Poetics p'єsi cherry orchard. Peculiarities of the performance of the dramatic creation at the school on the butt of A.P. Chekhov's "The Cherry Orchard"
First O.P. Chekhov spoke about the cob of work on the new dog in 1901 in the list of his squad O.L. Knipper-Chekhovy. The work on the p'soy poked out more importantly, it was called out by the heavy ailment of Anton Pavlovich. In 1903, the construction of the bula was completed and presented to the ceramics of the Moscow Art Theater. In 1904, the premiere of the p'yesi came to rock. From this moment on, the Cherry Orchard is analyzed and criticized for a hundred years already.
The song "The Cherry Orchard" became the swan song of A.P. Chekhov. She has a way of thinking about the future of Russia and її people who have been accumulating in her thoughts by fate. And to myself artistic originality p'isi became the pinnacle of Chekhov's creativity as a playwright, once again showing why he himself is respected as an innovator, who inspired a new life in the entire Russian theater.
P'esi theme
The theme of the p'yesi "The Cherry Orchard" was the situation of the sale of the family nest of the noblemen for an auction. At the beginning of the twentieth century, such stories were not rare. A similar tragedy occurred in the life of Chekhov, his budinok, at the same time with the old man's shop selling for borgos in the 80s of the nineteenth century, and it left an unforgettable trace in his memory. And already, being a writer, Anton Pavlovich tried to understand the psychological state of people, as if they were spending their buds.
Dyuchi faces
An hour to analyze the piece "The Cherry Orchard" by A.P. Chekhov, call the heroes to divide into three groups, taking as the basis of their time affiliation. Before the first group, which one imagines in the past, one can see the aristocrats of Ranevsk, Haev and that old lackey Firs. Another group in the person of the merchant Lopakhin, who became a representative of the hour of the day. Well, the third group is Petya Trofimov and Anya, stink of the future.
The playwright does not have a clear line of heroes on the main and other rows, like on the negative and positive ones. The very same appearance of characters is one of the innovations and features of Chekhov's p'es.
Conflict and development of the plot p'esi
There is no such conflict, and there is one more feature of the dramaturgy of A.P. Chekhov. And on the surface you can see the sale of a majestic cherry orchard. And on the aphids you can look at the past era of new manifestations at the temple. The nobles were ruined in earnestly trying for their power, not in the possibility of working real croki to the її ryatunka, but the proposition to take a commercial profit by way of giving land on lease to summer residents for Ranevskaya and Gaeva is unpleasant. Analyzing TV «The Cherry Orchard» by A.P. Chekhov, we can talk about the temporal conflict, in some past it sticks with today, and today with tomorrow. By itself, the conflict of generation calls for a new one for Russian literature, but earlier it did not reveal itself more than on a par with the perception of a change in the historical hour, Anton Pavlovich understands so clearly. You want to think about your place and role in your life.
It’s easy for Chekhov to move on to the phase of the development of a dramatic story, even if you try to get close to the story, which she got throaty, to reality, showing the everyday life of her heroes, from which a greater part of life is added up.
The exposition can be called the conversation between Lopakhin and Dunyasha, as they check for the arrival of Ranevskaya, and sometimes you can see a tie-up, which means that there is a visible conflict between the parties - sales of the bag at auctions for Borg. Perіpetії p'єsi polagayut at sprobakh rekonat lords zdavat land from hire. The climax - a call about the purchase of the Lopakhinim maetka and the rozv'azka - the entry of all the heroes from the old booth.
Composition p'yesi
P'esa "The Cherry Orchard" is made up of chotirioh diy.
In the first country, the familiarity with the usma heroes of p'yesi is known. Analyzing the first action of The Cherry Orchard, it is necessary to note that the internal zmist of the characters is transmitted through the shutter to the old cherry orchard. And immediately, one of the conflicts in the us p'єsi is repaired - the confrontation of the past that day. Minule is represented by her brother and sister Gaevim and Ranevskaya. For them, the garden and the old budinok are a fortune-telling and a living symbol of their carefree life, in which the stench was rich aristocrats, which led to a majestic mother. Well, for Lopakhin, which is a counterpoint to him, the volodinnya garden - we have the opportunity to take profits. Lopakhin to rob Ranevskaya's proposition, having accepted the yak, you can turn the corners, and ask the beneficiaries of the helpers to think about it.
Analyzing the story of The Cherry Orchard to a friend, it is necessary to show respect that the master's servants walk not in a beautiful garden, but in a field. Zvіdsi it is possible to grow visnovok, that the garden is in an absolutely zanedbane camp, and it is simply impossible to go through it. It perfectly reveals the appearance of Petya Trofimov in the one who can be future.
The third part of the story has a climax. The maєtok is sold, and Lopakhin becomes the new ruler. Pleasing to the satisfaction, Lopakhin is embarrassed, the share of the garden is to blame for the guilt. Father, the garden will be ruined.
Fourth day: the family nest was destroyed, if one family falls apart. And just like a garden is shattered under the root, so the same name is abandoned without a root, without a stump.
Author's position at p'єсі
Irrespective of the tragedy of what is happening, the heroes of the author himself did not call out the desired speech. Vin vvazhav їх narrow-minded people, nezdatenim to deep feelings. Tsya p'esa has become more of a philosophical thought of the playwright about those who check for Russia in the near future.
Even its own genre affiliation p'esi. Chekhov called "The Cherry Orchard" a comedy. The first stage directors played drama with her. And a lot of critics agreed on the thought that The Cherry Orchard is a whole lyrical comedy.
Creativity Test
LITERATURE
1. Gorelikova M.I. Semantic Oppositions in the Poetry of Pizny Chekhov: Real - Irreal, Idol - Idolater (Analysis of the novel Black Black) // Philological Sciences. 1991 No. 5. S. 33 - 45.
2. Linkov V.Ya. The problem of the sense of life in Chekhov's "Black Chance" // Izv. AN SRSR. Series lit. that movie. 1985. V. 44 No. 4. S. 340 - 349.
3. Berdnikov G. Artist and Suspіlstvo: Awareness about “The Seagull” by A.P. Chekhov // Moscow. 1991 No. 7. S. 183 - 202.
4. Khalizev V.Є. Chekhov's Dramaturgy in the її Confused Literary Science of the FRN in the 1970s // Vestn. Moscow un-tu. Ser. 9, Philology. 1987 No. 1.
5. Duganov R. About the genre // Theater. 1985 No. 1. S. 170 - 174.
6. Skaftimov A.P. moral jokes Russian writers. Articles and reports about Russian classics. M: 1972.
7. Khaluev V.Є. About the nature of the conflict p'essi A.P. Chekhov "Uncle Vanya" // Bulletin of Moscow. un-tu. 1961 No. 1. S. 49 - 64.
8. Ermilov V. Dramaturgy of Chekhov. M.: Derzhlitvidav. 1954.
9. Rusakova Y. A.P. Chekhiv. "The Cherry Orchard" // Literary review. 1986 No. 5. S. 165 - 177.
Reviews
Dyakuєmo for the article, it was too much to read.
"The Cherry Orchard" has been hooked even more strongly, having hooked us in front of its impossibility of an unambiguous understanding and the impassibility of cloudy images.
Varya, perhaps, is closer to me in essence, and to that I did not give up either as a different character, or for writing.
How is the economy woman for calling? How can you progayat її a phrase about those who want to drink it for forgiveness ??? A person who lives in the world and in reality - chi in a robot, chi in a kohannya invented, chi for forgiveness ... And at once a person, chi is not alone, for an hour in an all-clearly damp expanse, de really does not appear to anyone . Vaughn, like an hour, start a maє walkie-talkie. It is not for nothing that you are afraid and do not like the servants, it is not for nothing that you are stricken by Ranevskaya, it is not for nothing that you don’t have equal stances with Anya, and it’s not for nothing that Lopakhin doesn’t bother to make such propositions. To that in this girl there will be more strength, there will be less for any of the characters. Vaughn is that seven-veined Russian girl, like in bilins, with one blow of the yoke, she fought the rich squads, and no one can run into her. Wait a minute, don't the finals have any special feelings for the upcoming change? And to inspire a revolution to not piss off a girl - it’s just so practical, and not for the sake of pennies and rewards, but for the sake of work, as a fact and for the sake of otochyuyuschie, like її in no way appreciate.
Chekhov was fired up with a zhorstoy zі his heroes, navіt yakscho and loving їх. Whether any of them, be sure to be wrong in something and guilty in something - guess the same "Ionich".
Varya is the root, on which everything is trimmed, and yet we have nabridlo with our pedantry and obov'yazkovistyu. Vaughn is the master, and navit Lopakhin vіdchuvaє, that by the will of the maiden, by the will of the maiden, the gardens are trimmed with susillas. Ale order them out.
I’m sure that Chekhov doesn’t joke with his p’єsі “bright promin”, he didn’t have such a mark. Vіn trohi m'yakshe to be put before Gunny, not for nothing zі their respect before staging p'єsi zaznay, її look at those who won't have gone through their life, even richly survived. However, the whole image is so left not to the point of roaring, we don’t care about Anya, who thinks independently and acts, - she will be moved by the grandmother, whose pennies will destroy the promotion of Ranevska.
abstract
"The Cherry Orchard" by A.P. Chekhov: a sense of the name of the peculiarity of the genre
Kerivnik: Petkun Ludmila Prohorivna
Tver, 2015
Entry
3.1 Idea features
3.2 Genre features
3.4 Heroes and their roles
Entry
Chekhov as an artist is not possible already
compete with the many Russians
writers - from Turgenevim,
Dostoyevsky chi with me. Chekhov
its own form, like
impressionists. Marvel, yak
nibi man without a hoard
analysis with farbs, yaki
trapleyatsya yoma under the hand, i
no relationship between myself
qi smears do not wash. Ale you see
get up for a day,
marvel, and in a flash
come out wholeheartedly.
L. Tolstoy
Chekhov's p'esi were given as unimpressive to the fellows. The stench roared sharply in the form of primary dramatic forms. They didn’t have a tie, a climax, and strictly seeming, dramatic action like that. Chekhov himself wrote about his p'esi: People only live, wear jackets, and at the same time their lives are broken, their lives are broken . Chekhov's poems have subtext, which is of particular artistic significance
"Cherry Orchard" - rest tvir Anton Pavlovich Chekhov, as I am completing my biography, my ideas and artistic wonders. He developed new stylistic principles, new “priyomi” inspiring the plot and composition instilled in such imaginative visions, as if they raised the realistic images of life to broad symbolic terms, to the insight of the future forms of human visions.
Objectives of the abstract:
.Get to know the work of A.P. Chekhov "The Cherry Orchard".
2.See the main features of the creation, analyze them.
.Z'yasuvati zmist name p'yesi.
Zrobiti visnovok.
cherry orchard Czech Republic
1. "The Cherry Orchard" in the life of A.P. Chekhov. History of the creation of p'yesi
Encouraged by the miraculous productions in the Art Theater of "The Seagulls", "Uncle Vanya", "Three Sisters", as well as the majestic success of these p'es and vaudevilles at the capital's and provincial theaters, Chekhov conceived a new idea yoke". “… It is more difficult for me to write a 4-act vaudeville or a comedy for the Art Theater. And I’ll write, as if I couldn’t hurt anyone, only I’ll get to the theater no earlier than the end of 1903.”
A note about the idea of a new Chekhov's p'yesy, who became artists and directors of the Art Theater, called out a great tribute to the work of the author. "I said in the corpse," O.L.
Director V.I. Nemirovich-Danchenko, who, following Chekhov's words, “wimagai p'esi”, writing to Anton Pavlovich: “I am overwhelmed with a reckless change, so you can write p'esi. I'm going too far: throw fiction for the sake of p's. You didn’t grow up like that, like on the stage. ” "ABOUT. L. whispered to me, why are you more likely to take on a comedy ... The better your p'sa will be, the better. There will be more than an hour for negotiations and the adoption of pardons ... In a word ... write p'esi! Write p'esi! Ale Chekhov didn’t hurry, vindicated, “experiencing his own” ideas, didn’t spend until one o’clock, fading the “wonderful” (after his words) plot, not knowing the forms of artistic inspiration that pleases him. P'esa "trochs shone in the brain, like an early svitanok, and I still don’t understand myself, like a way out, what can I see, and change today."
