Village writers: Fedor Alexandrovich Abramov, Vasily Ivanovich Belov, Ivan Ivanovich Akulov. Village prose. The originality of the heroes of village prose by Vasily Shukshin Village prose in the work of Shukshin

The main goal of the lesson: to reveal the concept of "village prose"; continue developing text analysis skills (the ability to identify issues and artistic features works of "village prose").

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"VILLAGE PROSE": ORIGINS, PROBLEMS, HEROES. HEROES OF SHUKSHIN.

Purpose of the lessons: give an idea of \u200b\u200b"village" prose; to acquaint with the work of V. M. Shukshin (review).

Lesson equipment: portraits of writers; fragments of the film "Kalina Krasnaya" are possible, computer presentation student.

Methodical methods: lecture; analytical conversation.

During the classes.

Teacher's word.

The works, which were milestones in the "thaw" time, became an impetus for the development of new trends in literature: "village prose", "urban" or "intellectual" prose. These names are conditional, but they took root in criticism and in the reader's environment and formed a stable circle of topics that were developed by writers in the 60-80s.

The focus of the “villagers” writers was the post-war village, impoverished and disenfranchised (collective farmers did not even have their own passports until the early 60s and could not leave their “registration place” without special permission). The writers themselves were mostly from the countryside. The essence of this direction was the revival of traditional morality. It was in line with the "village prose" that such great artists as Vasily Belov, Valentin Rasputin, Vasily Shukshin, Viktor Astafiev, Fedor Abramov, Boris Mozhaev developed. They are close to the culture of classical Russian prose, they restore the traditions of Russian fairy tale speech, develop what was done by the Peasant Literature of the 1920s. The poetics of "village prose" was focused on the search for the deep foundations of folk life, which were supposed to replace the discredited state ideology.

After the peasantry finally received passports and was able to independently choose their place of residence, a massive outflow of the population, especially young people, began from the countryside to the cities. There remained half-empty, or even completely depopulated villages, where flagrant mismanagement and almost total drunkenness reigned among the remaining inhabitants. What is the reason for such troubles? The answer to this question was seen by the "villager" writers in the consequences of the war years, when the forces of the countryside were torn, in the "Lysenkoshchina", which disfigured the natural ways of farming. The main reason for depeasantization stemmed from the “Great Break” (“breaking the backbone of the Russian people,” as A. I. Solzhenitsyn defined it)—forced collectivization. "Village Prose" gave a picture of the life of the Russian peasantry in the 20th century, reflecting the main events that influenced its fate: the October Revolution and the civil war, war communism and the New Economic Policy, collectivization and famine, collective farm construction and industrialization, military and post-war hardships, all kinds of experiments on agriculture and its current degradation. She continued the tradition of revealing the "Russian character", created a number of types of " ordinary people". These are Shukshin's "freaks", and Rasputin's wise old women, and "Arkharovtsy" dangerous in their ignorance and vandalism, and Belovsky's long-suffering Ivan Afrikanovich.

Victor Astafiev summed up the bitter result of the “village prose”: “We sang the last cry - about fifteen people were found mourners for the former village. We sang it at the same time. As they say, we cried well, at a decent level, worthy of our history, our village, our peasantry. But it's over. Now there are miserable imitations of books that were created twenty or thirty years ago. Imitate those naive people who write about the already extinct village. Literature must now break through the asphalt.”

One of the most talented writers who wrote about the people and problems of the village is Vasily Makarovich Shukshin.

Performance by a pre-prepared student. Biography of V. M. Shukshin (computer presentation with the inclusion of family photographs, excerpts from films).

Vasily Shukshin was born in the small Altai village of Srostki. He did not remember his father, because shortly before the birth of his son, he was repressed. For many years Shukshin did not know anything about his fate, and only shortly before his own death did he see his name in one of the lists of the executed. At the time, his father was only twenty-two years old.

The mother was left with two small children and soon remarried. The stepfather was kind and loving person. However, he did not live long with his wife and raised children: a few years later the war broke out, his stepfather went to the front, and in 1942 he died.

Before finishing school, Vasily Shukshin started working on a collective farm, and then went to work in Central Asia. For some time he studied at the Biysk Automobile College, but was drafted into the army and first served in Leningrad, where he took the course of a young soldier in a training detachment, and then was sent to the Black Sea Fleet. The future writer spent two years in Sevastopol. He devoted all his free time to reading, because it was then that he decided to become a writer and actor. In deep secrecy, even from close friends, he began to write.

The naval service ended unexpectedly: Shukshin fell ill and was demobilized for health reasons. So after a six-year absence, he again found himself in his home. Since the doctors forbade him to do hard physical work, Shukshin became a teacher in a rural school, and a little later, its director.

Just at this time, his first articles and short stories appeared in the regional newspaper "Battle Cry". But as he grew older, Shukshin understood more and more clearly that it was necessary to get a more systematic and in-depth education, and in 1954 he went to Moscow to enter VGIK. There he was lucky again: he was accepted into the workshop famous director M. Romma. Shukshin graduated from the directing department of VGIK in 1960. Already from the third year, Shukshin began acting in films. In total, the actor starred in more than 20 films, going from typical images of "people from the people" to vivid screen portraits of his contemporaries, people of principle and purposefulness. This is how Shukshin shows the virgin miner Stepan in the 1962 film "Alenka", the director of the Chernykh plant in the film "By the Lake", which was awarded State Prize THE USSR. Other images performed by Shukshin became no less memorable - the peasant Ivan Rastorguev in the film "Stoves and Benches" and the soldier Lopatin in the film "They Fought for the Motherland". And a year before that, Shukshin played his, perhaps, the most poignant role - Yegor Prokudin in the film "Kalina Krasnaya", which received the main prize at the International Film Festival in Moscow. The last image was a kind of result of the whole creative activity artist, since in it Shukshin managed to reveal the topics that constantly worry him, and above all the theme of moral duty, guilt and retribution. In 1958, Shukshin's first story, Villagers, was published in the Smena magazine, which gave the name to the collection that appeared a few years later. His heroes were people whom he knew well - residents of small villages, drivers, students. With barely noticeable irony, Shukshin talks about their difficult life. But even each insignificant incident becomes an occasion for deep reflections of the author. The favorite heroes of the writer were the so-called "freaks" - people who retained the childish spontaneity of the worldview. In 1964, Shukshin's first big picture "Such a Guy Lives" is released, in which he was also a screenwriter, director and leading actor. She brought Shukshin international fame and was awarded the Golden Lion of St. Mark at the Venice Film Festival. The film attracted the attention of critics and viewers with its freshness, humor, and charming image of a young hero - Altai driver Pashka Kolokolnikov. Continuing to work simultaneously in cinema and literature, Shukshin combines several professions: actor, director, writer. And they all turn out to be equivalent to him; it can be said that Shukshin's writing and cinematographic activities complement each other. He writes on almost the same topic, talking mainly about a simple villager, a talented unpretentious, a little impractical, who does not care about tomorrow, lives only today's problems and does not fit into the world of technology and urbanization. At the same time, Shukshin managed to accurately reflect the social and social problems of his time, when intensive changes were taking place in the minds of people. Along with such famous writers, like V. Belov and V. Rasputin, Shukshin entered the galaxy of so-called village writers, concerned about how to preserve the traditional way of life as a system of moral values. The problems that emerged in his short stories and novellas are also reflected in Shukshin's films. In 1966, the picture “Your Son and Brother” was released, which was awarded the State Prize of the RSFSR, in 1970 another of his films appeared on the same topic - “Strange People”, and two years later Shukshin shot his famous film “Stoves and Benches ", in which the intelligentsia, perhaps for the first time ever last years discovered the moral world of the common man. In addition, in these films, Shukshin continued the social and psychological analysis the processes that were going on in society at that time. Shukshin's filmography is closely connected with his prose, the characters of the stories often turned into scripts, always preserving the folk colloquial speech, the reliability and authenticity of situations, the capacity of psychological characteristics. Shukshin's style as a director is characterized by laconic simplicity, clarity of expressive means, combined with a poetic depiction of nature, and a special rhythm of editing. Outside of the realized script of the film about Stepan Razin, later reworked into the novel “I came to give you freedom”, Shukshin tried to give a broader view of the problems that worry his people and turned to the study of the character of the national leader, the causes and consequences of the “Russian rebellion”. Here, Shukshin also retained a sharp social orientation, and many read a hint of a possible rebellion against state power. No less resonance was caused by another, the last film by Shukshin, staged according to his own film story, released three years earlier - “Kalina Krasnaya”, in which the writer told tragic story former criminal Yegor Prokudin. In this picture, Shukshin himself played the main role, and his beloved - Lydia Fedoseeva, his wife. Literary talent, acting gift and the desire to live in truth made Vasily Shukshin related to his friend Vladimir Vysotsky. Unfortunately, their early death also begotten them. The last story and Shukshin's last film was Kalina Krasnaya (1974). He died on October 2, 1974 during the filming of S. Bondarchuk's film "They Fought for the Motherland". Buried in Moscow Novodevichy cemetery.

In 1976, Shukshin was awarded the Lenin Prize for his work in cinema.

Conversation based on the stories of V. Shukshin.

What stories by V. Shukshin have you read?

What traditions did Shukshin continue in his work?

