Essay on the topic: “How interesting are Dostoevsky’s thoughts and feelings to the modern reader?” based on the novel “White Nights. The theme of moral obligations in the drama F

8th grade

Elena KUDINOVA

Elena Aleksandrovna KUDINOVA - teacher of Russian language and literature, Komsomolsk-on-Amur, Khabarovsk Territory.

Lesson-reflection on F. Schiller’s drama “The Robbers”

I devote two lessons to work on the play, the third is a general lesson-reflection. In the first lessons, there is detailed work on the text of the play, reading by roles.

In preparation for the final lesson, the children were divided into creative groups with assignments: the “Actors” group prepared the third scene of the second act “Bohemian Forests” for staging; the group “Design Artists” prepared a poster for the play, portraits of the main characters - Franz Moor and Karl Moor; The Researchers group worked on the novel by A.S. Pushkin “Dubrovsky”; the “Art Critics” group worked on the history of the creation of the 9th symphony by L.V. Beethoven.

Decor: theater screen, portrait of a writer, poster for a drama, illustrations for a work.

Musical accompaniment: L.V. Beethoven. 9th Symphony, Ode “To Joy”.

Epigraph:“I can truly cause amazement” (Karl Moor).

Teacher's opening speech

In previous lessons, we introduced you to the famous classical drama of the German poet and playwright Friedrich Schiller (1759–1805) “The Robbers,” a writer whom A.S. Pushkin ranked with the greatest figures of various eras - Homer, Dante, Shakespeare, Racine. Today the last page of the play has been turned, so there is an impromptu curtain in the classroom, since the conversation will not just be about a literary work, but about drama, where the art of speech and theater is fused together. “Let's talk about the stormy days of the Caucasus, about Schiller, about glory, about love,” we will say after A.S. Pushkin.

Today's lesson is a reflection lesson on what you read. We will try to answer the questions: How did we, 8th grade students, understand the pages of this great work? Do we need Schiller's plays in modern times or have they become deep history? What is a classic, a classic work? What feelings did it make you feel? main character plays?

Conversation with the class

The action of the play "The Robbers" takes place in Germany in the 18th century. Its plot is based on the enmity of two brothers. What can you say about the main characters of the play?

Student answers

The main characters are brothers Karl and Franz Moor. One of them is the younger brother Franz - a heartless, hypocritical, low man. He does everything to discredit his older brother in the eyes of his father, Count von Moor. The treacherous, despotic, ugly-looking Franz pursues only one goal - power and money.

Another - noble, fiery, heroic, daring Karl Moor, by the will of fate, turned out to be the leader of a gang of robbers.

Which artistic device underlies the construction of the brothers' characters? Justify this.

When characterizing characters, Schiller uses the technique antitheses. The appearance of the brothers is contrasting, their inner world, their actions.

One hypocritically pretends to be a meek and loving son, although in reality he is ready for meanness in order to discredit Karl. The other is generous, capable of sublime feelings. Antonyms are used to describe the brothers: vile - generous, unscrupulous - honest, immoral - noble.

Look at the portraits of these heroes made by the group "Artists". How do you think they managed to convey the main character traits of the characters? Support your answers with quotes from the text. (Extended student answers.)

“Who now dares to come and hold me accountable or say to my face: “You’re a scoundrel!” Now away with the painful mask of meekness and virtue! Look at the real Franz and be horrified!.. Stroking and caressing is not in my customs. The pallor of poverty and slavish fear is the color of my livery. I will dress you in this livery!” (Characterization of Franz; act 2, scene 2.)

“Amalia. Faded colors cannot replicate the high spirit that shone in his fiery eyes...

Old Man Moore. This friendly, affectionate gaze.” (Characterization of Karl; act 2, scene 2.)

Teacher. As a result of Franz's intrigue, Karl Moor becomes a criminal, his desire for freedom turns into hatred of all humanity as a whole. Wanting to restore justice and take revenge on his brother, Karl becomes the leader of a gang of robbers. However, the life of robbers is far from the ideal of a “moral world order.” One of the key scenes of the play is the scene in the Bohemian forests. Let us turn to a fragment of the 2nd scene of the 3rd act.

Group "Actors" presents a fragment of this scene from the words of the priest: “So this is the dragon’s lair! With your permission, my sir, I am a minister of the church, and there are one thousand seven hundred people standing over there, protecting every hair on my head...” until Moor’s words: “Now we are free, friends...”

Conversation with the class

Why is a priest brought into the camp of robbers?

Answer. The playwright takes his hero through a test of conscience.

What better helps us understand the character of the main character?

Answer. Schiller in “The Robbers” managed to show the most intimate movements of the soul through the hero’s monologues and remarks. Karl Moor's monologues help us understand the internally contradictory path from hatred and revenge to awareness of the horror of death and repentance the hero goes through. He takes upon himself the right to execute and pardon, but the atrocities and outrages of the robbers do not give him the opportunity to become the same. The hero's monologue shows how deeply he experiences a discord with his conscience.

“Moor. How do you know that I don’t have terrible dreams at night, that I won’t turn pale on my deathbed? How many things have you had to do for which you were responsible? Know, ambitious young man: laurels are not green for murderers and arsonists! It is not glory that meets robber victories, but curses, dangers, death, shame!”

Teacher."The Robbers" is a rebellious drama, and its hero is a noble robber. What a rich topic! Schiller was not the first to discover it, and in Russian literature it found its continuation in the novel by A.S. Pushkin "Dubrovsky". I suggested comparing the hero of Schiller’s play with the famous hero Vladimir Dubrovsky to a group of literary critics.

What can you say about the life goals of these heroes? What qualities of the characters resonate with you?

Response from the Research Group. The theme of rebellion and noble robber presented in the novel by A.S. Pushkin's "Dubrovsky", written in 1832–1833. Vladimir Dubrovsky, a Russian nobleman, fueled by a sense of revenge for the insult and death of his father, is forced to burn the family estate and go into the forest as the leader of the robbers. The scene in the Bohemian forests resembles a scene from Chapter XIX: “In the middle of a dense forest, on a narrow lawn, there stood a small earthen fortification, consisting of a rampart and a ditch, behind which there were several huts and dugouts... The robbers each took a specific place. At this time, three watchmen ran to the gate. Dubrovsky went to meet them. "What's happened?" - he asked them. “Soldiers are in the forest,” they answered, “they are surrounding us.”

Dubrovsky and Karl Moor are united by similar destinies. Karl does not kill for robbery, but distributes his rightful share of the spoils to orphans. The characteristic that applies to both of them is - noble. The actions of Vladimir Dubrovsky, his desire for revenge and refusal of it coincide with the path of Schiller’s hero, only he, unlike Vladimir, surrenders to justice, and does not hide abroad. Considering these images of world literature, we see similarities in the depiction of the rebel hero in Pushkin and Schiller. Nobility, honesty, and generosity unite these heroes. Their inner world and character are incompatible with the environment (a gang of robbers) into which they both find themselves: “I am not a thief, tell them that my craft is retribution, my trade is revenge” (Karl Moor).

