the theme of the internal disintegration of the family, despite the fact that outwardly the family seems to be normal - one of the modern dangers, according to Alexander Vampilov.
Teacher: Describe Busygin and Silva.
Student: (approximate answer) The heroes are young, energetic, they are typical for the time both in terms of social status and social role (student, dude), kind and conscientious Busygin, frivolous Silva.
Both of them are deprived of the warmth of their home, their parents' home. Silva's house is a family circle, where there is no hint of the affection of relatives for each other. Silva has a father - and he doesn't exist. Here is a shelter where the son is not only allowed, but almost ordered: do not return. That's fatherly love.
“S i l v a. Eh! I'd rather stay at home. Warm, at least, and fun too. My dad is a big joker... He tells me he’s tired of your outrages. At work, he says, I feel these awkwardnesses because of you. For the last twenty rubles, he says, go to a tavern, get drunk, make a row, but such a row that I won’t see you for a year or two...”
Therefore, such ease in cruelty, such crippled spirit in Silva probably originates in the house where his son is asked not to return by his own father. It’s easy for Silva, because his “philosophy” is this: “...the best thing is this: don’t think about anything and don’t go crazy. It's calmer that way. In my opinion". “Mental meanness,” plus cowardice in the face of the truth, plus envy of the warmth that is born before our eyes (and between strangers) forces him to act mercilessly. Ridiculously, pathetically, he takes revenge, trying to destroy and denigrate the good things he has witnessed. He disappears from the comedy as a scoundrel, because he doesn’t trust anyone, doesn’t love anyone and doesn’t understand anyone.
Busygin is fatherless. He generally does not know what a son, a father, a father’s love for a son, a home, a brother, etc. are. Therefore, his desire to become a son, a brother, even if only for a short time, is understandable.
Teacher: In a dramatic work there are no portrait characteristics of the characters. We learn about them from remarks, actions, relationships to other characters in the play .
Is Kudimov, in your opinion, a positive or negative character?
Student: _(sample_answer)">Student: (sample answer) Overly reasonable, “correct”. It cannot be said about him that he is good or that he is bad.
Teacher: We can say about him that he is an indifferent, understanding nothing, smug intellectual. Such people are destructively dangerous, since everything passes by the heart, by the soul. A. Vampilov felt that the emptiness of the soul, covered with “impeccable honesty,” was becoming an everyday danger. He saw Kudimov and his division in life in order to show how indifference, which has become a principle, a moral norm, becomes impudent and dominates.”
There are no ideal, positive heroes, as well as negative ones. The point is that some are bad and some are good. It turns out that every person has something to repent of. Therefore, Sarafanov believes that Busygin is his son - after all, he once left the woman he loved.
Teacher: How does Busygin turn from an impostor son into a person close to the Sarafanovs? What is the meaning of this transformation?
Student:(sample answer) Through a joke-deception, the simplicity and complexity of the truth is revealed. A cruel joke parodies the idea of universal brotherhood. Sarafanov composes the oratorio “All people are brothers.” Busygin argues at the beginning of the play that “people have thick skin, and it’s not so easy to break through it. You have to lie properly, only then will they believe and sympathize. They need to be frightened and moved to pity.” Everyone lies, but that's just the rule of the game. And when the “honest” Kudimov reveals the deception and insists on his own, this “truth” turns out to be of no use to anyone, even cruel.
The same thing happens to Silva when he “opens his eyes” to Sarafanov, admitting to deception. Sarafanov does not want such a truth and also expels Silva from the house. What is paradoxical is not that Sarafanov believed Busygin’s invention, but that Busygin behaved in accordance with his invention. Busygin is called a son and subsequently behaves like a son. From this moment, not only the course of the intrigue turns, but the artistic structure of the play also changes, it ceases to be a story with lies, it becomes a story with transformations.
Teacher: What could have happened to the Sarafanov family if Busygin had not appeared on time?
Student:(sample answer) What would happen is that the family could collapse. And Busygin became, as it were, that unifying, binding spiritual force with which a whole range of problems of the family and home are connected.
Teacher: It turns out how important spiritual strength is in a family - this is the continuity of faith. Spiritual connections between people turn out to be higher than blood and family ties - this is the conclusion that follows in the course of self-development of the idea of “brotherhood”. - Why was the concept of “eldest son” necessary for the author? It’s like some significant force brings harmony into an unhappy house, ties up broken threads.
How did Nina react to the fact that Busygin admitted that he was not her brother?
Student:(sample answer) Nina does not want to give up her faith under any circumstances. Busygin explains to her that he is not joking, he is telling the truth, but she does not believe him.
Teacher: This is what the author wanted: when a person has faith, any kind of faith, even if, at first glance, it is completely implausible, they don’t want to lose it, they don’t want to let it go. This heart center, once lit, cannot go out. Nina had a hard time believing in her “brother,” but having believed, she came to life and does not want to part with what is internal, warming and bright.