In the development of the short story genre, V. M. Shukshin continued the traditions of A. P. Chekhov. The artistic purpose of depicting the chain of comic episodes that occur with the hero was to reveal his character. The main means of expression became, just as in Chekhov's works, a capacious emotionally colored detail and dramatization of the narration using someone else's speech in dialogues. The plot is built on the reproduction of the climactic, "most burning", long-awaited moments, when the hero is given the opportunity to fully show his "feature". The innovation of V. M. Shukshin is associated with an appeal to a special type - “freaks”, causing rejection by others with their desire to live in accordance with their own ideas about goodness, beauty, justice.

A person in V. Shukshin's stories is often dissatisfied with his life, he feels the onset of universal standardization, boring philistine averageness and tries to express his own individuality, usually with somewhat standard actions. Such Shukshin heroes are called "freaks".

What "freaks" do you remember?

Hero early stories Shukshin, which tells about “life incidents”, is a simple person, like Pashka Kholmansky (“Class Driver”), strange, kind, often unlucky. The author admires an original person from the people who knows how to work famously, sincerely and ingenuously feel. Critic A. Makarov, reviewing the collection “There, Away” (1968), wrote about Shukshin: “He wants to awaken the reader’s interest in these people and their lives, to show how, in essence, a simple person who lives in an embrace is kind and good with nature and physical labor, what an attractive life it is, incomparable with the city, in which a person deteriorates and becomes stale.

Over time, the image of the hero becomes more complex, and the author's attitude towards the characters changes somewhat - from admiration to empathy, doubt, philosophical reflection. Alyosha Beskonvoyny wins for himself on the collective farm the right to a non-working Saturday in order to devote it to the bathhouse. Only on this "bathing" day can he belong to himself, can indulge in memories, reflections, dreams alone with himself. It reveals the ability to notice in the small, in the ordinary details of everyday life, the beauty of being. The very process of comprehending being is Alyosha's main joy: "That's why Alyosha loved Saturday: on Saturday he thought so much, remembered, thought, like on no other day."

The actions of Shukshin's heroes often turn out to be eccentricity. Sometimes it is kind and harmless, like decorating a baby carriage with cranes, flowers, weed-ant (Freak) and does not bring problems to anyone except the hero himself. Sometimes eccentricities are by no means harmless. In the collection "Characters" for the first time the writer's warning against the strange, destructive possibilities that lurk in strong nature without a lofty goal.

"Persistent" invents a perpetual motion machine at his leisure, another hero buys a microscope with the saved, saved money and dreams of inventing a remedy against microbes, some heroes philosophize, trying to outdo, "cut off" the "urban". The desire to “cut off”, insult, humiliate a person in order to rise above him (“Cut off”) is a consequence of unsatisfied pride, ignorance, which has terrible consequences. Often, villagers no longer see the meaning of their existence in working on the ground, like their ancestors, and either leave for the cities, or are engaged in the invention of "perpetual motion machines", writing "stories" ("Raskas"), or, having returned after "imprisonment", they don't know how to live in the wild now.

These are not “Eccentrics”, far from reality, living in an ideal world, but “freaks”, living in reality, but striving for the ideal and not knowing where to look for it, what to do with the strength accumulated in the soul.

What do Shukshin's heroes think about?

The heroes of Shukshin are occupied with the “main” questions: “Why, you ask, was life given to me?” (“One”), “Why was this unbearable beauty given?” (“Countrymen”), “What is the secret in her, should one feel sorry for her, for example, or can one die peacefully - is there nothing so special left here?” ("Alyosha Beskonvoyny"). Often the characters are in a state of internal discord: “So what?” Maxim thought angrily. “That was also a hundred years ago. What's new? And it will always be like this… But why?” ("I believe"). The soul is overwhelmed with anxiety, it hurts because it vividly feels everything around, it tries to find an answer. Matvey Ryazantsev (“Dumas”) calls this state “illness”, but “desired” illness – “something is missing without it”.

What, according to Shukshin, is the “wisdom of life”?

Shukshin is looking for sources of wisdom in the historical and everyday experience of the people, in the fate of the elderly. In the old saddler Antipas (“Alone”), neither hunger nor need can suppress the eternal need for beauty. Collective farm chairman Matvey Ryazantsev lived a decent working life, but everyone regrets some unfelt joys and sorrows ("Duma"). The letter of the old woman Kandaurova (“Letter”) is the result of a long peasant life, a wise teaching: “Well, work, work, but the man is not made of stone. Yes, if you caress him, he will do three times more. Any animal loves affection, and a person even more so. One dream, one desire is repeated three times in the letter: “Live and be happy, but make others happy”, “She is my daughter, my soul hurts, I also want her to be happy in this world”, “I at least rejoice at you ". The old woman Kandaurova teaches the ability to feel the beauty of life, the ability to rejoice and delight others, teaches spiritual sensitivity and affection. These are the highest values that she came to through hard experience.

Teacher's word.

The image of the old woman Kandaurova is one of the many images of Shukshin's mothers, embodying love, wisdom, self-giving, merging into the image of the “earthly mother of God” (“At the Cemetery”). Let us recall the story "A Mother's Heart", in which a mother defends her unlucky son, her only joy, before the whole world; the story “Vanka Teplyashin”, where the hero, having got to the hospital, felt lonely, yearned, and was delighted like a child when he saw his mother: “What was his surprise, joy, when he suddenly saw his mother in this world below ... Ah, you are dear, dear!" This is also the voice of the author himself, who always writes about the Mother with great love, tenderness, gratitude and at the same time with a feeling of some kind of guilt. Let's remember the scene of Yegor Prokudin's meeting with his mother (if possible, watch the footage from the movie "Kalina Krasnaya"). The wisdom of the old woman Kandaurova is consistent with the spaciousness and peace in the surrounding world: “It was getting dark. Somewhere they played the harmonica ... "; “The accordion played everything, played well. And an unfamiliar female voice sang along with her ”; “Lord,” thought the old woman, “it’s good, it’s good on earth, it’s good.” But the state of peace in Shukshin's stories is unstable and short-lived, it is replaced by new anxieties, new reflections, new searches for harmony, and will agree with the eternal laws of life.

Analysis of the stories "Crank" and "Mil pardon, madam!"

The story "Dude! (1967).

How do we see the main character of the story?

The hero of the story, whose name was his nickname ("The wife called him "Freak". Sometimes affectionately"), stands out from his environment. First of all, “something constantly happened to him,” he “every now and then got into some kind of story.” These were not socially significant acts or adventurous adventures. "Chudi" suffered from minor incidents caused by his own missteps.

Give examples of such incidents and oversights.

Going to visit his brother’s family in the Urals, he dropped the money (“... fifty rubles, you have to work for half a month”) and, deciding that “there is no owner of the paper”, “easy, fun” joked for “these, in line”: “Live well, citizens ! In our country, for example, they don’t throw such pieces of paper.” After that, he could not "overpower himself" to pick up the "cursed piece of paper."

Wanting to "do something nice" to his daughter-in-law who disliked him, Chudik painted his little nephew's stroller in such a way that it became "unrecognizable". She, not understanding "folk art", "made a noise" so that he had to go home. In addition, other misunderstandings happen to the hero (a story about the “rude, tactless” behavior of a “drunk fool” from a village across the river, who was not believed by an “intelligent comrade”; searching for an artificial jaw of a “bald reader” of a newspaper on an airplane, which is why he even his bald head turned purple; an attempt to send a telegram to his wife, which the "strict, dry" telegraph operator had to completely correct), revealing the inconsistency of his ideas with the usual logic.

How do others react to his "antics"?

His desire to make life "more fun" runs into a misunderstanding of others. Sometimes he "guesses" that the outcome will be the same as in the story with the daughter-in-law. Often “lost”, as in the case of a neighbor on an airplane or an “intelligent comrade” on a train, - Chudik repeats the words “women with painted lips”, which a man in a hat from a district town “assed in”, but for some reason he has them come out unconvincing. His dissatisfaction always turns to himself (“He didn’t want this, he suffered ...”, “Freak, killed by his insignificance ...”, “Why am I like that”), and not to life, which he is unable to remake .

All these traits have no motivation, they are inherent in the hero from the very beginning, causing the originality of his personality. On the contrary, the profession reflects an inner desire to escape from reality (“He worked as a projectionist in the village”), and dreams are arbitrary and unrealizable (“Mountains of clouds below ... fall into them, into the clouds, like into cotton wool”). The nickname of the hero reveals not only his "eccentricity", but also the desire for a miracle. In this regard, the characterization of reality as a dull, evil everyday life is sharpened (“daughter-in-law ... asked evil ...”, “I don’t understand; why did they become evil?”).

In relation to the outside world, a number of antitheses are built, in which on the side of the hero (as opposed to “unfortunate incidents”, from which it is “bitter”, “painful”, “terrible”) there are signs of a pure, simple-hearted, creative nature of the “village dweller”. “For the living” Chudik is touched by doubts that “people in the village are better, more unsophisticated”, “the air alone is worth it! .. so fresh and smelly, it smells of different herbs, different flowers ...”, that there is “warm ... land" and freedom. From which his "trembling", "quiet" voice sounds "loud".

Why do we only learn the main character's name at the end of the story?

The depiction of the hero’s individuality is combined with the author’s desire for generalization: his nickname is not accidental (his name and age are finally named as an insignificant characteristic: “His name was Vasily Yegorych Knyazev. He was thirty-nine years old”): it expresses the originality of popular ideas about personality . "Freak" is a variation of the "stupid" essence of national nature, created using comic elements.

The story "Mil pardon, madam!" (1968).