Teacher. For two hundred years now, the ending of the play has been interpreted in different ways. The main question of the finale invariably arises before us:

Why did its main character condemn himself? Why is he surrendering to justice?

Based on the analysis of the last act, the guys show the main character’s awareness of the disastrousness of his path and the desire for retribution for himself for the death of Amalia, father and brother. A person is responsible for his actions both to himself and to society: “Oh, I am a fool who dreamed of correcting the world with atrocities and upholding laws with lawlessness! I called it vengeance and right!.. What I ruined is ruined. Never restore the defeated! But I can still pacify the desecrated laws, heal the wounded world...” With bitterness and shame, Karl Moor admitted that he had taken the wrong path. With the sword he tried to restore justice in the world, but his good intentions were accompanied by dishonorable atrocities.

Why did we make the words of Karl Moor “Yes, I really can cause amazement” as an epigraph to the lesson?

Did the main character surprise you? How do you feel about his action? (Students' answers.)

Teacher. F. Schiller remains popular in Russia in the 21st century, just as he was popular in the 19th century. His plays do not leave the stages of Russian theaters: the Moscow Theater named after A.S. Pushkin, Maly, BDT and others. Viewers and readers of our time continue to search for the answer to the question: is it possible to remain human without repentance? The actions of the main character of the play, Karl Moor, continue to cause controversy and judgment to this day, some of which were presented in our lesson. The great poet’s thoughts about the extent of a person’s responsibility for his actions were close to the great Russian writers of the 19th century (for example, A.S. Pushkin and F.M. Dostoevsky).

The work of the great German poet did not go unnoticed by musicians.

Group "Art Critics". In 1824, already seriously ill, Beethoven wrote his last - the 9th symphony. It was a song of freedom, a fiery appeal addressed to descendants. The final part of the symphony sounded especially solemn. The composer set the music to the words of Schiller's ode "To Joy". In unison great composer And great poet called on everyone: “Hug, millions!” (Expressive reading of an ode to students.)

Joy, unearthly flame,
The heavenly spirit that has flown to us
Intoxicated by you
We entered your bright temple.
You bring us closer without effort
All separated by enmity,
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Join in the joy of one!

(Beethoven’s 9th Symphony, Ode “To Joy,” plays.)

Compare Schiller's ode-song with his "The Robbers". Could the characters in the drama accept it? (Students' answers.)

Final words from the teacher. Years pass, directors' interpretations and actors' costumes change, certain accents shift, but the fiery pathos of the tragedy remains unchanged. Schiller and his hero continue to passionately appeal to human conscience, and readers and viewers continue to search for truth to this day.

Homework. Write a short essay-reflection on the topic “How is F. Schiller’s drama “The Robbers” close to the modern reader?”

Literature

1. Story German literature: In 3 volumes. M.: Raduga, 1985. T. 1.
2. Libenzon Z.E. Friedrich Schiller. M.: Education, 1990.
3. Materials from I. Arkin’s lessons: Literature at school, 1998.

“The Robbers” was completed in 1781. Schiller had just completed a course at the Military Academy in Stuttgart, and wrote the drama while still studying there. The young writer had to publish the drama at his own expense, because not a single publisher in Stuttgart wanted to publish it.

But the director of the Mainham Theater, Baron von Dahlberg, undertook to stage it. The premiere took place in Mainheim in 1882. Schiller immediately became famous.

Genre and direction

Young Schiller is an ideological follower of Sturm und Drang, an association close to sentimentalism. The participants of Sturm and Drang carried an educational ideology on German soil. The works of Rousseau are very important for Schiller, especially his literary creativity. "The Thieves" reflects the idea of ​​"natural man", the rejection of modern civilization and doubts about progress. Schiller shared Rousseau's religious concept (one of the qualities negative hero Franz Moor - godlessness). Schiller puts Rousseau's ideas into the mouths of his heroes.

The genre of the work “Robbers” is drama. In the finale, all of Karl’s loved ones die, and he himself goes to surrender to the authorities. The contradictions in his life are insoluble. He is broken morally and expects physical retribution. Some researchers specify the genre, calling the work a robber drama.

Topics and problems

The theme of the drama is enmity and hatred between loved ones, which can kill; a person’s responsibility for his choices and his actions, for his moral obligations.

The main idea is pronounced by the priest: there is no greater sin than parricide and fratricide. Karl echoes him in the finale: “Oh, I am a fool who dreamed of correcting the world with atrocities and upholding laws with iniquities!”

In the preface, Schiller admits that his goal as a playwright is “to spy on the innermost movements of the soul.” The problems raised in the drama are human passions: revenge and betrayal, slander of the eldest son, the grief of a deceived father, Amalia's choice, the loyalty of the robbers and Karl to his word.

Social problems are associated with the omnipotence of feudal lords (the story of Kosinsky, whose beloved became the mistress of the prince, and he took away Kosinsky's lands and gave them to the minister). One of the epigraphs of the drama is “On tyrants.”

Women in the drama make a choice between honor and love. Amalia (Kosinski's fiancée) chooses love (while losing her lover). And Karl saves his Amalia from such a choice by returning home on time.

Plot and composition

The plot was borrowed by Schiller from Schubart’s story “On the History of the Human Heart.” The plot was influenced by stories of noble bandits fighting against feudal lords. Robbery was a common social phenomenon of Schiller's time.

The younger son Franz slandered the elder Karl in the eyes of his father, and then declared him dead. He wanted to inherit his father's wealth and marry his brother's fiancee. He declared his sick father dead and locked him in the family crypt.

Karl, a noble robber, but also a murderer, feeling worried about his bride, decides to secretly sneak into the family castle. He finds his father barely alive, having spent 3 months in the crypt, and Amalia still loving him. Karl wants to take revenge on his brother for his father’s suffering, but he strangles himself with a cord. The father dies after learning that Karl is a robber, and Amalia asks to stab her, so as not to part with him again. Karl fulfills Amalia's request and is brought into the hands of justice, simultaneously doing a good deed for the father of 11 children.

Heroes and images

Old Man Moore wants only one thing: for his children to love each other. He is too soft, which Franz takes advantage of and pulls out of his mouth a curse directed at Karl. It was the father's refusal to accept his son in his castle that prompted Charles to become a robber. The father either curses his son or calls him a pearl in the crown of the Almighty and an angel. The old man is not ready to accept his son Karl as a robber and murderer, and dies from this news.

Franz Moor, the youngest son, is treacherous and deceitful. His goal is to take possession of his father's estate. In his own words, he was mired in all mortal sins. Franz suspects that all people are like him. Franz considers a person to be dirt, and he himself is completely devoid of conscience.

The priest calls Franz a tyrant. Franz is an atheist, but deep down he is afraid of meeting God. He is tormented by the sin of parricide, which is reflected in the dream of the Last Judgment. His death is correlated with his sins: he hanged himself, like Judas.

The older brother Karl Moor is a noble robber. He himself does not consider himself either a criminal or a thief, calling retribution his craft, and revenge his trade.

