Crane and heron
Characters: Storyteller Crane Heron
Standing on the stage to the right and left huts. There is a crane on the right side of the hut, and a heron on the left side. There is a swamp between them. In the center of the scene in the foreground is a storyteller.
Storyteller(referring to the audience). An owl flew - a cheerful head; so she flew and flew and sat down, turned her tail and looked around and flew again; she flew and flew and sat down, turned her tail and looked around ...
This is a saying, a fairy tale is all ahead.
The crane and heron begin to move, decorate their huts, and take care of the housework. The crane now and then stops, sighs. The heron enters his house.
Storyteller(moves to the right edge of the stage and now looks at the characters). Once upon a time there lived a crane and a heron in the swamp, they built themselves huts at the ends. It seemed boring to the crane to live alone, and he decided to marry.
Crane. « Let me go woo a heron!”
The crane moves towards the heron, but it does not go straight, but winds.
Storyteller. The crane went - tyap, tyap! Kneaded the swamp for seven miles.
The crane approaches the heron's hut. Knocks on the door.
Crane. Is the heron at home?
Heron. Houses.
The heron comes out of the hut.
Crane. Marry me.
Heron(after examining the crane from head to toe). No, crane, I’m not going to marry you: your legs are in debt, your dress is short, you fly badly yourself and you have nothing to feed me with! Go away, lanky!
The crane silently turns around and returns home in the same way as it went to the heron. The heron sits on a bench near the hut and looks after the crane, sighs.
Heron. Rather than live alone, I'd rather marry a crane.
The heron resolutely gets up and sets off. Approaches the hut of the crane.
Heron. Crane, marry me!
Crane. No, heron, I don't need you! I don't want to marry, I don't marry you. Get out!
The heron cries and leaves. The crane looks after her, sighs.
Crane. In vain did not take the heron; because one is boring. I will now go and marry her.
The crane follows the heron.
Crane. Heron! I took it into my head to marry you; come for me.
Heron. No, crane, I'm not going to marry you! The crane leaves.
Heron. Why did you refuse? What is it to live alone? I'd rather go for the crane!
The heron goes to the crane.
Storyteller. That's how they go to this day to woo each other, but they never get married..
Staging involves the embodiment of the text of a work of art in action.
For younger students, staging is a new type of activity that requires not only certain abilities, but also skills: read expressively, move, communicate on stage, transform into an image, believe in the convention of what is happening.
Theater is always a convention, always a game. And the game for the younger student remains the main type of activity, although it is gradually being replaced by educational activity. Therefore, psychologically staging is perceived by children like a game of favorite word work.
staging as a methodological - this is the creation of a production by the forces of the teacher and students on the basis of the literary work being studied. The purpose of dramatization in school lessons is not the early training of actors, but development of the general inclinations and abilities of each child, including expressive speech, plasticity, communication. Dramatization for children is at the same time an exciting game, an opportunity to become one of the characters and educational activity during which they delve deeper into literary work.
Staging allows you to sharpen attention to the conflict of the work, draw storylines in the minds of students. This technique enhances the students' attention to the literary text, because it is possible to determine how to play a particular role only by carefully rereading the work, comprehending the character of the hero and his relationship with other characters. Moreover, the student-actor learns to look at the world through the eyes of others, discovers the existence of a different point of view, different from his own. Staging, reincarnation in another has and psychotherapeutic opportunities, helps children to be liberated, to become someone else, enter into a new relationship and then transfer this experience into real life.
Drama can be staged written specifically for stage production , epic works, children's play poetry, because in these works there is a plot, pronounced action. Children are always happy to stage their own dramatizations (then the dramatization as a technique becomes motivated).
Elements of dramatization can be included in any lesson: whether we offer children to expressively read the character’s line, make a gesture that the character makes, or show his facial expressions - all this helps the child to understand through physical sensations emotional condition hero, and therefore understand the role of artistic descriptive detail in the text. And vice versa, by offering students to show a grieved, or dreaming, happy or surprised hero, we activate his imagination and help to recreate the image to a holistic one, to supplement the author's descriptions with personal feelings and experience.
Best for staging small works in which there is a pronounced action, event. You can not stage lyrical works, in which there is no external event plot. In the same time there shouldn't be too many events.: children can get confused in their sequence, forget something, skip from excitement.
The most convenient artistic and verbal material to introduce children to staging - folk tale , and not magical, but either household, or about animals, or cumulative.
It is convenient to start learning reception with cumulative tales, i.e. those in which the action from the tie to the denouement is repeated several times, accumulates (for example, "The Cockerel and the Beanstalk" ). The fact is that it is easier for a younger student to remember the plot of such a fairy tale: each episode repeats the previous one, only the character changes. A folk tale does not require memorizing the text by heart - you can speak in your own words, conveying the essence.
In a work intended for staging, it is necessary should be a game element or outright convention, because claims for the staging of realistic works by the forces of younger schoolchildren are untenable and only bring up bad artistic taste. The main thing is the work should be interesting for children.
Important choose the right piece for staging: the artistic material should be within the power of young children, in their personal experience there must be something similar to the experiences of the characters, interesting for the children themselves (put in primary school fragments of Shakespeare unreasonable and harmful, offering fragments of plays from the life of adults is dangerous and unethical). Therefore, in elementary school, they are often staged dramatic tales or episodes.
To the staging children need to be prepared, to give them the opportunity to enter the work, to get used to it and to their role. To do this, the class is text analysis, is revealed conflict, participants are discussed(their characters appearance habits, gestures, manner of speaking), their intentions and the reasons that prompted them to act(analysis of character images).
First, you can invite child actors to expressively read their lines. Then we start working on the stage : collectively decide how to place the characters on the stage at the beginning of the action and why; how characters should move; to whom to address with words, how the participants in the scene should react to what is happening. And all time looking for plastic solutions: postures, turns, gestures .
Dramatization of the story
"Guitar waltz"
Characters:
A boy, a teenager of fourteen years old.
Companion, middle-aged man.
Elena Stepanovna, accordion teacher.
The boy's mother.
Two boy friends.
Watchman in the club.
Action one.
The first phenomenon.
On the stage in the foreground is an open bus stop.
(The sound of a bus pulling up is heard.)
Boy companion.
Conversation on the bus.
Companion: Why do you have a guitar without strings?
Boy (after a short silence, during which he carefully put the guitar on his knees, pulled off his hat from his head): I went to the city, I thought I could fix it (points to the guitar) This year I music school I'm finishing in the bayan class, but I also want to learn the guitar. I took someone else for a week, it seemed to work. This is my father's guitar... (thoughtfully runs his hands over the neck). He died when I was still very young. He does not give money for a new mother. Grumbles: “Grow and earn yourself. I can't do everything alone." (sighing, turns to the window)
Companion: It turns out that you are a real musician, since you are already graduating from a special school?
Boy: Well, the real one is not real, but I participate in concerts.
Companion: When there is talent - divyo! At you, on everything it is felt - is.
Boy (not immediately, hesitating, smiling sadly and gratefully, turns half a turn to the interlocutor): You know, I almost quit my “musician” once ...
Companion: What's wrong?
Boy: I think everyone has black stripes. At that time, at the end of the school year, everything was unimportant for me. There were a lot of deuces in a quarter. I studied very badly. Did not understand. He took to cramming. Did not work …(with a sigh) And the button accordion is the same: well, the teacher yells at me - and that's it ... And at home, my mother also comes to cry - both for deuces and for the button accordion. Believe me, I didn't want to live. I even took a knife, put it to my hand, but then when I think ...