What is the genre of this story?

Genre is a story within a story.

Who is the main character of the story?

The character of the protagonist is full of inconsistencies. Even his name Bronislav, "with a hangover" invented by a local priest, contradicts the simple Russian surname Pupkov. A descendant of the Cossacks, that "the fortress of Biy-Katunsk was chopped down", he is both "strong" and "well-tailored man", "shooter ... rare", but these qualities are not used in life. In the war, he did not have to show them in battles, since he "was a nurse at the front." In everyday reality, the hero’s extraordinary nature is reflected in the fact that he “made a lot of scandals”, fought “seriously”, “rushed around the village on his deafening motorbike” and disappeared with the “city” in the taiga - he was “an expert in these matters”, “a hunter … smart and lucky.” In the opinion of others, these contradictions are “strange”, stupid, funny (“Like roll call in the army - so laughter”, “Laughing, laughing in the eyes ...”). He himself, too, usually “jokes”, “buffoons” in front of people, and in his soul “he doesn’t harbor evil on anyone”, he lives “easily”. Unprecedented in this "blue-eyed, smiling" man, the inner "tragedy" becomes apparent only from his own story, a kind of confession in which what is desired is presented as what really happened.

What is Pupkov's story about and how does the audience perceive it?

The story of Bronislav Pupkov is an obvious fiction, which is obvious both to fellow villagers (“He ... was summoned to the village council several times, conscience, threatened to take measures ...”), and for casual listeners (“Are you serious? ... Yes, well, some kind of nonsense ... " ). Yes, and he himself, once again “under the can”, telling the story he invented, after that “he was very worried, suffered, got angry, felt “guilty”. But every time it became a "holiday", an event that he "waited with great impatience", from which "in the morning my heart ached sweetly." The incident narrated by Bronka Pupkov (the assassination attempt on Hitler, where he played the main role) is confirmed by reliable details (a meeting with a major general in the infirmary ward, where the hero “brought one heavy lieutenant”, a “signature” on non-disclosure of information about "special education"), psychological specifics (hatred of Hitler's "fox face"; responsibility for the "Distant Motherland"). It does not do without fantastic details (two orderlies, one with the rank of foreman; "zhituha" at "special training" with alcohol and "port wine"; an appeal to Hitler "in pure German"), which resembles the lies of Khlestakov - the hero "Inspector" N. V. Gogol.

For what purpose, in your opinion, does Bronka tell his fable again and again?

The fiction he composed is a “distortion” of reality. In reality, he, a descendant of the Siberian Cossacks, who became not a hero, but a victim of history, has a miserable fate: drunkenness, fights, abuse of an “ugly, thick-lipped” wife, studies in the village council, “strange” smiles of fellow villagers about his fantasies. And yet the “solemn”, “most burning” moment of the story about the “assassination attempt” comes again, and for several minutes it sinks into

into the “desired” atmosphere of achievement, “deeds”, and not “deeds”. Then his usual proverb, which became the title of the story, acquires a different meaning, containing irony in relation to everyday life, which is not able to change the inner content of the personality.

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"Grade 11 Lesson No. 45 Village prose (review)."

Grade 11

Lesson number 45. Village prose (review). Appeal to folklore traditions, popular consciousness as a way to resist the "deceptive" thaw.

Target: to reveal the concept of "village prose"; continue the development of text analysis skills (the ability to identify the problems and artistic features of works of "village prose").

During the classes

Introduction.

The term “village” prose, which appeared in the 1960s, is still widely used. This is because the works about the village, created in the 60-70s by F. Abramov, V. Astafiev, V. Belov, E. Nosov, V. Rasputin, V. Shukshin and other writers, occupy perhaps the most prominent place in Russian literature of this period. They are united not only by the theme, but by the unity of their outlook on life: its supports, meaning, and the nature of development.

Interest in folk life among those who are often called "village people" was combined with the idea of continuity, historical memory with fidelity to the traditions that underlie morality. Writers - "villagers" considered it necessary to defend the spirituality nourished by these traditions from the destructive influence of modern civilization.

In "village" prose, the life of the village is not simply depicted, but the most important problems of human existence are solved, among which the problems of the relationship between man and nature, personal and collective consciousness occupy an important place. Extremely acute in this prose is the question, which at that time was among the most important, - about the restructuring of human life, caused by mass migration from the countryside to the city.

Finally, the writers belonging to this trend are distinguished by their attention, careful attitude to the riches of the Russian language, preserved in the "outback" and opposing today's attempts to distort it, narrowing its expressive possibilities.

Creating a poster on the topic "Village prose" (based on the work of one of the writers)

Group performance.

Discussion. Evaluation by criteria.

Criteria for evaluation	village prose
Criteria for evaluation	F. Abramov	V. Rasputin	V. Astafiev	V. Shukshin






Total points

Summing up the lesson.

What is the originality of "village" prose? What do the writers united as the creators of this trend have in common?

What pages of novels and short stories by F. Abramov, V. Rasputin, V. Astafiev, B. Mozhaev, V. Belov are written with love, sadness and anger?

Why did the person of the "hard-working soul" become the first-planned hero of "village" prose? Tell about it. What worries, worries him?

What questions do the heroes of Abramov, Rasputin, Astafiev, Mozhaev ask themselves and us readers?

Homework.

Reading the stories of V.M. Shukshin, determining their ideological and artistic originality

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“Grade 11 Lesson No. 45 Village prose. Its brightest representatives.

Lesson topic : Village prose. Its bright representatives.
The purpose of the lesson: Lesson objectives:		students get acquainted with the life and work of village writers. Know the concept of "village prose", They know how to set goals, objectives, put forward a hypothesis, draw conclusions, generalizations, draw up diagrams and tables, build project protection, analyze art text, determine the practical significance of the work; Improve cultural speech behavior that corresponds to the norms of scientific style; Develop universal moral values through "communication" with the masters of the word
Learning outcome:		1. Pupils have information about the work of village writers 2. Pupils accept the rules of the lesson 3. Pupils analyze their own activities in terms of new intellectual experience 4. Pupils own the means of various styles of speech, pose problematic questions, personally significant goals
Key concepts:		Village prose, moral composition, plot, plot, means of artistic expression, style, direction
Resources:		Reference literature, presentations on the topic of the lesson, textbook of Russian literature,interactive whiteboard, sheets, posters, questionnaires, stickers, felt-tip pens, evaluation sheets
time	Type of work		The role of the teacher	Student actions
3 min.	Organizing time Positive. circle of joy Associations to the word «Mercy»		Friendly attitude to work	Good attitude to the lesson
3 min.	Survey What kind of literary but did the phenomenon develop in the 60s of the 20th century? What was the focus of attention of village writers? What was the main thing for this direction? What role does modern village prose play today in literary process? Launching the theme "Village Prose". Slide on the board		Prepares for formulation of the topic and tasks	Answer the questions: how did you determine where this information came from
	Formulation of the topic and objectives of the lesson		Encourage, comment	Defines the topic, objectives of the lesson
3 min.	Evocation of meaning (call) motivational function (Task: students share their impressions and suggest what they would like to talk about)		Creates conditions for division into groups and a favorable working atmosphere. Evaluates formatively	Make suggestions
	Tasks for groups: 1 group - creativity of Abramov 2group-creativity of Rasputin 3 group-creativity of Astafiev 4 group-creativity of Shukshin		Is the coordinator	The group is preparing a poster for their writer
	Implementation Information function (students learn new information). - "Carousel" - the formation of new groups, the exchange of information		Is the coordinator	Fill in the table in three columns: biographical information about the author, the writer's work, the subject of the works,
3 min.	Return to original groups Compilation of high and low order questions		Formatively evaluates (bonuses) Provides assistance. Controls the work of groups.	Sharing information and drafting high and low order questions
5 minutes.	"Hot Chair"		Is the coordinator	Ask questions and evaluate
4 min.	Reflection Questionnaire 1. Are you satisfied with yourself and how do you live? 2. Do you know the feeling of embarrassment, pain and shame? 3. Do you ever get scared for yourself and others? 4. What do you especially value in yourself and loved ones?		Formatively evaluates (bonuses) Summatively assesses (collection of bonuses - self-assessment)	Self-esteem. Questionnaires are answered on the sheets Reflections are written on stickers. Verbs: (We) received, mastered, wrote down, learned, remembered, built, created, thought about, did, discovered, understood, felt, helped, chose, approached;
1 minute.	D / s - continue the phrase: "It hurts me when ..."		Sets tasks, explains	Record d / z
2 minutes.	Question box			Push questions on stickers: What remains unclear? Compliment yourself Compliment to a friend.

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"RM - Village Prose"

"VILLAGE" PROSE of the 60-80s

The concept of "village" prose appeared in the early 60s. This is one of the most fruitful directions in our domestic literature. It is represented by many original works: "Vladimir country roads" and "A drop of dew" by Vladimir Soloukhin, "The usual business" and "Carpenter's stories" by Vasily Belov, " Matrenin yard» Alexander Solzhenitsyn, Victor Astafiev's Last Bow, stories by Vasily Shukshin, Evgeny Nosov, stories by Valentin Rasputin and Vladimir Tendryakov, novels by Fyodor Abramov and Boris Mozhaev. The sons of peasants came to literature, each of them could say about himself the very words that the poet Alexander Yashin wrote in the story “I treat the mountain ash”: “I am the son of a peasant ... Everything that is done on this land concerns me, on which I am not alone knocked out the path with bare heels; on the fields that he still plowed with a plow, on the stubble that he went with a scythe and where he threw hay into stacks.