The finale of the play. Stills from the feature film "The Eldest Son".
Teacher: What happened to our heroes?
Student: (sample answer) At the end of the play, Sarafanov, Busygin, Nina, Vasenka seemed to become one. They are all together, next to each other. Makarska aside. Busygin shows a need to be needed by someone, to be loved, to be a member of the family. That's why he's nearby. He admits: “Frankly speaking, I myself no longer believe that I am not your son.”
Teacher: What did the author want to remind us of?
Student:(sample answer) He seemed to force us to remember about conscience, about human family relationships. According to the author, a strong spiritual foundation and high moral guidelines are inherited from the father, which should help people live.
Teacher: How does Busygin turn from an impostor son into a person close to Sarafanov? What is the meaning of this transformation?
Student: The important thing is not that Busygin deceived the old man Sarafanov by calling himself his son. The important thing is that he loved him like a father and became close to him like a son.
Teacher: After reading the play, many find themselves turning into Sarafanov’s eldest son in order to help this kind man, who has preserved his bright soul into old age in our complex and confusing life. What do you think is the main idea of the play?
Student: The spiritual kinship of people turns out to be more reliable and stronger than formal family ties. Busygin unexpectedly discovers in himself the ability for compassion, love, forgiveness: “God forbid you deceive someone who believes your every word.” Thus, from a private, everyday story, the play rises to universal humanistic problems.
Teacher: What is the paradox of the play?
Student: The paradox is that people become family and begin to feel responsible for each other only by luck.
“A chance, a trifle, a coincidence of circumstances sometimes become the most dramatic moments in a person’s life”
Teacher: Vampilov used several titles for his work: “The World in Sarafanov’s House”, “The Suburb”, “Moral Teachings with a Guitar”, “The Sarafanov Family”,
"Eldest Son"
Why is “The Eldest Son” the most appropriate title for the play?
Student: 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 a conscientious, sympathetic person who sympathizes with the misfortune of others, obviously, that is why he acts decently. The “positivity” of aspirations makes him strong and noble.
III Lesson summary. The well-known beginning of Anna Karenina: “All happy families are alike, each unhappy in its own way.”
So what should hold a family together to make it happy? Love, faith, spirituality. Simple, familiar words on which peace and tranquility depend in every family.
IV Homework .
Write an essay “For me, Vampilov is...”
V. Reflection.
At the end of the lesson, each participant continues the phrase:
“Today in class I realized that...”
A person cannot live by calculation, cynicism, and hatred.
We must strive for spiritual rapprochement, openness of love for each of the people, the ability, forgetting personal interest, to take care of another, a stranger.
The students and teacher take turns reading the poem:
More precious than blood kinship,
And he doesn’t need words
Who understands us with soul.
When just a glance is enough
And everything is clear at a glance.
And there is no need for loud phrases at all,
The warmth of the soul is the basis of all feelings.
Souls towards others,
It gives birth to strong friendship in us.
Souls mutual attraction,
Having given us love, it burns with fire.
A comrade-in-arms who is close to us in soul,
He will always be able to understand us.
He will be able to cheer you up on holiday,
And will calm you down in difficult times.
More precious than blood kinship,
We have closeness of souls in our lives.
And they will become whole: one - two,
When she gives birth to love.
Alexander Alyokhin, 1 – screenplay.
Analysis of a literary work.
Play by A.V. Vampilov "The Eldest Son".
In my opinion, for a more accurate understanding of the play “The Eldest Son”, it must be considered in the context of Vampilov’s personal biography. After all, the problem of “fatherhood”, or even rather “fatherlessness” posed in the play, is directly related to the author. A.V. Vampilov himself grew up without a father (he was arrested and then shot), and therefore the relationship between “son” and “father” presented in the play was very important for the author himself and was so accurately and poignantly shown by him. And therefore we can say that Busygin is a projection of personal feelings and experiences that are very important for Vampilov. And for the same reason, the main character finds a dear, close person in a “random” father.
But let's start in order. First of all, we must understand what the genre of this play is. The author himself defines it as a comedy. And most of the first act fits this genre. Many absurd situations unfold before us, built on classic inconsistency, supported by funny remarks from the heroes. Either the unlucky heroes miss the train, or in the middle of the night they start asking everyone to spend the night. You could even say that Silva does most of the comedy throughout the play. After all, it is “thanks to” him that the main, plotting event takes place, namely the introduction of Busygin by his eldest son. Also comedic, even eccentrically constructed is the scene of the heroes “hide and seek” from Sarafanov, and how Busygin overhears his conversation with Vasenka in the kitchen.