The first chords of the waltz "On the Hills of Manchuria" sound quietly.
The story continues: Got up early one day. The first lesson is Russian. Didn't do homework again. Crap! I get a two. Again, everyone will yell at me. For other subjects too. Well, maybe there is “good” in drawing, I guess. And also go to the button accordion. God! (music gets louder) When will this day end?
I am sitting undressed, it is dark, the bed is laid out, the bed is warm; Here, I think, I will now touch the wooden headboard, this varnish on plywood, this native chip. And when the hated day passes, I will touch again. Let the day pass quickly between touches . (The music stops. The boy gets up, walks forward along the stage and says slowly and somewhat pathetically, gesturing):
To see nothing.
To not hear anyone.
To soon envelop the dream - my paradise.
To be free, as if.
Than such "light" - "darkness" is always better.
(The lights go out for a moment, then the distant chords of the waltz are heard again ...)
The second phenomenon.
The action takes place in a music school, in an accordion class.
Music teacher and boy.
Elena Stepanovna (in a strict and nervous voice): Well, start playing! (After the first chords) No not like this! Not properly! You don't understand again. Listen as you must! (loudly and desperately knocks on the table, something rumbles in it - the contents of the table respond with a menacing echo).
Elena Stepanovna(knocking with all his might): I tell you, listen! I help you! Why are you playing at a different pace?
Boy: I'm trying my best, Elena Stepanovna...
Elena Stepanovna: Okay, go home! Try again, rehearse one.
The third phenomenon.
The action takes place in the boy's room.
Boy. Yard guys.
Boy: (one, against the background of a dim room): Another new piece... (with tears) Yes, nothing works for me. And why is all this necessary? These stupid “solfeggios”, “intervals”, “scales”, “majors”, “minors” - everything. What for? I have two more years to study. What, for another two years she will yell at me like that? (He gets up, goes to the table, tears out a blank sheet of paper from a notebook and writes): Statement. “I want to leave and I ask you to delete me from the third grade of a music school.” (A little louder) So, here is the month, date, year, here is my signature. (Then a little quieter):"Well, everything!" I'll be free like everyone else!
Two boy friends look out the window.
First friend: Go to the street! Yes, in FIG you this button accordion? To carry such a coffin! Second friend: Let's play cards better. Eka unseen - button accordion! Well, this is an accordion, only old grandfathers used to play it. Well, stay at home, musician!
The boy gets up, takes the button accordion, tries to play again.
The fourth phenomenon.
Boy on the way to the music goes to school past birches and poplars.
Boy: But I didn’t notice either birches or poplars, there was no time for everything. (Suddenly says decisively): Now I’ll guess: I’ll raise my head, how many birches I see, I’ll get such an assessment for the lesson! ( raises head slowly): Blimey! Four birches at once ... which means that I will get a four for the lesson! (repeat loudly): How I want to have a "four"!
At a lesson in a music school.
Elena Stepanovna, boy.
Boy: Hello Elena Stepanovna!
Elena Stepanovna: Start with an etude. Remember, it's only sixteenth notes.
( Boy gently stretches the bellows, then begins to play bolder. A smile appears on your face)
Elena Stepanovna (nods his head approvingly) But you're great! I put you "four" and in the diary, and in the magazine on music.
The waltz "On the Hills of Manchuria" begins to sound softly. From unexpected joy, the boy takes a chair and spins around the room. The teacher looks at the boy enthusiastically.
Action two.
The first phenomenon.
Boy: I'm fine with the bayan now. Now I want to learn the guitar, like a folder. His mother loved his guitar. He played the best in our village. You know, I want to choose music for myself and further in life. Thanks to the birch trees, because they helped me. I feel like music is everywhere. The car hums - music. We are talking about music too. Yes, listen, I stomp my foot - and this is music!
Companion: So is the music?
Boy:(inspired and confident): Yes, you know, music!
The second phenomenon.
The action takes place in the club.
Elena Stepanovna, boy.
Elena Stepanovna(advises the boy before the concert): There will be someone close to the hall, mom or someone else, you don’t look at them, don’t wave to them, okay? Otherwise, you'll get lost. You look over at one point. Play for this point. Say: "Look, period, how I play." Talk to her. Let them even shine all sorts of flashlights in your eyes, shoot at you. If you fail, keep playing.
Boy: All right, Elena Stepanovna, I understand everything. I will definitely make it.
The first chords of the waltz "on the hills of Manchuria".
The third phenomenon.
Conversation on the bus.
Companion and boy.
Boy: I went out to perform for the first time. You know how scared I was! He sat down on a chair and immediately began to play. And my knees are trembling... I squeezed them very, very hard, as best I could, they are still shaking. I press the keys - and I hear: "Dy-dy-dy." Everyone hears. Tremble with music. The gaze moves around the room. And to the people... Our boys. They can make fun of me. I am alone, small. I play, I play. Hop! Wrong. I already want to cry and run away from the stage.
And here I remembered the words of the teacher, raised my head and looked over everyone. But only I stared at the wrong point. Imagine, I suddenly saw dad in the distance. He looked at me. I started playing for him... (The waltz "On the hills of Manchuria" begins to sound). And then everything around disappeared. Just me and him.
I feel like I stopped shaking. I play for real. I'm already thinking about how my fingers are positioned. I play louder and quieter. When forte, when piano - I follow. I performed the waltz "On the hills of Manchuria." Did you hear him?
Companion: Yes, a very good waltz.
Boy: Here, listen further. Quiet music comes first. I play for my dad, but I myself imagine: it’s as if he is no longer a senior sergeant, as in the photograph in the army album. He is a general. All gray. He sits and hears that I started to play. The music went. I play it quietly because he is the main character of the music.
From that moment on, the waltz sounds even stronger, drowning out the boy's voice, and at this time, an elderly man in military uniform appears on the brightly lit stage. He goes looking for a mate and chooses the boy's mother, who comes out from the other side of the stage. They dance happy, smile. The music is louder. Here they looked at each other
in the eyes. For a moment they stop, then they start spinning again, here is a crescendo - the music intensifies. Then the couple, dancing, gradually goes backstage. Waltz sounds are muted. The light is almost only in the background of the scene.
Boy: I spent half a year learning the piece, and now what I've been working on has been reduced to two minutes of performance. Not everyone can do that. And I learned ... I learned especially for dad ...
At this moment, the boy is so engrossed in the story of the game - he jumps up and says loudly: “Dad, I played for you. Did you like it, dad?!” The boy's father in military uniform reappears from behind the scenes, waves his hand as if saying goodbye, and disappears.
The boy, as if coming to his senses, again approaches the fellow traveler, sits down on the seat:
I finished playing and cried with happiness, then ran off the stage. You see - I could not see anyone at that moment. The hall applauded me for a long time. Then everyone said that it turned out great.
Companion:(squeezing his hand tightly, sympathizing): Yes bro, I understand...
Action three.
The first phenomenon.
Boy's room. He sits with a guitar that he borrowed from a friend.
Boy, mom.
Mother: I hear, son, are you picking up chords? Yes, something familiar ... It seems that dad played it?
Boy: Look, mom, this is dad's guitar. He played it for you, remember?
Mother (wiping away tears): I remember, son, how not to remember. Played the best and always
was the life of the party...
Boy(thoughtfully): Once upon a time my dad touched her. Mom, I remember when he didn't shave, the stubble grew, and he rubbed against my cheek, and his cheek turned red. And I was happy and pleasant, even happy. Now I'm touching the guitar, which remembers his touches... And I really wanted to perform your favorite waltz "On the Hills of Manchuria" for him, but with the guitar. Understand? To make him happy for me and for you, mommy. If only he were with us now! You know, that's why I want to fix it! Maybe it will work, huh, mom? Well, all of a sudden?
