Artistic features of the playwright O.M. Ostrovsky
The whole life of Ostrovsky is a creative joke, which caused the creation of a unique, new theater. This is the theater, which has no traditional basis for art for the common people and illuminated camps, and the characters - merchants, clerks, matchmakers - migrated to the stage directly from the real action. Ostrovskiy's theater became the embodiment of the model of the national world.
The realistic dramaturgy of yoga became - and today becomes - the basis of the repertoire of the national theater. For the era, when the literary and theatrical activity of Ostrovsky passed, the goal was set for the lives themselves. On the stage of theatrical scenes, like before, mostly foreign - perekladnі - p'ezi, and the repertoire of the votchisnyanyh p'єs buv is not only small and consisted mainly of melodramas and vaudevilles, and th rich in why the shape and form of characters in foreign countries dramaturgy. It was necessary to change the theatrical “image of the theatre” again, as such, as such, it could become a place for acquiring people for help simple and accessible to all artistic movements to the most important problems of life.
Tse zavdannya and taking the wine of the great national playwright. Solutions її bulo pov'yazane not only to the creations of repertoire pieces, but also to the reforms of the theater itself. " Budinkom Ostrovsky” accepted to be called the Maliy Theater near Moscow. This theater was opened a long time ago, like a young playwright came there, on its stage there were already the ps of the founder of Russian realistic dramaturgy Gogol, and yet the Malim theater, like a vin uveyshov in history and today, in the Ostrov stavdyak. How did the development of the theater go? By what path did the great playwright come to his creation?
Love before the theater was born in Ostrovsky shche in his youth. Vіn buv not only the patron of the Maly Theater, in which Mochalov and Shchepkin shone, ale and іz zahoplenny marveling at the appearance of the folk theater with Petrushka, as were held at the folk festivals of the bіl Devichiy and Novinsky monastirіv. In this rank, proceeding to the creation of his p's, Ostrovsky Buv is well known from various forms of theater and zooms to take from the skin the best.
The era of the new realistic theater, enchanted by Ostrovsky, has begun itself in Moscow. September 14, 1853 at the Maly Theater at the benefit performance of L.P. Kositsky, yak was called Mochalov at the bedside, there was a premiere of Ostrovsky's comedy. Do not sit in your sleigh».
Characters - "living people" - vimagali, so that the stench played in a completely new way. To whom Ostrovskiy gave the first respect, working without intermediary with the actors. Apparently, the playwright was the chief reader of his p's, moreover, he was timid not just as an actor, but as a director, who exalted the essence of the characters, the manner of the characters, their moving originality.
Through the efforts of the Ostrovsky corpse of the Maly Theater, the theater was littered with litter, but the playwright was still not satisfied. “We want to write for the whole people,” Ostrovsky declared. - The walls of the Maly Theater are too narrow for the national art. In 1869 Ostrovsky went to St. Petersburg at the directorate of the imperial theaters with notes about the need for fundamental theatrical reforms, but the stench was left without help. Todі vіn conceived to create a private folk theater and in the fierce 1882 otrimav on tse allowed. It seemed that the playwright was close to the realization of his sacred dream. Starting to prepare a list of possible payoffs in the Russian theater, expanding the repertoire, naming the warehouse of corpses. Alas, there was a lack of support for the rank-and-file theatrical monopoly on theaters and a commercial boom, which, following the next, about the release of new theaters, forced Ostrovsky to bring it right to the end. In addition, in 1884, he was awarded a state pension, having taken the handless to work in a private theater and re-entering the directorate of the imperial theaters with his own propositions. The whole story was hard on Ostrovsky. This is such a hot paradox of life: the genius of the country's dramaturgy, the creator of the theater for a serious, qualified staging of his p's.
Ale zavdyaki troubles of brother Mikhail Mikolayovich, who, having grasped the temple of the minister of sovereign mains, on the right, far away from the dead center. At the same time in 1884, the fate of the wines came to St. Petersburg, de you were encouraged to become an artist’s ceremonial worker for the Moscow imperial theatres. Zreshtoy, Mriya of the author " Grozi'began to chirp. So the famous playwright, who is already over 60 years old, took up his cuff, but this is necessary for everyone on the right.