Chekhov, having added a lot of secrets to his notebook, for some rich past, was victorious to him at the Cherry Orchard: “For the p'isi: liberal old dress like young, smoke, can’t live without encouragement, pretty.” This note, although in a transformed look, uvіyshov at Ranevskaya's characterization. “From the sight of a diy’s individual, it smells like a fish, everything to tell you about it.” Tse will be vikoristano for the image of Yasha and the setting up to the new Gaev. Found and inscribed in the notebook, the word "stupid" will become the leitmotif of p'esi. The acts written in the book of facts will be the changes in the comedy in connection with the image of Gaev and an off-stage character - another person Ranevskaya: officials are seriously celebrating your anniversary”, “Pan Volodya, near Mentoni, having bought a wine for pennies, taking away the sale of a mother in the Tula province. I am a bachelor, like a wine near Kharkov, where I arrived at the right, ran a villa, then served on the air, died a year.
First birch 1903 Chekhov, having called the retinue: “For the sake of it, I already laid out papers on the table and wrote the name.” Ale, the process of writing became more difficult, dangling with a lot of furnishing: Chekhov’s heavy ailment, I was afraid that I had “already made it old” and that I couldn’t go far to work out an “important plot”.
K. S. Stanislavsky, "languishing" for Chekhov's p'esoy, reminds Chekhov about spending some relish until other p'єs ("Stovpi suspіlstva", "Julius Caesar") and about telling him "if you please" the director's training until the future p'esi: “Mayte on uvazi, scho I wrote down the shepherd's nozzle at the phonograph about every vipadok. It's wonderful to come out."
O. L. Knipper, like all other artists of the corpse, “with hellish impatience” checked on p'esu, so on her sheets before Chekhov there was a lot of confusion and a fight: “You like a writer is used, terribly used ... Your phrase is skin you need it, and in front you will need even more... Vision for yourself inappropriate thoughts... Write that love your skin word, skin thought, skin soul, like a vitiagnesh, and know that everything is necessary for people. Such a writer, like you, there is no and no ... P'ysi yours check, like manny from heaven.
At the process of creation, Chekhov shared with his friends - the playmakers of the Art Theater - not only doubts, difficulties, but also distant plans, changes and successes. They recognize that it is important for you to think “one head of the diy’s person”, that it is “insufficiently thought out and respected”, that the wine is short-lived diyovih osib("so intimate"), that the role of Stanislavsky - Lopakhin - "went out of nothing", the role of Kachalov - Trofimov - "good", the end of the role of Knipper - Ranevska - "not bad", and Lilyna her roll Varia "become satisfied" Act IV, “miserable, but effective behind the light, it is written easily, nachebto fluently”, and in all p’єсі, “even if it’s boring, it’s new”, and, arreshti, scho genres and її yakostі i svoіrіdnі і totally distinguished: "The whole p'esa is cheerful, light-hearted." Chekhov, having also spoken out against the fight, as if he had not been “marked out by censorship”.
For example spring 1903 Chekhov pretentiously finished the p'esu and took up the її leafing. Putting Yogo to the "Cherry Orchard" at the same time kolivaetsya, guilt of satisfaction, the characters are given to Yomu "living people", wine reminds that having consumed every appetite, roles, krim governesses, "do not fit." The rewriting of letters went smoothly, Chekhov had to reshape, change his mind, write anew deyaki mіstsya, which especially did not please Yogo.
Zhovten p'esa was sent to the theater. After the first emotional reaction to the p'esu (praise, "trembling and choking"), the theater began to strain creative robot: "reconciliation" of roles, choice the best vikonavtsiv, jokes in a wild tone, ponder over the artistic design of the vistavi. The author quickly exchanged thoughts on the sheets, and in special roses and rehearsals: Chekhov came to Moscow for example, leaf fall 1903 p. Tse creativity didn’t give, prote, povnogo, unguarded single-stay, it was more folded. Why did the author and theatrical performers come, without the usual “pleases of conscience” to a single thought, they called out sumnivly that they did not accept one of the “sides”, ale that from them, as they did not respect the nourishment of principles for themselves, went to actions; chomus had a lot of strife.
Having seen the p'esu, Chekhov did not care about his work over her completed; Navpaki, fully trusting the artistic sensibility of the theater clerk and the artist, vіn bov ready to work out “all situations that will be necessary for the final stage”, and asking for critical respect: “I will correct; even if it’s not good enough, you can still change the whole act. ” At his own discretion, he was ready to help directors and actors, who had gone as far as they could, to know the right paths for stage inspiration, and to that, rushing to Moscow at a rehearsal, and Knipper asking that she won’t “play her role” until yoga upon arrival, I would not have asked for a cloth for Ranevskaya.
He gave roles, which were the subject of biased discussion at the theater, even praised Chekhov. Vіn zaproponuvav sviy variant rozpodіlu: Ranevska-Knipper, Gaev-Vishnevskiy, Lopakhin-Stanislavskiy, Varya-Lіlina, Anya-young actress, Trofimov-Kachalov, Dunyasha-Khalyutina, Yasha-Moskvin, passerby-Gromov, Firs-Artem, Pishchik-Gri , Epikhodov-Luzky. Yogo vibіr at rich vipadkah spіvpav іz bazhannâm іz artistsіv і dіrkії theater: for Kachalov, Knipper, Artem, Gribunin, Gromov, Khalyutina after the "reconciliation" the roles recognized by him by Chekhov were established. But the theater is far from blindly following Chekhov's works, displaying its own "projects", and the deacons of them were willingly accepted by the author. The proposition was replaced by Luzky Moskvinim in the role of Yashkhodov, and Oleksandrov, who played the role of Yasha Moskvin, shouted out Chekhov’s praise: “Who, it’s better, can’t only play in different ways.” "Moskvіn viyde miraculous Epikhodov".
With lesser love, but Chekhov will still be able to rearrange the two female roles: Lilina is not Varya, but Anya; Varya - Andreeva. Chekhov doesn’t influence his bajanní bachiti in the role of Gaev Vishnevsky, but with a lot of perekony, that Stanislavsky will be “more kind and original Haevim”, but more and more scatter through the mind, that Lopakhina Lopakhina was not thinking, Stanislavsky was not thinking: me, what is your role” (vol. XX, p. 170). Stanislavsky, however, choked by this rank, like, vtіm, and other characters, only if they still remain reluctant to transfer the role to Leonidov, if after poshukiv, “with renewed energy in Lopakhin’s own”, do not know the tone itself and the little one, that pleases him. Muratova in the role of Charlotte also does not call out Chekhov’s slaughter: “out, it’s possible, good, - it’s like wine, - but it’s not funny”, ale, vtim, and in the theater the thoughts about her, like and about Varya’s vikonovitsy, rose up, hard perekonannya, sho Muratova vdastsya role, buv.
Through a lively discussion with the author, the food for artistic design was recognized. Hocha Chekhov and writing to Stanislavsky that it is necessary to go to the theater for the first time (“Be kind, if you don’t spoil the scenery, I bow to you, marvel and sound sidzhu at your theater with a roaring company”, but still Stanislavsky, and the artist Somov called out Chekhov in the process of his creative chirping for an exchange of ideas, clarified the author's remarks, proclaimed his projects.
Ale Chekhov, having shifted all the attention of the peeping eye to the inner world, to the social conflict, fearing that he would be choked by the situational part, the detailing of the butt, sound effects: “The situation in the house sounds to a minimum, the decorations are not needed in any special way.”
The difference between the author and the director called out Act II. Still working on the p'esoy, Chekhov wrote to Nemirovich-Danchenko that another act had a river “replacing the old chapel with that chapel. So calmer. Tilki ... Give me a clear green field and a road, and an overhead for the stage of the distance. Stanislavsky, in the scenery of Act II, is bright, zanedbany tsvintar, zaleznichny place, a river in the distance, on the proscenium there is a synagogue and a small copy, for such a walking company we are talking. "Allow me, - writing to Chekhov, - in one of the pauses, skip the puffs with smoke," - and reminding you that, like the act, there will be a "toad concert and a dertel." Chekhov wanted to create more hostility in every act, not trying to harass the sight of the viewer with third-party hostility, so the reaction to the plans of Stanislavsky Boul was negative. After vistavi vin navit, calling the scenery of the II act "stingy"; at the time of the preparations by the theater, write Knipper, that Stanislavsky “required to be lost” in the form of “trains, toads and queens”, and in the sheets to Stanislavsky himself in a delicate form I hang my unpraised: the hour is a dragon, it’s over, don’t shout anymore, the frog is already locking at that hour ... Tsvintar is mute, it’s been out for a long time. Two or three slabs, which lie hopelessly, - the axis and everything that has lost. Mist - tse even better. If you can show the train without noise, without any sound, then go ahead.
The most important difference between the theater and the author appeared in the mind of the novel genre. Still working on The Cherry Orchard, Chekhov called it a "comedy". And in the theater they understood how “I’ll do the drama.” “I feel like you’re saying: “Excuse me, that’s a farce,” Stanislav’s super girl from Chekhov begins - ... Ni, for ordinary people it's a tragedy."
The theater directors' understanding of the genre of p'esi, which differed from the author's intellect, marked a rich summation and private moments of the scenic clouding of The Cherry Orchard.
2. Sens name p'esi "Cherry Orchard"
Kostyantyn Sergiyovich Stanislavsky in his thoughts about O.P. Chekhov, writing: “Listen, I know the miracle will be called for p'esi. Chudov! - Having voiced the vin, marveling at me close in. "Yake? - I huffed. "Bi ?shnevy garden (with a voice on the letter "i" ), - and vіn zakotivsya radiant laughter. I do not understand the reasons for this joy and do not know anything special in the name. Prote, so as not to embarrass Anton Pavlovich, happened to be far away, that yoga struck me with enmity ... Deputy explanation Anton Pavlovich, starting to repeat on the different frets, with strong intonations and sound zabarvlennyam: ?shnevy garden. Listen, what a wonderful name! In and ?shnevy garden. In and ?schnevy! Since that day, a few days have passed since then... It’s been a while since you’ve set up the bunnies before me at the sump and with a urochist smile, sitting down to my table. "Listen, do not see ?shnevy, and the Cherry Orchard , - Having voiced the wines and laughed with laughter. I didn’t understand the first whilin, about what to go, but Anton Pavlovich continued to savor the name p'esi, stressing the lower sound of the word “cherry”. don’t help yourself with yoga to help caress a lot of garne, but now life is inappropriate, like wine with tears, ruining at your p’esi. How many times have I understood the subtlety: "You ?shnevy garden - Tse business, commercial garden, to bring income. Such a garden is needed even now. Ale "The Cherry Orchard" do not bring income, save in your company from your own flurry of life to the poetry of the great pansky life. Such a garden grows and blooms for a zabaganka, for the eyes of naturalists. It’s a pity to underestimate yoga, but it’s necessary, shards of the process of economic development of the country to grow”.
The name of A.P. Chekhov's song "The Cherry Orchard" is quite natural. Diya looks at the old nobleman's shirt. Budinok otochki great cherry orchard. Ponad those, development of the plot p'esi pov'yazani s tsim rank - maєtok sold for the Borg. However, the moment the transition of Majdka to the new Versener in front of the perigod of the domestic dumpo, Yaki, I didn't give a rose-free rosy, Yakі, do not rose up to Lada, Navischo TsEBIBNO, Yak Tseti, Nezvashayuchi on the show. , which will be popular.