Mother:(hopefully): And really, son, maybe there is a master, go to the city!
The second phenomenon.
Companion, one.
Companion (walking slowly across the stage) He told me that in the city he asked to repair the guitar, but they did not take it. “No,” they said, “too old. The neck is cracked, so new strings won't help either. Miracles, boy, do not happen!
(After a pause) We were silent with him until the very stop, because the most important thing had already been said. Before leaving, he firmly, like a man, shook my hand and said goodbye: “Tomorrow we have a festive concert in the club. I also perform. Come."
He went out to the icy roadside and, clutching the cherished guitar to his chest, walked into the darkness.
And I… (sigh) didn't even recognize his name.
The third phenomenon.
The action takes place in the club building after the concert.
janitor(bringing a new acoustic guitar wrapped in polyethylene out of a side room): This is for you, dear! They were asked to deliver. And I don't know who.
Boy:(carefully holding the guitar, slowly walks to the door): Thanks!!
It was the day of Holy Christ's Sunday. (Unfolding the umbrella, slowly leaves the stage).
Waltz "On the Hills of Manchuria" sounds with a guitar ...
Dramatization of the story by M.M. Zoshchenko "Kocherga"
Stage for the school theater
Characters:
Stoker
Director
Typist
1 employee
2 employee
secretary
Morning. Employees of the institution run up the stairs: secretaries, couriers. There is a stoker, carrying a poker. Grumbles.
Stoker : So go, go on the floors. Five floors, six stoves, and one poker.
An employee runs, collides with a stoker. He scolds.
Stoker : Where are you running! Eyes popped out. She's hot!
The typist runs, pushes him away with her hand, but touches the poker and burns herself. Screaming.
Typist: Ah-ah-ah! Why are you walking around with a hot poker? Ugliness! You burned me! How am I going to work now?
A crowd is gathering. Friends give advice.
1 employee: Must be oiled! Sprinkle with soda.
2 employee: No, it's better to use raw potatoes.
Typist : What are you talking about! Where are the raw potatoes and butter. We are not in the kitchen.
1 employee: (stoker ) Outrageous! Why are you brandishing a hot poker! Here people work.
Stoker : And what am I doing here? I'm walking! Look like that - six stoves on five floors. You have to look after each. Where is she running? Peepers goggle, but sees nothing. Surely he does not see that a man with a poker is coming. It rushes, it’s even scary for yourself - it will hurt along with the poker. It's not even the hour - you'll burn yourself.
2 employee: Outrageous! You have to go to the director. That way you can hurt everyone. Something needs to be done. It's good that it's not in the face!
Went to the director.
1 employee: Ivan Ivanovich! We have such a mess going on here. Look. Our stoker walks around the floors with a hot poker, burned an employee. Now she needs to go to the hospital. Tomorrow it may happen again. Something needs to be done.
Director: (to the stoker) Why are you walking around with a poker, incapacitating my employees. We must not yawn on the sides, but look carefully.
Stoker: Yes, I'm looking. Where are they looking? They run so hard that it’s scary that they will knock you off your feet, you yourself will fall under this poker. Here judge. We have 5 floors, 6 stoves, and only one poker. You go back and forth, from one stove to another, there you stir up firewood, there you rake up firebrands. She's always hot. Now, if each stove would have its own separate poker, it would not be necessary to go back and forth with a hot one. And so I can not promise you their immunity. They themselves will touch - they rush like mad.
1 employee: And in general - some kind of wildness. All around steam, water heating, and we have vulgar stoves. Whole six. Some original picture modern development technology.
2 employee: Yes, indeed, somehow indecent: ovens, poker - the barbaric life of our ancestors.
Stoker : Che zadry tongue scratch. There is no steam room - although they would give an extra poker.
Director : Yes, indeed, why talk about what is not. Water heating OK. But he is not. Our house is an old building, we will put up with what we have. But the stoker's proposal is very reasonable: you need to have a separate poker for each stove. Everybody's Free. I'll give the order right away.
Stays with the driver.
Director : Can you work? Let's print the warehouse requirement right away. Let's not procrastinate.
“Having 6 stoves with one poker, it is unthinkable to protect employees from accidents. And therefore, as a matter of urgency, I ask you to issue 5 koche to the submitter of this request ...
Stops.
What the hell. I don’t remember how to spell 5 koche ... So ... 3 pokers - clearly. Four pokers, also clear. And five pokers… Five…? What is the genitive case. Five pokers.
You recently finished school - remember.
Typist: I don't know this word at all. We have steam heating in the house. I have never come across such an item. And in school I didn’t have to decline this word.
Director : TO somehow uncomfortable. It's embarrassing to even ask. Call the secretary.(Secretary enters)
Director : Please tell me how to use the word poker in the genitive plural. number 5 what?
secretary : What? Poker. What - pokers, etc. no, you need the plural. And the plural? Nominative - pokers. Genitive - poker ... Poker, poker - oh my God. Generally stupid. Something is spinning in my head, but I can't remember. It often happens. Urgently needed, but here it’s like a memory failure.
Director : Come on, call Tatyana Nikolaevna and Anna Ivanovna.
Colleagues enter.
Here's the thing, it's kind of stupid. We can't remember. Poker, 5 pieces. 5 coche…
1 employee: Poker…
2 employee: No, in my opinion it is not.
They think.
Strange, never used this word. I had to look it up in a dictionary.
Typist : I left my dictionaries at home when I was typing yesterday.
Director : Well, you need to always keep them in place.
secretary : There is a great way out. Let's write 2 requirements for the warehouse: for 2 pokers and for 3 pokers. We get 5.
Director : This is not entirely appropriate. There will be swindlers - they will say that I am raising office supplies. They will prick it.
1 employee : You need to call the Academy of Sciences and ask the experts about it.
2 employee : No, it's inconvenient. Some funny scientist will come across who will write a feuilleton for a newspaper.
Director : Yes, yes, you are right. Let's just embarrass ourselves. They will say that the director is illiterate, they are disturbing the Academy because of some nonsense.
secretary : There would be some special, scientific, rare word. And that poker. It's funny even. Let's call the stoker, find out from him. He's been around stoves all his life. Someone who knows how to pronounce this word. I will call him.
Leaves.
Director : Which of the greats said that the Russian language is a mass!
1 employee : I know this - Gogol Nikolai Vasilyevich.
Director : Indeed, the community. How much do you need to know!
2 employee : It always seemed to me that I speak the language well, but something like this will come across ... It seems simple, but a problem.
The stoker enters.
secretary : You know, we didn't quite understand your request. What did you want?
Stoker : Like what? I say: 5 floors, 6 stoves, one poker. You go back and forth, and they are like mad ...
secretary : This is clear. What to ask for in the warehouse so that you do not go back and forth.
Stoker : How what? Isho 5 pieces. One is, 6 will be. What is not clear?
secretary : What are 5 pieces?
Stoker : Not understood. You yourself agreed. One poker is not enough, give me 5 pieces.
secretary : Need 5...? Well…? 5 coche…? What? Well?
Stoker : 5 cobs.
Everyone sighs in exasperation.
Director : Thank you, you are free.
The stoker grumbles and leaves.
secretary : What are we suffering. You think the warehouse is smarter than us. Yes, they will not understand anything.
