Creation of Ostrovsky's snow maiden. "Snow Maiden" A play by A.N.

“If there are thirteen at the table, then there are lovers here,” noted Chekhov's Three Sisters. The thirteen characters in the play testify to the same. On the stage of the theater named after M.N. Yermolova played a love story in which there were no victims - "The Snow Maiden". Fairy tale? Lie! Musical performance. If the first is indisputable, then the second is still on the rise.

Father Frost, according to Ostrovsky, the father of the Snow Maiden, was withdrawn from the play. Spring-Red appears before the audience in a quilted jacket and felt boots - Spring in a different outfit would not have reached our northern regions. With a large janitor's shovel, she collects from the stage traces of her husband's stay - snowdrifts. However, the story is fabulous, and therefore the snowdrifts come to life and turn into Berendeys asleep under the snow: it is warmer under the snow. They also want to warm the audience of Yermolovsky with the "Spring Tale", but it is perceived with coolness.

Alexey Kuzmin-Tarasov in this performance is one in three persons - the author of the idea, embodiment and music. There is enough music in the performance and the audience is quite satisfied with it. "The Snow Maiden" is defined as "Scenes from the Outback in 12 Songs", so that the operatic creation of N. A. Rimsky-Korsakov remained untouched. But the text of A.N. Ostrovsky, written 140 years ago, freely fit into the rhythms of folk, reggae and rock and roll performed by the musicians of Garik Sukachev's group "The Untouchables". After all, the author of the play also provided for songs, and therefore such a musical interpretation does not seem alien to the original source. The music in the performance is lively and incendiary, and the singers do not cause any complaints - everything is in time: the sounds, the voices, and the swaying of the audience's legs. And yet "The Snow Maiden" is far from a musical, because twelve songs are diluted with "scenes".

The Snow Maiden is a winter, festive character, but A.N. Ostrovsky wrote a spring fairy tale, and therefore the daughter of Frost, who went with her soul to her father, would not celebrate for long. Veronika Ivashchenko, who plays this role, appears either as an angular disheveled (from the forest) “blue stocking” (in a blue dress), or as a spectacular cold blonde, on which field wreaths wither every now and then - a sharp temperature drop. Well, without the motives of a children's matinee and a white and blue fur coat with an inventory number, it could not have done here. The Snow Maiden desires love, having no idea about it. For her, in the performance, an arrogant and arrogant person, love is something like a dress code, without which she will not be allowed to a party on the occasion of Yarilin's Day. Because the words: “Mom, give me love!”, She pronounces with an impassive everyday intonation like: “Mom, give me money!”. The Snow Maiden will dress up both the camp and the heart, but this outfit is akin to what Medea Kreusa gave to a dress soaked in poison (in this case, love). The finale is known - "melts, melts, disappears." The Snow Maiden will leave a wet place and dry eyes of the audience.

The ups and downs of The Snow Maiden, for reasons that come from childhood, cannot surprise, therefore you expect a reason for surprise from the actors. And you get it. The actors of the performance, recent graduates of theatrical universities, oddly enough, did not bring the heat and energy of youth into the performance. On the contrary, they play according to the weather - "the sun shines, but does not warm." Not that they can be called "Thugs" (play by Kirill Serebrennikov), but their reaction and dynamics leave much to be desired. The performers are slow, relaxed, pampered, but their characters lack the sun, there is no “golden laziness” from the sky, and severe frosts, it would seem, should stir up the Berendeys. Sbiten is not boiled, and it is not clear how they are warmed. Soul fire? But his sparks do not reach the audience. The words in "The Snow Maiden" do not "sound", but the songs do.