“I am proud that I left the village,” said F. Abramov. V. Rasputin echoed him: “I grew up in the countryside. She fed me, and it is my duty to tell about her.” Answering the question why he writes mainly about village people, V. Shukshin said: “I could not talk about anything, knowing the village ... I was brave here, I was as independent as possible here.” S. Zalygin wrote in his “Interview with Myself”: “I feel the roots of my nation right there - in the village, in the arable land, in the most daily bread. Apparently, our generation is the last one that saw with its own eyes that thousand-year way of life, from which we emerged almost all and everyone. If we do not tell about it and its decisive reworking within a short time - who will say?

Not only the memory of the heart nourished the theme of "small motherland", "sweet motherland", but also pain for its present, anxiety for its future. Exploring the reasons for the sharp and problematic conversation about the village, which was conducted by literature in the 60-70s, F. Abramov wrote: “The village is the depths of Russia, the soil on which our culture has grown and flourished. At the same time, the scientific and technological revolution in which we live has touched the countryside very thoroughly. Technique has changed not only the type of management, but also the very type of the peasant ... Together with the old way of life, the moral type disappears into oblivion. Traditional Russia is turning over the last pages of its thousand-year history. Interest in all these phenomena in literature is natural... Traditional crafts are disappearing, local features of peasant dwellings that have evolved over the centuries are disappearing... Serious losses are borne by the language. The village has always spoken a richer language than the city, now this freshness is being leached out, eroded…”

The village presented itself to Shukshin, Rasputin, Belov, Astafiev, Abramov as the embodiment of the traditions of folk life - moral, everyday, aesthetic. In their books, there is a need to take a look at everything connected with these traditions and what broke them.

"The usual thing" - this is the name of one of the stories of V. Belov. These words can define the inner theme of many works about the countryside: life as work, life in work is a common thing. Writers draw the traditional rhythms of peasant work, family worries and anxieties, weekdays and holidays. There are many lyrical landscapes in the books. So, in the novel by B. Mozhaev “Men and Women” the description of “unique in the world, fabulous flood meadows near the Oka”, with their “free forbs” attracts attention: “Andrei Ivanovich loved the meadows. Where else in the world is there such a gift from God? So as not to plow and sow, and the time will come - to leave with the whole world, as if on a holiday, into these soft manes and in front of each other, playfully scythe, alone in a week to wind windy hay for the whole winter for cattle ... Twenty-five! Thirty carts! If the grace of God was sent down to the Russian peasant, then here it is, here, spreading out in front of him, in all directions - you can’t cover it with an eye.

Here is another similar sketch - from F. Abramov's novel “Two Winters and Three Summers”: “... Mentally talking with the children, guessing by the tracks, how they walked, where they stopped, Anna did not notice how she came out to Sinelga. And here it is, her holiday, her day, here it is, the joy of suffering: the Pryaslin brigade is on the reaping! Michael, Lisa, Peter, Grigory...

She got used to Mikhail - from the age of fourteen she mows for a peasant and now there are no mowers equal to him in all Pekashin. And Lizka is also swathing - you will envy. Not in her, not in her mother, in grandmother Matryona, they say, with a trick. But small, small! Both with scythes, both hitting the grass with their scythes, both of them have grass lying under their scythes ... Lord, did she ever think that she would see such a miracle!

Writers subtly feel the deep culture of the people. Comprehending his spiritual experience, V. Belov emphasizes in the book Lad: “Working beautifully is not only easier, but also more pleasant. Talent and work are inseparable. And one more thing: “For the soul, for memory, it was necessary to build a house with carvings, or a temple on the mountain, or weave such lace that would take the breath away and light up the eyes of a distant great-great-granddaughter. Because man does not live by bread alone.

This truth is confessed by the best heroes of Belov and Rasputin, Shukshin and Astafiev, Mozhaev and Abramov.

In their works, one should also note the pictures of the brutal devastation of the village, first during collectivization (“Eve” by V. Belov, “Men and Women” by B. Mozhaev), then during the war years (“Brothers and Sisters” by F. Abramov), during the years post-war hard times (“Two Winters and Three Summers” by F. Abramov, “Matryona Dvor” by A. Solzhenitsyn, “A Usual Business” by V. Belov).

And a little earlier, Novy Mir published Boris Ekimov’s bitter, heavy reflection “At the Crossroads” with terrible forecasts: “The impoverished collective farms are already eating away tomorrow and the day after tomorrow, dooming those who will live on this land after them to even greater poverty ... Degradation of the peasant worse than soil degradation. And she is there."

Such phenomena made it possible to talk about "Russia, which we have lost." So the "village" prose, which began with the poeticization of childhood and nature, ended with the consciousness of a great loss. The motif of “farewell”, “last bow”, reflected in the titles of the works (“Farewell to Matera”, “Deadline” by V. Rasputin, “Last bow” by V. Astafiev, “Last suffering”, “Last old man of the village”) is not accidental. » F. Abramov), and in the main plot situations of the works, and forebodings of the characters. F. Abramov often said that Russia was saying goodbye to the countryside as if it were a mother.

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"RM - Criteria for assessment"

Criteria for evaluation	village prose
Criteria for evaluation	F. Abramov	V. Rasputin	V. Astafiev	V. Shukshin
Knowledge of factual material on the topic of the project
Ability to find information from various sources
Availability of analysis of works of art
Possession of competent, emotional and free speech
Originality creative work
The design of the work is logical, aesthetically pleasing
Total points

Criteria for evaluation	village prose
Criteria for evaluation	F. Abramov	V. Rasputin	V. Astafiev	V. Shukshin
Knowledge of factual material on the topic of the project
Ability to find information from various sources
Availability of analysis of works of art
Possession of competent, emotional and free speech
Originality of creative work
The design of the work is logical, aesthetically pleasing
Total points

Criteria for evaluation	village prose
Criteria for evaluation	F. Abramov	V. Rasputin	V. Astafiev	V. Shukshin
Knowledge of factual material on the topic of the project
Ability to find information from various sources
Availability of analysis of works of art
Possession of competent, emotional and free speech
Originality of creative work
The design of the work is logical, aesthetically pleasing
Total points

Criteria for evaluation	village prose
Criteria for evaluation	F. Abramov	V. Rasputin	V. Astafiev	V. Shukshin
Knowledge of factual material on the topic of the project
Ability to find information from various sources
Availability of analysis of works of art
Possession of competent, emotional and free speech
Originality of creative work
The design of the work is logical, aesthetically pleasing
Total points

"Village Prose (2)"

No writer can ignore village problems. This national problems, to be honest.

Vasily Belov

gave a complete picture of life

Russian peasantry in the twentieth century, reflecting all the main events,

had a direct impact on his fate:

October coup and civil war, war communism and NEP,

collectivization and famine, collective farm construction and forced

industrialization, military and post-war hardships, all sorts of

experiments on agriculture and its current degradation ...

presented the reader with different, sometimes very dissimilar

according to the way of life, Russian lands: Russian North

(for example, Abramov, Belov, Yashin), the central regions of the country

(Mozhaev, Alekseev), southern regions and Cossack regions (Nosov, Likhonosov),

Siberia (Rasputin, Shukshin, Akulov)...

created a number of types in the literature, giving an understanding of

that there is a Russian character and that very “mysterious Russian soul”.

These are the famous Shukshin "freaks", and the wise Rasputin old women,

and his dangerous “Arkharovtsy”, and the patient Belovsky Ivan

Afrikanovich, and the fighting Mozhaevsky Kuzkin, nicknamed Alive ...

A.Yashin, V.Tendryakov, F.Abramov, V.Belov, V.Rasputin, B.Mozhaev, V.Shukshin, E.Nosov, I.Akulov, M.Alekseev, V.Lichutin, V.Likhonosov, B. Ekimov...

V. Ovechkin, E. Dorosh, K. Bukovsky, Yu. Chernichenko,

A. Strelyany

The focus of this literature was the post-war village - impoverished and disenfranchised (it is worth remembering that, for example, until the beginning of the 1960s, collective farmers did not even have their own passports and could not leave their "place of registry" without special permission from their superiors). A true image of such a reality in the stories of A. Yashin "Levers" (1956)

and “Vologda wedding” (1962), stories “Around and about” (1963) by F. Abramov, “Mayfight is a short century” (1965) by V. Tendryakov, “From the life of Fyodor Kuzkin” (1966) by B. Mozhaev and in other similar works was a striking contrast with the lacquered socialist realist literature of that time and sometimes provoked angry critical attacks.

After the peasantry finally received passports and was able to

choose your own place of residence

and types of activities, a massive exodus of the population began

from rural areas to cities; this was especially true of the so-called non-chernozem zone. There remained half-empty, or even completely depopulated villages, where flagrant collective-farm mismanagement and almost general drunkenness among the remaining inhabitants reigned ... What are the reasons for such troubles? In an attempt to find an answer to these questions, the authors returned to their memory during the war years, when the strength of the village was torn (F. Abramov's novels "Brothers and Sisters" and "Two Winters and Three Summers" (1958 and 1968, respectively), V. Tendryakov's story "Three bag of weed wheat” (1973) and others), and touched upon such a disastrous phenomenon in agronomic science as “Lysenkoism” that flourished for many years of bad memory (B. Mozhaev’s story “A Day Without End and Without Edge”, 1972, V. Tendryakov ”, 1968), or were engaged in even more distant historical periods - for example, S. Zalygin’s novel about civil war“Salty Pad” (1968) or V. Belov's book “Lad. Essays on folk aesthetics” (1981), dedicated to the life of the pre-revolutionary community of the North...