Director : No, this is a matter of principle. I cannot allow anyone to suspect me of illiteracy. Can't you and I do it with one word! A lot of people, and everyone considers themselves literate, educated. What a stupid situation!
Typist : Let me go out for a minute.
1 employee : Listen to what I sketched: “Until now, our institution, having 6 stoves, managed with one poker. For this reason, please: issue 5 more pieces so that there is one independent poker for each stove. Total - issue 5 pieces.
I propose to send this demand, and at home we will rummage in dictionaries and find out.
Director : Well, I agree. Let's take a look at this decision. And today we have no time to work because of this poker.
Typist : I called my mom. She is my typist with 30 years of experience. Mom said that you need to write: 5 pokers.
secretary : Exactly! Correctly. I knew. Some kind of eclipse found.
Director : Let's type faster.
The curtain closes.
The driver comes out.
Typist : Do you know how the story ended. Our paper came back with the resolution of the warehouse manager. It was written: to refuse for lack of stumps in the warehouse.
This is such a difficult word, accessible only to the Academy of Sciences and a typist with 30 years of experience. However, draw your own conclusions.
Elena Podkorytova
Fairy tale dramatization senior group"Lazy granddaughter"
Fairy tale "Lazy granddaughter"
in the senior group.
Prepared by the teacher: Podkorytova E.V.
Purpose: to develop the ability to act out simple ideas based on familiar literary works, to use well-known expressive means (intonation, facial expressions, gestures) to embody the image.
Task: to form the ability to feel and understand the emotional state of the hero. Promote the all-round development of children. To form the ability to move in a circle in a dance, perform jumps. To develop and maintain children's interest in theatrical activities.
Expected result: Children adequately perceive the artistic image in the theater, embodied in the role using artistic expressive means (facial expressions, intonation). They are able to perform dance movements (jumps, movement in a circle).
Materials, equipment: scenery for a fairy tale, animal masks (frog, hedgehog, hare, woodpecker).
Preliminary work: Reading a fairy tale, drawing up a model - a diagram, retelling a fairy tale, p. The game "Who moves how", learning the song "Five lazy frogs" and movements to it, e. The game "Who lives in a fairy tale", "Guess the fairy tale".
Vocabulary work: old, wailed, puffed, puffed up, back like a spring, trembling, whispered.
The course of the staging of the fairy tale "Lazy granddaughter".
Educator: Guys, do you like to work? (children's answers) But I know that not all children like to work, there are children who are lazy and do not want to do anything. Let's see a fairy tale about a girl who was lazy and didn't want to do anything.
There lived in one village one girl and her name was Dunyasha, and the girl's grandmother was an old - an old one. One day they went for mushrooms, picked up a full basket and went home. Dunyasha stopped and said;
Dunyasha: - I can’t walk, take me in your arms!
Grandmother: - Ai-yay-yay, Dunyasha! What a shame! You're already big. I have a heavy basket. Go yourself, do not be lazy, there is very little left. I won't take you in my arms.
Dunyasha: - I want to handle it! I want hands! Dunyasha whimpered.
But Grandmother turned and went down the path. Dunyasha sat down on the grass and wept, wailed:
Dunyasha: - The girl cannot go, who will help the girl? My grandmother left with her Dunya did not take.
A hedgehog crawled out from under a bush.
Hedgehog: - Sit down Dunyasha, I'll take you home. The girl was delighted and sat on the back of the hedgehog.
Dunyasha: - Oh, oh, oh! Dunyasha immediately jumped up. - I won't go with you, you prickly!
Hedgehog: - Well, as you know, - the hedgehog was offended, puffed and hurried on about his business.
Dunyasha is crying again, wailing:
Dunyasha - The girl cannot go, who will help the girl? My grandmother left, she didn’t take Dunya with her. The good hedgehog did not help me - he looks like a thorn.
A frog jumped out of the grass; - Sit down Dunyasha, I'll take you.
Dunyasha sat on the back of the frog. The frog ran quickly.
Dunyasha: - Oh, oh, now I'll fall! and immediately fell. And the frog ran on.
Dunyasha sat down on a stump, became sad;
Dunyasha: - The girl cannot go, who will help the girl? My grandmother left, she didn’t take Dunya with her. The good hedgehog did not help me - it looks like a thorn, the back of a frog jumps like a spring.
A bunny ran up to the lazy granddaughter.
Bunny: - Sit down Dunyasha, I'll take you!
She sat on the bunny, and the bunny jumped into the bushes and sits without breathing.
Bunny: - Hush, hush. There is someone's shadow: the bunny whispered in a trembling voice.
Dunyasha got off the bunny and again sits lamenting: - The girl cannot go, who will help the girl? My grandmother left, she didn’t take Dunya with her. The good hedgehog did not help me - it looks like a thorn, the back of a frog jumps like a spring. Bunny does not carry home, he is a little alive from fear. Your dear granddaughter will disappear in the forest Dunyasha.
Knock, knock, sounded over Dunyasha's head. She looked up and saw a woodpecker.
Dunyasha - Woodpecker, woodpecker, take me home! whimpered the lazy granddaughter.
Woodpecker: - Once I - I need to treat the tree, feed the children. And you try to walk on your own. They have already rested with you, probably - the woodpecker said and flew off to do his business.
Dunyasha waited, sat down, got up and walked slowly along the path. At first she walked quietly, and then her legs went faster and ran. She ran home and there her grandmother was already waiting for her, she set the table.
Grandmother: Well done, granddaughter! - I put my granddaughter at the table and invited all my friends. They drank tea and sang songs.
Song: Song of lazy frogs.
music and lyrics by Vyacheslav Tyulkanov
Five lazy frogs
Five lazy frogs
Frozen, they lie in the grass
We climbed under a bump in the shade,
They are too lazy to even croak.
But the owl told them
very wise words
"Enough, kids you lie
Let's Dance!"
We know how to dance
We want to dance
We are kva-kva-kva beautiful
We will compose a dance
We can do that too
We want that too
We are kva-kva-kva beautiful
We will compose a dance
Come on quickly in places
I give dance lessons
Wake up mosquito
We dance until morning.
Bring an accordion
Connected microphone
Hey, who wants to be a star!
Dance kwa kwa and sing
losing
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The process of searching for actor's and director's means of expression, most fully revealing the theme of the story, required special attention and imagination. The director had to find the emotional "beacons" to which the psychotechnics of the student-performer responded and which lay in line with the main problem of the story. With the help of a teacher, it was necessary to find from the author a topic that would warm the director and performers and, most importantly, would be interesting to the modern audience.
The pedagogical process of clarifying the "zones of contagion" of the student-director and the student-actor should not be of a violent nature. A strong-willed method in search of the orientation of the students' temperament can lead to mental dislocation, to a violation of naturalness. Help students apply to the depths human life and his soul, to organically reveal their temperament and civic consciousness in full force - this is the main methodological task of the teacher in the work on staging.
At the beginning of the second year of study, students and teachers examined many different works, but it was not easy to find a story that could touch, "burn" the students. Somehow, students brought to class the stories of V. M. Shukshin "Cherednichenko and the circus" and "Give me a heart." After reading and analyzing them, Andrei Alexandrovich suggested that all students of the course choose one of Shukshin's stories for staging and pointed to the writer's collection - "Characters".
However, this semester, the work was limited to only two stories by Shukshin - "Cherednichenko and the Circus" and "Give Your Heart". Andrei Alexandrovich spoke in detail about people who are of interest to the author, whom he is devoted to and whom he protects: Shukshin's heroes love their land, their deeds, fellow villagers infinitely, suffer for others, believing in their decency and cleanliness, hate "redneck". Goncharov called Shukshin's heroes potential Kulibins, Lobachevskys; most
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Vasily Makarovich is a Russian nugget, the finest poet of folk characters.