However, in the middle of the first act, after Busygin and Sarafanov meet, the genre of the play increasingly begins to transform from comedy to drama. When the hero realizes that Sarafonov is an unhappy person who really needs a loved one. Here the whole drama of this little man is revealed to us. He is afraid that his children will abandon him and that he will be left alone. All hope now lies in Busygin, in the “eldest son.” He grabs onto it like a life preserver. And Busygin, in turn, is ashamed of his deception, and he himself finds in this man a loved one, a father whom he did not have. Busygin’s remark is very accurate and piercing when he tries to escape and says to Silva: “God forbid you deceive someone who believes your every word”. Here, of course, there is little left of comedy. A family drama unfolds before us, although it is still not without comedic moments.
The dramatic component of the play reaches its greatest intensity in the scenes when Nina’s fiancé, Kudimov, comes to the house, and then everyone leaves except Busygin. Here, all of Sarafanov’s despair, his fear of loneliness, is revealed to us in full force.
“Sarafanov: I’m superfluous here. I! I am the old sofa that she has long dreamed of taking out... Here they are, my children, I just praised them - and on you, please... Receive for your tender feelings!.
And then everyone returns and stays with their father. The play ends, as they would say today, with a “happy ending”, characteristic of a comedy, that is, the play begins and ends as a comedy, but just inside, in the main part, the real drama unfolds. Therefore, it is still possible to define the genre of this play as a tragicomedy. And in this approach to the genre, one might say, Vampilov is close to Chekhov, whose plays also often begin as comedies (and were also defined by the author himself as a comedy), and then turn into a tragedy.
Now let's trace the development line of the main character, Busygin. Already at the beginning of the play we learn that he grew up without a father, which, of course, will be of utmost importance in the further development of the action. However, the main character appears to us at the beginning as a kind of idiot, he walks with girls, drinks with strangers (after all, it turns out that he met Silva that same evening). In short, an ordinary impudent young man.
But after he meets Sarafanov, Busygin reveals himself to us from a completely different side. He shows attention and concern to the unfortunate father of the family. At some point, he no longer just portrays the eldest son, but becomes the real son of Sarafanov. He finds in this man the father he never had.
On the other hand, and this also speaks of his noble character, he is constantly, more and more, ashamed of his deception, so he constantly strives to disappear from this house as quickly as possible. However, something always stops him. This “something” is precisely the feeling of closeness, kinship that Busygin feels for Sarafanov.
At the same time, Busygin’s relationship with his “sister” Nina develops. Busygin involuntarily falls in love with a girl. Yes, and she too. But the absurdity of his situation (which then turns into almost tragic complexity), of course, does not allow him to confess his love in any way. And in connection with this love line, an interesting question is, because of whom does Busygin actually stay in this house all the time, because of the “father” or because of the “sister”? After all, Busygin will illuminate the answer to this question from completely different angles. If because of the “father,” then this, one might say, is a pure, spiritual interest, but if because of the “sister,” then Busygin automatically becomes selfish and not a very good person. However, what is so charming about Vampilov’s play is that, in essence, it is very vital and humane, and in life there are no clear answers. So it would be correct to say that they both hold it.
Also, the love line has a special, important function in the play. Firstly, it supports the comedic component of the play, and secondly, it does not allow the hero to turn into a completely noble, correct character of the socialist realist type. Thanks to this, Busygin becomes, as it were, more humane, more down-to-earth. After all, in the end, he takes advantage of the fact that he is Nina’s “big brother” for some time.
Ultimately, Busygin finds all that is most valuable - love in the person of Nina, and a close, dear person, father (this time without quotes) in the person of Sarafanov. Imbued with a sincere feeling for this family, he, one might say, returns all its members to their home, to their father, and he himself becomes a member of it.
But, of course, no one can speak better about the hero than the author himself. Therefore, it would be appropriate to quote A.V. himself. Vampilov regarding Busygin’s actions.
From a letter from A.V. Vampilov to playwright Alexei Simukov:
“...At the very beginning... (when it seems to him that Sarafanov has gone to commit adultery) he (Busygin) does not even think about meeting him, he avoids this meeting, and having met, he does not deceive Sarafanov just like that, out of evil hooliganism, but rather , acts like a moralist in some ways. Why shouldn’t this (father) suffer a little for that (Busygin’s father)? Firstly, having deceived Sarafanov, he is constantly burdened by this deception, and not only because it is Nina, but also in front of Sarafanov he has downright remorse. Subsequently, when the position of the imaginary son is replaced by the position of the beloved brother - the central situation of the play, Busygin’s deception turns against him, it acquires a new meaning and, in my opinion, looks completely harmless.
This search and “finding” of loved ones is the main message of the play. A.V. Vampilov, probably, was looking for this himself throughout his unfortunately short life, and in this play he expressed his most sincere, important feelings and thoughts, and raised timeless questions and problems. That’s why this kind of work will always touch people.