Basic theatrical terms. Dramaturgy typical questions on dramatic works - document Hero at the bottom prince
FOREWORD— seats in the auditorium, the room in front of the entrance to the box.
PROSCENIUM- the front of the stage (between the curtain and the ramp).
ACT- a completed part of a dramatic work or theatrical performance; same as action.
ACTOR, actress - performer (performer) of roles.
ROLE- roles similar in nature, corresponding to the talent and external data of a particular actor.
AMPHITHEATER- 1) an ancient structure for spectacles: an oval arena, around which there were seats for spectators on ledges; 2) seats in the auditorium located behind the stalls.
ENGAGEMENT- inviting an actor for a certain period of time to participate in performances or concerts.
ANNOUNCEMENT— announcement of upcoming tours, performances, concerts.
ANTIHERO- a deliberately reduced, deheroized character in the play, occupying one of the main places.
INTERMISSION- a break between actions (acts) of a performance, between sections of a concert.
ENTREPRENEUR- owner, keeper, tenant of a private theater.
ENTREPRISE- private theater.
FULL HOUSE- an announcement that all tickets (for a performance, performance) have been sold.
APOTHEOSIS- the solemn final crowd scene of a performance or festive concert program.
EARTHSCENE- the part of the stage farthest from the auditorium.
BALAGAN- a theatrical performance of a comic nature, shown at fairs and folk festivals (in Russia since the 18th century).
BALCONY— seats in the auditorium, located in an amphitheater in different tiers.
MEZZANINE- the first tier of balconies above the stalls and amphitheater in an auditorium or concert hall.
BENEFIT— 1) a theatrical performance in honor of one actor; 2) a performance, the proceeds from which went to the benefit of one or more actors, as well as other theater workers.
BENOIR— theater boxes at the level of the sienna or slightly lower on both sides of the stalls.
BERICAOBA- Georgian improvisational folk theater of masks. Existed from ancient times until the beginning of the 20th century.
BURLESQUE- an exaggerated comic image on stage.
BUTAFOR- theater worker in charge of props. It is made by a prop artist.
PROPS- objects specially made and used instead of real things in theatrical productions.
BUFFOON- the role of an actor who uses buffoonery to perform a role.
BUFFOONERY- 1) performance using clown techniques; 2) emphasized outwardly comic exaggeration, sometimes caricature of characters.
VERTEP- Ukrainian folk puppet theater, which became widespread in the 17th-19th centuries. The dolls, mounted on a wire inside a two-tier box - a nativity scene, were set in motion by the nativity scene maker. Scenes based on biblical stories. Satirical interludes were accompanied by music.
GALLERY- upper tier of the auditorium.
GASTION- actor in ancient Rome.
TOUR— performances by actors on location in other theaters.
HERO- the main character in the play.
DRESS REHEARSAL- the last one before a performance or concert.
GRANDAM- the role of an actress playing the role of noble ladies.
GRANDCOQUET- the role of an adult noble lady.
MAKEUP- 1) the art of changing the appearance of an actor (mainly the face) using special paints, stickers, a wig, hairstyle, etc.; 2) paints and other makeup supplies.
MAKE-UP MAKER- a specialist who does makeup for actors.
MAKE-UP ROOM— a room for making up and changing clothes for actors.
ACTION- the finished part of the performance. Same as the act.
DECLAMATION- clear, expressive reading aloud.
DECORATION- artistic design of the scene of action on the theater stage, creating a visual image of the performance.
JORURI- a type of puppet theater in Japan. Joruri plays are performed on the stage of the kabuki theater.
DIVERTISSEMENT- a musical or dramatic performance of a number of separate acts, usually given in addition to the play.
DRAMATURGY- 1) dramatic art, the theory of constructing dramatic works; 2) the totality of such works; 3) the plot and compositional basis of a separate theatrical work.
THE VILLAIN- the role of an actor playing negative characters.
INGENUE- the role of an actress playing the role of a naive girl.
INTERMEDIA- a short play performed between acts of a dramatic or operatic performance; insert scene.
KABUKI- one of the types of classical theater in Japan. Includes music, dance, drama, developed in the 17th century. Since 1652, only men have performed in such troupes.