It was felt that the teacher, together with the students, was looking for a layer that was still unknown to him in working on an original author, trying various options for characteristics for the characters. For example, Cherednichenko from the story "Cherednichenko and the Circus" (directed by A. Sergeev and M. Karpushkin) is not a planner by profession, but a planner in life. He has everything calculated, everything is laid out on the shelves. He also puts people on his "shelves": here is the right one (with higher education), here is unnecessary (clown, artist, circus performer), but here - in reserve (teacher), sideways, "at any time mine." At another lesson, it was emphasized that Cherednichenko becomes a "benefactor", "savior", and it was about the hero of the story, and about the "grain" of the performer Che-red-ni-chen-ko (do everything in order, distribute everything according to ranks , genera, species).
The proposed circumstances of the story were as follows. A circus arrived in one of the southern resort towns. The planner was resting in this town. One evening he visited the circus. Then on Sunday I attended all three performances. He was excited by the girl who opened the program. She climbed the rope high up and there, to the music, she spun, spun, tumbled. The planner was 42 years old, he was single, he graduated from the agricultural institute in absentia. He worked in a small furniture factory. He had a good reputation, but he didn't have a wife. And so he fell in love. At night, the planner tossed and turned, could not fall asleep until morning, and finally decided to marry a circus performer. In the morning he goes to the circus to propose to her. Having met with a girl, he behaves confidently, like a "master". Goncharov determines the actions of the performer, based on the "grain" of the image of Cherednichenko, - the "planner": it seems that he checks information about the circus girl, predicts her mood, helps with advice, bribes, probes the situation, catches a lie, teaches intelligence, scares, even intimidates and finally proposes. The planner's end-to-end action: "save" the circus performer, "pull" her out of the circus (out of hell).
The teacher was interested in the conflict of the poetic principle in the artists and the attacking, philistine ignorance in the story
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planner. In the clash of these life positions, a reverent attitude towards the servants of art was born, bringing joy and festivity to people. Based on the requirements of the theme, the definition of "grain", conflict and cross-cutting action, the composition of the dramatization was also built: three events were identified - acquaintance, matchmaking, note. All the components of the dramaturgy of the staging and the actions of the performers were subordinated to these events.
The second work, about boundless faith in the beauty of the soul, was made on the basis of the story "Give the Heart" (directed by S. Yashin).
Veterinarian Kazulin sincerely believes that the operation on the heart, carried out in Cape Town, is the biggest victory in science, in honor of which all people should salute. So he saluted with a gun ... at three in the morning. The chairman and the policeman do not believe that because of this it is possible to "buzz" the village, there is some other reason. What do they care about Cape Town? There are enough things to do - people get up at five o'clock, and then there is a "cannonade" at three in the morning. But, having convinced themselves of Kazulin's sincerity (he did not want to kill anyone), they check for a long time whether their veterinarian has gone crazy.
People like Kazulin are often called blissful, "crazy". V. M. Shukshin calls them "freaks", realizing that it is they who create beauty, they are the salt of the earth.
Dramatizations based on Shukshin's stories in the winter standings were recognized as the best. The freshness of the theme, the unusualness of the proposed circumstances, the depth of psychological characteristics, the details of the stage existence of the performers, their enthusiasm for the search for new forms and the poetry of primordialness captivated me.
Working on these two stories in the first semester, Goncharov spoke of the need to start looking for other Shukshin stories to stage in the second semester. He truly loved the work of Vasily Makarovich, closely followed his artistic searches in cinema and literature, rejoiced at how the writer's talent was growing from story to story, his "freaks" were getting wiser. Andrey Alexandrovich spoke fascinatingly about the fact that the word "freak" comes from
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one-root Slavic word "miracle". With this word, the Russian people denoted the most significant and most mysterious in life, the most joyful, bright, amazing and most disgusting - a monster, a monster. Shukshin's "freaks" contained both mockery, and condescension, and ironic admiration, and neglect, and admiration. This is one side. On the other hand, in Shukshin's stories there are also "anti-freaks", a breed of people whose essence the author himself calls "piggy". "Anti-freaks" are unsurpassed masters of doing evil, albeit petty, albeit extremely senseless, hitting them first of all, but evil, evil, evil ... They do it with true passion, artistry and rapture. The mother-in-law from the story "My son-in-law stole a car of firewood", the "non-resistance" Makar Zherebtsov from the story of the same name, Cherednichenko from the story "Cherednichenko and the circus", the guy from the "Internal Contents", Timofey Khudyakov from "Ticket for the second session" - they are all virtuosic in building intrigues.
Shukshin's stories are ambiguous. Try to retell, for example, a story about a microscope or space, shmat fat and the nervous system - a flat joke will come out. Therefore, students were not supposed to retell the plot, but to decipher, analyze the plots subtly and sensitively recorded by Shukshin, convey their charm and originality in the language of the stage.
Fascinated by the work of this writer, the course began to prepare an evening of his staged stories. The students re-read almost all of V. Shukshin's stories, but for creative reflection, the teachers recommended only some of them: "Microscope", "Uncle Yermolai", "The owner of the bath and garden", "Moron", "Ticket for the second session", "Internal content "," I believe "," Cosmos, the nervous system and shmat fat "," Khmyr "," Thoughts.
It should be noted that many of Shukshin's stories are written in the form of dialogues and can be easily staged; these are small scenes that take into account almost all the laws that apply to plays: a sharp plot, juicy language, compositional harmony, clearly defined characters. But there are also those that are difficult to translate into the language of the stage, for example, "Internal Content", "Duma", "Uncle Yermolai", etc.
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transfers, the plot moves slowly. However, the topic raised in these short stories is enduring - it is about how rich a person is, what he wants to leave on earth after his death, what he will bestow on descendants. Here is Uncle Yermolai from the story of the same name - "he was an eternal hard worker, a kind, honest man." What meaning did he see in life? And there is no point, except for work, work, work ... And Matvey Rumyantsev from the story "Duma" had only one thing on his mind all his life: in childhood - haymaking, on a collective farm - work, in war - work ... All worries, joys and sorrows were associated with labor. Vasily Shukshin knew these people well, the strength and weakness, the complexity of their characters. A. A. Goncharov wrote about him: "I cherish his love for truly folk characters, his inherent sense of strong roots of the endless source of life, connecting today's generation of living with the past and future. He reveals this topic surprisingly in conflict, sometimes bitterly, sometimes tragically "one. These lines were written at the end of the 1970s, but Andrey Aleksandrovich spoke about this even in the first days of work on the stories, when the two-part composition of the future performance "Characters" had not yet been written and a stage equivalent was being searched for for each story. Let us stop at some stages of this work and trace the search for a stage equivalent to the epic form.
There is a rehearsal of the story "The owner of the bath and garden."
Teacher. The story, at first glance, seems simple. Nothing special. Do not many people have their own dachas, houses, gardens, cars? So what? But imagine, there are subjects who can disfigure a person for a carrot, the loss of some kind of rag for them is almost a tragedy.
Student (from the place). We even have them on our course.
Teacher. And how many of these are found in everyday life? In the suburbs, among summer residents, there are as many such "curcules" as you like.
Student S. Akimova (from the spot). A few days ago I bought flowers on Novy Arbat. How much, I ask. "Three roubles," the uncle replies. I'm counting down. The twenty-peck coin turned out to be a 1962 issue. So he didn't take it. Come on, go
"Goncharov A. A. Director's notebooks. S. 124.