On December 14, 1885, the fate of the wines turned to Moscow. Yogo was blasting the entire corpse of the Maly Theater. Ostrovsky's theatrical activity began to be strained. The repertoire is being created, new actors are being requested, the initial plan of the theater school is being formed, Ostrovskiy wants to fall asleep for the best prizes. Ale force yogo to sink. The days of yoga were already canceled: 2 chern, 1886 the fate of the great national playwright, passionate theatrical playwright, creator of the national theater. Not all reforms of the Russian theater were conceived, and the remainder of the reforms were far away. Ale, the foundation of yoga bula was laid by Mitzno. The merits of the playwright were highly appreciated by the attendees.
First of all, it seems that Ostrovsky himself, a monument to the setting up of the entrance to the yogo dear Maly Theater, respectfully marvel at his own brand of creation and help us with his living presence, who at once play on the glorified stage, or else come, as fate 150 . at the performance, de new and new sound bright, live the word of the playwright.
Everything is more creative life of O.M. Ostrovsky Boulevard is inextricably linked with the Russian theater and Yogo's merit before the Russian stage is truly immeasurable. Vіn mav uѕі podstavі say naprikіntsi svojtja: "... the Russian dramatic theater has only one I. I am everything: the academy, the philanthropist, and the defender. In addition, ... I have become on the stage of stage art."
Ostrovsky took an active part in the production of his plays, worked with the actors, was friendly with them, and was listing. Chimalo forces vin clave, protecting the character of the actors, dominating the creation of the theater school in Russia, its own repertoire.
In 1865, the Ostrovsky organization organized an Artistic Group near Moscow, which was a means of defending the interests of artists, especially provincial ones, to encourage the current illumination. In 1874, having created the Association of Dramatic Writers and Opera Composers. He added additional notes to the order about the development of theatrical art (1881), he worked as a director at the Maly Theater of Moscow and Oleksandriysky - at St. Petersburg, moved to the plantation of the head of the repertory part of the Moscow theaters (1886), and was the head of the theater school (1886). Vіn "awakening" the goal of "viving the Russian theater", which consists of 47 original p'єs. "Literature You brought a whole library to the darunok artistic creations, - writing to Ostrovsky I. A. Goncharov, - they created their own special world for the stage. You alone got the booths, the basis of which was laid on the outer stones of Fonvizin, Griboyedov, Gogol. And only after you, Russians, we can proudly say: we have our own Russian national theater.
The creativity of Ostrovsky became the history of the Russian theater for the whole epoch. Mayzhe everything else for life was staged on the stage of the Maly Theatre, a few generations of artists swayed on them, as if growing at the miraculous masters of the Russian stage. Ostrovsky's brothers played such a significant role in the history of the Maly Theater that it is with pride to call Ostrovsky's Budinok.
Ring out Ostrovsky putting your p'esi. Knowing the insides well, prihovane in the eyes of the gazing eyes, behind the scenes of the life of the theater. The playwright's knowledge of the actor's life clearly manifested itself in the plays "Lis" (1871), "Comician of the 17th century" (1873), "Talents and Shanuvalniki" (1881), "Without Guilt" (1883).
In these creations, there may be living types of provincial actors in different roles. Tse tragedians, comedians, "first cochants". And yet, independent of the role of the life of actors, as a rule, is not easy. Depicting in his own pisah їхної dolі, Ostrovskiy arguing to show how difficult people are with a subtle soul and the talent to live in an unfair world of soullessness and non-government. With whom, the actors in the images of Ostrovsky could appear as if they were marriages, like Neschaslivtsiv and Shchaslivtsiv in "Lisi"; belittling and such that they waste their image as a party, like Robinson in "Dowryless", like Shmaga in "Without Guilt of the Vincents", like Erast Gromilov in "Talents and Shanuvalniks".
In the comedy "Lis" Ostrovskiy has revealed the talent of the actors of the Russian provincial theater and at the same time showing the lowly camp of them, calling for vagrancy and mistrust in the pursuit of their daily bread. At Shchaslivtsev, that Neshchaslivtseva, if the stench is rattling, there is not a penny of pennies, not a trifle for a tyutyun. At Neshchaslivtsev’s self-confident backpack, it’s true, it’s like a dress. Have a new tail coat, but to play a role, you had a chance in Kishinev to name yoga "for Hamlet's costume." The costume of the actor is more important for the actor, but in order for the mother to have a necessary wardrobe, she will need some money.