PAINTING- part of an act in a drama.
KLAKA- a special group of people hired to create artificial success or failure of a performance or actor.
COQUETTE- the role of an actress who plays the role of a beautiful girl.
GRIDES— the upper (invisible to the viewer) part of the stage for installing blocks, stage mechanisms and hanging scenery elements.
COMEDIAN- the role of an actor performing comedic roles.
CONFIDANT- an actor playing the role of a close protagonist.
COTURNES- a type of sandal with very thick soles worn by ancient Greek and Roman actors to increase height.
BACKSTAGE- flat parts of the scenery (soft, stretched over frames), located on the sides of the stage.
LYRICIST- the role of an actor playing lyrical characters.
ACTOR- the name of an actor in Ancient Rus'.
LODGE- a group of seats in the auditorium (around the stalls and on tiers), separated by partitions or barriers.
PUPPET- a theatrical puppet that the puppeteer sets in motion using threads.
MIS-EN-SCENE- the location of the actors on stage at one point or another of the performance. The art of mise-en-scène is one of the most important elements of directing.
MIME- pantomime actor.
FAMILY- one of the important elements of the actor’s art, expressive movement of the facial muscles.
MONOLOGUE- an actor’s speech addressed to listeners or himself.
MUSIC HALL- a type of pop theater that combines pop, circus, dance and music genres. The first music halls arose in Great Britain in the mid-nineteenth century.
PEOPLE'S THEATER- 1) theater existing among the people, organically connected with oral folk art; 2) professional theater of the second half of the 19th century, whose activities were addressed to a wide audience; 3) non-professional amateur theater (in Russia it appeared in mid-19th V.).
NOO- one of the types of traditional Japanese theater. Includes music, dance, drama. Characteristic features: conventional scenery, the main characters are in masks, the costume is devoid of everyday concreteness.
PADUGA- a strip of curtain along the top of the stage area.
PANTOMIME- a type of stage art in which an artistic image is created without the help of words, by means of expressive movement, gesture, and facial expressions.
PARTER- the plane of the floor of the auditorium with seats for spectators, usually below stage level.
PELZHENT- a mobile stage in the form of a large cart in a medieval theater. It was used in staging mysteries, miracles, and processions.
PETIMETER- the image of a dandy in a satirical comedy.
PARSLEY- the main character of Russian folk puppet shows; known since the first half of the 17th century.
SCAFFOLD- a synonym for the word "scene".
STAGE— the creative process of creating a performance; the same as the performance.
PRIME (PREMIERE)- actor, actress, occupying a leading position in the troupe, playing the main roles.
PREMIERE— the first (or one of the first) public paid showing of a new performance.
DIVA- actress playing leading roles.
SIMPLETON- the role of an actor playing a simple-minded person.
RAMP- lighting equipment on the stage floor along its front edge, hidden from the public by the side.
REVUE- a variety or theatrical performance consisting of several numbers united by one theme.
DIRECTOR- director of performances, based on his own plan, creates a new stage reality, combining the work of actors, artist, composer.
REASONER- the role of an actor expressing moralizing judgments.
PROPS- items used in theatrical productions.
REHEARSAL- the main form of preparing a theatrical performance.
REPERTOIRE- a set of works performed in the theater.
Test on the creativity of A.N. Ostrovsky (grade 10)
1. What city was A.N. Ostrovsky born in?
A) Moscow
B) St. Petersburg
B) Kostroma
D) Eagle
2. Indicate Ostrovsky’s first and patronymic
A) Alexey Nikolaevich
B) Alexander Nikolaevich
B) Andrey Nikolaevich
D) Anton Alexandrovich
3. In 1856 A.N. Ostrovsky became an employee of the magazine:
A) "Russian Messenger"
B) "Moskvitian"
B) "Contemporary"
D) "Epoch"
4. What was the name of the first work that brought A.N. Ostrovsky fame?
A) “Picture of Family Happiness”
B) “Bankrupt or Our own people – we’ll be numbered”
B) "Thunderstorm"
D) “Don’t sit in your own sleigh”