However, the most main reason depeasation of man on earth

stemmed from the “Great Break” (“a break in the backbone of the Russian people”,

by Solzhenitsyn's definition), that is, violent

collectivization of 1929-1933. And village writers

they were well aware of this, but before the abolition of censorship they were

it is extremely difficult to convey to the reader all or at least

part of the truth about this most tragic period. Nevertheless

several such works were still able to go to print,

dedicated to the village before the start of collectivization

and during the first stage. These were the story

S. Zalygin “On the Irtysh” (1964), B. Mozhaev’s novels “Men and Women”,

V. Belova "Eve" (both - 1976), I. Akulova "Kasyan Ostudny"

(1978). During perestroika and glasnost were finally published

previously lying in the tables "impassable" manuscripts:

the second part of "Men and women" Mozhaev,

“ The year of the great turning point” Belova (both 1987),

Tendryakov's stories "Bread for the Dog" and "A Pair of Bays" (1988)

Fedor Alexandrovich Abramov

(1920--1983)

He devoted all his work to his native northern village. The main brainchild of Abramov was the tetralogy, which tells about the large family of the Pryaslins, about the life of their distant village of Pekashina. The action of the first novel, Brothers and Sisters (1958), covers the spring and summer of 1942; the second - "Two Winters and Three Summers" (1968) - the period from the beginning of 1945 to the summer of 1948; the events of the third - "Roads-crossroads" (1973) - take place in 1951. If the first novel is dedicated to the “woman’s war in the rear”, then the second and third, respectively, are no less, if not more, difficult post-war years in the countryside, reminiscent of the era of war communism, where hunger, intense and almost free labor, fear and arrests reign. , - despite the fact that the main incentive (“Everything for the front, everything for victory”), which helped people somehow come to terms with reality, is already missing. Subsequently, this trilogy, which received the State Prize of the USSR in 1975, was supplemented by the novel “House” (1978), where the village of Pekashino is shown in a different, “stagnant” era. The collective farm has been transformed into a loss-making one, the peasants do not hide their disinterest in the results of their labor (“Before, work tormented people, now people torment work”).

Vasily Ivanovich

Belov

(born 1932)

One of the first works of Belov, the story "The Usual Business" (1966), became the most noticeable phenomenon of village prose. The hero of the story, Ivan Afrikanovich Drynov, is a collective farmer with many children, a kind and patient man who takes his poverty and lack of rights for granted (“Live it and eat it”). His only attempt to improve his situation by leaving for the city to earn money ends in a hasty return back - for he is unable to change the place and habitual way of his life, his village, his collective farm. As critic Yu. Seleznev noted, “Ivan Afrikanovich is active as a person when he is in a team, and his personality is revealed through the team, and he can be defined as a collective personality, in contrast to an autonomous personality.” (The latter, perhaps, was represented by the “obstinate” Kuzkin from B. Mozhaev’s story “Alive”, published in the same year as “The Habitual Business”.)

Boris Andreevich

Mozhaev

(1923--1996)

His first prose works were created on the basis of local material and were dedicated not to a village, not to a person on earth, but rather to a person in the forest: their heroes most often became hunters, lumberjacks, builders of taiga villages, business executives ... Such are the stories “In the hut of a forester ”, “Hunting for ducks” (both - 1954), “Ingani” (1955), “Three” (1956) and others, as well as a number of stories published under the general title “Far Eastern Tales” (1959), - “ Sanya”, “Fall”, “Tonkomer”... Mozhaev raised the problems of barbaric treatment of the taiga under the existing economic mechanisms that not only destroy nature, but often break people's destinies. The latter is especially clearly shown in “Tonkomer”, where the protagonist, who rebels against the criminal timber industry practices, not only - contrary to the then socialist realist tradition - does not win, but, on the contrary, loses everything: work, health, housing , turning into a bum...

Evgeny Ivanovich

Nosov

(born 1925)

At Nosov, a descendant of both a worker and a peasant clan, there is no notorious opposition between the “righteous” village and the “wrong” city. At the same time, he is concerned about the problem of a person who, by his own will or by the will of circumstances, leaves the village for the sake of the city, when, as a result, according to the poet’s famous wording, “the city did not turn out of us, and the village was lost forever.”

People who remain in their native places, not thinking of a different life for themselves, no matter how hard it may be, are described by Nosov with the warmest feelings: “Temple of Aphrodite” (1967), “Meadow fescue rustles” (1966), “On Saturday, day rainy...” (1968) and many other works.

Vasily Makarovich

Shukshin

(1929--1974)

The heroes of the stories were usually the villagers, one way or another faced with the city, or, conversely, the townspeople who ended up in the village. At the same time, a rural person is most often naive, simple-hearted, benevolent, but the city does not meet him kindly at all and quickly shortens all his good impulses.

Valentin Grigorievich

Rasputin

(b. 1937)

The first work that brought him fame was the story "Money for Mary" (1967). This is a story about how a village saleswoman, solely due to her trading inexperience, discovers a major shortage that needs to be urgently compensated in three days; most of the inhabitants shy away from helping their fellow villager in trouble, despite the seemingly sympathetic attitude towards her ...

A man on the border of life and death is a topic that especially occupies Rasputin. Two heroines of his stories - the old Anna from "The Deadline" (1970) and Daria from "Farewell to Matyora" (1976) - are preparing to meet their death calmly, with dignity, with the awareness of their earthly duty.

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"Village prose"

"Village prose": origins, problems, heroes. Heroes of V. Shukshin

Material for a literature lesson in grade 11

The essence of the direction was the revival of traditional morality. It was in this vein of "village prose" that such writers as

Vasily Belov

Fedor Abramov

Valentin Rasputin

Victor Astafiev

October coup and civil war;
War Communism and NEP;
collectivization and famine;
Kolkhoz construction and industrialization;
Military and post-war hardships;
All sorts of experiments on agriculture;
degradation.

July 25, 1929 - was born in the village of Srostki, Altai kr. July 25, 1929 - born in the village of Srostki, Altai region - went to Kaluga, where he worked, 1946 - went to Kaluga, where he worked as a loader, a locksmith. who will have to - a loader, a locksmith.

1954 - entered the Institute of Cinematography (VGIK) 1954 - entered the Institute of Cinematography (VGIK) 1958 - first appeared in a movie ("Two Fedor") - first appeared in a movie ("Two Fedor") - first publication - "Two on a Cart" - the first publication - "Two on a cart".

1964 - filming the film "Such a guy lives" - filming the film "Such a guy lives" - the film "Your son and brother" was released 1965 - the film "Your son and brother" was released 1967 - awarded the Order of the Red Labor Banner 1967 - awarded the Order of the Red Labor Banner

1971 - awarded the State Prize of the USSR 1971 - awarded the State Prize of the USSR 1972 - the film "Stove-shops" was released - the film "Stoves-shops" was released.

1973 - the collection "Characters" was released - the collection "Characters" was released - the film "Kalina Krasnaya" was released, the book "Conversations under the Full Moon" - the film "Kalina Krasnaya", the book "Conversations under the Full Moon" was released. On October 2, 1974, he died suddenly during the filming of the film "They Fought for the Motherland", on October 2, 1974, he died suddenly during the filming of the film "They Fought for the Motherland", on the ship "Danube". on the ship "Danube". Posthumously, V.M. Shukshin was awarded the Lenin Prize.

"Village Prose". In the 1960s, when the first works of the writer appeared in literary periodicals, criticism hurried to rank him among the group of writers - "villagers". There were reasons for that. In the 1960s, when the first works of the writer appeared in literary periodicals, criticism hurried to rank him among the group of writers - "villagers". There were reasons for that. Shukshin really preferred to write about the village, the first collection of his stories was called that - Shukshin really preferred to write about the village, the first collection of his stories was called "Village Residents". However, the ethnographic signs of rural life, the appearance of people from the village, landscape sketches did not particularly interest the writer - all this, if it was discussed in the stories, was only in passing, fluently, in passing. There was almost no poeticization of nature in them, authorial thoughtful digressions, admiring the “mode” of folk life. "Villager". However, the ethnographic signs of rural life, the appearance of people from the village, landscape sketches did not particularly interest the writer - all this, if it was discussed in the stories, was only in passing, fluently, in passing. There was almost no poeticization of nature in them, authorial thoughtful digressions, admiring the “mode” of folk life.

Stories. The writer focused on something else: his writer focused on something else: his stories were a string of life episodes, dramatized scenes that outwardly resembled early Chekhov's stories with their ease, brevity ("shorter than a sparrow's nose"), the element of good-natured laughter. The characters of Shukshin were the inhabitants of the rural periphery, the ignoble, who did not break out "into the people" - in a word, those who outwardly, in their position, fully corresponded to the familiar in the literature of the 19th century. type of "little man". the stories showed a string of life episodes, dramatized scenes, outwardly reminiscent of early Chekhov's stories with their ease, brevity ("shorter than a sparrow's nose"), the element of good-natured laughter. The characters of Shukshin were the inhabitants of the rural periphery, the ignoble, who did not break out "into the people" - in a word, those who outwardly, in their position, fully corresponded to the familiar in the literature of the 19th century. type of "little man".