Ostrovsky shows that the provincial actor stands on a low scale of social gatherings. Suspіlstvі іsnuіє ahead of the profession of an actor. Gurmizka, realizing that his nephew Neshchaslivtsev and his comrade Shchaslivtsiv - actors, wisely declares: "Tomorrow there will be no lies here. I have no hotel, no tavern for such ladies." If the behavior of the actor does not suit the local authorities, or if there are no documents, then they can follow and learn from the place. Arkadiy Shchaslivtsev was beaten out of the place ... the Cossacks drove the chotir with their nakedness. Actors drink through the lack of power, the eternal ignorance. Vіdvіduvannya tavernіv - єх єній мoсіb sоsіb dіystіnnosti, hoch for some hour forget about inacceptability. Shchaslivtsіv it seems: "... We are equal with him, insulting actors, vin - Neshchaslivtsіv, I am Shchaslivtsіv, and insulting me p'anitsі", and then with bravado declares: "My people are free, who are walking, - we are a tavern on the road" . Alas, the bliss of Arkashka Shchaslivtsev is less than a mask, which attracts unbearable pain in the face of social humiliation.
Ignorantly on the verge of life, it’s not a good idea, rich servants of Melpomeni take kindness and nobility from their souls. Ostrovsky created the most beautiful image of a noble actor - the tragedian Neshchaslivtsev in "Lіsі". Vin having depicted "I live" a person, with an important share, with a summative life history. The actor is strongly p'є, but by stretching p'єsi vin changes, the best pictures of yoga nature are revealed. Primushuyuchi Eight Bratov turn Gurmizky pennies, Neschaslivtsiv play a performance, put on fake orders. At this moment you win with such strength, with such faith in those who can be punished for evil, who reach real life success: Eight brothers win pennies. Let's sweat, giving away our remaining pennies to Aksyusha, the power of happiness, Do not play unfortunate people. Yogo diy is not a theatrical gesture, but in a right way, a noble gesture. And if at the end of the movie the famous monologue of Carl Mora from F. Schiller's "Rozbiynikiv", then the words of Schiller's hero become, in fact, the continuation of yoga of the powerful angry movie. Sensational remarks, like Neschaslivtsiv throwing Gurmizka and all the companies: "We are artists, noble artists, and comedians - you", I swear in the fact that in this manifested mysticism and life is inextricably shown, and the actor is not a killer, not a hypocrite, yoga art is based on right feelings and experiences.
At the performance of the comedy "Comedian of the 17th century", the playwright turned back to the early sides of the history of the widow's stage. Talented comedian Yakiv Kochetov is afraid of becoming an artist. Not only wines, but even the father’s voice, that it’s restless, that buffoons are a sin, you can’t be worse than anything, because such were the appearances of people at home in Moscow in the 17th century. To the persecutors of buffoons and their "actions" Ostrovsky opposed the lovers of those zealots of the theater in the pre-Petrine era. The playwright showed the special role of stage manifestations in the development of Russian literature and formulated the recognition of comedy in the fact that "... it's vicious and evil to say, to give a laugh. ... Read people, imagining sounds."
In the drama "Talents and Shanuvalniki", Ostrovsky showed how important the share of the actress, endowed with a majestic stage gift, was like a strange sight to the theater. The position of an actor in the theatre, who has succeeded in lying down because of what is appropriate for rich peeps, as if he were holding all the space in his hands. Even the provincial theaters based their wealth on the donations of the patrons of arts, as if they were masters of the theater and dictated their minds to the actors. Oleksandra Negina from "Talents and Shanuvalniks" is encouraged to take part in behind-the-scenes intrigues, or to testify to the tricks of their rich chanuvalniks: Prince Dulebov, official Bakin and others. Negina can’t and doesn’t want to be satisfied with the easy success of the unforgiving Nina Smilskaya, as she willingly accepts the intercession of rich chanulers, transforming, in fact, into morning. Prince Dulibov, the image of the Widow Negina, having overcome the misfortunes of її, having benefited from the benefit and literally living out of the theater. Separating from the theatre, without any reason not to think of your reason, for Negina means being satisfied with the wretched life of our dear, albeit poor student Petya Meluzov. You are left with one weekend: go to morning until one more shanuvalnik, Velikatov’s wealthy assistant, what an important role and great success at the theater, so that you can lie. He calls his claim to talent and soul Oleksandri vin a sticky kohanny, but in fact he turned the pleasing of the great hut into a shameless sacrifice. Those who did not happen to be in Knurov's "Dowryless" killed Velikatov. Larisa Ogudalova sang in the distance in the sight of golden lancers at the cost of death, Negina sank into the vines of lancers, for to think of life without magic.