5. What social class does A.N. Ostrovsky portray in most of his plays?
A) nobility
B) peasantry
B) merchants
D) philistinism
6. In what year was the play “The Thunderstorm” created?
A) in 1859
B) in 1860
B) in 1861
D) in 1865
7. Name the type of hero that became the discovery of A.N. Ostrovsky.
A) type of “extra person”
B) “little man” type
B) type of tyrant
D) type of tramp
8. To what literary genre can the play “The Thunderstorm” be classified (as defined by the author).
A) tragedy
B) lyrical comedy
B) drama
D) comedy of masks
9. The play “The Thunderstorm” begins with a lengthy, somewhat confusing exposition in order to:
A) intrigue the reader
B) introduce heroes who are not directly involved in the intrigue
C) create an image of the world in which the heroes live
D) slow down stage time
10. The city in which the action of “The Thunderstorm” took place was called:
A) Kalinin
B) Kalinov
B) Kostroma
D) Samara
11. Which characters are (in terms of conflict) central in the play?
A) Boris and Katerina
B) Katerina and Tikhon
B) Kabanikha and Katerina
D) Boris and Tikhon
12. The play “The Thunderstorm” shows life based on patriarchal laws, where the world is ruled by money, ignorance, savagery, limitations, and cruelty. Is there a person in the city who can resist the laws of this life? Name it.
A) Boris
B) Curly
B) Varvara
D) Katerina
13. Which of the characters in the play pronounces the following monologue?
Cruel morals, sir, in our city, cruel! In philistinism, sir, you will see nothing but rudeness and naked poverty. And we, sir, will never get out of this crust!.. And whoever has money, sir, tries to enslave the poor so that he can make even more money from his free labors...
A) Boris
B) Curly
B) Kuligin
D) Feklusha
14. The culmination of the play “The Thunderstorm” can be considered the episode:
A) Katerina’s separation from Tikhon
B) Katerina’s confession to the residents of the city of Kalinov of infidelity to her husband
C) farewells to Boris
D) with a key
15. Savel Prokofievich Dikoy does not participate in the main conflict of the play “The Thunderstorm”. Why did A.N. Ostrovsky introduce this character into the play?
A) to contrast Marfa Ignatievna Kabanova
B) to create a holistic image of the “dark kingdom”
B) to bring the play to life
D) to emphasize the prowess and scope of the Russian merchants
16. Which of the characters in the play owns the statement: “Do whatever you want, as long as everything is sewn and covered”?
A) Varvara
B) Kuligin
B) Kabanikha
D) Curly
17. N.A. Dobrolyubov called one of the heroes of the play “a ray of light in dark kingdom" This:
A) Kuligin
B) Katerina
B) Boris
D) Marfa Ignatievna
18. What character trait is revealed in Katerina’s last monologue?
Live again? No, no, don't...not good! And people are disgusting to me, and the house is disgusting to me, and the walls are disgusting! I won’t go there!.. I wish I could die now!.. but I can’t live! Sin! Won't they pray? He who loves will pray...
A) piety
B) poetry
B) determination
D) humility
19. Determine which of the characters owns the lines.
a) “Only one thing should be asked of God, that she die as soon as possible...”
b) “And you are afraid to even look at the sky, you are trembling! They've made a scare out of everything..."
c) “What kind of elegance is there!... A thunderstorm is given to us as punishment so that we can feel it, but you want to defend yourself, God forgive me, with poles and some kind of rods...”
d) “I don’t know how to deceive, I can’t hide anything...”
A) Kuligin
B) Katerina
B) wild
D) Boris
20. Choose the exact wording that characterizes the role of the landscape in the play “The Thunderstorm”.
A) The landscape creates a sense of plausibility of the events described
B) the landscape is “autonomous” in relation to the events described
C) the landscape helps to emphasize the savagery and ignorance of the city's inhabitants
D) the landscape serves as a social characteristic
Answers to the test:
1.-a, 2-b, 3-c, 4-b, 5-c, 6-a, 7-c, 8-c, 9-c, 10-b, 11-c, 12-d, 13 -c, 14-b, 15-b, 16-a, 17-b, 18-c, 19-a-G, b-A, c-C, g-B, 20-c
DRAMATURGY
Typical questions about dramatic works
Within what literary direction was this work created? Classicism, realism
What term refers to the form of speech of characters that represents an exchange of remarks? Dialogue
Determine the genre of the work.