Karl is devout, but treats churchmen with contempt, calling them Pharisees, interpreters of the truth, monkeys of the deity.

Karl, according to the priest, is consumed by pride. Indeed, Karl treats the robbers with contempt, calling them godless scoundrels and instruments of his great plans.

Karl is a natural person who acts according to common sense. Having learned about his brother’s treachery, Karl is ready to flee so as not to kill him in anger. He is generous and generous, giving Daniel a wallet. At the end of the tragedy, Karl decides not only to surrender to the authorities, but also to help the poor man by giving him money for his capture.

Moreover, Karl is a robber and murderer. He would like to forget the screams of his victims, trying to find justification for his actions in his pedigree and his upbringing.

Karl has a keen sense of justice. He himself rebels against human laws, considering them unjust, but is outraged that Franz violates God's laws when he kills and tortures his father: “The laws of the universe have been turned into dice! The connection of nature fell apart... The son killed his father.”

From Karl's point of view, revenge justifies his robbery and murder of his brother. And yet he does not consider himself entitled to be happy and love if he has killed so many.

Daniel, a seventy-year-old servant, is exceptionally honest. He does not console Franz, who told him a terrible dream about the Last Judgment, but only promises to pray for him. Franz calls this sincerity the wisdom and cowardice of the mob. Daniel refuses to stab Franz when the hour of retribution approaches, not wanting to commit a sin.

Images of robbers

They are loyal to their chieftain and do not agree to hand him over to the authorities even for a signed pardon. Karl calls the robbers punishing angels. His obligations to them force Karl to kill Amalia.

Amalia

The girl is faithful to her lover and idealizes him. Amalia is ready to go to the monastery, having learned about the imaginary death of Karl and his father, but does not agree to become Franz’s wife, she wants to stab herself when her younger brother harasses her with force.

Amalia cannot imagine her life without her lover. When a girl finds out that her fiancé is a robber, she calls him both a demon and an angel. She herself becomes a victim of her lover's debt.

Conflict

The conflict in drama is external and internal. External social conflict: rebellion against feudal tyranny. He encourages Karl to become a robber, and Franz to plot intrigues against his father and brother. At the end of the novel, the conflict is resolved by Karl admitting the error of his ways.

Internal conflict Karla is a contradiction between the right to protest and criminal ways of realizing it, based on violence. This conflict is insoluble.

Internal conflict is inherent in every hero. Amalia resolves the conflict between her love for Karl and her sympathy for Karl in disguise. Franz's internal conflict is the question of the existence of God. The father cannot decide whether to forgive or curse each of his sons.

Artistic originality

For the young Schiller, the main thing in drama is to convey his ideas to the reader and viewer. The plot is not based on facts of life, but comes from ideas. The character of Schiller's hero is conventional. He builds it rationally, based on his meager knowledge about society and the world, and subordinates it to an idea.

Schiller created a new type of drama. It has a political component, pathos, emotionality and lyricism.

Songs are of great importance in drama. Karl and Amalia sing, restoring their strength by playing the lute and pouring out their melancholy. Songs reveal true feelings heroes, for example, Charles sings about Caesar and the traitor Brutus, having learned about his brother’s betrayal.

Composition

Schiller's work took place in Germany, and his work flourished in the 1790s. Died in Weimar. Schiller was a man who, with his work, marked the threshold of romanticism. His main work is as a playwright. “The Robbers” (at the age of 18), “Cunning and Love”, dramas of a historical nature, do not very often refer to German history, but to European and world history. “The Maid of Orleans” (Joan of Arc), “Mary Stuart” (history of England), “Don Carlos” (Spain), “William Tell” (the national symbol of Switzerland - a free shooter).

Mature drama – central theme freedom, the idea of ​​national liberation (Joan of Arc), the clash of two characters of Mary Stuart - the character of the calculating Elizabeth and the spontaneous character of Mary Stuart. The reading drama “Wallenstein” is connected with German history. The drama "Dmitry the Pretender" is connected with Russian history (only sketches of this work). Schiller's fame was enormous until the 30s. 19th century. He is convinced and sought to convince the reader that the line between good and evil is very clearly drawn in the world. Stylistics: large monologues of the characters, enthusiastic, created for recitation.

"Mary Stuart" - Schiller knew how to create female characters and was not afraid to put them in the center. This play has 2 main female roles - two queens. Mary Stuart is a French princess, her father is a Scottish king, her mentor is a poet, she is educated, pretty, charming, attractive, a devout Catholic, but she was married twice. In Scotland there is strife - separation from England, the struggle of Catholics with the Anglican Church. She is drawn into conspiracies that contribute to the death of one of her husbands. At this time, Elizabeth Tudor (the Virgin Queen) reigned on the throne of England.

A woman politician, endowed with a state mind, businesslike, calculating, prone to intrigue. She had no rights to the throne. Her father Henry 8 sent her mother to the chopping block, after which Elizabeth was considered illegitimate. Henry's field had no 8 sons left and Bloody Mary ascended the throne. She sends Elizabeth to prison, but after Mary's death, Elizabeth became queen. She understood that if she got married, then everything would go to her husband and she would lose her independence, so she became a virgin queen. For Schiller, his drama is a clash of two approaches to life: a person’s natural desire for freedom and self-expression (Mary is unselfish, unambitious, a woman created for love, self-critical, open, her servants stay with her until the end because they love her). For Mary, the most striking scene is the meeting with Elizabeth. Elizabeth is smart, she views Mary as a threat to the well-being of the country. She remains a woman and understands that she does not have what Maria has. She envies her like a woman. A secret female rivalry lives within her.

The meeting of the two queens introduces the introduction: Mary is allowed to descend into the garden, having spent years in captivity, she is as happy as a child. The queen's only dream is for Elizabeth to let her out; she needs freedom. And Elizabeth talks down to her, she longs for Mary to obey her in everything, to recognize all her priorities. Otherwise, Elizabeth is ready for anything. When Elizabeth goes beyond the boundaries of conversational ethics, Mary loses her temper. Elizabeth reproaches Mary for being a sinner, Mary becomes furious and exposes the queen's hypocrisy. A splash of truth, freedom is more important to her than the future. Already left alone, realizing that there will be no liberation, she is proud that she humiliated Elizabeth so much. Elizabeth decides that she will only be safe after Mary's death. She begins to prepare her lords to make a decision on Mary's execution. The scene of Mary Stuart's farewell to those who accompany her. The Queen is calm until the last moment and accepts death with great dignity.

The plot is based on a family tragedy. In the family castle of the barons von Moor live the father, the youngest son, Franz, and the count’s pupil, the eldest son’s fiancée, Amalia von Edelreich. The beginning is a letter supposedly received by Franz, which tells about the dissolute life of Karl von Moor, the eldest son of the count, taking a course in science at the university in Leipzig. Saddened by the bad news, the old man von Moor, under pressure, allows Franz to write a letter to Karl and inform him that, angry with the behavior of his eldest son, he, the Count, is depriving him of his inheritance and his parental blessing.