Lel (Artem Efimov), the first guy in the village (and the village, judging by the scenery of Leonid Shulyakov, is in one house), also sings with an overweight guitar (from which, however, he does not extract a sound), along with Spring (a wonderful work by Elizabeth Pashchenko) and the Snow Maiden. A barely noticeable competition for the shepherd's heart is planned between mother and daughter. Good and "guys from our yard" like the Smoking Room (Anton Kolesnikov), a kind of street bully with chains on his jeans, twirling the keys to ... a non-working motorcycle on his finger, or the big man Brusila (Nikolai Zozulin). Noteworthy are the girls-friends of the offended Kupava (Anna Kuzmina) - Radushka (Margarita Tolstoganova) and Malusha (Valentina Oleneva), the funny-strange Beautiful Elena (Kristina Pivneva). Only the oriental youth Mizgir (Rustam Akhmadeev) and his bodyguard, unforeseen in the play, called by the simple "Slavic" name Emil (Yegor Kharlamov) stand out from the general motley canvas of the performance. If the Sloboda residents of Berendeevka would have been fine with a light patter, then Mizgir would not at all like a clear accent. However, Mizgir is a stranger in Berendeevo Posad, and therefore his oriental flair as an addition, opposing him to the townspeople. Another excellent feature of the actor is deliberate seriousness in the interpretation of the proposed circumstances: the actor presents his hero with an anguish, a sharp gesture, a tragic grimace, which makes him ridiculous against the backdrop of relaxed, calm "colleagues". And this is not so much a problem of the performance, but of an actor who weighs down a light production. “The East is on fire,” remarks the Snow Maiden, and, judging by the ardor of Mizgir, it seems that he will answer her; "Juliet is the sun."

The Snow Maiden, set to music, is pleasant to listen to, but strange to see. No folklore, in extreme cases - folk. They saved money on the costume designer - he is not in the program, there is no trace of him on the stage either. The actors are dressed in everyday clothes, devoid of a single style, who is in what - in a summer sundress, in a sweater, in a dress. Musicians in hats (although they take them off), actors with thermoses and plastic cups, outsiders (not from Ostrovsky) remarks ... In combination with student signs of the performance, a complete illusion of an open rehearsal is created, to which the audience was allowed. People on the stage are like people from the street, at least in terms of external characteristics, and this "democratism" is not good for the "Snegurochka". The lack of a unified style can only be justified by the capitalized outback mentioned in the program. There is such a “shelter of tranquility, work and inspiration” on the map of the Pskov region, but it is unlikely that the costumes were painted from the local residents.

Despite the lightness of the idea and the significant editing of the text, there are curious, but undeveloped (by the director) moments in the performance. Thus, the dialogue between the Tsar (Sergey Badichkin) and the “near boyar” Bermyata (Yuri Kazakov) turns out to be very consonant with the time (not stage, local). The tsar complains that the people "disappeared to serve beauty", in general, the decline in morals, to which the adviser offers a universal remedy for those in power at all times: "Issue a decree!" “But will we wait for some good?”, Specifies the Tsar, “None,” he hears in response, “Cleaning us.”

The state of affairs in the kingdom of Berendey is akin to Karamzin's diagnosis - "They steal", however, this kingdom is "not enough, there is nowhere to roam", and therefore Bermyata specifies: "A little bit." “And catch?” His Majesty asks without much interest; – “Why catch them, / Lose labors? / Let them steal for themselves, / Someday they will get caught ... ". But, judging by the simple decoration of the royal chambers, everything has already been plundered. Yes, and the king himself, who exchanged the scepter and orb (or maybe with a capital letter?) For a massive clock and an ax that he thrusts into the platform on the stage, does not look much like a king. Although it just so happened, they are kings either with or under an ax. In a different way - only in fairy tales, where "porridge from an ax." For The Snow Maiden, both porridge - a mixture of genres, and an ax - a montage of text and meanings - are symbolic.
“The magnanimous people are great in everything,” the Tsar sings a fervent song at the end of the performance. Berendey sing sadly to the king. As befits the people under the Tsar - in chorus. A few scenes before the finale, the “generous people” rejoiced at the death sentence handed down to Mizgir, shouting: “And when? What time?". Winter crops with spring crops - in the field, but you need to nourish your soul - with spectacles. But the execution will be canceled, however, Mizgir's death cannot be avoided. People's sacrifice is manifested here in the minute-by-minute readiness to make a sacrifice. Rather, as a sacrifice of those who do not live "in the Berendey way", those who are not used to bowing "more often, but lower."

The musical numbers go with a bang in the performance, but it’s as if those who voted go astray to the recitative, the record seems to stick. The style of the performance is a kind of jam session (not musical, but artistic), which is played out without any special preparations, thoughts and effort. It seems that the artists on stage are having a good time, the audience, in general, is also happy with everything. Both those who are on the stage and those who are in the hall for about two hours manage to spend their leisure time quite tolerably. "The Snow Maiden" is not an evening at the theater, but a theatrical evening. There is no need to talk about interpretations of images, super-tasks and relevance, but you can’t call such an evening wasted either. "Snegurochka" in combination with the democratic and hospitable buffet of the theater is an ideal option for meetings, while away the evenings and moments when there is an acute desire to be in public. Nice, smart, not expensive. Not to the heart, but not to the wallet. But even this kind of theater, which is “not low, not high,” not only can, but must exist. “Drive your worries away: there is a time for caring,” they sing in the play, and they are right.