Fonvizin “Undergrown” - comedy
Griboyedov "Woe from Wit" - comedy
Gogol "The Inspector General" - comedy
Ostrovsky “The Thunderstorm” - drama
Chekhov " The Cherry Orchard" - comedy
Gorky “At the Bottom” - drama
One of the characteristic techniques of classicism is to reveal the character of the hero through his surname. What are these surnames called? Speakers
In literary criticism, what do you call characters who do not appear on stage?
Off-stage
What is the name of the hero who expresses the author's position? Reasoner
The fragment depicts an acute clash of positions between the heroes. What is such a collision called in the work? Conflict
Type of conflict? Public, love, social
What stage in the development of the action does this fragment belong to? Commencement, climax, denouement
Indicate the name of the genre of literature to which the play belongs...? Drama
What is the name of the extended statement of one character? Monologue
Name the term that refers to the statements of the characters in the play. // What is a single phrase of an interlocutor in a stage dialogue called in dramaturgy? Replica
What is the name of the part of the act (action) of a dramatic work in which the composition characters remains unchanged? Scene
What is the term that is used in literary criticism to denote an expression that has become popular? // The actor utters a succinct, laconic phrase: “Without a name, there is no person.” What is the name of this type of sayings?// What are the names of the sayings of heroes that are distinguished by brevity, capacity of thought and expressiveness? Aphorism
The given scene contains information about the characters, the place and time of the action, and describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by the named features. // What term is usually used to designate the part of the work where the circumstances preceding the main events of the plot are depicted? Exposition
What is the main means of characterization in this fragment of the play? Speech
Name the medium of artistic representation
TRADITIONS AND INNOVATION IN DRAMATURGY
|
FULL NAME. work |
Innovation |
Traditions |
|
Denis Ivanovich Fonvizin Comedy "Undergrown" |
"Minor" is satirical comedy, in which, according to Gogol, the writer revealed “the wounds and illnesses of our society, severe internal abuses, which, by the merciless power of irony, are exposed in stunning evidence.” Stage-wise, Mitrofan, the same ignoramus that the title of the play refers to, is a secondary personage, but the history of his upbringing explains where he comes from. scary world Skotinins and Prostakovs. This means not just posing the problem of education, but considering circumstances that influence the formation of personality, which corresponds to the objectives of realism. This is where a peculiar fusion of traditional and innovative elements in comedy arises. And finally, the innovation of “The Minor” was manifested in the fact that while maintaining one line of development of the intrigue (several contenders are fighting for Sophia’s hand and heart: Milon, who sincerely loves her and is loved by her, as well as Skotinin and Mitrofan, who have learned about the rich dowry, or rather, his mother, trying to ensure her son’s happiness), Fonvizin includes several interrelated problems in the play. The main ones are the problems of serfdom, education and the form of state power, which in comedy, as in reality, are interdependent. The author also raises questions about the consistent performance of “duties” by each citizen, about the character family relations, about the education of nobles and others. |
Built according to the rules of classicism (the rules of three unities: the unity of place, time and action); also uses such a technique of classicism, which helps to reveal the characters of the characters, like telling names and surnames; in the spirit of classicism, he depicts Fonvizin and his favorite hero Starodum as a reasoning hero expressing the author’s point of view; as it should positive hero in the plays of classicism, Starodum speaks in correct, bookish language. But Fonvizin expands the narrow framework of classicism, introducing other individual traits into the hero’s speech: aphorism, saturation with archaisms. |
|
Alexander Sergeevich Griboyedov Comedy "Woe from Wit" |