Ostrovskiy dokoryaє tsіy heroine, in what kind of spiritual posture it appeared less, lower in Larisa. Ale vin at once told us with heartache about the dramatic share of the actress, which calls out to her fate that soundly. Not without reason, as having designated Є. Kholodov, її call yourself that, like Ostrovsky himself - Oleksandra Mikolayivna.
In the drama "Without Guilt" Ostrovskiy reverts to those theatre, wanting the problems to be richer: he has to deal with the share of people's miserable lives. At the center of the drama - the actress Kruchinina is prominent, after performing like a theater, literally "falling apart in splashes." The image of її gives a reason to be thoughtful over it, which is mindful of the significance and greatness of mysticism. Nasampered, vvazha Ostrovsky, majestic life dosvid, school poneviryan, torment and suffering, yak had a chance to go through the yoga of the heroine.
All the life of Kruchinin behind the scenes is "woe and tears". Tsya woman knew everything: the hard work of the teacher, the goodness of that sight of the kokhan, the waste of the child, the heavy ailment, self-sufficiency. In a different way, all spiritual nobility, strange heart, faith in goodness is a reason for people, and, thirdly, knowledge of the lofty tasks of mysticism: Kruchinina bears the high truth, the idea of \u200b\u200bjustice and freedom. With your word, step out of the pragne "fire the hearts of people." And at the same time, with a rare natural talent, that sacrilegious culture all the same gives the opportunity to become the heroine of p'esi, - a wild idol, such a "glory to make up." Kruchinina bestows happiness on her dotik to the beautiful. And to this the playwright himself at the finale also grants him special happiness: the recovery of the spent son, the unfinished actor Neznamov.
The merit of A. M. Ostrovsky before the Russian scene is truly immeasurable. Yogo's stories about the theater are those actors who accurately represent the Russian reality of the 70-80s of the 19th century, thoughts about the mysticism that are relevant today. All the thoughts about the importance, sometimes the tragic share of talented people, like, being realized on the stage, I’m more likely to scorch myself; thoughts about happy creativity, new self-giving, about the high mission of art, which strengthens goodness and people.
The playwright himself, having spoken to himself, revealing his soul in the songs he created, can, especially in the songs about the theater and actors, in some way he showed in a reconciliatory way that even in the depths of Russia, in the provinces, you can play with talented, unruly, building people live by greater interests. What is so rich in these p'sakhs that it sounds like B. Pasternak wrote at his miraculous verse "Oh, knowing I would be like this ...":
If the row dictates a little,
There is a slave on the stage,
And here mysticism ends,
І dihaє soil that share.
Biographies) majestically: closely adjoining in his creativity to the activity of his great readers Pushkin, Griboyedov and Gogol, Ostrovsky having said his word, she is smarter than she is. A realist behind the manner of writing and an artistic light-gazer, giving Russian literature an oversized richness of the most manipulative paintings and types, exuberant from Russian life.
Oleksandr Mikolayovich Ostrovskiy. Initial video film
“Reading it, do it, directly marveling at the inexhaustible breadth of the hoarding of Russian life, the great number and diversity of types, characteristics and position. Like a kaleidoscope, pass in front of our eyes of all Russian people of a strong mental disposition, - here are merchants-tyrants, with their downtrodden children and households, - here are assistants and housekeepers - in the form of broad Russian natures, who squander life, to the hut misers, in the form of complacency pure-hearted, to callous, so as not to know the desired moral morality, they change the bureaucratic world, with the most diverse representatives of yoga, starting from the great bureaucratic gatherings and ending with such that they have spent the image in the likeness of God, in other reformed bastards, - , so bezpіdstavnі people, honorable and nefarious way, scho surviving day after day, - all sorts of dilki, readers, accustomers and accustomers, provincial actors and actresses with a must-have world. pictures of the life of the young men of the XVII century, the terrible Tsar Ivan Vasilyovich, the Time of Troubles with a light-hearted third, the cunning Shuisky, the great Nizhny Novgorod Minin, the boyars, warrior people and the people of that era, ”write the pre-revolutionary critic Oleksandrivsky.
Ostrovsky is one of the most famous national Russian writers. Having lived to the depths of the most conservative versions of Russian life, in a zoom to look at this life of goodness and evil, the relics of old times. Guilt more for other Russian writers, having known us from the psychology and light-eyed Russian people.