At this time, in Leipzig, in the tavern where students of the University of Leipzig usually gather, Karl von Moor is waiting for an answer to his letter to his father, in which he sincerely repents of his dissolute life and promises to continue to do business.

A letter arrives from Franz - Karl is in despair. His friends are discussing in the tavern Spiegelberg's proposal to gather a gang of robbers, settle in the Bohemian forests and take money from rich travelers, and then put it into circulation.

The poor students find this idea tempting, but they need an ataman, and although Spiegelberg himself was counting on this position, everyone unanimously chooses Karl von Moor. Hoping that “blood and death” will make him forget his former life, his father, his bride, Karl takes an oath of allegiance to his robbers, and they, in turn, swear allegiance to him.

Now that Franz von Moor has managed to expel his older brother from his father’s loving heart, he is trying to denigrate him in the eyes of his fiancée, Amalia. In particular, he tells her that the diamond ring she gave to Karl before separation as a pledge of fidelity, he gave to the libertine when he had nothing to pay for love pleasures. He draws in front of Amalia a portrait of a sick beggar in rags, from whose mouth he smells of “deadly sickness” - this is her beloved Karl now.

But Amalia refuses to believe Franz and drives him away.

A plan has matured in Franz von Moor's head that will finally help him realize his dream of becoming the sole owner of the inheritance of the Counts von Moor. To do this, he persuades the illegitimate son of one local nobleman, Herman, to change clothes and, coming to the old man Moor, report that he witnessed the death of Charles, who took part in the battle of Prague. The sick count's heart is unlikely to withstand this terrible news. For this, Franz promises Hermann to return to him Amalia von Edelreich, who was once taken from him by Karl von Moor.

This is how it all happens. Herman, in disguise, appears to old man Moor and Amalia. He talks about Karl's death. Count von Moor blames himself for the death of his eldest son, he leans back on his pillows and his heart seems to stop. Franz rejoices at the long-awaited death of his father.

Meanwhile, Karl von Moor is robbing the Bohemian forests. He is brave and often plays with death, as he has lost interest in life. He gives his share of the spoils to the orphans. He punishes the rich who rob ordinary people, following the principle: “My craft is retribution, revenge is my trade.”

And in the family castle of von Moor, Franz rules. He achieved his goal, but does not feel satisfied: Amalia still refuses to become his wife. Hermann, who realized that Franz had deceived him, reveals to the maid of honor von Edelreich a “terrible secret” - Karl Moor is alive and old man von Moor is too.

Karl and his gang are surrounded by Bohemian dragoons, but they manage to escape from it at the cost of losing just one robber, while the Bohemian soldiers lost about three hundred people.

A Czech nobleman who has lost all his fortune, as well as his beloved, whose name is Amalia, asks to join von Moor’s detachment. The story of the young man stirred up old memories in Karl’s soul, and he decides to lead his gang to Franconia. Under a different name, he enters his ancestral castle. He meets his Amalia and is convinced that she is faithful to the “deceased Karl.”

No one recognizes the count's eldest son, only Franz guesses his elder brother is visiting, but does not tell anyone about his guesses. The younger von Moor forces his old butler Daniel to swear an oath that he will kill the visiting count. By the scar on his hand, the butler recognizes Count von Br'ande as Karl, he is unable to lie to his old servant who raised him, but now he must hurry to leave the castle forever. Before disappearing, he still decides to see Amalia and say goodbye to her.

Karl returns to his robbers, in the morning they will leave these places, but for now he wanders through the forest and in the darkness suddenly hears a voice and sees a tower. It was Herman who came stealthily to feed the prisoner locked here. Karl tears the locks off the tower and frees the old man, withered like a skeleton. This prisoner turns out to be the old man von Moor, who, unfortunately, did not die then from the news brought by Hermann, but when he came to his senses in a coffin, his son Franz, secretly from the people, imprisoned him in this tower, dooming him to cold, hunger and loneliness. Karl, having listened to the story of his father, is unable to endure any longer and, despite the family ties that connect him with Franz, orders his robbers to break into the castle, seize his brother and deliver him alive.

Night. The old valet Daniel says goodbye to the castle where he spent his whole life. Franz von Moor runs in in a dressing gown with a candle in his hand. He cannot calm down; he had a dream about the Last Judgment, in which he is sent to hell for his sins.

Having received confirmation from the pastor that the most serious sins of a person are fratricide and parricide, Franz is frightened and realizes that his soul cannot escape hell.

The castle is attacked by robbers led by Schweitzer, sent by Karl, they set the castle on fire, but they fail to capture Franz. In fear, he strangled himself with his hat cord.

Composition

Classics form the basis school curriculum on literature. Students study works from the distant 18th, 19th, and 20th centuries. Often these works tell about events or phenomena that are unfamiliar and incomprehensible to a modern child, and indeed to a modern person in general. Thus, almost all works of the early 20th century are dedicated to the revolution of 1917 and civil war, the epic novel by L. N. Tolstoy tells about life during the period Patriotic War 1812, and “The Tale of Igor’s Campaign” is about internecine warriors and the fight against nomads in the distant 12th century.

So is it necessary? classic literature to the modern reader? What can she give, what can she teach? Maybe it’s worth reading only works that talk about life today?

To answer these questions, first, it seems to me, you need to figure out what “classical literature” is? Why are a certain number of works united under this name? Why is it considered that every educated person must read and know classical literature?

To my great surprise, none of the dictionaries could give a clear definition of the concept that interests us. Only one thing is clear - “classical literature” is trying to understand timeless things, eternal values ​​that are relevant at all times. That's why I think it's so valuable. But then another question arises: why is the opinion of these particular writers considered exemplary and correct? Why can they, and not other people who worked at this time, teach us, people of the 21st century, something?

Probably, it was the “classical” writers who most accurately answered many of the questions that worried humanity at all times. It was they who gave a subtle analysis of human nature, psychology, and were able to formulate the basic “laws” by which man has always existed.

Probably my favorite “classic” is F. M. Dostoevsky. His novel “The Brothers Karamazov,” in my opinion, is a universal work that provides answers to eternal questions that sooner or later arise in every person’s head.

At the center of the story are the fates of four brothers. Their lives are closely connected with each other and with the life of their father - a despotic, depraved, sinful man in the broadest sense of the word.

The Karamazov brothers are extremely different people. Each of them, living in difficult conditions of despotism and tyranny of their father, tries to find answers to important questions of existence. And it seems to them that they find this idea.

So, Ivan Karamazov puts reason and logic at the basis of the angle. He tries to rationally understand and justify what is happening around him. However, the hero does this poorly. Ivan cannot comprehend much, cannot accept a cruel and unfair world.

It’s hard for this hero to live in the world, he tries to find something that would make his existence easier, but he doesn’t find such a saving outlet. His destiny is hopelessness and despair.

Another brother, Smerdyakov, lives in constant hatred. This man hates everything - his father, brothers, people, Russia, himself, in the end. Smerdyakov comes to the conclusion that one must live, allowing oneself everything. He refuses all moral and moral laws within himself and strives for self-destruction.