The artistic form of the play created by Griboedov was indeed very unusual and unusual for his contemporaries, since it combined traditional and innovative elements. The comedy, like no other work, combined features that were characteristic of classicism, which resisted new trends, and romanticism, which was rapidly gaining strength, and realism, which was taking its first steps. In this sense, “Woe from Wit” remains one of the most unique artistic creations of the early nineteenth century in Russian literature. Firstly, his comedy was written “not in iambic hexameter with pyitic liberties, and in free verse, as before only fables were written.” Secondly, it was written “not in bookish language, which no one spoke, but lively, easy spoken Russian" Thirdly, “every word of Griboyedov’s comedy amazed with the speed of the mind, and almost every verse in it turned into a proverb or a saying." Fourthly, Griboedov’s comedy “rejected artificial love, reasoners, home-wreckers and all the vulgar, worn-out mechanism of ancient drama.” Griboyedov amazingly managed combine “social comedy” with love drama, and in addition, he strengthened the plot tension with the invention of Chatsky’s madness. He introduces a romantic hero into the comedy, “an exceptional person in exceptional circumstances” (this is typical for romanticism). Chatsky opens a gallery of “extra” people in Russian literature: Onegin, Pechorin, Bazarov. All of them seem to be outside society, unable to find use for their powers, experiencing a love drama and confronting a society that does not understand them. Another innovation of A. S. Griboedov, which allowed him to expand the time frame of the work and indicate the characteristic features of an entire era, even touching on the reign of Catherine II, - These are off-stage characters. |
Griboedov preserved the unity of time (the action of the comedy takes place over one day) and place (all the action takes place in Famusov’s house). A. S. Griboedov in comedy continues the traditions of D. Fonvizin - he uses “speaking” surnames. The plot of the comedy also resembles typical classic works. A wandering hero returning to the home where he grew up; youthful love, preserved after three years of separation; the maid to whom Sophia trusts her heartfelt secrets; the strict father of Sophia, a girl of marriageable age, who is concerned about finding a worthy groom (“What a commission, creator, to be a father to an adult daughter!”), and, finally, a love triangle, in which six people are actually involved: Sophia, Molchalin, Chatsky , Famusov, Lisa and Petrusha - all these are quite common plot elements for a classic work. |
|
Nikolai Vasilyevich Gogol Comedy "The Inspector General" |
Developing Griboedov's tendencies, he creates a comedy that is completely new in its principles of construction and subjects of exposure. Looking back at the works of his predecessors, Gogol comes to the conclusion that the love affair has already exhausted itself. Seeing that it became the basis of dramatic conflict too often, Gogol decides to choose a different path. He finds a new plot, more relevant for modern times: the plot about the auditor. "Inspector" - realistic comedy. All heroes are typical characters. The situation shown in the comedy is unusual, but it develops quite realistically; the exceptionality of the situation is psychologically justified. In the drama of the 18th century, the vulgar world, the accusatory world, is always contrasted with a bright beginning. In Gogol's comedy there is no ideal, there is no other than what is depicted. From this we can conclude that everything that happens in the play is the norm, the law of reality. The only one the positive character in the play is laughter, designed to expose and ridicule social vices. The image of this city is not a specific image, but a collective one. The concentration of all sorts of abuses here is unrealistic, but at the same time typical. Gogol's innovation in the comedy "The Inspector General" is that it depicts a situation in which deception occurs involuntarily, since Khlestakov does not pretend to be anyone, and only his inner emptiness and passivity confirm the possibility of such a situation arising. Khlestakov - brilliant discovery G Ogolya, who considered him the most complex and difficult character in his play. The main feature of his character is, as Gogol puts it, “the desire to play a role higher than his own.” This is the most significant feature of “Khlestakovism” as a socio-historical phenomenon. Khlestakov is a nonentity who, by force of circumstances, was elevated to a pedestal. All actions of the play are based on the behavior of the characters in an emergency situation arrival of the auditor, corresponding to the character of each of them. |
Gogol continues the traditions of Fonvizin and Griboyedov, but at the same time he overcomes the edifying features of drama and creates a model of social |
|
Alexander Nikolaevich Ostrovsky Drama "Thunderstorm" |