Tvir
Oleksandr Mikolayovich Ostrovsky... This is an unseen sight. It is important to reevaluate the role of the history of the development of Russian dramaturgy, stage art and all the country's culture. For the development of Russian dramaturgy, wines have grown so richly, like Shakespeare in England, Lone de Vega in Spain, Moliere in France, Goldon in Italy and Schiller in Germany. Regardless of the pressures that censorship inflicts, the theatrical and literary committee and the directorate of the imperial theaters, in spite of criticism of the reactionary kills, Ostrovsky's dramaturgy gained more and more sympathy and among democratic viewers, and in the number of artists.
Rozvivayuchi Krashchi traditsії rosіyskogo dramatic Mistetstvo, vikoristovuyuchi dosvіd progresivnoї zarubіzhnoї dramaturgії, nevpinno pіznayuchi Zhittya rіdnoї Kraina, bezperervno spіlkuyuchis of people tіsno zv'yazuyuchis of nayprogresivnіshoyu Suchasnyj Yomou gromadskіstyu, Ostrovsky became vidatnim zrazkom Zhittya Svoge hour, vtіlivshi Dreams. Literature about the appearance of that triumph on the Russian scene of Russian characters.
Creativity activity Ostrovsky, having already plunged into the distant development of progressive Russian dramaturgy. The very best of our playwrights learned from the new one. Dramatic scribes-pochatkivtsi dragged themselves to the new hour.
About the power of Ostrovsky's influx into today's young writers, you can tell the sheet to the playwright A. D. Misovskoy. “And what do you know, how great is your blow on me? It was not love that made me understand and appreciate you to the point of art: but on the contrary, you taught me to love, and to shake the art. To you alone, I goiter is due to you, that I stood up calmly and drank in the arena of miserable literary mediocrity, did not chase after cheap laurels, which are thrown by the hands of sour-licorice dropouts. You and Nekrasov made me fall in love with thought and practice, but Nekrasov gave me only the first post, You see straight. Reading your work, I realized that rhyming is not poetry, but a set of phrases is not literature, and that only having mastered the mind and technique, the artist will be a good artist.
Ostrovsky vplinuv not only on the development of domestic dramaturgy, but also on the development of the Russian theater. The colossal significance of Ostrovsky in the development of the Russian theater is well supported by the verse dedicated to Ostrovsky and read in 1903 by M. N. Yermolova from the scene of the Maly Theater:
On the stage of life itself, with the truth,
And the sun is bright to cherish us and grіє ...
To sound alive the motion of simple, living people,
On the stage, not a “hero”, not a yangol, not a dashing one,
But just a man ... Happy face
Hurry up shvidshe smash the big knots
Wisdom and nonsense. The words are almost new,
Ale, in the shovankas of the soul, a voice sounds on them,
And whisper with your mouth: the blessed one sings,
The one who zirvav old, tinsel covers
I shed light into the realm of darkness
The famous artist wrote about the same in 1924 in her own words: “Together with Ostrovsky, the very truth and the very life appeared on the stage ... The growth of the original drama began to grow, spontaneously with the help of modernity ... They started talking about the bad, belittling and images" .
Realistic direction, which is muffled by the theatrical policy of the autocracy, which is continued and destroyed by Ostrovsky, turned the theater on the path of a close link with action. It only gave life to the theater like a national, Russian, folk theater.
“Literature You gave a whole library of artistic creations, created their own special world for the stage. You alone got the booths, the basis of which was laid by the outdoor stones Fonvizin, Griboyedov, Gogol. Tsey miraculous leaf having taken away the middle of the congratulations at the river of thirty types of literary and theatrical activity Oleksandr Mikolayovich Ostrovskiy is the name of the other great Russian writer – Goncharov.
But a lot earlier about the first work of the young Ostrovskiy, overruled in the "Moskvityanin", a thin potion-worker of a thinned and chuy posterigach V. F. Odoevskiy wrote: , then this person is a great talent. I respect three tragedies in Russia: Undergrowth, Woe to reason, Inspector. I put the fourth number on Bankrupt.
In view of such a promising first assessment to the jubilee sheet of Goncharov-povne, it is more than a lifetime; Pratseyu, which led to such a logical interconnection of assessments, because the talent swayed us in front of the great practice over itself, and the playwright did not sin before God - without burying his talent under the ground. Having published the first TV in 1847, Ostrovskiy wrote 47 paragraphs and more than twenty translations of European language. And in total, the folk theater he created has close to a thousand diyovih osib.