Ale cherry orchard at p'єsi maє і symbolіchne meaning. Zavdyaki that, as the characters are not put up to the garden, they open up at the hour, they take life. For Lyubov Ranevskaya, the garden is in the past, a happy childishness and a warm dream about a blue, like a sinking, the death of such a won as a punishment for his reckless addiction. Mustache thoughts that almost Ranevskaya pov'yazanі z minulim. Vaughn can’t be fooled, that you need to change your stars, now furnish the shards with others. Vaughn is not a wealthy lady, a helper, but a sum of money that has been ruined, which will soon have neither a family nest, nor a cherry orchard, so that she won’t be able to grow up the daily rich ones.
For Lopakhin, a garden is like a land for us, that is an object that can be put into use. In other words, Lopakhin mirkuє z look at the priorities of the day. Naschadok krіpakіv, scho vivivsya in people, mirkuє cool and logical. The need to independently pave your own way in life taught me how to evaluate the practical value of speeches: then you will have to pay twenty-five thousand rubles for your income.” Sentimental reflections of Ranevskaya and Gaeva about the vulgarity of dachas, about those that the cherry orchard is a reminder of the province, Lopakhin is talking about. Really, whatever they say, there is no practical value in the present, not playing a role in the specific problems - as if there will not be an annual day, the garden will be sold, other gentlemen. Zvichayno, past Lopakhіna tezh pov'yazane іz cherry orchard. Ale yak tse past? Here yogo “did and father were slaves”, here vin himself, “beaten, illiterate”, “requisition big in barefoot”. Don’t be afraid to get married to a successful business person with a cherry orchard! Could it be that Lopakhin is so triumphant, having become a maetka’s hairdresser, that it is with such joy to talk about those, like wines, “strike a sack through the cherry orchard”? So, for a moment, for someone who has no wine, meaning nothing in his eyes and in his thoughts, singsongly, whether a person would be glad to be so happy to whack with a juice ...
“... I don’t like the cherry orchard anymore,” says Hanna, Ranevskaya’s daughter. And for Anna, like for її mothers, the garden is tied up with the help of a child. Anya loved the cherry orchard, not caring for those that the її children of the mind are far from being so bezkhmarnі, like Ranevskaya's. Anywhere was eleven years old, when її father died, mother choked on another man, and little brother Gritsko drowned without a hitch, after which Ranevska went beyond the cordon. Where did Hannah live at what time? Ranevska seems to be drawn to the bottom. Removing Anna and Varya, it becomes clear that Anya has gone to her mother for more than seventeen years to France, the signs of insults turned at once to Russia. You can admit that Anya lived with her native mother, with Varya. Irrespective of those who all the past Ani pov'yazane from the cherry orchard, she parted from him without any particular hardship, or I'm sorry. Dreams of Ani directing on the future: "We planted a new garden, more rich than that...".
Ale, in Chekhov's p'esi, you can see one more parallel in meaning: the cherry orchard - Russia. "All Russia is our garden," Petya Trofimov says optimistically. Vidzhily nobleman pobut і chipkіst іlovih people - аdzhe tі two poles of svіtospriynyattya not just an okremy vipadok. Tse true specialty of Russia at the turn of the XIX-XX century. At that time, impersonal projects were hovering around, as if to obshtuvat the country: something from the zithannyam, having guessed about the past, something chewing and smartly pronouncing “clean up, clean up”, so that reforms can be carried out, as if they were allowed to put Russia on a par with the leading powers of the world. Ale, like history with a cherry orchard, between epochs in Russia there is no real force, building a positive share of the land. Prote the old cherry orchard is already a curse.
In this rank, you can say that the image of a cherry orchard has a whole symbolic meaning. Wine is one of the central images of creation. The skin of the hero comes to the garden in his own way: for someone he is thinking about childishness, for someone it’s just a place for reprimand, and for someone he earns a penny.
3. Originality of the poem "The Cherry Orchard"
3.1 Idea features
A.P. Chekhov, having defied the memory of the reader and the viewer of The Cherry Orchard, recognized the logical inevitability of the historical “change” of social forces: the death of the nobility, the timchas panuvannya of the bourgeoisie, the triumph in the near future of the democratic part of the supremacy. The playwright spoke more clearly to his creative faith in “Vilna Russia”, dream about her.
To that, having drawn for the image at the "Cherry Orchard" subjectively not filthy people from the nobility and having been inspired by the pungent satire, Chekhov, having laughed at their emptyness, slovenliness, but not really inspired. at the right to speak, and tsim troch pom'yakshiv satire.
Although “The Cherry Orchard” doesn’t have a lot of harsh satire on the nobles, but it’s undeniably (prihovane) vikrittya їх. Riznochinets democrat Chekhov did not have illusions, vindicated for the impossibility of reviving the nobles. Having set the topic for the poem "The Cherry Orchard" that Gogol was turbulent in his hour (historical share of the nobility), Chekhov, in the true depiction of the life of the nobles, appeared as a degenerate of the great writer. Ruinuvannya, penniless, ledarstvo lords of noble maetkiv - Ranevskoy, Gaeva, Simeonova-Pishchik - tell us pictures of evils, the permission of noble characters in the first and the other volumes. dead souls". The ball was at the hour of bargaining, rozrahunok on the Yaroslavl tetonka or on the other side of the friendly environment, roses in odyaze, champagne with elementary needs in the booth - everything is close to Gogol's descriptions and to show up to a dozen promotional Gogol's real-life details, like little, just a few. meaning. “Everything was grounded,” Gogol wrote about Khlobuev, “one hundred and two hundred thousand rubles were paid for the needs,” they paid for “three million dollars.” At Khlobuyev's booth, "there is no piece of bread, but champagne", and "children start dancing." "Everything is fine, having lived, around the Borg, no stars of the year, but set insults."
Prote, the author of The Cherry Orchard, is a distant view of Gogol's kіntsevy vysnovkіv. Between the two centuries, the very historical ingenuity and democratic evidence of the writer clearly showed you that it is impossible to revive Khlobuev, Manilov and others. Chekhov also understands that the future is not for the admission of Kostonzhoglo and not for the virtuous Murazovs.
In the wild form, Chekhov guessed that the democrats are likely to practice. І before them, the wines were appellated at their own p'єсі. The peculiarity of the position of the author of "The Cherry Orchard" is based on the fact that he is not at a historical disadvantage in the presence of Meshkants in noble nests, having made his allies lookers, people of another - labor - middle, people of the future, without understanding them "historical distance" , injustice, empty is quiet, that they went from life, and people who are not safe already, in my opinion. Tsej own kut dawn, іndivіdualny creative method izobrazhenya Chekhov knows, perhaps, do not think about the creations of their successors, zokrem, Gogol, Shchedrin. “Do not get bored with the details of the day,” Saltikov-Shchedrin called out. - Ale twist your own ideals of the future; for your kind of sleepy change ... Be amazed often and sawy at the specks that shine in the prospects of the future ”(“ Poshekhonskaya Starovina ”).
Although Chekhov did not come to the revolutionary-democratic, not to the social-democratic programs, but to life itself, the strength of the willful movement, pouring in advanced ideas, called out in the new need to show the need for social transformation, close to the dots shine, as if glimmering at the prospect of the future, ”and look at them today.
Sounds and svoєridne poєdnannya at the p'єсі "The Cherry Orchard" lyrical and victorious on the cob. Critically show today's feasibility and at the same time express patriotic love to Russia, faith in її future, in the great ability of Russian people - such was the task of the author of "The Cherry Orchard". The wide expanses of the native land ("distant"), people-veletni, like "we would be so lynch" їm, free, labor, fair, creative life, like creating a stench in the future ("new rose gardens") - the axis of that lyrical cob, as if organizing the plot of The Cherry Orchard, that author's norm, as opposed to the "norms" of the daily conniving unfair life of people-dwarfs, "not warm". Therefore, at the "Cherry Orchard" lyrical and victorious elements and become specific to the genre of p'esi, precisely and subtly called by M. Gorky "lyrical comedy".
3.2 Genre features
The Cherry Orchard is a lyrical comedy. The author, having conveyed his lyrical attitude to Russian nature, is clouded by the drive of stealing riches, “The foxes tremble under the juice”, the rivers dry up and dry, the miraculous gardens vanish, the roaring steppes perish.
Gine's "lower, beautiful" cherry orchard, which they could not seem to be able to look at, but Ranevsky and Gaevi could not save, behind the "wonderful trees", which was rudely "whispered by Yermolai Lopakhin". At the lyrical comedy, Chekhov sang, like at "Stepa", the anthem of Russian nature, "the beautiful fatherland", hanging a dream about creators, people who work and have a temper, like thinking not so about their well-being, like about happiness of others, about future generations. “A person is gifted with a mind and creative power, to multiply those that are given to her, but until now she didn’t create, but ruined,” these words are in the phrase “Uncle Vanya”, but a thought is expressed in them, close to the thoughts of the author "Cherry Orchard".
The pose of a dream about a person-creator, the pose of a poetic image of a cherry orchard is not possible to understand Chekhov's p'esu, as it is possible, in a right way, to say "Thunderstorm", "Dowryless" by Ostrovsky, as if you are unacceptable to the wavey landscapes of p'єs, to the Russian expanses, to the “zhorstok zvichai” of the “dark kingdom”.
Chekhov’s lyricism to the Fatherland, to її nature, bіl for ruining її beauty and riches to become like a “water flow” p'єsi. The whole lyrical statement is expressed either in the subtext or in the author's remarks. For example, in another story about the open spaces of Russia, they say in a remark: a field, a cherry orchard in the distance, a road to a garden, a place on the horizon. Chekhov specially sent a note to the directors of the Moscow Art Theater for the remark: “Give me a clear green field and a road and an overhead for the stage for the distant stage.”
Look at the lyricism of the remarks that the cherry orchard is hovering over ("it's already grass, the cherry tree is blooming"); summary notes sound at the remarks, which indicate the imminent death of the cherry orchard, or the death itself: “the sound of the string that burst, zavmirachiy, sumny”, “the deaf thump of the sokiri on the tree, which sounds spontaneously and summarily”. Before these remarks, Chekhov was put on even more jealously, turbulently, that the directors didn’t want to accurately sing his thoughts: “The sound in the 2nd and 4th acts of The Cherry Orchard can be short, richly short, and sound from afar ... ".
Vyslovlyuyuchi at p'єsі its own lyrical setting to the Batkivshchyna, Chekhov arguing for everything that you need to live, develop: ice, lightness, obmezhenіst. “Ale vin, - like obediently respecting V.Ye. Khalizєv, - far away from the nihilistic setting to the great poetry of the noble nests, to the noble culture", being afraid to waste such values, like cordiality, good-naturedness, softness in human vents, without suffocating, stating the coming dryness.
"The Cherry Orchard" zamislyuvavsya like a comedy, like "funny in p'yesa, de b the devil walking yoke." “The whole thing is cheerful, light-hearted,” the author reminded his friends for an hour of work on her in 1903.
The purpose of the comedy genre was profoundly important for Chekhov, it was not without reason that he was so embarrassed, having found out that the posters of the Art Theater and the newspaper gossip called the drama. “I didn’t have a drama, but a comedy, let’s make a farce,” wrote the Czech. Pragnuchy nadati p'єsi zhittєradisny tone, the author shows nearly forty times in remarks: "radio", "fun", "laugh", "everyone laughs".
Comedy has a lot of dії, moreover, there is no place on the stage. Podії v_dbuvayutsya protyazh k_lkoh mіsyatsіv (from grass to yellow). The first day is the exposition. Presented here Zagalna characteristic characters, they are mutually connected, and here we know the whole history of nutrition (causes the ruination of the mother).