The elder brother Mitya Karamazov may not have clearly formulated his position in life. He lives as “God puts it on his soul,” following the call of his nature - broad, riotous, passionate and unrestrained. “He’s a broad man, too broad,” says Mitya, as if talking about himself. This hero has powerful vital forces, but doesn’t know how to apply them to be happy himself and make those around him happy.

The most harmonious among the brothers is Alyosha Karamazov. He has the most valuable ability - to believe. It is faith in God that makes Alyosha a bright person, able to cope with his dark sides and give people light. From the monastery Alyosha took away an all-forgiving love for people and humility - something that, according to Dostoevsky, people lack at all times.

But in the harsh, unfair and contradictory world in which the brothers live, no one hears Alyosha’s weak voice. Everyone is busy with themselves, their grievances and passions. One gets the feeling that each of the heroes is fighting face to face with fate, which, in any case, will prevail and break the heroes.

The Karamazovs' way of life and thought leads them to tragedy. And this tragedy happens - Smerdyakov kills his father. However, everyone is involved in this crime - Ivan came up with the terrible idea, and Mitya pays for it with hard labor. Thus, Dostoevsky argues that there are no innocent people in the crimes committed in the world. Everyone is spiritually to blame for what is happening. This is one of the main ideas in the novel The Brothers Karamazov.

One of the greatest philosophers of the early 20th century, V. Rozanov, described Dostoevsky’s life position as follows: “Dostoevsky does not want universal happiness in the future, he does not want this future to justify the present. He demands a different justification and would rather bang his head against the wall until exhaustion than rest on a humane ideal.”

The writer believes that abstract thoughts about a wonderful future are criminal. While people philosophize about what will happen tomorrow, evil is happening in the world today. Every person should live here and now, striving to make sure that real life became more humane and kinder. Everyone knows the words of Dostoevsky that no wonderful future is worth one single tear of a child in the present.

By showing the life of the Karamazov family, the author once again strives to convey to the reader that it is necessary to change the everyday life around you. And only moral purification can change the world, which, according to the writer, occurs only through suffering. It is on this path that Dostoevsky directs Mitya Karamazov, seeing in him enormous human potential.

Thus, I hope I have answered the question I posed at the beginning. I believe that classical literature is literature for all times. It should become the basis, the basis that shapes a person, his inner world, moral views. This is why classical literature is studied in school. That is why, in my opinion, every person who claims to be a Human should read and re-read it.

Shapovalova Irina Anatolyevna, teacher of Russian language and literature

gymnasium No. 3 of Belgorod

Romantic tragedy by F. Schiller “The Robbers”

Lesson Study

Target: help shape the social competence of students.

Tasks for developing student competencies:

Educational and cognitive (to practice the skills of independent text analysis; continue to work on developing the creative abilities of students);

Communicative (cooperate, help others, participate in group work, exchange information);
- informational (independently search, analyze and select information, structure, transform, save and transmit it);
- personal self-improvement (analyze your achievements and mistakes, detect problems and difficulties in classmates’ messages, provide mutual assistance and support in difficult situations, critically evaluate and re-evaluate the results of your activities)

During the classes

Long live the great Schiller,

noble advocate of humanity!

V. Belinsky

I.A. Good afternoon Dear guests, today we invite you to a research lesson. Our lesson will take the form of a meeting of the artistic council of the 7-B class theater, since the conversation will not just be about literary work, but about drama, where the art of words and theater is fused together. We will talk about Schiller's romantic tragedy. It was during Schiller's era that table rehearsals were first introduced into theatrical practice. We will try to adhere to the basic aesthetics of theatrical romanticism: imagination and feeling.

We will try to prove that the tragedy “The Robbers” by Friedrich Schiller can be classified as a romantic tragedy.

Here is a cluster that contains the features of romanticism and classicism. As the lesson progresses, please note those features that are inherent in the tragedy in question, make notes about the characters’ characters. During the lesson we will try to answer the questions: What is romantic work? What feelings did the main characters of the play evoke? Do we need Schiller's plays in modern times or have they become deep history?

Well, we open the impromptu curtain. A word from assistant director Kamenskaya Darina, who will remind us of the beginning of the drama. During her performance, she will be joined by actors who will try to convey the ultimate goal of their image. Please note that Schiller's tragedy is a romantic tragedy. Romanticism had a huge influence on the development of acting: for the first time in history, psychologism became the basis for creating a role. The rationally verified acting style of classicism was replaced by intense emotionality, vivid dramatic expression, versatility and inconsistency in the psychological development of characters.

Darina. The action takes place in Germany, contemporary to the author of the play. The plot unfolds over two years.

The plot is based on a family tragedy. In the family castle of the barons von Moor live the father, the youngest son, Franz, and the count's pupil, the eldest son's fiancée, Amalia von Edelreich. The beginning is a letter allegedly received by Franz from a “Leipzig correspondent”, which tells about the dissolute life of Karl von Moor, the count’s eldest son, who is at the university in Leipzig. The old man von Moor, saddened by the bad news, allows Franz to write a letter to Karl and inform him that the count, angry with the behavior of his eldest son, is depriving him of his inheritance and his parental blessing.

At this time, in Leipzig, in the tavern where students of the University of Leipzig usually gather, Karl von Moor is waiting for an answer to his letter to his father, in which he sincerely repents of his dissolute life and promises to continue to do business.

/Reading passage/

Schwartz(Runs towards him.) Brother! Brother! Letter, letter! (hands him a letter. Moore hastily opens it). What's wrong with you? You are whiter than chalk.

Karl Moore. My brother's hand!

Moore drops the letter and runs out like crazy. Everyone jumps up.

Roller(following him). Moore! Where are you going, Moore? What happened to you?

Grimm. What about him? What about him? He is as pale as death.

Schweitzer. This must be good news. Let's see!

Roller(picks up a letter from the floor and reads it). “Unhappy brother! I must briefly inform you that your hopes have not been justified. Go, your father tells you, to where your shameful deeds lead you. Next, he tells me to tell you not to hope to beg his forgiveness on your knees if you don’t want to feast on bread and water in the basements of his towers until your hair grows like an eagle’s feathers and your nails become like bird’s claws. These are his own words. Goodbye forever. I feel sorry for you! Franz von Moor."

Schweitzer. Dear brother! What can I say! This scoundrel's name is Franz?

SPIEGELBERG (quietly approaches them). Are you talking about bread and water? A good life! I have something better in store for you. (stands in the middle of them and speaks in the voice of the caster). So, if you still have even a drop of the blood of German heroes in you, follow me! We will settle in the Bohemian forests, gather a gang of robbers and...

Roller. You are not the first fraudster to look beyond the gallows. However, your truth is that we have no choice.<...>

M o o r(enters in great excitement and rushes around the room, talking to himself). People! People! Deceitful, treacherous vipers! Their tears are water! Their hearts are iron! Lions and leopards feed their young, crows carry carrion to their chicks, and he, he...

Roller. Listen, Moore! What do you think, is being a thief better than sitting on bread and water in a dungeon?