Shortly before his death, in 1886, Oleksandr Mikolayovich, having taken off the sheet of L. N. Tolstoy, recognized that he was a brilliant prose writer: , so that you can now become more truthful, which is without a doubt, a writer of the greatest people among the broadest sensi”.
Life and work of Oleksandr Mikolayovich Ostrovsky (1823-1886) "I practice all life..." Batkivshchyna - the district of Zamoskvorechye (de importantly the Moscow merchants lived). Zamoskvorichchya in the 19th century Having omitted good home lighting, from the childhood of the foreign language. Having known Greek, French, German, and later - English, Italian, Spanish language. 1840 - graduated from the Moscow gymnasium. Entry to the Moscow University at the Faculty of Law. Heavily overwhelmed by the theater 1843 - Relief from the university. Virishiv take up literature. In order to help the father serve at the Moscow Summary Court (1843 - 1845), they were sorted out by relatives. 1845 - 1851 - transferred to the Moscow Commercial Court. All this is a unique opportunity to posterize and analyze the causes of people from different social ages. 1849 - hromadyansky shlyub (against the will of the father) with Agafia Ivanivna, maiden with the townspeople. The Cob of Creativity 1850 (birch) - the magazine Moskvityanin handed over the first comedy "Own people - get scared" ("Bankrupt"). The author once became famous. "Own people - let's be scared!" P'isa 10 rokіv perebuvalo pіd arreshtom, to that in nіy, following the words of Dobrolyubov, "...they were thrown down on gunpowder and insolently trampled by tyrants on human goodness, freedom of specialness, faith in love and happiness and the sanctity of honest labor." Theatrical activities At the beginning of the 1950s, the repertoire of Russian theaters was miserable. The theater needs a playwright... Ostrovskiy starts work on the song “Don't sit in your own sleigh”. U sichni 1853 p. there was a premiere. This is the cob of theatrical glory of Ostrovsky. At the sickle - "Bidna is named." Spivpratsya with the Malim Theater 1853 - 1856 - p'єsi "Virtuality is not a vice", "Don't live as you want", "A stranger's benket has a hangover", "Pributkov's place" Heroes of Ostrovsky 1856 - Spivpratsya with the magazine "Suchasnik". "Literary expedition" to the Volga. Meta - vivchiti pobut i zvichaї povolzky settlements. 1857, summer - continuation of the trip to the Volga. 1859 - premiere of the drama "Thunderstorm" (as a result of "expeditions"). The drama "Thunderstorm" Calling Drama is a social shock. Ostrovsky is one of the first Russian writers, who revealed the tragic place of a woman in her. 1861 - Comedy "For what you come, you know" ("Balzaminov's friends") 1863 - Appointment as a corresponding member of the Academy of Sciences 1866 - Conclave at the new Moscow "Artistic Group". It served as the basis for the creation of the Russian national theater "Ostrovsky Theatre" 1867 - the death of the squad, Agafia Ivanivni 1869 - repented of Mary Bakhmeteva (Vasilyeva), an actress at the Maly Theater. Squad and children of the writer 1870 - 1886 - the most important period of life. Comedy "Saying Pennies", "Fox", "Vovki and Vivtsi". Dramas “Dowryless”, “Talents and Shanuvalniki”, “Without Guilt” A special place in Ostrovsky’s fallow land is borrowed “Spring Cossack” “The Snow Maiden” (1873) - a look at the ancient, patriarchal, kazkovy world, in which the material blues are panned. 2 chernya 1886 - the death of a writer at his clerk Shchelokovo (at the writing table) Vsyogo O.N. latin mov. From 1853 to 1872 r.b. yogo p'isi passed 766 times at the capital and provincial theaters, bringing the Directorate of Imperial Theaters income over 2 million rubles. The merit of A.N. Yogo is rightfully called “Columbus Zamoskvorichya” Before A.N. Ostrovsky, Russian theatrical history had only a handful of names. The playwright made a great contribution to the development of the Russian theater. The creativity of A. M. Ostrovsky, continuing the traditions of Fonvizin, Griboyedov, Pushkin, Gogol, is inspired by innovation in the depicted heroes, in the movie characters, and in the destruction of social and moral problems. “Columbus Zamoskvorichya” “You alone procured the budinok, the basis of which was laid by the outdoor stones of Fonvizin, Griboyedov and Gogol. And only after you, Russians, we can proudly say: "We have our own Russian, national theater." Vin, rightly so, can be called "Ostrovskiy's Theatre". I.A. Goncharov