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rit, for 1966 or newer. I explain that it doesn't matter. So pi took the flowers, returned my money. He trembles so much for his good that he is afraid to miss 20 kopecks. I got angry, I said: "MS cysts are to be sold, but they need to be distributed for free."
Teacher. So: we must take from the story the theme of real and imaginary wealth. In Shukshin, in fact, Gni and gym turn out to be people "wide open", without a penny in their pocket. They are rich in sincerity, naive holiness.
Then the teacher gives a description of the central character of the story "The owner of the bath and garden." This is - "kurkul", "zhmot". This should be indicated by his appearance: the camp is stocky, there is no neck, his head is planted directly on his shoulders, he is stooping, his arms are long. He indulges himself with a bathhouse, tea. On his possessions he walks, but does not walk. Not a single useful blade of grass would dare to grow beyond the hedge, only in his garden.
Neighbor is an open soul. Neglects domestic inconveniences. poetic nature. It is much more important for him to buy a button accordion for his son than to build a bathhouse.
The wife of the "kurkul" (the owner of the bathhouse and garden) is a loud-voiced fat woman. He likes to shout for order, although he does not get angry. Works in his household until "darkness in the eyes." She has everything laid out on the shelves, new things are closed in the closet, she wears them only on great holidays. She is the mistress of the family. Husband - under the heel.
After reading the story, the teacher immediately offers to make a study on the first event: "Bypassing the possessions." Student B. Zemtsov goes to the site. The two-hour work yielded almost nothing. Still would! Zemtsov - kind person, not greedy, he has an easy gait, he is "motor", and here it is necessary to show the qualities of a miser, sullenness, a heavy step.
After a few rehearsals, he is invited to put on old riding breeches (blue), a sleeveless T-shirt, and huge rubber galoshes. He put on everything old so that everyone could see - he lives badly, but in fact - "thirsty". The gait is shuffling, humming an old tango. Explores all corners of the estate. So it comes to the bath. Opens the door. The wife and daughter, of course, raise a cry. The owner is dissatisfied: they wash for a long time, excess water consumption. Begins to expel the "squanderer" from the bath.
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Student. What kind of owner am I? I'm kind of incorporeal, "half-hole". I have no core, stability, solidity.
Teacher. That's right, solidity. I would say bulldog grip and volume. Why are you offered riding breeches and galoshes? Your hero must "merge" into them. He was born in breeches and galoshes. This is a whale that is not wet, the commander is in his fiefdom. And do not forget to bring woolen socks - knitted, thick, with burrs. Galoshes are portages. This will give you the opportunity to walk slowly, otherwise you will lose them. Don't shave. Your hero is so "tightly" busy with business that he has no time to shave.
The teacher proposes to the performer of the role of a neighbor (student I. Kostolevsky) to work in a different way. The individual qualities of the student were more suitable for the image he performed, but he was too sculptural. And his hero - a peasant, walks barefoot: the earth caresses his feet. He is a "tramp" and "unmercenary". Leaping gait, trusting, believes in everything like a child. Lyricist. Laughs to tears when the son plays "Whether in the garden, in the garden": "Bayan mastered all the same, tomboy!".
Work on an etude with an improvised text naturally should have led the performers to the author's word. But mastering the author's style was difficult. Students, mostly urban residents, found it difficult to give Shukshin's capacious, figurative word. Only by searching for the necessary physical actions was the word of the writer gradually assimilated.
Before the rehearsal, the teacher called the student E. Kamyshanskaya, who played the role of the owner's wife, and whispered something to her. Nodding, she quickly ran behind the screen. The rehearsal has begun. Here the owner approaches the bathhouse, knocks on the door, women's voices are heard, screeching, but the door is not opened. Cursing, he undresses: he takes off his shirt, riding breeches, sits in his underwear. Waiting. Lights up. Finishing his cigarette, he knocks on the door. A wife appears on the threshold in an undershirt. The owner backed away in surprise, then grunted, laughed, unexpectedly hugged his partner (which was not in the role). “This is the assessment that the owner should have,” says the teacher. “He first saw his wife in the afternoon in this form, helpless. So he melted.”
The physical well-being of confusion, insecurity helped the student, who played the wife, to understand the "grain"
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created image. Of course, the husband and wife "bark", but, however, they have the main thing - they love each other. Their love is peculiar - with beatings and "squabbling".
So, the man stared with "zenkami" at his wife, he could not take his eyes off. There is an awkward pause. Then the owner wants to hug his wife, she pushes him a bucket: bring, they say, water. He throws the bucket back. There is a bucket transfer. The next door neighbor laughs. Husband and wife, instantly united, pounce on him, drive him out of the gate.
So little by little, sequentially, step by step, the student "approached" his master, the kurkul, but the text was still given with difficulty. Everything seemed to be done correctly, the actions arising from the events were carried out accurately, but there were still some internal qualities missing, and perhaps physical well-being.
Somehow, at a rehearsal, they turned on the melody of "Argentine tango", and the student made an exit of his master in the dance. It turned out very funny. Rhythm and plastic gave impetus to identify the right "seed" of the role. The exact improvisational well-being of the wife also appeared: she enthusiastically "nibbles" her missus. The costume helped the internal state of relaxation and pleasure - the head is tied with a towel, she is dressed in an undershirt.
Having found the "grain" and the theme of each role, we began to build its perspective. Much attention was paid to the compositional harmony of the staging, which was created due to the difference in the tempo-rhythms of each event. The first event had to go slowly, in anticipation of the pleasure of washing in the bath. With the advent of a neighbor, the rhythm speeds up: a “freaky” has come, climbs with “stupid” advice, and even wants to take a bath in the darmovshchina. The final part passes in a whirlwind, violently. Scandal. The neighbor is thrown out of the dressing room. His trousers, shirt, basin fly behind him.
Gradually, from rehearsal to rehearsal, the director and performers, creating the characters' characters, found the logic of their actions and relationships. This is the final version of the play.
Somewhere an accordion played. In old soldier's trousers, in a T-shirt, in a crumpled cap and huge rubber galoshes, a man appears. Examines his possessions. From his
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the melody of "Argentine tango" appears as a phenomenon. Dancing, the owner bypasses the estate, stops near the bathhouse. A wife and daughter are noisily steaming there. Anticipating pleasure, he takes off his clothes, smiles. The peasant can't wait to look - why are they "blurred" there. He finds a crack in the bath door, deftly settling down, begins to examine his wife. Giggles.
A neighbor who has approached the bathhouse finds a peasant peeping at naked women. Hello. Snapping at his neighbor, the man begins to complain about his wife, about life. As soon as they sat down on the basins brought by a neighbor, the wife throws a bucket from the bathhouse for her husband to bring cold water. "Does not give, snake, sit quietly!". Catching a bucket, a man sits on it and begins to think about the afterlife (pity himself to tears). Gradually growing, sounds "I believe" performed by F. I. Chaliapin. A man stretches blissfully on the ground, lifts his head to the sky, crossed his arms over his stomach. With all his being rushes to the sky. But it is at this moment that the voice of his wife returns him to the sinful earth. He swore, almost hit his wife on the nose, but she quickly disappears in the bath. The frustrated husband goes to the well. A neighbor, to calm him down, asks to tell the story further. Sits next to him. The man continues the interrupted story. The wife, in order to make sure that her husband has gone to fetch water, opens the door of the bathhouse. In the tone of the story, she shakes her head, imagining herself walking behind her husband's coffin. The man stands with the bucket pressed to his chest, like a pillow with awards. As soon as he started talking about his wife, she attacked him with a curse. The husband throws a bucket at her. She catches a bucket, swings at the men. They jump off to the side, pulling their heads into their shoulders, retreat to the barn. The wife, mimicking the peasants, begins to "fire" them, hides in the bathhouse with curses.