Thunderstorm is drama, not a tragedy. It is not based on tragedy individual, but the conflict between Katerina and the dark kingdom, and although Katerina dies, the genre is precisely a drama. At the same time, it also has comedic traditions, this concerns satirical depiction of the morals of the patriarchal merchant environment. Ostrovsky was the first to show this environment in drama, for which he received the nickname Columbus of Zamoskvorechye, which emphasizes his role as the discoverer of the theme. Accordingly, it becomes important speech characteristics of the characters, reflecting their level of education and culture, behavior, and attitude to life. Important role I'm playing symbols in drama emphasizing the mental state of the characters or the author’s attitude towards them. Yes, one of symbolic images the bird with which Katerina compares herself more than once. Also one of the most significant symbols in the drama, having a connection with its name, the symbol of a thunderstorm, denoting discord in Katerina’s soul, God’s punishment for the sin she committed. Finally, we can point out that the lightning rod is associated with the image of Kuligin as a symbol of enlightenment, knowledge that he is trying to bring to his fellow countrymen, the residents of Kalinov. N. A. Dobrolyubov, considering the issue of innovation of A. N. Ostrovsky the playwright, notes two characteristics. Firstly, a certain moral incongruity reflected in the conflict of the drama. The traditional struggle between feeling and duty in the heroine’s soul is resolvedҭ
in favor of feeling, and this evokes the reader’s compassion. Katerina is a criminal, from the point of view of moral and religious principles, a sinful wife who cheated on her husband, but readers sympathize with the sinner who violated her duty. |
Ostrovsky's creativity is the legacy of Gogol's realism. |
|
Anton Pavlovich Chekhov Play, comedy “The Cherry Orchard” |
Chekhov's play “The Cherry Orchard,” written at the turn of two centuries, was fundamentally different from the plays of Fonvizin, Griboyedov (who had already combined the features of classicism and realism in their work), Gogol and even Ostrovsky. There is no conflict or action that creates the “electricity” of the play, no love triangle, or even a familiar composition. Chekhov completely departs from the canons of classicism. Each hero is individually not given a label; this is a living person. There is no climax or denouement of the action as such. The play seems to be about nothing. Some moment in the life of some people. The work begins and ends with an ellipsis. But Chekhov’s life is not only the background against which events develop, like Ostrovsky’s, it is a story behind which another, the story of souls, is hidden. Therefore, the conflict develops not on stage, but in the souls of the heroes. Chekhov’s “New Drama,” like all things of genius, had a number of followers, for example, M. Gorky (“At the Depths”) |
|
|
Maxim Gorky Social and philosophical drama “At the Bottom” |
“At the Lower Depths” is the pinnacle of Gorky’s dramaturgy and one of the most powerful dramatic works of our century, and by the standards of that time, the most advanced. Gorky's dramatic skill is distinguished by great originality. The author's attention is focused on the display social types and phenomena, and the image of reality itself is deeply generalized. The play has several ideological and thematic plans, which are more or less related to the main idea. Important Feature Gorky's drama lacks a central character and the division of characters into positive and negative. The author pays main attention to the self-awareness of the characters, identifying their social and philosophical views. If in his early works the writer did not touch upon the reasons that gave rise to this phenomenon, then in the play “At the Bottom” a harsh verdict was sounded on the social system, which was to blame for the suffering of people. With its entire content, the play called for a fight for a revolutionary transformation of reality. Associated with this is the high skill speech characteristics in Gorky's dramaturgy. It is significant that in play "At the Bottom" the writer completely abandoned the “tramp” jargon. But how beautifully the speech of the characters in the play conveys the diversity of their characters, moods, feelings and thoughts! Bitter does not often use the form of an extended monologue. In his plays, dialogue predominates, a remark, sometimes said casually, but always extremely saturated with inner meaning. In their speech characteristics Bitter strived to ensure that the personality was characterized comprehensively: from the point of view of class, and from the point of view of individual characteristics. He ensured that every remark, every word of the hero revealed his character with maximum expressiveness. |
Continues the traditions of Chekhov |
Document
Legacy of Aeschylus 90 dramatic works(tragedies and dramas... are few and small By size. Question No. 8. Aeschylus. ... great ideological questions, in the light of which the Attic playwrights V century ... just a “sophist”, typical representative of the "second...
Questions for the exam on Russian literature, realistic stories by Gorky
Questions for the examPersonnel. “ By it was to the suit typical tramp, By face... clearly manifested itself in dramaturgy. In the play “On...Daily questions modernity, By significance... works. Here comes the decomposition noble estate("Scaring Silence", "Wall") and dramatic ...