Diya starts at the garden of Ranevskaya. Mi Bachimo Lopakhina and Dunyasha’s repose, as if they were checking for the arrival of Lyubov Andriivna and the її young daughter Anya. The rest of five years Ranevska and her daughter lived outside the cordon, and Ranevska's brother, Gaev, and her adopted daughter, Varya, were left behind. We know about the share of Lyubov Andriivna, about the death of a man, son, we know about the details of life behind the cordon. Maetok pomіshchitsi practically ruined, a beautiful cherry orchard is guilty of buti sales for the Borg. The reasons for this are the expense and impracticality of the heroine, її zvichka kill the penny. Merchant Lopakhin proponuє їy єy єіd єіd vikhіd poryatunka sadibi - break the land into plots and buildings for hire by summer residents. Ranevska and Hayiv recklessly opined this proposition, it didn’t make sense to him how it is possible to virubat a beautiful cherry orchard, the “most beautiful” place in the entire province. Tse superechnіst, scho came between Lopakhinim and Ranevskaya - Gaivim and become a plot plot p'esi. Prote tsia zavyazka includes as a callous struggle of diyovyh osib, and a terrible internal struggle. Lopakhin, the father of such a buffalo of the Ranevskys, is less likely to propagate to him real, reasonable, on one’s mind, out. At the same time, the first act develops at an emotionally accelerating pace. Come, scho vydbuvayutsya in the new, superbly praise the good fortune. Seeing the arrival of Ranevskaya, as if turning to the front house, after the trival separation, discussed by Lyubov Andriivna, her brother, Anya and Varya, having come in at the sadibi, the arrival of Petya Trofimov, as if having guessed the hero's son's death. At the center of the first dії, in such a rank, is the share of Ranevskaya, її character.
At the other side of the sky, in the cherry orchard, there are disturbing thoughts. Ranevska, Gaev and Lopakhin are arguing again about the share of the mother. The internal tension is growing here, the heroes are becoming more drastic. Itself in this act of the moon "a distant sound, as if from the sky, the sound of a string that burst, zavmirachiy, sumny", nor does it feel the future catastrophe. At some point, Anya and Petya Trofimov are universally roaring around each act, and look at their replicas of the stench. Here is a bachimo development of dії. The conflict is ovnishnіy, socially-pobutovy here it is supposed to be clear in advance, let's see the date - "twenty other serps are recognized for bidding". But at the same time, the motif of ruined beauty continues to develop here.
The third act is supposed to avenge the climax of the podium - the cherry orchard is sold at auction. Characteristically, the climax here is an out-of-stage action: auctions are held at the city. Here they break Haev and Lopakhin. At їkhny ochіkuvanni reshta vlastovuyut ball. Whiskers are dancing, Charlotte is showing tricks. There is a disturbing atmosphere in the forest: Varya is nervous, Lyubov Andriivna is impatiently checking for her brother's turn, Anya is passing on a bit about the sales of the cherry orchard. Lyrical and dramatic scenes are interspersed with comedies: Petya Trofimov falls from the exits, Yasha enters at Rozmov with Firsom, we can feel the dialogues of Dunyasha and Firs, Dunyasha and Єpіkhodova, Varia Єpikhodov. But the axis is called Lopakhin and tells about those who, having bought maєtok, in which father and did yogo were slaves. Lopakhin's monologue is the pinnacle of dramatic tension in p'essi. The climax of the podium at the p's is given at the heads of the leading heroes. So, Lopakhin may be especially addicted to the purchase of a mother, for goodness sake, it cannot be called a new one: joy in the distance, please fight in the new with pity, sympathize with Ranevskaya, like you love children. Lyubov Andriivna is embarrassed by everything that seems to be happening: selling a bag for her is a waste of money over her head, “separated from a house, she was born, becoming for her a special way of life (“Aje I was born here, my father and mother lived here, my dear, I love this house, without a cherry orchard I can’t understand my life, and if it’s so necessary to sell, then sell it at once from the garden ...”). For Anya and Petya, sales may not be a catastrophe, the stink of a new life is dreaming. The Cherry Orchard is only a few minutes away for them, as if “already finished”. Prote, regardless of the difference between light-hearted heroes, the conflict does not change anywhere on the specialty of the closure.
The fourth day is the tse rozvyazka p'esi. Dramatic tension in which act is weaker. After the end of the problem, we will calm down, straight ahead of the future. Ranevska and Gaev say goodbye to the cherry orchard, Lyubov Andriivna turns back to her colossal life - she gets ready to go to Paris. Hayv calls himself a banking clerk. Anya and Petya are living a “new life”, not pitying the past. At once, love is allowed between Varya and Lopakhinim - the matchmaking never happened. Varya tezh get ready to go out - she knew the place of the economy. Everyone forgets about old Firs, who was reduced to a liquor. I again feel the sound of a string that has burst. And at the finale, one can feel the sound of a sokiri, symbolizing confusion, the death of an era that is passing, the end of an old life. In this rank, we may have a kіltsev composition: in the finale, the theme of Paris is again blamed, as it expands the artistic space of creation. The basis of the plot is the author's thought about an unfortunate break in the hour. Chekhov's heroes were already spent at the hour. For Ranevskaya and Gaeva, the right life was lost in the past, for Anna and Petya, it was laid to the primary future. Lopakhin, having become the ruler of the mother in the present, also does not feel joy and denounces the "awkwardness" of life. The same deep motives for the behavior of this character lie above the present, as well as in the distant past.
In the very composition of The Cherry Orchard, Chekhov imagined the bezmistovny, mlyavy, tedious character of the foundation of his noble heroes, their life is full of podia. P'esa was spared the "effective" scenes and episodes, zovnishnyo raznomanitnosti: diya in all chotiryokh acts not to be blamed for Ranevskaya's mezhі sadibi. The only significant sign - the sale of the cherry orchard - is seen not in the eyes of a beholder, but behind the scenes. On the stage - everyday life at the garden. People talk about everyday fritters over a cup of cavi, at the hour of a stroll or an impromptu “ball”, cook and put up, rejoice in the morning and are embarrassed by the future separation, guess about the past, dream about the future, and at the right hour - “fold up and fall down”, "nest".
Pragnuchchi nadati tsіy p'єsi zhittєstverdzhuyucha, major tonality, Chekhov sped up її tempo, at the same time with the front p'єsami, zokrema, changing the number of pauses. Especially if Chekhov said that the final act would not be protracted and those who appear on the stage would not cope with such a rank of hostility to "tragism", drama. “I’m getting ready,” wrote Anton Pavlovich, “what’s in my p’s, like it’s not boring, it’s new. At all p'єsі zhodnogo postrilu, to the speech, to say. “How greedy! The act, which is 12 khvilin maximum, you have 40 khvilin.
4 Heroes in their roles
Svіdomo pozbavlyayuchi p'єsu "podіy", Chekhov turned respect to the camp of diyovih osіb, їх setting to the main fact - the sale of maєtku and the garden, from їхної stosunki, zіtknennya. The teacher is to blame for the respect of those who, in a dramatic work of the author's position, the author's position appears to be the most attached. To understand this position, to understand the playwright’s attitude to the historical phenomena of the life of the fatherland, to the characters and the like, looking and reading, it is necessary to be even more respectful to all the components of the plot: the system of images, the arrangement of the scene, the scenery, the blue of the scene, carefully thought out by the author monologues, dialogue we will adorn the replicas of the heroes, the author's remarks.
For an hour, Chekhov sees the blindness of the dream and the action, the lyrical and the comic on the cob at the p'ece. So, while working on The Cherry Orchard, I brought in a friend’s song after the words of Lopakhin (“I live here by myself, it’s my own fault, in a right way, but by velvets ...”) a remark from Ranevskaya: “You needed velvets. Stinks are only good in fairy tales, and so the stench is lakayut. Chekhov added the mise-en-scène to this point: it appears in the depths of the scene that it is conducive to set up the “non-cool” of Epikhodov, as it clearly contrasts with the dream about people-veletniv. Before the appearance of Epikhodov, Chekhov specially riveted the respect of the spectators with two replicas: Ranevska (Missed) “Epikhodov ide”. Anya (Missed) "Epikhodov ide."
In new historical minds, Chekhov the playwright, behind Ostrovsky, Shchedrin, heard Gogol's cry: “For God's sake, give us Russian characters, give us ourselves, our shakhraivs, our divaks! On the stage їх, on smіх usіm! Smikh is great on the right!” ("Petersburg notes"). "Our divakіv", our "non-warmth" pragmatically bring Chekhov to the audience at the p'єсі "The Cherry Orchard".
The name of the author of the call is smіh spy and at the same time he will think about the modern diissnist, the most clear expressions in the original comic characters - Joy and Charlotte. The function of tsikh "not warm" in p'єсі is already significant. Chekhov zmushuє spying to catch the inner connection between them and the central characters and cim vikrivaє tsikh full-time comedy. Epikhodov and Charlotte are not only funny, but zhalyugidni with their total incompetence and unfortunate “fortune”. The share of truth comes to them "without regret, like a storm to a small ship." Tsi people are living longer. The evidence is worthless in our penny ambitions, miserable in our misfortunes, in our claims, and in our protests, we are obscured by our “philosophy”. Vіn is proud, painfully selfish, and life has put Yogo in the camp like a drunkard and a stunted one. Vіn pretend to "illumination", high sense, strong passions, and life "prepared" for you a good "22 misfortunes", drib'yazkovі, uneffective, imaginative".
Chekhov, what a dream about people, who will have “everything is fine: i disguise, i clothes, i soul, i thoughts”, having a rich variety of virodkіv, like they didn’t know their place in life, people with a total sum of thoughts and feelings, vchinki that words of some kind pozbavleni logic and sense: "Simply, if you look at a glance, then you, let me hang out like that, vibatch for the door, absolutely led me to become a spirit."
Dzherelo komіzmu Єpikhodov in p'єsі so is the one who does everything in a short time, not in an hour. There is no evidence between natural yoga and behavior. Narrow-minded, nedorіkuvaty, vin skhilny to the expanses of promos, mirkuvan; ungrabable, incompetent, playing billiards (when you want to lama), singing “cheerfully, like a jackal” (for Charlotte’s appointment), frowningly accompanying yourself on the guitar. It doesn’t take an hour to explain the wines of Dunyasha’s love, it’s inconclusive to put thoughtful food (“Have you read Buckle?”), it’s inaccurate to live rich words: “Only people can think about them and elders”; “and so marveling, it’s not even more obscene, at the targan’s eye”, “contract from me, let you hang out, you can’t.”
The function of the image of Charlotte in p'єсі is close to the function of the image of Epіkhodov. Shameless, paradoxical is the fate of Charlotte: a nimkenya, a circus actress, an acrobat and a conjurer, she appeared in Russia as a governess. Everything is unknown, vipadkovo in її life: vipadkovo and appearance in Ranevskaya's mother, vipadkovo and zvіlnennya z new. Charlotte should always be checked for failures; how to sign up far її life after the sale of the mother, їy it’s incomprehensible, how ignorant the purpose and the sense of її іsnuvannya: “All one, one, there is no one in me and ... who I am, now I’m unknown.” Selfishness, unhappiness, ruination to become a friend, attached to the basis of the comic character p'esi.
Significantly, while continuing to work on the image of Charlotte for an hour of rehearsals in the Art Theater, Chekhov did not save earlier the designation of additional comical episodes (focuses in I, III, IV acts) and, finally, having strengthened the motive of self-reliance and unfortunate share Charlotte: on the cob of Act II, all 3 words: “So you want to talk, and not with kim ...” to: “now I’m not at home” - introduced by Chekhov to the residual edition.
"Happy Charlotte: sleep!" - even Gaєv at the final p'єsi. With these words, Chekhov reinforces and unreasonable Gaivim the position of Charlotte and the paradoxical nature of her behavior. At the tragic moment of your life, to learn something about your own camp (“so, be kind, find me a place. I can’t do that ... In my place I live nowhere”), she shows tricks, she sings. A serious thought, aware of selfishness, misfortune to join her with blasphemy, buffoonery, circus bavita.
Charlotte's promo also has a chimera different styles, slіv: in order of everyday Russian - the words of that construction were created (“I want to sell. Don’t you want to buy someone?”), foreign words, paradoxical word formation (“Those smart people are all so bad”, “Ti, Єpіhodov, more intelligent people and terrible, you are guilty of crazy love of a woman. Brrr! ..").