An argument ensues between the men about the meaning of life. A neighbor who comes accuses the owner of greed and cruelty. The wife comes out of the bath to help her husband. She had already dressed, took a change of underwear. Together with her husband, she begins to curse both the neighbor and his son. "Kurkul" triumphs: he managed to prove that the neighbor is wrong, that the neighbor's son is a rogue and a thief (steals carrots from his garden), and that he whipped the boy with a twig for the cause. The neighbor is offended to the core. He has not yet had to
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children of such bloodthirsty people, deaf to someone else's grief. Perhaps he would not have come to dig their grave. He even refuses to take a bath with them. With the words "kurkul!" neighbor leaves. The man's swear words fly after him, then he kicks his wife and daughter out of the dressing room, furiously takes off his T-shirt and underpants, which he hangs on the door. Words are heard behind the door: "Go, go, listen to music! Waltz. Why don't you have money! And-eh!"
At one of the classes, Goncharov spoke about modern drama, about the need for modern authors to address all aspects of everyday life.
Goncharov. I don't think I'm revealing much of a secret if I say that modern dramaturgy lags far behind modern prose. It was prose - "urban", "village" - that powerfully rushed forward. What wonderful names are here: V. Shukshin, Yu. Trifonov, V. Tendryakov, F. Abramov, V. Astafiev, V. Belov, V. Bykov, V. Rasputin. What a wide geography, what a powerful coverage of the most diverse participants in today's our life, what an amazing author's discord, a variety of intonations, manners, styles.
But not every story can serve as the basis for a dramatization. The scene does not tolerate wordy descriptions of something, long lyrical digressions belonging to the narrator. Here are obligatory: the reason for the conflict (event, fact), the conflict itself, around which the action is built, the specific actions of people in the proposed circumstances, the well-defined characters of the characters. And V. M. Shukshin, a recognized master of intrigue, has stories that are difficult to translate into the language of the stage. When staging, it is important to understand what the story is about, to feel its spirit, to determine the theme, to see the general color and try to build it not through dialogues, but through directorial and acting pauses. "Zones of silence" should be filled to the limit with the behavior of actors (a chain of actions). A chain of actions and deeds is built and fixed in the process of rehearsal work. In such a dramatization, as a rule, there are very few words. People's relationships are read through a look, a gesture, a change of scene.
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Student A. Sergeev took the story "Internal content" for work. There are a lot of author's digressions in it, in which the main idea of the writer is displayed, and there are almost no dialogues - the story is told in the first person. It is good that the student knew the laws of the construction of a dramatic work (now he is a professional playwright), he was able to rework the narrative material for staging. To some extent, he managed to build the dramatic backbone of the dramatization that formed the basis of the study. The etude was developed sharply, dynamically, with many comical moments. However, in the process of further rehearsals, it turned out that the story lacks an effective spring, it lacks " building material", in order to reveal the author's intonation with the stage language, to determine the theme and idea of the director. Therefore, during further work on the play "Characters", this story was excluded from the composition and replaced by a more dynamic, effective and poetic story "Dawn Rain".
In this story, the director was especially interested in the disputes between the rural activist Bedarev and his fellow villager Kirka, a lazy and drunkard, about the meaning of life. Yefim dispossessed the kulak in the 1930s, knocked the cross off the church. Now his conscience is tormenting him. "Isn't it scary to die?" Kirka asks. Kirka does not understand why Yefim lived "such a screw, every barrel has a plug? .." And only Yefim's death ends their eternal dispute. "Kirka slowly walked away from the hospital. He forgot to put on his hat - he was carrying it in his hands.
Kirka walked on and looked sadly at the ground. It was a pity for Yefim Bedarev. Now he did not even want to understand: why is it a pity. It was sad and pitiful. And that's it."
Andrey Aleksandrovich Shukshin made special emphasis on this text: "Kirka was hooked. He is shocked at the thought that he lived in the world on an" idle ". This evolution in Kirka's character worried the director. The man took the first step into a different, honest life. Although timid , at first glance imperceptible, but very important for Kirka.
It should be recalled that the stories of V. Shukshin require a maturity of perception. You need a universal and creative experience to comprehend the writer, but for the city children, the language and behavior of the people shown in the stories sometimes seemed strange, even wild, and they shared their feelings with the teacher.
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There can be no such frankness and originality in modern man. It is corrupted by civilization and limited by conventions of various kinds, the students said.
Let's say. But still these are unique people, - the teacher answered.
Good. Let's learn from them spiritual purity, charm, ingenuity, frankness, love and hate, the ability to remain silent, love the earth, nature, people.
Shukshin taught us the truth of life, honesty, vigilance. His characters helped us develop a sense for all kinds of untruths. On the material of his stories, teachers worked on the formation of the student's personality, on the education of his taste, moral principles. No wonder Shukshin's material was chosen in the second year as the basis for staging and searching for figurative solutions. In parallel, the process of educating civil and life position students.
After all, an uninterested, mentally sluggish person cannot work in art. If a person has thick skin and a sleeping soul, you need to get rid of him. Such people will bring nothing but harm. An inexpressive person, devoid of reflex excitability and figurative thinking, cannot become a director and actor. "The main feature of our profession is figurative thinking. An artist perceives the world differently than people who do not have a creative gift. Everything that he sees around turns into an image. If this ability to translate what he sees into an emotional-figurative plan is absent, it is not inherent in a person " from nature, "it's bad. You can't teach to think in images - you can only develop what is already in a person" 1.
But if a student, under the mask of calmness, we suddenly see burning eyes, a vulnerable soul, we must try to captivate him, develop initiative, knock down importance and arrogance from him, help him become himself. In the ways and forms of "calls" that provoke him, one should not be shy, you can press all the "buttons" to see the real, without deposits, the essence of a person.
Revealing the true essence of a young director and actor can sometimes be very painful for both the student and the teacher. I will give an example from the life of the course. One of the students
1 Goncharov A. A. Director's notebooks. S. 207.
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(V. Alexandrov) worked interestingly during individual lessons: he made non-banal proposals, set out his visions clearly, consistently, in an original way. But as soon as he went on stage or started working with performers, i.e. as soon as he felt himself the center of the situation, all good things disappeared. The teacher decided to play on the student's vanity and for some time, as if not noticing him. Among themselves, the teachers agreed: if he needs independent work, let him try, but not help him, to observe as if from the outside.
The student chose V. Shukshin's story "I Believe" for work. Attracted by the name. It has everything - I believe in man, I believe in life, I believe in goodness, etc. But the story turned out to be very difficult for stage realization. The proposed circumstances are unusual - the priest believes in everything earthly: in aviation, in scientific progress, in communism. The characters are extraordinary: one with bare nerves, the other is calm and reasonable.
All this beckoned and frightened the student. The first rehearsals showed that the actors understood their actions, but did not yet know how to carry them out. The difficulties that arose led to the fact that the story ceased to "warm" the performers, they began to formally relate to rehearsals, they became uninteresting in work, and this could no longer be hidden from the director. He broke, made a scandal. Everyone dispersed, offended at each other. Rehearsals never resumed. At the delivery of work to the head of the course, the staging of "I Believe" was not shown.