The Snow Maiden, according to the director, is played in "timelessness", but this is due, perhaps, to its temporary presence in the theater's repertoire. Her appearance, however, is fully justified - the theater is not afraid to open its doors to young directors, and this is worth a lot. Of course, we are not talking about losses. "Snegurochka" is a universal, family, easy and spring project. “Spring is coming”, “the mind is not in harmony with the heart”, but the “Snow Maiden” has every chance not to melt, but to tune in the right way.

"Komsomolskaya Pravda", "Teatron"

"Lesson Ostrovsky Snow Maiden" - A.N. Ostrovsky. The Kingdom of the Berendeys and Tsar Berendey in the play. But the play had real success only on the stage of the Moscow Art Theater. Problem questions. What kind of conflict is indicated already in the prologue? Opera "Snow Maiden". Features of the play's conflict. The history of the creation of the play "The Snow Maiden". In Ostrovsky's play, there are two main, independent, but united conflicts.

"Snegurochka" - Young young women, father's daughters, valiant wives. Old ladies! The latter option is more indicative and, most likely, is the original one. Divorce the son with the daughter-in-law. What is the ancient world of Slavism, depicted by Ostrovsky? Rimsky-Korsakov. Snegurka (Snezhevinochka) is so named because it was born from snow.

“Talking surnames in Ostrovsky’s plays” - Savva receives a good education, but cannot fully realize his abilities. Savva is a native Russian name. Gordey Karpych Tortsov. Year. Savva is, first of all, an integral nature, a spiritually pure person. Grisha has, perhaps, the most unflattering surname in the entire comedy. Pelageya Egorovna Tortsova. Mitya.

"Opera Snow Maiden" - Opera "Snow Maiden" (test). Question 10. (musical) Listen to musical fragments and identify the heroine of the opera Snegurochka by her voice. Question 4. What is the name of the dramatic work on which the opera is being created? 1. fairy tale 2. libretto 3. monologue. Question 1. Name the author of the opera "The Snow Maiden"? 1. M.I. Glinka 2. N.A. Rimsky-Korsakov 3. P. I. Tchaikovsky.

"Ostrovsky plays" - The meaning of the title. Group 4. Features of the disclosure of the characters of the heroes. Student messages (homework with additional literature). Childhood years were spent in Zamoskvorechye, the merchant and petty-bourgeois district of Moscow. 1. Speaking surnames. Prove your point. Alexander Nikolaevich Ostrovsky. Ostrovsky's mother, Lyubov Ivanovna, nee Savvina, was the daughter of a priest.

Alexander Nikolaevich
Ostrovsky (1823 - 1886) -
famous Russian
writer and talented
playwright.
Founder
modern Russian
theatre, founder
artistic circle,
corresponding member
Petersburg Academy
sciences and owner
Uvarov Prize.

10.

11.

A play for the theater by A.N. Ostrovsky "Snow Maiden"

In 1873, A. N. Ostrovsky, under the influence of the ideas of A. N. Afanasyev, wrote a play, so famous and beloved by the Russian people, - “The Snow Maiden”. In it, the Snow Maiden appears as the daughter of Father Frost and Spring-Red, who dies during the summer ritual of honoring the sun god Yarila. Outwardly, she appears in the work as a beautiful pale fair-haired girl, she is dressed in white and blue clothes with a fur trim (fur coat, fur hat, mittens). This whole appearance represents winter with its white snow and cold frosts. The spring side of the character of the heroine is represented by her extraordinary emotionality and desire to know human feelings, albeit destructive for her. Surprisingly, the play was not initially successful with the public, it seemed rude and ineptly written. But that was only at the beginning...
The action takes place in the country of the Berendeys in prehistoric times. Prologue on Krasnaya Gorka, near Berendeev Posad, the capital of Tsar Berendey. The first action in the suburban settlement of Berendeevka. The second act in the palace of Tsar Berendey. The third act in the protected forest. The fourth act in Yarilina Valley.

A play for the theater of A.N. Ostrovsky "The Snow Maiden"

Cultural studies and art history

The work of Ostrovsky "The Snow Maiden" is an amazing fairy tale, which shows the beauty of the world, love, nature, youth. In "The Snow Maiden" the main place is occupied by human relations. At first glance, the plot looks absolutely fantastic. But then it turns out that living human characters are visible in this phantasmagoria.