Chekhov gave great importance to these two characters (Epikhodov and Charlotte) and talked about those who stink correctly, that clink of vitlumachs at the theater. The role of Charlotte was given to the author of the most recent, and to the actresses Knipper, Liliniy take її, and he wrote about Єpikhodov, that the role is short, “ale right.” Summaging by compective characters, author, Nadchevі-Glyadachevі і тетеchevі prosecumіti і і и сарлотот и в и и и іниових Осіб тімерь пужения, СОО соовы соримує Від пукольный, заменный зигочний и и от опотоп, Zmushuє phantoms, commemorate in some vipadkas “non-funny” in the comical, in other vipadkas - guess the comedy behind the outrageously dramatic.
We understand that it’s not only Charlotte who is coming, but Ranevska, Haev, Simeonov-Pishchik “it’s impossible to know why.” We let the inhabitants of the noble nests, who are ruined, who live "on someone else's rahunok", Chekhov does not come to the stage especially, having built up the typical images. The barin-kryposnik, the father of Ranevskaya and Gaєva, the disillusionment of medicine, the moral intrusion of another person Ranevskaya, the despotic Yaroslavl grandmother-countess, as she shows the state of intellect tipi”, at once from Ranevskaya, Gaivim, Pishchik, “already lived”. Sob to perekonati in tsoma peeping, on Chekhov's thought, it was not necessary to have neither evil satire, nor znevagi; to doze bulo zmusity to marvel at them with the eyes of a people, as if they went to a significant historical age and were not satisfied with their life standards.
Ranevska and Gaev do not shy away from anything, to save, vryatuvat mothers and a cage from death. Navpak, the very dawn of the coldness, impracticality, lack of turbotiness, so “holy kokhani” of them “nests” are ruined, poetic beauty is ruined cherry orchard.
Such is the very price of loving these people to the Fatherland. "God bless, I love the fatherland, I love the bottom," says Ranevska. Chekhov confuses us with the words and the vchinkas and understands that the words are impulsive, do not reflect the constant laconicity, the deepness of the sense, disperse with the actions. We know that Ranevskaya has been out of Russia for five years to the one who, from Paris, “drew with a rapt from Russia” less than a catastrophe in a special life (“there, having robbed me, having left, having left, I tried to leave ...” ) , and Bachimo at the finale, that she still overwhelms the Fatherland. Ranevska is not at a loss about the cherry orchard and mothers, but she suddenly “calmed down and had fun” at the front of the road to Paris. Navpaki, Chekhov, with the move, seems to be, that the empty anti-community character of the life of Ranevskaya, Gaeva, Pishchik, speaks about the outside concern of the interests of the fatherland. VNI Scho Scho Scho Scho Sid'єkivally Impact Skіdlvі's bodies, I'm not a creation, not a "premonish the Bagati" Batkіvychini, and Ruyanovnya: thoughtlessly neighboring the center of Anglіitz on 24 Rocky Dіlaanka Zemli for Hzzhatsky riches, guinea miraculous cherry orchard Ranevskaya ta Gaeva.
With the help of these characters, Chekhov will change us from the one who cannot be trusted in their words, let's say it broadly, swindled. “We’ll pay for hundreds of dollars, I’m overkill,” Gaev says without the usual excuses, and he already lets himself know those other words: “I honor you, whatever you want, I swear, the little ones won’t be sold! .. I swear on my happiness! The axis of you is my hand, call me the same filthy, dishonorable person, as I will admit to the auction! I swear by everything! Chekhov compromises his hero in the eyes of a spy, showing that Haev "allows the auction" that maetok, contrary to his oaths, seems to be sold.
Ranevska in Act I is richly ditched, not reading, by telegrams from Paris to the people who formed її: “It was skinned from Paris.” Ale Chekhov at the walk shows the inconsistency of Ranevskaya's reaction. At the upcoming acts, she already reads telegrams, she is shy to reconcile, and at the finals, she calmly cheered up, she wants to turn to Paris.
Combining these characters behind the principle of controversy and social affiliation, Chekhov, Prote, showing how the figure is similar, and individual figure of the skin. From whom the wines are spying, as if to take the summation of the words of these characters, and to think about justice, deep thoughts about them and others. “Vona is good, kind, glorious, I love her more,” - it’s about Ranevskaya Gaev. “Garna is a person, light, a simple person, - to speak about her Lopakhin and from the suffocation, I speak my own feelings: “I love you, like a native ... more, lower native.” To Ranevskaya are attracted, like to a magnet, Hanna, Varya, Pishchik, Trofimov, Firs. Vaughn is one kind, delicate, lagidna and with her native, and with her adopted daughter, and with her brother, and with the man Lopakhin, and with servants.
Ranevska shira, emotion, soul її vіdkrita for the beautiful. Ale Chekhov will show you how, by virtue of being unturbulent, roaring, light-weighted, even more often (though independently of the will of that subjective mind of Ranevskaya) they transform into their own protilezhnіst: zhorstokіst, baiduzhіst, nedbalіst due to people. The rest of the golden Ranevska to the vipadkovy passerby, and at home the servant of life is hungry; you’ll say to Firs: “Thank you, my dear”, kiss Yogo, sympathetically and affectionately vporaetsya about Yogo’s health and ... deprive Yogo, the ailing, old, old servant, from a downtrodden booth. Let's conclude with a chord at p'єsi Chekhov svіdomo compromising Ranevskaya and Gaeva in the eyes of the spy.
Gaev is just like Ranevska, mild-mannered and gracious to the point of beauty. However, Chekhov does not allow us to fully trust Anna's words: "You should love everything, shake it." "What a kind, uncle, what a reasonable." Chekhov will show, what is lower, softly caused by Gaeva with close people (sister, niece) to go to the new one with a hostile attitude to the “grimy” Lopakhin, “muzhik and boor” (for his appointment), from contemptuously-given orders to servants ( in Yashі “smells like a chicken”, Firs “nabrid”, etc.). Mi Bachimo, that at the same time from the pan's sensibility, vytonchenistyu, vin having removed the pan's arrogance, piha (characteristically Gaeva's word: "whom?"), perekonatnost at the vinyatkovosti of the people of their stake ("white brushes"). Vіn more, lower Ranevska, vіdchuvaє himself and give vіdchuti іnhim his camp of pan and pov'yazanі z tsim perevagi. And when I flirt close to the people, I insist that I “know the people”, that Yogo “love a man”.
Chekhov clearly recognizes the coldness, the lack of shyness of Ranevskaya and Gaeva, they call it "to live in a borg, in someone else's rahunok." Ranevskaya marnotratna (“to kill a penny”) is not only for those who are good, but also for those who can easily get pennies. Yak and Gaev, she doesn’t pay for her prac and sіush, but I’m more likely to help call for help: either take away the concession, then give Lopakhin to the borg, then send the Yaroslavl grandmother to pay the borg. To that we do not believe in the possibility of Gaev's life beyond the borders of the family sadibi, we do not believe in the prospect of the future Gaev, like a child, vin: "a banking servant." Chekhov rozrakhovu for those who, like Ranevskaya, as if you know your brother well, gazing smile and say: What a financier, an official! De toby! Sit down!"
Not whimsing about the practice, Ranevska and Gaev go along with the light of intimate feelings, subtle, but swindling, super-fluid experiences. Ranevska not only devoted all her life to the joys and sufferings of love, but she hopes to feel the virishal significance and to that she sees a surge of energy, if you can help others to try yoga. Vaughn is ready to step in the middle not only between Lopakhinim and Varya, but also between Trokhimov and Anya (“I would have gladly used Anya for you”). Sound soft, accommodating, passive, she’s more than once actively reacting, revealing hoarseness, anger, and sharpness, if Trofimov zachіpaє tsey saints for her light and if she’s guessing in a new person in her, deeply alien to her warehouse : “Your fates need to be quiet, who needs to love and you need to love yourself ... you need to calm down! (Angrily). Well well! And you don’t have much cleanliness, but you’re just a neat, funny divac, virodok ... “I’m a great kohannya!” You are not more for a kohannya, but simply, like the axis of our Firs, you are a klutz. Your mothers are not mothers of Kohanka! ..".
Behind the boundaries of the sphere of love, Ranevskaya's life appears empty and aimless, wanting in yoga to become, open, wide, self-absorbed for an hour and often rich, hot meals. Chekhov to put Ranevska in the camp, showing how to disperse її stowage, to build up a povchannya with his behavior. Vaughn dorikay Gaeva in the fact that the wine is "not in the language" and speaking richly at the restaurant ("Navіscho so rich to say?"). Vaughn said to the otochyuchiy: “You ... often marvel at yourself. Like you all live quietly, like you seem richly indecent. She herself will speak so richly and inconsistently. Її sensitively bury the animal to the child, to the garden, to the hutch as a whole sounding from the animals of Gaev to the shafi. Її rich monologues, in which you tell your loved ones about your life, that those who have been familiar with it for a long time, or bare before them your feelings, experiences, - it is given to Chekhov, either before or after that, as if you were dorikala at the richly eloquent. So the author draws close to Ranevska and Gaivim, for some need to “explore” a clarification.
Yuvileyna promo Gaeva in front of the wardrobe, farewell promo at the finale, mirkuvannya about decadents, turning to restaurant servants, talking about people of the 80s, singing Any ta Vari, laudatory the word "mother nature", praying before the "company, who are walking" - all the same, we are naked, hot, wide. Ale for sim Chekhov zmushuє babble empty liberal phrase-mongering; The stars of Gaev's promo are so roaring, traditional-liberal expressions, like: "bright ideals of goodness and justice." The author shows the adoration of these characters by himself, pragmatically in the gamuwat insufferable right to speak in the "sharp words" "sharply," the animalism of them is less to their inner peace, their experiences, isolation from the "summer" life.
Chekhov is submissive, all these monologues, promos, honesty, bezkorislivy, pidnesenі, nepribnі, saying "not to the point". Vіn zvetaє on the tse respect of the peeping, zmushyuyuchi constantly Anya and Varya, hot and softly, interrupt Gaev's voice. The word of inconsistency appears as a leitmotif for Yepikhodov and Charlotte, ale and Ranevskaya and Gaeva. Promotions are short-lived, it is unrealistic to hold the ball itself at the hour when the auction sells maetok; We are no longer afraid of marvelous failures of Charlotte's remarks: "My dog is that pea." These words are not more unremarkable, lower “mirkuvannya” Gaeva and Ranevskaya. Revealing in the central characters drawing similarities to the "other-row" comedy characters - Єpіkhodovim and Charlotte - Chekhov subtly played his "noble heroes".
The author of "The Cherry Orchard" and Ranevskaya's and Gaeva's confidants, Simeonov-Pishchik, another comedy character, did the same. The helper Simeonov-Pishchik is also kind, soft, chuyny, shamelessly honest, childishly trusting, but also idle, "stupid". Yogo’s mother is also known by a hair’s breadth from death and the plan for saving yoga is just like Haev and Ranevskaya’s, undead, in them one can see a roar for vipadkovity: daughter Dashenka wins, give something to Borg, etc.
Giving at Pishchik's share is another option: vin ryatuetsya vіd ruynuvannya, maєtok yogo is not yet sold at auction. Chekhov exalted and temporal character of this well-to-do well-being and unstoppable yogo dzherelo, so we don’t want to lie in the presence of Pishchik himself, so that it exalts even more historical admiration of the Vlasniks of the nobility’s gardens. The image of Pishchik has a clearer isolation of the nobles from the “summer” life, obmezhenist, empty. Chekhov, having allowed yoga to instill a golden cultural gloss. Mova Pishchik, which reflects the squalor of his inner world, is brought closer by Chekhov subtly and nuisance to the promo of other noble characters and, in such a rank, the understated Pishchik of the stars with the red-faced Gaivim. Mova Pishchik is also emotional, but those emotions are also less likely to cover up the day of the day (it’s not without reason that Pishchik, at the hour of his “speech”, he himself cries out, chrope). The food of the victorious epithet in the miracle world: “the majestic man of the mind”, “worthy”, “greatest”, “wonderful”, “magnificent” and so on. and to Nitsshi, and to Ranevskaya, and to Charlotte, and until the weather. Don’t give, don’t take the dut “emotional” promotion of Gaev, turning to shaffi, to articles, to mother nature. Mova Pishchika is also single-manitled. "Wee think!" - with these words, Pishchik reacts to Charlotte's focus on philosophical theories. Yogo vchinki, the words are also inconsistent. Insufficiently interrupting Lopakhin's serious warning about food sales: “What's in Paris? Yak? Or a toad? It is inconsiderate to ask Ranevskaya's posture for a penny if the share of the lords in the cherry orchard is being violated;
Adding to the comedy character of this character, Chekhov, in the process of working on him, added additional words to the first episode that created a comical effect: an episode with piguls, a rozmov about toads.