Collection "Villagers". The collection "Villagers" is not only the beginning of a creative path, but also a big topic - love for the village. The collection "Villagers" is not only the beginning of a creative path, but also a big topic - love for the village. It is on the pages of this collection that we meet It is on the pages of this collection that we meet Gleb Kapustin, a fierce debater, Vasily Knyazev, who is more remembered as the Freak, and the incredible inventor Bronka Pupkov. we meet Gleb Kapustin - a fierce debater, Vasily Knyazev, who is more remembered as the Freak, and the incredible inventor Bronka Pupkov.

How Shukshin understood the story. “What do I think a story is? A man was walking, “What do I think a story is? A man was walking along the street, saw a friend and told, along the street, saw a friend and told, for example, about how just around the corner an old woman blundered onto the pavement, and some brute dray began to laugh. And then he was immediately ashamed of his foolish laughter, came up and picked up the old woman. He also looked around the street to see if anyone had seen him laughing. That's all." for example, about how just around the corner an old woman blurted out on the pavement, and some big dray began to laugh. And then he was immediately ashamed of his foolish laughter, came up and picked up the old woman. He also looked around the street to see if anyone had seen him laughing. That's all."

"Village Prose" by Vasily Shukshin. Completed by: 11th grade student Selyukova Tatiana Key dates in the life and work of V. Shukshin.  1929, July 25 - was born in the village of Srostki, Altai kr. 1946 - went to Kaluga, where he worked as a loader and locksmith. 1949 - was called to the Baltic Fleet 1954 - entered the Institute of Cinematography (VGIK) 1958 - first appeared in a movie ("Two Fedor").  1958 - first publication - "Two on a Cart".  1964 - shoots the film "Such a guy lives."            1965 - the film "Your Son and Brother" was released 1967 - awarded the Order of the Red Labor Banner 1971 - awarded the State Prize of the USSR 1972 - the film "Stove-shops" was released. 1973 - the collection "Characters" was released. 1974 - the film "Kalina Krasnaya" was released, the book "Conversations under the Full Moon" was released. 1974, October 2 - died suddenly during the filming of the film "They fought for the Motherland", on the ship "Danube". Posthumously, V.M. Shukshin was awarded the Lenin Prize. "Village Prose". In the 1960s, when the first works of the writer appeared in literary periodicals, the critics hurried to rank him among the group of writers of the "villagers". There would be reasons for that. Shukshin really preferred to write about the village, the first collection of his stories was called "Village Residents". However, the ethnographic signs of rural life, the appearance of people from the village, landscape sketches did not particularly interest the writer - all this, if it was discussed in the stories, was only in passing, fluently, in passing. There was almost no poeticization of nature in them, authorial thoughtful digressions, admiring the “mode” of folk life.   Now it is not known exactly by whom and when the term “village prose”, which subsequently took root, was introduced, denoting a number of very different works and their authors, telling about rural residents. The bitter result of village prose was summed up by V. Astafiev (we repeat, he also made a significant contribution to it): “We sang the last cry - there were fifteen mourners about the former village. We sang it at the same time. As they say, we cried well, at a decent level, worthy of our history, our village, our peasantry. But it's over. Now there are only pathetic imitations of books that were created twenty-thirty years ago. Imitate those naive people who write about the already extinct village. Literature must now break through the asphalt.” Stories. Vasily Shukshin focused on something else: his stories were a string of life episodes, dramatized scenes, outwardly reminiscent of early Chekhov's stories with their not strained, brevity ("shorter than a sparrow's nose"), the element of good-natured laughter. The characters of Shukshin were the inhabitants of the rural periphery, the ignoble, who did not break out "into the people" - in a word, those who outwardly, in their position, fully corresponded to the familiar in the literature of the 19th century. type of "little man". Collection "Villagers". It is important to note that the collection "Villagers" is not only the beginning of a creative path, but also a big topic - love for the village. It is on the pages of this collection that we meet Gleb Kapustin, a furious debater, Vasily Knyazev, who is more remembered as the Freak, and the incredible inventor Bronka Pupkov. How Shukshin understood the story. “What do I think a story is? A man was walking down the street, saw a friend, and told, for example, about how an old woman had just tumbled on the pavement around the corner, and some brute dray burst out laughing. And then he was immediately ashamed of his foolish laughter, came up and picked up the old woman. He also looked around the street to see if anyone had seen him laughing. That's all."   His homeland is the village of Srostki in the Altai Territory, his parents are peasants. After graduating from school, Shukshin served in the Navy, worked as a loader, locksmith, teacher, school director. Then he graduated from the directing department of VGIK, after which his triumphal path in cinema as a director, actor and screenwriter began. The debut in prose took place in 1961, when his stories were published by the October magazine, and two years later (simultaneously with the release of the first directorial film based on his own script, “Such a Guy Lives”), the first collection of stories “Village Residents” was released. Subsequently, during the life of the author, the collections “There, Away” (1968), “Countrymen” (1970), “Characters” (1973) were published.  The heroes of the stories usually became villagers, one way or another faced with the city, or, conversely, townspeople who ended up in the village. At the same time, a rural person is most often naive, simple-hearted, benevolent, but the city does not meet him kindly at all and quickly shortens all his good impulses. This situation is most vividly presented in the story “Crank” (1967). According to L. Anninsky, "the main point of Shukshin's feelings is resentment for the village." This, however, does not mean at all that Shukshin idealizes the village: he has many quite repulsive types of the most peasant origin (for example, in the stories “Eternally Dissatisfied Yakovlev” (1974), “Cut Off”, “Strong Man” ( both - 1970) and others).  As the literary critic V. Baevsky notes: “Other authors of village prose often portray the city as something openly hostile to the village, in Shukshin the city is rather something different from the village. Not hostile, just different.” About himself, Shukshin said that he felt like a man “who has one leg on the shore and the other in the boat.” And he added: “... this position has its own “pluses” ... From comparisons, from all sorts of “from there to here” and “from here to there”, thoughts not only about the “village” and the “city” and About Russia".  A Russian person in Shukshin's stories is often implicitly dissatisfied with his life, he feels the onset of standardization of everything and everyone, stupid and boring philistine averageness, and instinctively tries to express his own individuality with often strange actions. The last works of V. Shukshin  Shukshin created two novels - the traditional family "Lubavins" (1965), which tells about the village of the twenties, and the film novel about Stepan Razin "I came to give you freedom" (1971). In addition, he wrote such film stories as “Kalina Krasnaya” (1973), which became the most famous film by Shukshin, “Call me into the bright distance ...” (1975), as well as a fantastic fairy tale-parable “Until the third cocks” ( 1974), the unfinished parable story “And in the morning they woke up ...” (1974), the fairy tale story “Point of View” (1974) ...  Shortly before his sudden death, Shukshin received permission to shoot a film about Razin, whose personality he considered extremely important for understanding the Russian character. In the words of the critic V. Sigov, he has “riotous love of freedom, reckless and often aimless activity, the ability to impulse and flight, the inability to moderate passions ...” - that is, those features and qualities that Shukshin gave to many of his other characters, in fully representing the contemporary village. Shukshin in the cinema. Shukshin

History

Although individual works that critically reflect on collective farm experience began to appear already in the early 1950s (essays by Valentin Ovechkin, Alexander Yashin, Anatoly Kalinin, Yefim Dorosh), it was not until the mid-1960s that “village prose” reached such a level of artistry as to take shape in special direction ( great importance had for this story Solzhenitsyn "Matryonin Dvor"). Then the term itself arose.

The largest representatives, "patriarchs" of the direction are F. A. Abramov, V. I. Belov, V. G. Rasputin. The writer and film director V. M. Shukshin became a bright and original representative of the “village prose” of the younger generation. The semi-official organ of village writers was the journal Our Contemporary.

The beginning of Perestroika was marked by an explosion of public interest in the new works of the most prominent of them ("Fire" by Rasputin, " Sad detective” V.P. Astafiev, “Everything is ahead” by Belov), but the change in the socio-political situation after the fall of the USSR led to the fact that the center of gravity in the literature shifted to other phenomena, and, as it was considered until recently and continues to be considered part of the researchers, rural prose fell out of contemporary literature.

Significant works of village prose

Year	Name	author
	Essays on collective farm life	Ovechkin, Valentin Vladimirovich
	Brothers and sisters	Abramov, Fedor Alexandrovich
	Matryonin yard	Solzhenitsyn, Alexander Isaevich
	On the Irtysh	Zalygin, Sergei Pavlovich
	business as usual	Belov, Vasily Ivanovich
	Alive	Mozhaev, Boris Andreevich
	Lubavin	Shukshin, Vasily Makarovich
	Farewell to Matera	Rasputin, Valentin Grigorievich
	king fish	Astafiev, Viktor Petrovich
	living water	Krupin, Vladimir Nikolaevich

"Village prose"

The concept of "village" prose appeared in the early 60s. This is one of the most fruitful trends in our domestic literature. It is represented by many original works: “Vladimir country roads” and “A drop of dew” by Vladimir Soloukhin, “The usual business” and “Carpenter's stories” by Vasily Belov, “Matrenin yard” by Alexander Solzhenitsyn, “Last bow” by Viktor Astafiev, stories by Vasily Shukshin, Evgeny Nosov , stories by Valentin Rasputin and Vladimir Tendryakov, novels by Fyodor Abramov and Boris Mozhaev. The sons of peasants came to literature, each of them could say about himself the very words that the poet Alexander Yashin wrote in the story “I treat the mountain ash”: “I am the son of a peasant ... Everything that is done on this land concerns me, on which I am not alone knocked out the path with bare heels; on the fields that he still plowed with a plow, on the stubble that he went with a scythe and where he threw hay into stacks.