MBOU LYCEUM №8

abstract

On the topic: “A play for the theater by A.N. Ostrovsky "Snow Maiden"

Completed:

Pupils of 8 "A" class

Savvateeva Irina

Bogdanova Olga

Akishina Maria
Malaeva Elena

Teacher:

Yudakova V.P.

Solnechnogorsk, 2015

History of creation

In 1873, A. N. Ostrovsky, under the influence of the ideas of A. N. Afanasyev, wrote a play, so famous and beloved by the Russian people, - “The Snow Maiden”.While working on the play, Ostrovsky carefully studied numerous folklore, historical, and ethnographic sources. Folk tales, ritual poetry, folk charms, and folk songs should be noted among the folklore sources of The Snow Maiden. He, combining fairy tales, legends and songs together, gave folk art a very peculiar flavor. Therefore, the plot basis of the story of the Snow Maiden in the play by A.N. Ostrovsky does not entirely coincide with any of the variants of the fairy tale that exist among the people.

Plot

The work of Ostrovsky "The Snow Maiden" is an amazing fairy tale, which shows the beauty of the world, love, nature, youth. In "The Snow Maiden" the main place is occupied by human relations. At first glance, the plot looks absolutely fantastic. But then it turns out that living human characters are visible in this phantasmagoria.

In the spring fairy tale by A. N. Ostrovsky "The Snow Maiden" from a little girl - granddaughter, the heroine turns into a beautiful girl who can ignite the hearts of young Berendeys with a burning feeling of love. Sheappears as the daughter of Santa Claus and Spring-Red, who dies during the summer ritual of honoring the sun god Yarila. Outwardly, she appears in the work as a beautiful pale fair-haired girl, she is dressed in white and blue clothes with a fur trim (fur coat, fur hat, mittens). This whole appearance represents winter with its white snow and cold frosts. The spring side of the character of the heroine is represented by her extraordinary emotionality and desire to know human feelings, albeit destructive for her.
The action takes place in a fabulous place - the kingdom of Berendey. Describing the laws of this country, Ostrovsky seems to draw his own ideal of social order. In the kingdom of Berendey, people live according to the laws of conscience and honor, trying not to provoke the wrath of the gods. Beauty is very important here. The beauty of the surrounding world, the beauty of girls, flowers, songs are valued. It is no coincidence that the singer of love Lel is so popular. He, as it were, personifies youth, ardor, ardor.

Reviews

Surprisingly, the play was not initially successful with the public, it seemed rude and ineptly written. But that was only at the beginning...

Spring fairy tale by A.N. Ostrovsky was highly appreciated by A.I. Goncharov and I.S. Turgenev, however, many responses from contemporaries were sharply negative. The playwright was reproached for his departure from social problems and "progressive ideals". So, the caustic critic V.P. Burenin complained about A.N. Ostrovsky to false, "ghostly-meaningless" images of Snow Maidens, Lelei, Mizgiri. In the great Russian playwright, critics wanted to see, first of all, an accuser of the “dark kingdom”.

Theater performance

The theatrical production of The Snow Maiden by the Moscow Maly Theater (May 11, 1873) actually failed. Despite the fact that all three troupes were involved in the performance: drama, opera and ballet, and the music for it was written by P.I. Tchaikovsky, despite the use of technical curiosities: moving clouds, electric lighting, beating fountains that hide the disappearance of the “melting” Snow Maiden in the hatch, the play was mostly scolded. The public, like the critics, was not ready for the poetic pirouette of the author of The Storm and The Deep. Only at the beginning of the 20th century did A.N. Ostrovsky was appreciated. A.P. Lensky, who staged The Snow Maiden in September 1900 in Moscow, remarked: “Ostrovsky would have had plenty of imagination to fill his fairy tale to the brim with native devilry. But he, apparently, deliberately saved fantastic elements, saved in order not to overshadow another, more complex element - the poetic one - with the enchantment.

In St. Petersburg, on the stage of the Alexandrinsky Theater, the production took place only on December 27, 1900, for the benefit of the artist Varlamov.

In 1881, the composer N. A. Rimsky-Korsakov wrote the opera The Snow Maiden based on the text of the play. The opera was staged in St. Petersburg on January 29, 1882.