Vikrivayuchi panіvny class - the nobility - Chekhov slyly think himself and zmushu think about the people. He has all the power of Chekhov's p'esi "The Cherry Orchard". It is notable that the author is so negatively put up to the ledarism, marnosliv'ya of the Ranevskys, Gaevikhs, Simeonovs-Pishchikovs, that one suspects the connection of everything with the difficult camp of the people, in the interests of the wide zahal of the working people. No wonder the censorship forgot its hour of p'isi: "Robіtniki їdat ogidno, sleep without pillows, thirty, forty in one room, skіz bugs, smorіd". “Volodati with living souls - even if it has reborn all of you, as you lived before and now live, so that your mother, you, uncle, don’t remember that you live in a borg, in someone else’s rahunka, in the rahunok of quiet people, you don’t let them in far ahead.
The theme of the people is much more pronounced in the poems of Chekhov's earlier songs, in The Cherry Orchard, the theme of the people is clearer, the author sings "pan life" in the name of the people. Ale people and here the main rank is “out of stage”.
Chekhov, who did not grow up as a working people, and was not a commentator, nor a positive hero of the world, Chekhov, however, having started to think about the new, about the new camp, and in which the progressiveness of The Cherry Orchard is endless. Postiyni riddles about the people at p'єsi, image of the servants, especially Firs, who are on the stage, zmushuyut zamislitsya.
Showing just before his death a glimpse of witness from a slave - Firs, Chekhov and deeply sing yoma and softly dorika yogo: “Life has passed, nibi and is not alive ... There is no power in you, nothing has been lost, nothing ... Eh, ty ... klutz.
At the tragic fate of Firs Chekhov, there are even more, lower ones, ringing more paniv. It’s not like talking about the tragic fate of Firs about violating the evil will of yoga paniv. Moreover, Chekhov shows that nefarious people - the meshchans of the noble nest - tell you nothing about those that the ailing servant Firs was sent to the hospital. - "Firsa was corrected to the clinic?" - "Which brought Firs to the liquor store?" - “Did they take Firs to the dispensary?” - "Mom, Firs has already been corrected to the clinic." Yasha seems to be the guilty one, who firmly believes in food about Firs, wins no one in Oman otchuyuchih.
Firs of deprivation at a downtrodden booth - this fact can be seen and it is like a tragic temperament, it is not guilty of anyone. I Yasha instantly buti schiro vpevneniy, scho vikonan ordering to Firs likarni. Ale Chekhov confuses us to understand that this “violence” is natural, it is a manifestation in the life of the light-minded Ranevskys and Gayovs, who are not deeply turbulent by the share of their servants. Zreshtoy, the trochs would change around, yakbi Firs would go to the liquor: all the same, dying bi, self-sufficient, zabuty, far away from people, as if having seen their life.
There is a pressure on those who are not alone in Firs's share. The life and death of the old nanny, the servants of Anastasia were so inglorious and so they went through the sight of their pans. M'yaka, noble Ranevska, with her authoritative frivolity, I do not react to the news about the death of Anastasia, about the call for a garden to the place of Petrushka Kosogo. And the death of the nanny did not take a great vengeance on her, with an ordinary kind word she won’t know about her. We can show that even at the death of Firs Ranevska one might think with those very insignificant, unimportant words, with which she looked at the death of a nanny: “So, the kingdom of heaven. They wrote me."
In the meantime, Chekhov gives us an understanding that Firsa has won miracles of ability: high morality, self-sacrificing foolishness, folk wisdom. In all p'єsi, among idle, idle people, vins - 87-year-old old - one testimony is always quarrelsome, hard worker ("one for the whole house").
Dorimuyuchis his principle of іndivіdualіlіzаtsії movі charіtsіv, Chekhov smacked the words of the old Firs in an over-importantly turbulent-gurgled іntonation. Uniquely of false folk turns, not evil dialectisms (“lackeys are guilty, speak simply, without letting go and without now” vol. XIV, page 362), the author poured Firs with a pure folk promo, as if not spared specific, characteristic only for the new words: “ klutz”, “shatter”.
Hayiv and Ranevska imovlyayut long-term ties, bringing sensitive monologues, and tse "movie" appearing "underreacted". Firs, on the other hand, mumbled the words, which seem to be otochuyuchy, as if they did not hear anyone, but the author himself sings with words, as if with excellent words, which reflect the good fortune of life, the wisdom of a person among the people. Firs's word "klutz" sounds bagatorazy in p'єsi, it characterizes all diyovih osіb. The word "split" ("now all split, do not understand anything") indicates the nature of the post-reform life in Russia. It shows in the mind of a hundred people, the recognition of their interests, unreasonable to one alone. Zim pov'yazana and the specifics of the dialogue in p'єsi: skin to talk about your own, ring out without aloud, without thinking about those who said yogo svіvremovnik:
Dunyasha: And me, Yermolay Oleksiyovich, I know, I’ve made propositions.
Lopakhin: Ah!
Dunyasha: I don’t know how ... Lyudina is unhappy, it’s good today. It’s so easy to tease us: twenty-two misfortunes ...
Lopakhin (listen): Axis, let's go, go.
The sound words of one character are interspersed with the words of others, as if they were leading to kill in the light of a well-thought-out thought.
The words of Firs Chekhov to the victorist are often to show the turn of life and spend in this hour of great strength, the great power of the nobles as a privileged one: don't want to go."
Firs іz yogo shokhvilinnoy turbulence about Gaev, as if about a shameless child, roaming with a peeping man іluzії, as if they could blame him on the presentation of Gaev's words about his future “banking servant”, “financier”. Chekhov wants to be deprived of a peephole because of the impossibility of reviving these unworking people to the point of being active. To that varto, it’s less for Gaev to remember the words: “Me to pronounce the place at the jar. Six thousand on the river ... ”, like Chekhov guessing glyadachev about the lifelessness of Gaev, the joylessness of yoga. Firs is coming. Vіn bring a coat: "Let me, kindness, put on, otherwise it's siro."
Showing off other servants: Dunyasha, Yasha, Chekhov also impersonates the "gentry" helpers. Vіn zmushuє gazing razumіti zgubniy infusion of the Ranevskys, Gaєvih on the people of the working middle. The atmosphere of coldness, lightness is the death rank of Dunyasha. In the midst of the lady, she learned sensitivity, hypertrophied respect for her “delicate feelings”, that experience, “vishukaness” ... I’m all turbulent ... Nizhna has become, so delicate, noble, I’m afraid of everything ... ”“ Hands are shaking. "I got a headache from the sight of the cigar." "There are a few shiros here." “Dances make my head spin, my heart beats,” and so on. Similar to her feelings, she developed a predilection for “beautiful” words, for “beautiful” feelings: “I love you crazy”, “I poohala you ".
Nope in Dunyash, like in її panіv, smartly roar in public. When you calm down with sensitive, albeit indistinct words, Yasha - “illumination” and remembrances “about all the reflections.” The senseless comicality of such a visnovka about Yasha Chekhov is bare, for example, tim, that Dunyasha is stunned by this visnovka between two replicas of Yasha, which speaks about the lack of illumination, obmezhenistvo and nevminnya Yasha’s skilki-nebud be logically intelligent, militant.
Yasha (tsіluє її): Crap! Obviously, the skin girl is guilty of remembering herself, and I don’t love the most, like a girl’s filthy behavior ... In my opinion, if a girl loves someone, then she’s immoral ...
Like his masters, Dunyasha speaks inconsistently and does not speak inconspicuously. Vaughn often talk about himself, those people like Ranevskaya and Gaeva think about themselves and try to give inferences to others, but do not speak directly from words. I create a comical effect: "I am such a delicate girl, I terribly love the lower words." At the residual editorial board, Chekhov added the image of Dunyasha to the figure. Він вніс: "I will fall into the untidy." "It's all cold." "I don't know what will happen to my nerves." "Now give me peace, now I will sleep." "I'm the lowest istota."
Chekhov gave great significance to the image of Dunyasha and was turbulent about the correct darkness of her role in the theater: there she’s going to poke, de need to powder, that’s the other way. that in. Let's read it without fail: everything in your zoshitah is mixed up and tangled up." The author urges us to think more deeply about the share of this comical character, that it is tragic that this share, in fact, is tragic. Vіdіrvana іn іt іѕ аn labor environment (“I wіld vikla vіd simple life”), Dunyasha spent ґrunt (“do not remember yourself”), but did not nabula and a new life support. Maybutne її is rebuffed with the words of Firs: "You will spin."
The evil infusion of the retinue of the Ranevskys, Gayovykhs, Pishchikovs shows Chekhov and the image of Yasha's lackey. Records of Ranevsky's easy, unturbulent and vicious life in Paris, of infections and baiduzhistyu to the fatherland, to the people of that post-mortem to nasolod. Yasha is straighter, sharper, rudely speaking, which, in fact, is the sensation of Ranevskaya’s vchinkiv: he is drawn to Paris, unimportantly staging to the “unlit country”, “unlit people”. Vіn, yak i Ranevska, nudguє in Russia (“pozіhaє” - the author's note for Yasha is uncomplicated). Chekhov gives us a clear understanding that Yasha was irritated by Ranevskaya's careless inconsistency. Yasha steals її, breche їy and others. Ranevskaya's butt of easy life, statelessness її raised claims in Yasha that bazhannya is not possible: drink champagne, burn cigars, buy expensive stravi at the restaurant. Rozum Yasha is right on the insoles, in order to join Ranevskaya and speed up for special weaknesses. Calls of vins take care of the vіddanіst їy, tremaєtsya vvіchlivo-peredzhuvalno. Vіn got the tone and the words from the occasional ring of people “swinging”: “I can’t help but wait on you”, “let me turn to you from the hell”. Dorazhayutsya his position, Yasha pragmatically create for himself better damage, lower merit, afraid to spend the trust of Ranevskaya (see the author's remarks: "look around", "listen"). Feeling, for example, that “the gentleman should go,” he sends Dunyasha home, “or else you’ll chat and think about me, I’m not with you on the sidelines. I can't stand it."
Chekhov at once, in such a rite, slandered the liar footman Yasha and the light-hearted, thoughtless Ranevskaya, who cherishes it for herself. Chekhov calls not one yoga, but panіv, to the fact that Yasha, leaning in the stupid camp of a human being, like “does not remember controversy”, like she has lost her middle. People, servants, mother-village for Yasha, far away in the native element, are already people of a lower order; Vіn rіzky or hisїstically baiduzhiy hundred and fifty of them.
Infections Yasha in the form of his feelings and I will be addicted to philosophizing, “hanging out”, moreover, like in them, the words differ in new life practice, behavior (stosunki from Dunyash).
A.P. Chekhov, having succumbed to life and having created one more variant of the proportion of people from the people, has been created in the world. We know that Lopakhin's father - a peasant, a krіpak, who was not allowed to enter the kitchen like that, - after the reforms, he “went into the people”, became rich, becoming a kramar, an exploiter of the people.
In p'єsі Chekhov shows Yogo Sin - the bourgeois of the new formation. Tse already not “zamurzaniy”, not a merchant-tyrant, despotic, rude, like a father. Chekhov specially ahead of the actors: “Lopakhin, the truth, the merchant, but a decent person in all senses, trimming out there can be quite decent, intelligent.” "Lopakhina needs a grati not a screamer ... Tse m'yaka man."