Moore. And these are fatherly feelings? Repentance - and no forgiveness! Such gullibility, such unshakable confidence - and there is no mercy!

Roller. Listen, Moore, to what I tell you!<...>

Moore. I loved him so unspeakably! No son loved his father so much! I would lay down a thousand lives for him! (He stamps his foot furiously.) Oh, whoever puts a sword in my hands to inflict a burning wound on the human race will become my friend, angel, god! I will pray for him.

Roller. These are the kind of friends we want to become. Listen to us

Schwartz. Come with us to the Bohemian forests! We'll recruit a gang of robbers, and you...

Schweitzer. You will be our chieftain! You should be our chieftain!

Moore. It’s like a thorn has fallen from my eyes. What a fool I was, rushing back into the cage! My spirit thirsts for exploits, my breath for freedom! Murderers, robbers! With these words I violate the law. People shielded humanity from me when I called out to humanity. Away from me, compassion and human mercy! I no longer have a father, no more love!.. So let blood and death teach me to forget everything that was once dear to me! Let's go, Let's go! Oh, I will find a terrible oblivion for myself! It’s decided: I am your chieftain! Stand around me, everyone, and let everyone swear allegiance and obedience to me until the grave! Let's shake hands!

That's it (extending his hands to him). We swear allegiance and obedience to you until the grave.

M o o r. And my right hand will be a guarantee that I will faithfully and unfailingly, until my death, remain your chieftain!

Darina Now that Franz von Moor has managed to expel his older brother from his father’s loving heart, he is trying to denigrate him in the eyes of his fiancée, Amalia.

Franz. Are you turning away, Amalia? Am I not worth what the cursed father is worth?

Amalia. Away! Oh, this child-loving, merciful father, who gave his son to be devoured by wolves and monsters! Sitting at home, he indulges himself in expensive wines and rests his decrepit body on feather pillows, while his great, beautiful son is in the grip of need! Shame on you monsters! Shame on you, dragon hearts! You are a disgrace to humanity! Your only son...

F r a n c. I thought that he had two of them... I love you as myself, Amalia!

You think about Karl, but our brotherly hearts beat so much in agreement!

Amalia. Oh no, that never happened!

Franz. We are so similar in our inclinations! Rose was his favorite flower. What flower is dearer to me than a rose? He loved music beyond words. Heavenly stars, I call you as witnesses, in the dead silence of the night, when everything around was plunged into darkness and slumber, you overheard me playing the harpsichord! How can you still doubt, Amalia? After all, our love converged at one point of perfection; and if there is only one love, how can those in whose hearts it nests be different?

You don’t know me, Amalia, you don’t know me at all! You hate me!

A m a l i. I hate you! Leave!

Franz (stomping feet). You will tremble before me! Should I prefer a beggar?! (Leaves.)

Amalia. Go, scoundrel! Now I'm with Karl again. “Beggars,” he said? Everything has turned upside down in this world! Beggars became kings and kings became beggars. I wouldn’t trade the rags he was wearing for the purple of God’s anointed! His look when he asks for alms - oh, this proud, regal look, turning the pomp, splendor, triumph of the rich and strong into ashes! Roll in the dust, shiny necklace! (Plucks pearls from his neck.) Wear them, rich and noble! Wear that damned gold and silver, those damned diamonds! Fill yourself with luxurious dishes, pamper your bodies on a soft bed! Charles! Charles! Now I'm worthy of you!

I.A. Thank you. Romanticism also enriched the palette of staging and expressive means of the theater. For the first time, the principles of the art of the artist and decorator began to be considered in the context of the emotional impact on the viewer, identifying the dynamics of action.

Costume designer Anastasia Bereznyak will introduce makeup options and sketches of character costumes. The actors will describe their characters. Thus, we will be able to evaluate the artist’s work by analyzing the ultimate task of the image of each hero.

/Presentation/

Old Man Moore is honest and forgiving. His house was a shelter for the orphans, a refuge for the mourning. He is about 70 years old, but he feels like an octogenarian.

Slide 3-5

Act one. Scene 2.

Tavern in Saxony.

Karl Moor received a letter from home that changed his whole life.

Act two. Bohemian forests. Moor becomes the chieftain of a gang of robbers

Charles- the embodiment of a romantic outlook on life. He hates the squalor of life around him and treats with disgust and contempt the hypocrites who flatter powerful rulers while oppressing poor people. Karl does not want to live by the laws that deceivers and villains use to their advantage.

Deep down, the young man remains a kind and pure person. Karl Moor, the count's son, robs the rich and noble and helps the outcasts and the disadvantaged. Karl understands that high revenge and noble murder do not exist.

Slide 6.

Franz Moor- an egoist, a cynic, devoid of honor and conscience. He's not handsome. “It seems to me that nature took the most disgusting things from all human races, mixed them into a heap and baked me from such dough.” “I will be a ruler and will achieve by force what I cannot achieve with a good appearance,” he says. It was Franz who was the reason that his father disinherited Charles. He dishonored and slandered his brother, having two secret goals: to get all his father’s property and to marry Karl’s bride. Franz's goal in life is to satisfy his desires

Slide 7-9.

Amalia von Edelreich

An orphan, lives in the house of Count Moore. She is no more than 23 years old. Loves music, plays musical instruments, sings. She has been in love with Karl More for a long time. She does not believe Franz’s stories, she believes that her “beloved is a reflection of deity, and deity is mercy and pity!” He wouldn't hurt a fly! His soul is as far from bloody thoughts as noon is from midnight."

Slide 10

Spiegelberg was poor, traveled to Lepzig from Jordan, he was a thief. It is Shpilberg who invites young people to become robbers. Arriving in a city, the first thing he did was find out from the wardens about the beggars, from the bailiffs and watchmen about swindlers, swindlers and other rabble, he looked for these thugs and recruited them into the gang. Spielberg was a coward; they say about him that there is not a single scar on his body.

Ratzman. Shpilberg's constant interlocutor. On this occasion they say to him: And you, your godless soul, you were at one with him! His motto: take the young man, yes,

so that he doesn’t have a stake or a yard left.

Slide 11

Schufterle. Poor, dressed from someone else's shoulder. I wanted to have weekly edifying talks. During a fire in the city, he went on a rampage and showed himself to be a scoundrel: he threw the baby into the fire. He admired his action. Moore kicked him out of the gang, saying that he would not escape the gallows. And so it happened: Schufterle was hanged in Switzerland.

Grimm. Weak-willed man: If everyone agrees, then I won’t contradict. Spiegelberg's friend. Participated in dirty tricks in the monastery together with Spiegelberg. His motto is: whoever gives the most, I will follow him.

Slide 12

Roller was devoted to More, and the chieftain always distinguished Roller.

Roller spent three weeks in prison, he was taken for interrogation three times, he was interrogated under torture about where the ataman was. He didn't give anyone away.

Moore trusted him. During the fight in the Bohemian forest, Roller, Schweitzer and Moor fought in

the thickest. Roller died a heroic death.