In the protagonist of the novel by B. Mozhaev, the most intimate is revealed, what the writer associated with the concept of "the call of the earth." Through the poetry of peasant labor, he shows the natural course of a healthy life, comprehends the harmony of the inner world of a person who lives in harmony with nature, rejoicing in its beauty.
Here is another similar sketch - from F. Abramov's novel “Two Winters and Three Summers”: “... Mentally talking with the children, guessing by the tracks, how they walked, where they stopped, Anna did not notice how she came out to Sinelga. And here it is, her holiday, her day, here it is, the joy of suffering: the Pryaslin brigade is on the reaping! Mikhail, Lisa, Peter, Grigory ... She got used to Mikhail - from the age of fourteen she mows for a peasant and now there are no mowers equal to him in all Pekashin. And Lizka is also swathing - you will envy. Not in her, not in her mother, in grandmother Matryona, they say, with a trick. But small, small! Both with scythes, both hitting the grass with their scythes, both of them have grass lying under their scythes ... Lord, did she ever think that she would see such a miracle!

Writers subtly feel the deep culture of the people. Comprehending his spiritual experience, V. Belov emphasizes in the book Lad: “Working beautifully is not only easier, but also more pleasant. Talent and work are inseparable. And one more thing: “For the soul, for memory, it was necessary to build a house with carvings, or a temple on a mountain, or weave such lace that would take the breath away and light up the eyes of a distant great-great-granddaughter. Because man does not live by bread alone.”
This truth is confessed by the best heroes of Belov and Rasputin, Shukshin and Astafiev, Mozhaev and Abramov.

The writers showed the imperfection, disorder of the everyday life of the heroes, the injustice done to them, their complete defenselessness, which could not but lead to the extinction of the Russian village. “Here neither subtract nor add. So it was on earth,” A. Tvardovsky will say about this. The “information for reflection” contained in the “Supplement” to Nezavisimaya Gazeta (1998, No. 7) is eloquent: “In Timonikh, the native village of the writer Vasily Belov, the last peasant Faust Stepanovich Tsvetkov died. Not a single man, not a single horse. Three old women.
A little earlier, Novy Mir (1996, No. 6) published Boris Ekimov’s bitter, heavy reflection “At the Crossroads” with terrible forecasts: “The impoverished collective farms are already eating away tomorrow and the day after tomorrow, dooming those who will live on this day to even greater poverty. land after them... The degradation of the peasant is worse than the degradation of the soil. And she is there."
Such phenomena made it possible to talk about "Russia, which we have lost." So the "village" prose, which began with the poeticization of childhood and nature, ended with the consciousness of a great loss. The motif of “farewell”, “last bow”, reflected in the titles of the works (“Farewell to Matera”, “Deadline” by V. Rasputin, “Last bow” by V. Astafiev, “Last suffering”, “Last old man of the village”) is not accidental. » F. Abramov), and in the main plot situations of the works, and forebodings of the characters. F. Abramov often said that Russia was saying goodbye to the countryside as if it were a mother.
In Russian literature, the genre of rural prose differs markedly from all other genres. What is the reason for this difference? One can talk about this for an exceptionally long time, but still not come to a final conclusion. This is because the scope of this genre may not fit within the description of rural life. This genre can also include works that describe the relationship between the people of the city and the village, and even works in which the main character is not a villager at all, but in spirit and idea, these works are nothing more than village prose.
IN foreign literature there are very few works of this type. There are many more of them in our country. This situation is explained not only by the peculiarities of the formation of states, regions, their national and economic specifics, but also by the character, “portrait” of each people inhabiting a given area. In the countries of Western Europe, the peasantry played an insignificant role, and all the people's life was in full swing in the cities. In Russia, since ancient times, the peasantry has occupied the most important role in history. Not by the power of power (on the contrary - the peasants were the most disenfranchised), but in spirit - the peasantry was and probably still remains the driving force Russian history. It was from the dark, ignorant peasants that Stenka Razin, and Emelyan Pugachev, and Ivan Bolotnikov came out, it was precisely because of the peasants, more precisely because of serfdom, that cruel struggle took place, the victims of which were both tsars, and poets, and part of the outstanding Russian intelligentsia of the 19th century. Due to this, works covering this topic occupy a special place in the literature.
Contemporary rural prose plays a large role in the literary process today. This genre today rightfully occupies one of the leading places in terms of readability and popularity. The modern reader is concerned about the problems that are raised in the novels of this genre. These are questions of morality, love for nature, a good, kind attitude towards people and other problems that are so relevant today. Among the writers of our time who wrote or are writing in the genre of village prose, the leading place is occupied by such writers as Viktor Petrovich Astafiev (“The Tsar-Fish”, “The Shepherd and the Shepherdess”), Valentin Grigorievich Rasputin (“Live and Remember”, “Farewell to Matera ”), Vasily Makarovich Shukshin (“Villagers”, “Lubavins”, “I came to give you freedom”) and others.

Vasily Makarovich Shukshin as a representative of "village prose"

Vasily Makarovich Shukshin occupies a special place in this series. His original work attracted and will attract hundreds of thousands of readers not only in our country, but also abroad. After all, it is rare to meet such a master of the folk word, such a sincere admirer of native land what was this outstanding writer.
Vasily Makarovich Shukshin was born in 1929 in the village of Srostki, Altai Territory. And through the whole life of the future writer, the beauty and severity of those places ran like a red thread. It was thanks to his small homeland that Shukshin learned to appreciate the land, the labor of a person on this earth, learned to understand the harsh prose of rural life. From the very beginning of his creative path, he discovered new ways in the image of a person. His heroes turned out to be unusual in terms of their social status, life maturity, and moral experience. Having already become a fully mature young man, Shukshin goes to the center of Russia. In 1958, he made his film debut (“Two Fedors”), as well as in literature (“A Story in a Cart”). In 1963, Shukshin released his first collection, “Village Residents”. And in 1964, his film “Such a Guy Lives” was awarded the main prize at the Venice Film Festival. Shukshin comes to worldwide fame. But he doesn't stop there. Years of hard and painstaking work follow. For example: in 1965, his novel “Lubavins” was published and at the same time the film “Such a guy lives” appears on the screens of the country. Only by this example alone can one judge with what dedication and intensity the artist worked.
Or maybe it's haste, impatience? Or the desire to immediately establish oneself in literature on the most solid - "novel" basis? Certainly it is not. Shukshin wrote only two novels. And as Vasily Makarovich himself said, he was interested in one topic: the fate of the Russian peasantry. Shukshin managed to touch a nerve, break into our souls and make us ask in shock: “What is happening to us”? Shukshin did not spare himself, he was in a hurry to have time to tell the truth, and to bring people together with this truth. He was obsessed with one thought that he wanted to think out loud. And be understood! All the efforts of Shukshin - the creator were directed towards this. He believed: “Art is, so to speak, to be understood ...” From the first steps in art, Shukshin explained, argued, proved and suffered when he was not understood. He is told that the film “There Lives Such a Guy” is a comedy. He is perplexed and writes an afterword to the film. At a meeting with young scientists, a tricky question is thrown at him, he puts it off, and then sits down to write an article (“Monologue on the Stairs”).

In Russian literature, the genre of rural prose differs markedly from all other genres. What is the reason for this difference? One can talk about this for an exceptionally long time, but still not come to a final conclusion. This is because the scope of this genre may not fit within the description of rural life. This genre can also include works that describe the relationship between the people of the city and the village, and even works in which the main character is not a villager at all, but in spirit and idea, these works are nothing more than village prose.

There are very few works of this type in foreign literature. There are many more of them in our country. This situation is explained not only by the peculiarities of the formation of states, regions, their national and economic specifics, but also by the character, “portrait” of each people inhabiting a given area. In the countries of Western Europe, the peasantry played an insignificant role, and all the people's life was in full swing in the cities. In Russia, since ancient times, the peasantry has occupied the most important role in history. Not by the strength of power (on the contrary - the peasants were the most disenfranchised), but in spirit - the peasantry was and probably still remains the driving force of Russian history. It was from the dark, ignorant peasants that Stenka Razin, and Emelyan Pugachev, and Ivan Bolotnikov came out, it was precisely because of the peasants, more precisely because of serfdom, that cruel struggle took place, the victims of which were both tsars, and poets, and part of the outstanding Russian intelligentsia of the 19th century. Due to this, works covering this topic occupy a special place in the literature.

Contemporary rural prose plays a large role in the literary process today. This genre today rightfully occupies one of the leading places in terms of readability and popularity. The modern reader is concerned about the problems that are raised in the novels of this genre. These are questions of morality, love for nature, a good, kind attitude towards people and other problems that are so relevant today. Among the writers of our time who wrote or are writing in the genre of village prose, the leading place is occupied by such writers as Viktor Petrovich Astafiev (“The Tsar-Fish”, “The Shepherd and the Shepherdess”), Valentin Grigorievich Rasputin (“Live and Remember”, “Farewell to Matera ”), Vasily Makarovich Shukshin (“Villagers”, “Lubavins”, “I came to give you freedom”) and others.