However, after some time, the student began to rehearse with new passion. First of all, he himself, as a performer of the role of a priest, began to look for all kinds of information, material for the inner sensations of his role: he went to church, attended services, talked with clergymen of various spiritual knowledge. The student had expressive psychological features, new nuances of behavior. Changed gait, manner of speaking, eating, drinking. Before us appeared a man who had lost faith in his destiny, a pop artisan. It is not his lungs that hurt, but his soul aches. In the village where the priest comes to treat his lungs, he finds a kindred spirit suffering from "mental illness". This is Maxim Yarikov. The student-director, the performer of the role of the priest, began to "ignite" fellow students with his confidence, knowledge
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psychology of people, which are discussed in the story of V. Shukshin. And the guys became interested in working with him.
It's time to help them. Several rehearsals were held with the participation of teachers. The action quickened, the performers grew noticeably. And yet the work did not fully satisfy either students or teachers. I had to join the head of the course - A. A. Goncharov. The first scene was compressed to the limit - the scene of a quarrel between Maxim Yarikov (V. Bogolepov) and his wife (S. Akimova), the subject of the conflict was clarified: people live without understanding each other for ten years. Live automatically. "Gnawing" - and that is indifferent. There is no love between them. Maxim wants to love and be loved, which means to be understood. Not finding a response to his anguish in the soul of his wife, he goes to talk to the priest.
Having looked at the scene in the Lapshins' house, Andrey Alexandrovich noted that it was developed in detail and quite interestingly, but it leads away from the main idea - the theme of failed destinies. A few phrases were retained to enter into the proposed circumstances: the arrival of the priest to his village relative, allegedly in order to "treat the lungs." Ilyukha, a relative of the priest (S. Yashin), having already "plucked up", boasts of what a successful hunter he is. The ass is bored with him. After knocking, Maxim enters. The attention of the teacher was directed to the dialogue of the priest with Maxim Yarikov: they confess to each other, strangely, reaching the point of a fight, but they confess. In the exposition of the staging, in order to emphasize the rich intuition, to show the restless nature of Maxim, Goncharov suggested taking a director's pause.
Early Sunday morning. Still sleeping. Maksim Yarikov is sitting on the floor with a guitar in his hands, with notes in front of him. This is a guitar tutorial. He is concentrating on learning the romance "I met you." Quiet at first, then louder and louder... An awakened wife comes out of the bedroom in a nightgown, turns on the radio. The text sounds: "Attention, attention! The local radio station is speaking. The program "Hello, we are looking for talents" is on the air. Listen to Lyadov's "Lullaby" performed by the children's choir of our collective farm; sixth grade student Vitya Mshyufeev is the soloist. Then everything goes according to the text of the story.
Maksim. Vanka Malofeev's son... A jerk... and already a talent. Eh!.. Longing!..
Luda. Oh, Lord! .. Why is it longing?
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M a k s and m. You won’t understand, after all! ..
Luda. Explain, I'll understand.
Maksim. Here you have everything - arms, legs ... other organs. Your leg hurts - you feel it, you want to eat - you arrange dinner ... So? ..
Maksim (poking himself in the chest). But man also has a soul! Here she is, it hurts! I'm not inventing, I just feel - it hurts!
Luda (ambiguously). Does it hurt anywhere else?
Maksim (yelping). Listen! If you yourself were born a blockhead, then try to understand that there are people with a soul.
Luda. Then why are you so evil if you have a soul?
M a k s and m. What do you think, the soul is a gingerbread, or what? So she just doesn’t understand why I’m dragging her, that’s why it hurts. That's why I'm angry, I'm nervous.
L u d a. Well, be nervous, to hell with you. People will wait until Sunday, and they have a cultural rest ... They go to the cinema. And this one is nervous, you see ... Yap! ..
Maksim. Stupid! Get out of your sight!..
Luda. Come on - mother. Pour - it, you see, will pass, melancholy. And barking is a master ...
Maksim. Ugh! Talking to you is like banging your head against a wall. (He tears his fur coat off the hanger and leaves, slamming the door.)
Furka moves to the center of the stage. Luda (after). Go, go!.. Dispel sadness-longing...
With the movement of the furka, the atmosphere of Ilya's house is formed. There is a table and three stools in the center of the room. The priest and Ilya-ha are sitting at the table, drinking alcohol.
And l yu ha. Do you want me to bring twelve badgers at once? Pop. I need three good, fat...
And l yu ha (boastfully). I I'll bring twelve, and you choose...
Maxim moved the furka from the center towards the left side wings (this is how the door opened) and entered.
Pop (Maxim). What are you?
Maksim. My Soul Hurts. Believers have a soul that hurts or
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Pop. Do you want alcohol?
M a k s i m. Of course, I can drink, but I did not come for this. I'm interested to know: does your soul ever hurt or not?
Pop pours alcohol into glasses, moves one glass and a decanter of water towards Maxim.
Pop. So... (Drinks, dabs his lips with a tablecloth.) Let's start from a distance. Listen carefully, don't interrupt. As soon as the human race appeared, so evil appeared. As evil appeared, so did the desire to fight it, that is, evil. Good appeared. In other words, if there is evil, there is good; if there is no evil, there is no good. Do you understand me?
Maksim. Oh well.
P o p. Do not urge, for you have not harnessed it yet. What is Christ? This is goodness incarnate. For two thousand years, in the name of Christ, evil has been destroyed on earth, but the end of this war is not foreseen.
Maxim smokes. Don't smoke, please, or go to the vent and tar.
Maksim. What's with the lungs?
Pop. They hurt.
Maksim. Does the badger help?
Maksim. What are you?
P o p. I asked you not to interrupt me.
M a k s i m. I asked about the lungs ...
Pop. You asked: why does the soul hurt? I intelligibly draw you a picture of the universe so that your soul finds balance. Listen carefully and comprehend. (Pours alcohol into glasses.) So the idea of Christ arose from the desire to conquer evil. Why else? Imagine: good won. Christ has won. But then why is it needed? The need for it disappears. This means that this is not something eternal, but a temporary means, like the dictatorship of the proletariat, for example. I want to believe in eternal great power, in eternal order, which will be...
M a k s i m. In communism, or what?
Pop. What is communism?
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MAKSIM: Do you believe in communism? Pop. I'm not supposed to. You interrupt again. Maksim. That's it, I won't do it again. Only you are ... speak a little more clearly. And take your time.
P o p. I say clearly: I want to believe in eternal goodness, in the eternal higher power that started all this on earth. Otherwise, what is it all for? BUT? Where is such power?
The teacher offered to highlight the words of the priest "I want to believe in eternal goodness", each word - "I want (pause) to believe (pause) in eternal goodness." AT them - the essence reflections of the butt and the "zone" of pain of the soul,
discord with oneself.
M a k s i m. I don't know.
P o p. I don't know either.
Maksim. Here are those times!
Pop. Here are those two. I don't know that kind of power. This is exactly what I feel, and you, with your sick soul, have come to the right place: my soul hurts too. Only you came for a ready-made answer, and I myself am trying to get to the bottom, but this is the ocean. (Pointing to a glass of alcohol.) And we can't scoop it out with glasses. And then we will swallow this muck in the hope of hitting the bottom. (Drinks in one gulp.)
Maksim. Forgive me... May I remark
Pop. Go ahead.
M a k s m. You are some interesting pop. Are such
do you have priests?
Pop. I am a man, and nothing human is alien to me, as one famous atheist said, and said
very true.
Maksim. So, if I understand you correctly, god