Schweitzer. Loyal to the point of recklessness. Strong, brave. He cracked the skull of a Bohemian dragoon when he raised his saber over Mor. Schweitzer gives his word to Mohr to bring Franz alive, but Franz is strangled, and Schweitzer is true to his word

shoots himself in the temple.

Slide 13

Kosinsky. Kosinsky heard about Moore and asked to join the gang. He is twenty-four years old, He is a Bohemian nobleman. The early death of his father made him the owner of a considerable noble estate. The young man was supposed to get married, but he is accused of treason.

He spent a month in prison. Kossinsky is trying to kill the prince because he forced his bride to become his mistress

Slide 14

Hermann“a determined fellow, a soldier’s heart. The bastard son of a nobleman, poor.

He was in love with Amalia. He committed a vile act for the sake of love for Amalia. Having recognized Franz's plans, he confesses to what he did.

Slide 15

Daniel- servant of Count von Moor. He is seventy-two years old. He always respected

Karl Moor's parents.. Didn't take a penny from anyone by deception. He held his faith honestly. Franz offers the old man to kill the count, but he refuses.

Pastor Moser has a soul-saving conversation with Franz.

I.A.Thank you. Do we approve makeup and costumes or not? Is the romantic style maintained? /Answer/

Which scenes made the strongest impression on you? Do they correspond to the romantic trend in literature?

Elena Shkuratova.

I liked the scene in which Franz persuades the bastard son of one of the local nobles And on, Herman, change clothes and, appearing to the old man Moor, report that he witnessed the death of Charles, who took part in the battle of Prague. For this, Franz promises Hermann to return Amalia von Edelreich to him.

Count von Moor blames himself for his son's death, and his heart seems to stop. Franz rejoices at the long-awaited death of his father. Herman, mon I Having realized that Franz had deceived him, he reveals to Amalia a “terrible secret” - Karl von Moor is alive and so is old man von Moor. I liked this scene because there is intrigue in it, and the reader does not yet suspect what will happen next. We understand that the playwright, in the image of Karl More, already at the beginning of the action declares a complex, deep human personality. Karl has a view of life “through the prism of the heart.”

Dasha. And I liked the scene in which Karl, under an assumed name, enters his ancestral castle. He meets his Amalia and is convinced that she is faithful to the “deceased Karl.” In the gallery, among the portraits of his ancestors, he stops at the portrait of his father and furtively wipes away a tear. No one recognizes the count's eldest son, only the all-seeing Franz seems to recognize his elder brother as a guest.

Franz forces the old butler to swear an oath that he will kill the visiting count. The butler recognizes the count as Karl by the scar on his hand; he is unable to lie to the old servant who raised him, but now he must hurry to leave the castle forever. I enjoyed the touching conversation between Daniel and Carl. I felt sorry for the old servant. Romantic traits embodied in this scene: it reflects the “night” side of the movements of the soul, the craving for the intuitive and unconscious.

Yana. And I think that the most striking, emotional scene is the penultimate scene of the fifth act. Franz cannot calm down; he had a dream about the Last Judgment, in which he is sent to hell for his sins. The atheist begs Daniel to send for the pastor. Having received confirmation from the pastor that the most serious sins of a person are fratricide and parricide, Franz is frightened and realizes that his soul cannot escape hell.

The castle is attacked by robbers sent by Charles, they set the castle on fire, but they fail to capture Franz. In fear, he strangles himself with his hat cord. In this scene, the comic and tragic are intertwined - this is a clear sign of romanticism.

I.A. Thank you. Thank you. And now I suggest you get acquainted with the scenery sketches. Chepeleva Nastya and Shevtsova Irina sought not to recreate, but to recreate reality

/Presentation /

Slide 1.

1. ACT ONE. SCENE ONE Franconia. Hall in Moor Castle.

2. The decoration of the first stage is presented in golden and black tones. This scene involves Franz and old man Moor. We would like to emphasize the richness of the soul of Maximilian More and highlight the black thoughts, and, consequently, the black soul of Karl.

Slide 2.

1.SCENE TWO. Tavern on the border of Saxony.

2. This scene is also done in orange and black tones. Orange color clears away unpleasant feelings, helps to accept negative events in life, helps to forgive another person, and let go of an insoluble situation.

1.Karl Moor is at a dead end and is afraid of change; his condition corresponds precisely to this color.

2.Why is the color black in this scene? There is not much of it, but this color symbolizes the students’ decision to become robbers, that is, to take the wrong path.

Slide 3.

1.SCENE THREE. At Moora Castle. Amalia's room.

2. There is a lot of light in this scene: white, gold, green. There are no dark tones.

Massive wooden furniture, many paintings, an open bed without canopies - all this emphasizes Amalia’s character. She adheres to the laws of honor, is pure as white, faithful to ancient traditions, she is open, and appreciates art.

Slide 4.

1.ACT TWO

SCENE ONE. Franz von Mohr's room.

2.Light walls are almost invisible. In the foreground is a bed in black and red tones. A four-poster bed indicates isolation, a closed character. As you know, red is the color of aggression, passion, struggle, anger, and emphasizes fear and self-doubt.

1. Dark fireplace, dark ceiling. We placed the fireplace in Franz’s room, he is cold, and the fireplace may help him thaw out, his dark deeds, like the dark ceiling, are pressing on him.

2. A conversation with Herman takes place in this room. And Herman agrees to do the mean thing.

Slide 5.

1.SCENE TWO. Old man Moore's bedroom.

2. This scene is oversaturated with colors. Old Man Moore embodies various character traits. He is soft, kind, compassionate, but also weak-willed and capricious.

Slide 6.

1. SCENE THREE. Bohemian forests.

2.The backdrop is made in light - green tones. It is known that the color green is intermediate between black and white colors, therefore it is considered a neutral color.

Slide 7.

1.ACT THREE

SCENE ONE. Garden

2. Against the background of the “Garden” backdrop, Amalia plays the lute. Lots of Lilac. Lilac is the color of inspiration, characteristic of creative individuals, helps to calm the soul and nourish it with the energy of inspiration, unites the body and mind

Slide 8.

1.SCENE TWO. The robbers are located against the backdrop of the Forest.

Slide 9

1.ACT FOUR

SCENE ONE.

2.Backdrop “The area near the castle.” The predominant color is pale yellow. This color It sets your feelings in motion, frees you from negativity, and gives you confidence in your abilities. The desperate robber Moor, under an assumed name, decides to appear before Amalia and his father.

Slide 10

1.SCENE TWO.

2.The backdrop “Gallery in the Castle” is made in light gray tones. It is in this scene that the robber Moor talks with Amalia. Amalia’s inner world is expressed in white tones, but there are more gray shades, since Moor’s soul no longer contains that purity of feelings, his actions are terrible. Yes, he still loves Amalia, but his heart has become cruel and gray.

Slide 11

1.SCENE THREE. Another room in the castle.

2.Room in golden colors. Obviously this former room Karla. She remains the same, she breathes the same beautiful Karl, with a heart of gold. Here there is a conversation between Karl and his old servant Daniel.