Pratsyyuchi over p'esoy, Chekhov navit polyuvav image Lopakhіna rice softness, zvnishnoї "decency, intelligence". So, in addition to the residual redaction of the lyrical words of Lopakhin, reminiscent of Ranevskaya: “I wished that your marvelous, astounding eyes were astonished at me, like before.” Having added Chekhov to the characterization given to Lopakhin by Trofimov, the words: “Yak, after all, I love you. You have thin lower fingers, like an artist, you have a thin lower soul ... "
At the promos of Lopakhin, Chekhov screeched, commanding and poshchalny intonations, if the wine turns to the servants: “Words. Nabrid". "You will bring me kvass." "You need to remember." In the promotion of Lopakhin Chekhov, there are different verses: he sees and lives the practice of Lopakhin the merchant (“giving forty”, “least”, “net income”) and the muzhik’s trip (“yakshcho”, “basta”, “fool calling”, " nіs fights", "with a pig's ril at the kalashny row", "bovtavsya for you", "sipping boov"), and spitting pansky, pathetically sensitive movi: "I think:" Lord, you gave us ... untouchable fields, deep horizons...” “I wanted only if you believed me like before, so that your marvelous, amazing eyes marveled at me, like before.” Mova Lopakhina accepts different kinds of staleness from the yogo stage to hearing, to the subject of roaming, stalely from the yogo spiritual state. Lopakhin is seriously shy about talking about the possibility of selling a mother's bag ahead of the vlasnikov in the cherry orchard; language yoga at this moment is simple, correct, clear. Ale Chekhov is shown, Scho Lopakhіn, Vіdchuvayuchi your power, attend your power over loungeless impractical nobles, Trochi Koketuє by your democracy, Svіdomo Contertnuє Bookovі Vislouvoyannya ("PliDa Yea-ivo, chatting clouds"), Svіdomo spending a miracle of Vijomі yoma. Tsim Lopakhin at once ironizes and over him, who “vseryoz” lives in and stamps out the wrong words and turns. So, for example, in order with the word: "goodbye", Lopakhin a little more like "goodbye"; in order with the word “magnificent” (“Lord, you gave us majestic foxes”), they say “magnificent” - (“the cone, however, is majestic to huddle”), and the name of Ophelia, perhaps, is not conspired by Lopakhinim, who remembers Shakespeare text and little more than paying attention to the sound of the words of Ophelia: “Okhmeliє, about the nymph, guess me in your prayers.” "Okhmelіє, go to the monastery."
Creating the image of Trofimov, Chekhov recognized the singing difficulties, rozumіyuchi possible censorship attacks: “I, the head rank, lamented ... the underdevelopment of the deak student Trofimov. Adzhe Trofimov once in a while on a mission, once in a while go out of the university, but how can you picture these things? True, the student Trofimov appeared before the peephole at that hour, if the bulk of the bula had been squandered by the student's "messages." Chekhov and his comrades-in-arms were scorched, but futile struggles, as if they were fighting against the "indefatigable hulks" for many years "... the order of Russia ... for the help of their numerical troops, police and gendarmes."
In the image of the "eternal student" - raznochintsya, the son of the doctor - Trofimov, Chekhov showed the predominance of democracy over the noble-bourgeois "panism". The anti-suspicious, anti-patriotic wasteland life of Ranevsky, Gaev, Pishchik, the ruinous “activity” of the sack-keeper Lopakhin Chekhov contrasts the whispering of the suspenseful truth to Trofimov, who can hardly believe in the triumph of a just social life in the near future. Creating the image of Trofimov, Chekhov wanted to preserve the world of historical justice. To that, from one side, they stood up against the conservative noble kіl, like they fought in today's democratic intellectuals - immoral, mercenary, unilluminated "grimy", "cook's children" (the marvelous image of the reactionary Rashevich in the description of "At the garden"); From the other side, Chekhov wanted to vanish Trofimov's idealizations, shards of wine, having captured Trofimov's sympathy for the creation of a new life.
It is clear that Trofimov, a student-democrat, testifies to p'єsі people's vinyatkovoї honesty and lack of innocence, not shackled by tired traditions and zabobons, mercantile interests, I'm addicted to pennies, to power. Trofimov vigilant, endure relief, but categorically encouraged to "live on someone else's account", look. Trofimov’s cautionary tales are wide, sensible and objectively fair: the nobles “live at the borg, in someone else’s rahunok”, timchasov “lords”, “hut beasts” - the bourgeoisie will be obzhezhenі plan perebudov zhittya, intelі genti don’t shy away, don’t joke about anything , workers live rottenly, "to eat badly, to sleep ... for thirty - forty in one room." Trofimov's principles (work, live in the name of the future) are progressive and altruistic; the role of yogi - a new agent, an educator - may call out to the eye of a peep.
And yet, when Chekhov shows in Trofimov, the deeds of the picture of obmezhennosti, incompetence, and in the new know the author of the picture is "nonsense" that brings Trofimov closer to the other characters of the p'esi. Dihannya to the world of Ranevskaya and Gaeva is assigned to Trofimov, regardless of those who, in principle, do not accept the present way of life and cry in the hopelessness of their camp: "there is no turning back." Trofimov, in a frenzy, talks about non-shyness, “philosophizing” (“My little philosophizing”, “I’m afraid of serious roses”), and he himself is also a little timid, richly, it seems, to love a povchannya, a dzvinka phrase. In Act II, Chekhov zmushuє Trofimova continues empty, the abstract “once rozmov” about “a proud person”, in Act IV, Trofimova zmushuє calls himself a proud person. Chekhov shows that Trofimov is not active in life, that this is based on elemental forces (“the share of yoga”), and wine is unreasonably inspired to inspire special happiness.
In the play "The Cherry Orchard" there is no such positive hero, who again reaffirms the pre-revolutionary epic. Hour of vimagav of a writer-propagandist, whose rich voice sounded bi and u vіdkritom vikrittі ta on the positive cob of creativity. In the distance of Chekhov revolutionary struggle muffled his author's voice, hushed up his satire, hung over the lack of concreteness of his positive ideals.
In this rank, at the "Cherry Orchard" appeared famous rice Poetics of Chekhov the playwright: chimerical plot, theatricality, evocative lack of undertones, if the plot is based on the author's thought, what lies at the subtext of creation, the presence of symbolic details, subtle lyricism.
But all the same, with Chekhov's "The Cherry Orchard" he made a contribution to the progressive, vicious movement of his era. Showing the “clumsy, unhappy life”, people are “stupid”, Chekhov, gazing at him without regret, say goodbye to the old, awakening faith in the fellows in the happy humane future of his fatherland (“Hello, new life!”), Adopting the closeness of this future.
List of victorious literature
.M. L. Semanova "Chekhov at school", 1954
2.M.L. Semanov "Chekhov the Artist", 1989
.G. Berdnikov “Life of miracle people. A.P. Chekhov, 1974
.V. A. Bogdanov "The Cherry Orchard"
Tags: "The Cherry Orchard" by A.P. Chekhov: a sense of the name of the peculiarity of the genre Literature |
Head 1
Revealing a two-storey aesthetic pathos p'yesi: poednannya lyrical-pathetic tonality with comical.
Work with the text of the first diy. Students may show:
- How to create a permanent change of tonality, transition from pathos to comedy and navpak;
- how to serve these grit tones of the unsure replicas of the characters, their inadequate expression, connection vipadic phrases; misunderstandings of people, rapt changes in their moods, “violent” comical situations, as if they were eating away the head heroes; significant statements of comical errors;
- as the duality of pathos is manifested in the interplay of overlapping and opposite assessments, as characters should be given to one and the same persons (for example, Ranevskaya).
Manager 2
Work on the plot p'esi:
- Showing the plot role of Lopakhin;
- signify, "vibuduvat" the logic of the special mutual relations of Lopakhin with Varya and Ranevskaya;
- Appearance of the yogo named and wide recognition in the kohanna of others, readiness for sacrifice - and the woman's reaction to them, like wines to love "more, less dear."
What good luck for Lopakhin to bring the cherry orchard? How to connect the theme of Lopakhin's share with the theme of the "cherry garden"?
Manager 3
Doslіdzhennya vzaєmozv'yazku central and other row characters p'єsi.
Significantly similar to the situation in the kohanna of Lopakhin with Varvara, Epikhodov with Dunyasha, Dunyasha with Yasha. Whom does that parody encourage?
Head office 4
Follow-up of spіvvіdshennya pobutovogo and daily plans. Work with the text of another dії.
How does the story of the sadibi ruin? How do you try to talk about talking about characters about the wild life? To whom should tsі vyslovlyuvannya? How does one plan to spawn smut and other characters? What are the representations of "days" of speech "less than in a pathetic tone, or are they continued in tones?
Head office 5
Zіtknennya two cultures. Analyze the dialogue between Ranevskaya and Trofimov in the 3rd act (from the lines of Lyubov Andriivna “Do not annoy її, Petya ...” to the lines of її well “What a diva tsey Petya ...”).
Explain to Petina the “truth” and “truth” of Ranevskaya, the expression in some positions of different cultural versions, different historical generations.
Head office 6
Analysis of the symbolic images of p'esi. How to be put up to the cherry garden of different heroes of p'yesi? What is the symbolic sense of the cherry orchard? Why does a friend grow up at the cordon between a house and open space?
The collection of traditional topos of Budinka and Sadu with new intentions. Yakimi?
Symbolic meaning of other details: telegrams from Paris; the noise from the tub that was roaring in the mine, that one. symbolic details ta explain їх.
List of references
Chekhov A.P. Cherry Orchard (be it ever).
Polotska E. A."The Cherry Orchard" / E. A. Polotska, I. Yu. Tverdokhlebov // Chekhov A.P. Fields. zib. TV: U 30 t. T. 13. M., 1978.
Berdnikov G.P. Dramaturgy of Chekhov. M., 1971 Abo: Vіn zhe. fav. roboti: U 2 t. T. 2. M., 1986.
Zingerman B. The Chekhov Theater has its own light meaning. M., 1988. S. 319-383.
Paperny A. About the unity of the form and the honor at the "Cherry Orchard" by A.P. Chekhov // Moral questions of Russian writers. M., 1972. S. 339-380.
Semanova M. L."The Cherry Orchard" by A.P. Chekhov. L., 1958.
Initially seen
History of Russian literature of the 2nd half of the 19th century
Those practical to take for students of the philological faculty
Stacking
Pidchinenov Oleksiy Vasilovich
Sozina Olena Kostyantinivna
Slinger ____________________
Editor
Computer layout
RUSSIAN FEDERATION AGENCY
STATE LIGHT INSTALLATION
GREAT PROFESSIONAL EDUCATION
MOSCOW STATE UNIVERSITY
CULTURE AND MYSTERY.
Director's analysis p'esi
Anton Pavlovich Chekhov
"Cherry Orchard"
on the course: "History of Russian dramaturgy"
Vikonala: 2nd year student
group 803
Minenko V.S.
Perevіrila: Lidyaeva S.V.
Embankments of Chovni 2010
P'esa "The Cherry Orchard" is Chekhov's last tvir. In the eighteenth century, the Chekhovs, having passed the tragic camp of people, have lost the sense of their life. The play was staged on the stage of the Art Theater in 1904. It is now the twentieth century, and Russia has become a residually capitalist land, a land of factories, factories and airfields. This process was quickened by the zvіlnennyam of the peasantry by Oleksandr II. Figures of the new are put like before the economy, before the suspіlstva, the appearances are changing and look at the people, the system of values is being used up.
Chekhov is characterized by an objective manner of speaking, while prose does not have it. In the drama, the author's voice is almost indistinguishable. Is it still a comedy, a drama or a tragedy "The Cherry Orchard"? Knowing that, like Chekhov, he did not like appointment and, henceforth, the inconsistency of the life's appearance with yoga folds, following a careful note: all the giblets. Remain the word and in what food still say theater.