Vasily Makarovich Shukshin was born in 1929 in the village of Srostki, Altai Territory. And through the whole life of the future writer, the beauty and severity of those places ran like a red thread. It was thanks to his small homeland that Shukshin learned to appreciate the land, the labor of a person on this earth, learned to understand the harsh prose of rural life. From the very beginning of his creative path, he discovered new ways in the image of a person. His heroes turned out to be unusual in terms of their social status, life maturity, and moral experience. Having already become a fully mature young man, Shukshin goes to the center of Russia. In 1958, he made his film debut (“Two Fedors”), as well as in literature (“A Story in a Cart”). In 1963, Shukshin released his first collection, “Village Residents”. And in 1964, his film “Such a Guy Lives” was awarded the main prize at the Venice Film Festival. Shukshin comes to worldwide fame. But he doesn't stop there. Years of hard and painstaking work follow. For example: in 1965, his novel “Lubavins” was published and at the same time the film “Such a guy lives” appears on the screens of the country. Only by this example alone can one judge with what dedication and intensity the artist worked.

Or maybe it's haste, impatience? Or the desire to immediately establish oneself in literature on the most solid - "novel" basis? Certainly it is not. Shukshin wrote only two novels. And as Vasily Makarovich himself said, he was interested in one topic: the fate of the Russian peasantry. Shukshin managed to touch a nerve, break into our souls and make us ask in shock: “What is happening to us”? Shukshin did not spare himself, he was in a hurry to have time to tell the truth, and to bring people together with this truth. He was obsessed with one thought that he wanted to think out loud. And be understood! All the efforts of Shukshin - the creator were directed towards this. He believed: “Art is, so to speak, to be understood ...” From the first steps in art, Shukshin explained, argued, proved and suffered when he was not understood. He is told that the film “There Lives Such a Guy” is a comedy. He is perplexed and writes an afterword to the film. At a meeting with young scientists, a tricky question is thrown at him, he stews it, and then sits down to write an article (“Monologue on the Stairs”).

Where did the writer get the material for his works? Everywhere, where people live. What material is it, what characters? That material, and those heroes who rarely fell into the realm of art before. And it took a great talent to come from the depths of the people, to tell the simple, strict truth about his fellow countrymen with love and respect. And this truth became a fact of art, aroused love and respect for the author himself. The hero of Shukshin turned out to be not only unfamiliar, but somewhat incomprehensible. Lovers of “distilled” prose demanded a “beautiful hero”, demanded that the writer invent, so that God forbid not to disturb his own soul. The polarity of opinions, the sharpness of assessments arose, oddly enough, precisely because the hero was not invented. And when the hero is real person, it cannot be only moral or only immoral. And when the hero is invented to please someone, here is complete immorality. Isn't it from here, from a misunderstanding of Shukshin's creative position, that creative errors in the perception of his heroes come from. Indeed, in his heroes, the immediacy of the action, the logical unpredictability of the act are striking: either he suddenly accomplishes a feat, then he suddenly runs away from the camp three months before the end of his term.

Shukshin himself admitted: “It is most interesting for me to explore the character of a non-dogmatic person, a person not planted in the science of behavior. Such a person is impulsive, gives in to impulses, and therefore, is extremely natural. But he always has a reasonable soul. The writer's characters are really impulsive and extremely natural. And they do so because of internal moral concepts, maybe they themselves are not yet aware. They have a heightened reaction to the humiliation of a person by a person. This reaction takes on a variety of forms. Leads sometimes to the most unexpected results.

The pain from the betrayal of his wife Seryoga Bezmenov burned, and he cut off two fingers for himself (“Fingerless”).

The salesman insulted the bespectacled man in the store, and for the first time in his life he got drunk and ended up in a sobering-up station (“And in the morning they woke up ...”), etc. etc.

In such situations, Shukshin's heroes can even commit suicide ("Suraz", "Husband's wife saw off to Paris"). No, they can not stand insults, humiliation, resentment. They offended Sasha Ermolaev (“Resentment”), the “inflexible” aunt-seller was rude. So what? It happens. But the hero of Shukshin will not endure, but will prove, explain, break through the wall of indifference. And... grab the hammer. Or he will leave the hospital, as Vanka Teplyashin did, as Shukshin did (Slander). A very natural reaction of a conscientious and kind person ...

No, Shukshin does not idealize his strange, unlucky heroes. Idealization generally contradicts the art of the writer. But in each of them he finds something that is close to himself. And now, it is no longer possible to make out who is calling for humanity - the writer Shukshin or Vanka Teplyashin.

Shukshin’s hero, faced with a “narrow-headed gorilla”, may, in despair, grab a hammer himself to prove his case to the wrong, and Shukshin himself may say: “Here you must immediately beat a stool on the head - the only way to tell a boor that he did not do well” ( "Borya"). This is a purely "Shukshin" conflict, when truth, conscience, honor cannot prove that they are they. And it’s so easy for a boor, it’s so easy to reproach a conscientious person. And more and more often, the clashes of Shukshin's heroes become dramatic for them. Shukshin was considered by many to be a comic writer, “joking”, but over the years, the one-sidedness of this statement, as well as another one, about the “benevolent non-conflict” of the works of Vasily Makarovich, became more and more clearly revealed. The plot situations of Shukshin's stories are sharply repetitive. In the course of their development, comedic situations can be dramatized, and something comical is found in dramatic ones. With an enlarged image of unusual, exceptional circumstances, the situation suggests their possible explosion, catastrophe, which, having broken out, break the usual course of life of the characters. Most often, the actions of the heroes determine the strongest desire for happiness, for the establishment of justice (“In Autumn”).

Did Shukshin write about the cruel and gloomy owners of the Lyubavins, the freedom-loving rebel Stepan Razin, old men and women, did he talk about the breaking of the hallway, about the inevitable departure of a person and his farewell to all earthly ones, did he make films about Pashka Kogolnikov, Ivan Rastorguev, the Gromov brothers, Yegor Prokudin , he depicted his heroes against the background of specific and generalized images - a river, a road, an endless expanse of arable land, a native home, unknown graves. Shukshin understands this central image comprehensive content, solving the cardinal problem: what is a person? What is the essence of his existence on Earth?

The study of the Russian national character, which has evolved over the centuries and the changes in it associated with the turbulent changes of the twentieth century, is the strong side of Shukshin's work.

Earth gravity and attraction to the earth is the strongest feeling of the farmer. Born together with man, a figurative representation of the greatness and power of the earth, the source of life, the keepers of time and the generations that have gone with it in art. The earth is a poetically meaningful image in Shukshin's art: home, arable land, steppe, Motherland, mother - damp earth ... Folk - figurative associations and perceptions create an integral system of national, historical and philosophical concepts: about the infinity of life and the goals of generations that are fading into the past , about the motherland, about spiritual ties. The comprehensive image of the earth - the Motherland becomes the center of gravity of the entire content of Shukshin's work: the main collisions, artistic concepts, moral and aesthetic ideals and poetics. Enrichment and renewal, even the complication of the original concepts of the earth, the house in the work of Shukshin is quite natural. His worldview, life experience, a heightened sense of the homeland, artistic penetration, born in a new era in the life of the people, led to such a peculiar prose.

The first attempt by V. Shukshin to comprehend the fate of the Russian peasantry at historical breaks was the novel “Lubavins”. It was about the beginning of the 20s of our century. But the main character, the main embodiment, the focus of the Russian national character for Shukshin was Stepan Razin. It is to him, his uprising, that the second and last novel by Shukshin is dedicated “I came to give you freedom”. When Shukshin first became interested in the personality of Razin, it is difficult to say. But already in the collection “Rural Residents” a conversation about him begins. There was a moment when the writer realized that Stepan Razin was absolutely modern in some facets of his character, that he was the concentration of the national characteristics of the Russian people. And this discovery, precious for himself, Shukshin wanted to convey to the reader. Today's man is acutely aware of how "the distance between modernity and history has narrowed." Writers, referring to the events of the past, study them from the perspective of people of the twentieth century, seek and find those moral and spiritual values that are needed in our time.

Several years pass after finishing work on the novel “Lyubavin”, and Shukshin on a new artistic level tries to investigate the processes taking place in the Russian peasantry. It was his dream to make a film about Stepan Razin. He kept coming back to her. If we take into account the nature of Shukshin's talent, inspired and nourished by living life, considering that he himself was going to play the role of Stepan Razin, then a new deep penetration into the Russian national character could be expected from the film. One of best books Shukshin is called so - "Characters" - and this name itself emphasizes the writer's predilection for what developed in certain historical conditions.

In the stories written in recent years, a passionate, sincere author's voice is increasingly heard, addressed directly to the reader. Shukshin spoke about the most important, painful, exposing his artistic position. He seemed to feel that his heroes could not express everything, but they definitely had to. More and more “sudden”, “fictitious” stories from Vasily Makarovich Shukshin himself appear. Such an open movement towards “unheard of simplicity”, a kind of nudity, is in the traditions of Russian literature. Here, in fact, it is no longer art, going beyond its limits, when the soul screams about its pain. Now the stories are a solid author's word. The interview is a naked revelation. And questions, questions, questions everywhere. The most important about the meaning of life.

Art should teach goodness. Shukshin saw the most precious wealth in the ability of a pure human heart to do good. “If we are strong and truly smart in anything, it is in a good deed,” he said.

He lived with it, Vasily Makarovich Shukshin believed in it.

List of used literature

1. V. Gorn Disturbed soul
2. V. Gorn The fate of the Russian peasantry

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