Slide 12

1.SCENE FOUR. Moore and Amalia.

2. Backdrop “Garden”. Moor, in the guise of Count von Brand, talks about his love for a girl named Amalia. Amalia confesses to an imaginary stranger that she still loves her Karl. She believes that her Karl is a reflection of deity, and deity is mercy and pity.

Slide 13

1.SCENE FIVE

2.Backdrop “Forest”. The robbers are waiting for their chieftain. They are worried and quarreling. Moore returns. He makes his confessional speech.

Slide 14

1.ACT FIVE. SCENE ONE. Enfilade of rooms.

2. Lots of blue. Blue color develops mental abilities, clears thinking, frees you from worries and fears, allows you to hear your inner voice and make the right decision.

1. This climax scene: Daniel tells Franz about God's retribution. Franz admits that there is emptiness in his heart. Franz passes away

Slide 15

1.SCENE TWO. The setting of the last scene of the fourth act is the castle basement.

2. There is no reference to the basement in the drama, but we think that this place is most appropriate in this scene. Basement-pit, death. This pit swallows everyone. The ending is obvious.

I.A. Thank you. I think I liked the decorations. And now I want to announce the start of the game. In every literary work, the text is very important. Do you remember the text well? Now we will test your attention, memory, and intelligence.

1.Where is the castle of the Counts von Mohr? / in Franconia /

2. How long does the action take place?/ within 2 years/

3.What historical figures did Karl Moor admire?/ Julius Caesar, Alexander the Great/

4. Who said it: “The law makes what should fly like an eagle crawl.” /Karl Moor/

5. Who said it: “I will be a ruler and by force I will achieve what I cannot achieve with a prepossessing appearance” / Franz Moor/

6. Who said it: “I have the courage to go through hell barefoot.” / Schweitzer /

6.Whose motto is this: rob the young fellow, so much so that he doesn’t have a stake or a yard left. /Ratsman/

7. Who is this about: He spent three weeks in prison, he was taken for interrogation three times, he was interrogated under torture about where the ataman was. He didn't give anyone away./Roller/

8. Who was a soldier, was a member of the expedition to the East Indies / Kossinsky /

9. How many years did Daniel serve in the house of the Earls of Moor?/ Forty-four years/

10. What amount of reward was assigned for the capture of the robber More?/ One thousand louis d’or/

I.A. Let's summarize the game. Thank you. Now let's approve the scenery and costumes. Who agrees? Who's against it?

Critic./ Shpakovsky / No, of course everything is fine. But it's kind of boring. Vasily Barkhatov chose Schiller’s “The Robbers” as his debut play. As befits a modern director, he shortened, altered, and transferred the action to Europe in the 21st century, a complex romantic text. In addition, he added live music. In addition to the actors, Schubert's piano works are played by a pianist.

So, dad Maximilian von Moor, a wealthy retired soldier, has two sons, one (Karl Moor) studies at a prestigious university, the other (Franz Moor) hangs out at home. Both belong to the “golden youth” and both, out of boredom, organize art provocations that gradually turn into real crimes. “Karl and Franz are so different, but the result is the same - a mountain of corpses,” says Vasily Barkhatov. By the way, he considers himself a robber, since he behaves with old Schiller in the same way as Franz did with old Moor.

I.A. Thank you for your opinion. An unusual interpretation of the play by modern director Vasily Barkhatov separates the viewer from the classics. Yes, “The Robbers” is a rebellious drama, its hero Karl is a noble robber, and Franz is a low, vile man. Friedrich Schiller uses the technique when characterizing characters antitheses: The brothers’ appearance, their inner world, their actions are contrasting. It seems to me that you cannot treat classics the way the 24-year-old director did. He obviously had a different task. The theme of rebellion is shown, but its hero is not a noble robber, but a criminal. Of course, Barkhatov did not adhere to the laws of romanticism.

The theme of the noble romantic robber was continued in the novel by A.S. Pushkin's "Dubrovsky", whom we met in the last quarter. At home you were asked to compare the hero of Schiller's play with the famous hero of A.S. Pushkin - Vladimir Dubrovsky.

Voloshina Violetta: The theme of rebellion and the noble robber is presented in the novel by A.S. Pushkin "Dubrovsky". Vladimir Dubrovsky - Russian nobleman And N, fueled by a sense of revenge for the insult and death of his father, is forced to burn the family estate and go into the forest as the leader of the robbers.

Dubrovsky and Karl Moor are united by similar destinies. Nobility, honesty, and generosity unite these heroes. Karl does not kill for robbery, but his rightful share of the spoils is distributed by the sire. O there. The characteristic that suits both of them is noble. Their inner world and character are incompatible with the environment (a gang of robbers) in which they both find themselves: The actions of Vladimir Dubrovsky, his desire for revenge and refusal of it coincide with the path of Schiller’s hero, only he, unlike Vladimir, surrenders to justice, and does not hide behind border.

I.A .Thank you. So let's summarize. Pay attention to your clusters. Which features are more inherent in our tragedy: features of realism or classicism?

Yana. In my cluster, I noted more signs of romanticism than classicism. This:

proclamation of the human personality as complex, deep, affirmation of the inner infinity of human individuality;

a look at life “through the prism of the heart”;

interest in everything strong, bright, sublime;

a tendency to reflect the “night” side of the movements of the soul, a craving for the intuitive and unconscious;

a tendency to mix high and low, comic and tragic, ordinary and unusual;

painful experience of discord with reality;

the individual’s desire for absolute freedom, for spiritual perfection, for an unattainable ideal, combined with an understanding of the imperfection of the world.

Manifestations of classicism: the language is pathetically solemn.

Conclusion. Schiller's tragedy "The Robbers" belongs to the romantic movement in literature and art.

I.A. The work of Friedrich Schiller continues to cause controversy and judgment to this day, some of which were presented in our lesson. The work of the great German poet did not go unnoticed by musicians.

Burmakina Katya. In 1824, already seriously ill, Beethoven wrote his last - the 9th symphony. It was a song of freedom, a fiery appeal addressed to descendants. The final part of the symphony sounded especially solemn. The composer set the music to the words of Schiller's ode "To Joy". In a single impulse, the great composer and the great poet called on everyone: “Embrace yourself, millions!” (Expressive reading of a student’s ode.)

Mishustina Katya:Joy, unearthly flame,
The heavenly spirit that has flown to us
Intoxicated by you
We entered your bright temple.
You bring us closer without effort
All separated by enmity,
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Join in the joy of one!

(Beethoven’s 9th Symphony, Ode “To Joy,” plays.)

I.A. Thank you. Could the characters in the drama accept the ode “To Joy”?

I.A. Years pass, directors' interpretations and actors' costumes change, certain accents shift, but the fiery pathos of the tragedy remains unchanged. Schiller and his hero continue to passionately appeal to human conscience, and readers and viewers continue to search for truth to this day.

Homework: Write a short essay-reflection on the topic “How is F. Schiller’s drama “The Robbers” close to the modern reader?”

So the curtain is closed. It's worth summing up.