IDEA-THEMATIC RAZBIR P'ЄSI
Topic:
Chekhov, being the successor of Ivan Sergiyovich Turgenev, also raises the problem of the death of the nobility's nests in his “Cherry Orchard”. The main theme of yoga creation is the theme of the world that passes.
Diya p'єsi vіdbuvaєtsya at the mother's assistant Lyubov Andriivna Ranevskaya. The social conflict of the p'yesi is the conflict of the nobility, so I came to you to replace the bourgeoisie. The second storyline is socially romantic. "All Russia is our garden" - this is how Chekhov himself says through the words of his heroes. Ale mriya Anі ta Petі Trofimova breaks down on Lopakhin's practicality, with the will of which the cherry orchard is destroyed.
Idea:
Chekhov was a revolutionary. Tom won’t know the real way out of the crisis, in the future of Russia. The pismennik deeply speaks to new manifestations, like in the countryside, to you the hated old way of life. Prodovzhuvachami Chekhov's traditions were a lot of writers.
Responsibility:
"The Cherry Orchard" - bugatoplan tvir. Chekhov, having come across many impersonal problems, has lost the relevance of our day. Ale, the main nutrition is, obviously, nutrition about cleaning between old and new generations. Qi protirichcha є the basis of the dramatic conflict p'esi. Representatives of the new society are coming out of the light of the nobles.
P'esa Chekhov's "The Cherry Orchard" reflects the turning point of the era - the hour, if the old has already died, and the new has not yet been born, and the axis of life has become as quiet as a beat, calmed down ... Who knows, maybe, tse - calm before the storm? No one knows the truth, but everyone else checks... So he checks himself, wondering at the unknown, and Chekhov, anticipating the end of his life, checks and everything Russian society who suffered in the absence of insignificance and having gone through ruination. One thing was clear: the old life has irrevocably gone, to change it will be later ... How will it be, the price of a new life?
Zhitteva truth in all її succession and repetitiveness - the axis of Chekhov, cherubing Chekhov, creating images. To the very same, the skin of the character of yoga p'єs є is alive with a human character, which adds a majestic zmіst and deep emotion, as if it changes its naturalness, the warmth of human feelings.
For the strength of his uninterrupted emotional infusion, Chekhov is not the greatest playwright in the art of critical realism.
The dramaturgy of Chekhov, which was considered on the actual food of his hour, turned to everyday interests, experience that praise wonderful people, awakened the spirit of protest against the old age and routine, called out to social activity to the fullness of life. To that, she always gave the readers that glyadachiv majestic infusion. The significance of Chekhov's dramaturgy has long since gone beyond our fatherland, it has become luminous. Dramatic innovation of Chekhov is widely recognized there in our great fatherland. I am writing to him that Anton Pavlovich is a Russian writer, and even if they were different masters of culture, stinks, singsongly, everything is suitable for him, that Chekhov prepared the world with his works short life, more beautiful, fair, reasonable.
COMPOSITION ROZBIR P'ЄSI
| act number, diya |
Podієvy row (fact podіy) |
Element name bottom row |
Name (component) compositional structure |
| Diya persha | Diya comes to the mother L. A. Ranevskaya. Lyubov Andriivna, Anya, Charlotte Ivanivna from dog to lance, Yasha turned from Paris. Anya recounted that they hadn’t lost a penny, that Lyubov Andriivna had already sold Mentoni’s dacha, she hadn’t lost anything, “they didn’t get any more.”
Having told Lopakhin that the cherry orchard was sold for Borg, twenty other scythes were sold at auction. I propagated my project: to build a house, to plant a cherry orchard, to plant that land along the river on a summer cottage, and then to rent a summer house. Lopakhin went to Kharkov for three days. Gaev, having asked Ani to go to Yaroslavl to the titon-countess (grandmother), ask for pennies in order to pay hundreds of dollars, oskolki won more than riches. Anya agreed. Mustache broke sleep. |
Width podium, podium tie | Exposure. It starts from a good start. Rukh pershoї dії dosit shvidky, badorii, with the last increase in the number of suits and diyovih osib, until the end of the first dії we already know all the characters with their joys and bastards, cards vydkrit and zhodnoї "taєmnitsi" not. |
| Diya friend | Diya is walking in the field, where she is old, a chapel has been zanedbana for a long time. Showing kokhannya Dunyasha to Yasha.
After Gaeva, Lyubov Andriivna and Lopakhin they said that they worked with the mother and how they cried with the Borg. Before them came Trofimov, Anya and Varya. Having married Varya to Lopakhin. Lyubov Andriivna gave one of the remaining gold coins to the passer-by. Usy peeped krim Anіta Trofimova. The stinks met one by one and went to the river, so that Varya did not know them. Diya ended with Varya’s voice: “Anya! Anya! |
podium of the string | Ties. Diya upovilnena, andante, ruh and wild tone muffled, wild character - lyrical thought, elegy, conversation, rozpovidi about yourself. At this child, a climax is psychologically prepared - they develop, strengthen their minds, induce that exercise of their feelings, like they become a sign of intolerance, consume virishiti, change oneself. |
| Diya third | Evening. Diya comes from the vitals. Zagalne ochіkuvannya Lopakhіna ta Gaeva, yakі may come from bidding. Charlotte showed tricks to Pishchik ta reshti. Went. Pishchiv hurried after her. Lyubov Andriivna told me that Yaroslavl's grandmother sent fifteen thousand rubles to buy motherhoods for her name, and paid them hundreds of pennies.
Welding of Trofimov with Lyubov Andriivna, after which I went, going, falling from the exits. Anya laughed. Mustache danced. Varya drove Epikhodova away, for those who didn’t shy away from anything, hacking at the billiard table. Lopakhin and Gaev appeared. Lopakhin told me that he had bought his maetok. Lyubov Andrivna began to cry. Varya threw the keys away, Hanna lost her mother's comfort. |
Vuzlova podium (head podium), Culminating podium | climax. Rukh is third-deep and chewy and hangs on the aphids of hoarse pods. |
| Diya fourth | Scenery of the first act. Look empty. Mustache chose to leave. Lopakhin of satisfaction, having drunk on the path. I want to give Trofimov pennies. Vіn vіdmovivsya. Feeling, as in the distance, they pounded with a juice on a tree. Everyone thought that Firs had already been taken to the clinic. Lopakhin did not dare to work out the proposition Vari. Lyubov Andriivna and Gaev, weeping, said goodbye to the house and went. Finished the doors. At the kіmnati z'avivsya ailments Firs, like a zabul. The sound of a string that burst, and the sound of a sokiri on a tree. | Final podia | Rozvyazki. The rest of the act is not remarkable by the nature of the rozvyazka. Rukh yoga will help. "The effect of a subsequent increase is replaced by the effect of a subsequent decline." This recession turned the next vibe to a sizable amount ... Everyday life is trivay. Chekhov throws a glance at the future, rozvyazki like completed human shares there is nothing for him... For this, the first act looks like an epilogue, the rest - like a prologue of an unwritten drama. |
Peculiarities of the "new drama" poetics. Nasampered by Chekhov, we are ruining the “sharp action”, the key podia, which organizes the plot unity of the classic drama. However, the drama does not develop, but is selected on the basis of our internal unity. The shares of the heroes, for all their powers, for all their plot independence, "advocate", quarrel with one another and get angry at the infamous "orchestral sound". From the majestic number of people, in parallel, life develops, from the majestic number of voices of various heroes, the united "choir share" is formed. Why often talk about the polyphony of Chekhov's dramas and call them social fugues, drawing an analogy with the musical form, de sound and develop at the same time in two to four musical themes, melodies.
In the drama of Chekhov, the movement of individualization of the movie characters has faded away. Mova їх іхінідівіділізана is less than a floor, so that it doesn't fall out of the wild tonality of the drama. Z tієї Well, the cause of the language of the heroes of Chekhov is melodic, singing, poetically strained: “Anya. I'm going to sleep. On the dobranich, Mama". We listen to Qiu's phrase: in front of us is a rhythmically organized mova, close to pure yambu. The same role is played in dramas and rhythmic repetition, which is so often chanted: "Ale, everything was one, all one." moving individualization and poetic implication of Chekhov's mov is necessary for creating a wild mood, which permeates the drama from the cob to the end and creates the artist's strength on the surface of the movnoi raznobіy.
PSYCHOLOGICAL RESEARCH P'ЄSI
Chekhov's drama pervades the atmosphere of unfortunate trouble. She doesn't have any happy people.
Severely unfavorable is folded and strengthened by the appearance of a savage self-sufficiency. Deaf Firs at tsymu sensi - the figure is symbolic. First appearing before the lookers at the old-style livre and at the high capelus, they walk along the stage, trying to speak of themselves, but they can’t pick out the right word. Lyubov Andriivna seemed to you: “I am so glad that you are still alive,” and Firs replied: “The day before yesterday.” In essence, this dialogue is a rough model of intercourse between the heroes of the Chekhovian drama. Dunyasha at the "Cherry Orchard" shares with Anya, who came from Paris, with a radiant note: "The clerk of the trips after the Holy Proposition has robbed me", Anya said: "I ruined all the hairpins." Chekhov's drama has a special atmosphere of deafness - psychological deafness. People must be rotten with themselves, with powerful rights, powerful bіda and failures, and that stench smells badly alone. It is important to cross the dialogue between them. With mutual obsession and good-naturedness, the stench cannot break through one to one, the shards are more “move for themselves and for themselves”.
Characteristics of the conflict:
A.P. Chekhov called his TV show "The Cherry Orchard" a comedy. Well, having read the p'esu, we can see it to tragedy, lower to comedy. We are given the tragic images of Gaeva and Ranevskaya, the tragic fate of theirs. We are spying and spying on them. We can understand why Anton Pavlovich brought his p'esu to the genre of comedy. Ale re-reading the TV, sorting out from someone else, we still know the behavior of such characters, like Gaev, Ranevska, Epikhodov, deshcho comedy. We are already aware that in their own wines they stink themselves, and, perhaps, sue them for the price. What kind of genre does A.P. Chekhov's "The Cherry Orchard" have to comedy or tragedy? At p'yesі "The Cherry Orchard" we do not have a bright conflict, everything, it would be better, flow your blackness. Heroes p'єsi behave calmly, between them there are no such weldings and zіtknen. And all the same, we can see the reason for the conflict, but not open, but internal, riveted into a quiet, at first glance, peaceful situation. Behind the splendid roses of the heroes of creation, their calm standing before each other bachimo їх. internally unreasonable. We often feel like characters in replicas out of place; often bachimo їх vіchuzhenі look, stinks nibi do not smell otochyuchih.
Ale, the main conflict p'esi "The Cherry Orchard" is poignant among unreasonable generations. It turns out that three hours have tumbled in the sky: the past, today is the future. Three generations mrіyut about their hour, and only stinks to speak and nothing can do to change their lives, Until the last generation lie Gaeva, Ranevska, Firsa; to the current Lopakhin, and the representatives of the future generation are Petya Trofimov and Anya.
Lyubov Andriivna Ranevska, a representative of the old nobility, talks steadily about her best young fates, held in an old booth, near a hot and luxurious cherry garden. You don’t live with the thoughts of the past, you don’t have power today, but you don’t want to think about the future. And we are given a funny її ії іnfantilnost. That mustache is the old generation of tsіy p'єsі to think like that. None of them can change anything. Stop talking about the “beautiful” old life, but let yourself go, reconcile yourself to the right, let everything go on self-fueling, act without fighting for your ideas. And to that Chekhov sue them for the price.
Lopakhin is a representative of the bourgeoisie, a hero of today. Vin live today. We can't help but notice that these ideas are reasonable and practical. Vіn vede zhvavі conversations about those, how to change life for better, and you know better what to work. Ale, everything is less than a word. In truth, Lopakhin is not an ideal hero of p'yesi. Mi vydchuvaёmo yogo nevvnenіst have yourself. And for example, Create in a new sky, hands fall, and viguku: "Sooner, our clumsy, unhappy life would change!"