The literature program for grade 8 is compiled on the basis of the Federal component of the state standard of basic general education, an approximate program of basic general education in literature and the program
ProgramShakespeare. Information about life playwright. « Romeo and Juliet... MMP Problematic questions By text. Job By formation of skills... MMP Conversation, problematic questions Analysis dramatic works, the transformation of Khlestakov into... the finale of the play. Typicality images of heroes...
Municipal budgetary educational institution
"Lyceum No. 1" r.p. Chamzinka, Chamzinsky district, Republic of Mordovia
Tests on the works of A.M. Gorky
10-11 grade
prepared by teacher of Russian language and literature Svetlana Petrovna Pechkazova
Chamzinka
Test on the works of A.M. Gorky contains questions about the life and work of the writer.
For each question, three answer options are given.
The presented resource can be used in the final literature lesson on the writer’s work in grades 10-11.
Evaluation criteria:
“5” (excellent) – the work was completed flawlessly,
“4” (good) – no more than 2 errors were made in the work,
“3” (satisfactory) – more than 2 errors were made in the work,
“2” (unsatisfactory) – more than 5 errors were made in the work,
Works of A.M. Gorky (version I)
What city was M. Gorky born in? A. Moscow B. Petersburg C. Nizhny Novgorod G. Saratov
Indicate the years of M. Gorky’s life:
A. 1868-1936 B. 1870-1921 C. 1890-1940 D. 1895-1925
What kind of education did M. Gorky receive?
A. studied at the gymnasium; B. graduated from Kazan University; V. was educated at home; G. did not receive any systematic education.
What was the name of the story that made the name of M. Gorky famous?
A. "Chelkash" B. "Makar Chudra" C. "Old Woman Izergil" D. "Malva"
Please indicate which new type The hero was introduced by M. Gorky in his works:
A. romantic hero B. extra person C. new people D. tramp
What artistic device did the writer use in the following passage in the highlighted sentences? “The night was dark, thick layers of shaggy clouds were moving across the sky, the sea was calm, black and thick, like oil. It breathed a damp salty aroma and sounded tenderly, splashing against the sides of the ships... The sea slept in the healthy, sound sleep of a worker who was very tired during the day.”
A. hyperbole B. personification C. antithesis D. metaphor
Which of the characters in M. Gorky's early stories did people punish for pride, for considering himself superior to others?
A. Loiko Zobara B. Danko V. Larru G. Makar Chudru
Which play by M. Gorky was greeted by the public enthusiastically, “like a storm peter play that foreshadowed the coming storms and called to the storms”?
A. “At the bottom” B. “Summer residents” C. “Bourgeois” D. “Enemies”
Determine the genre of M. Gorky's play "At the Lower Depths":
A. everyday drama B. socio-philosophical drama C. tragedy D. melodrama
Which of the characters in the play “At the Bottom” declares: “I am a working man... And I’ve been working since an early age... I’ll get out... I’ll rip off my skin, but I’ll get out”?
A. Satin B. Baron C. Tick D. Ashes
Which of the heroes of the play “At the Lower Depths” stated: “Lies are the religion of slaves and masters... Truth is the god of a free man!”? A. Luka B. Tick C. Satin G. Bubnov
Which of the characters in the play “At the Bottom” utters the phrase: “Every flea is not bad, all are black, all jump”? A. Baron B. Luka V. Satin G. Kostylev
What ideology is Luke the bearer of in M. Gorky's play "At the Lower Depths"?
A. is an exponent of the idea of submission and humility before life’s circumstances
B. is the bearer of the idea of extreme individualism
V. Luke expresses the idea of servility before those in power
G. Luke expresses the idea of preserving feelings self-esteem and resistance to life circumstances.
Name the hero of the play into whose mouth M. Gorky puts the author’s point of view:
A. Luka B. Satin V. Bubnov G. Baron
How did M. Gorky feel about the first Russian revolution?
A. sympathized B. wary C. actively supported D. negative
Works of A.M. Gorky (version II)
(based on the play “At the Bottom”)
Satin (hitting the table with his fist). Be silent! You are all brutes! Dubye... keep quiet about the old man! (Calmer.) You, Baron, are the worst of all!.. You don’t understand anything... and you’re lying! The old man is not a charlatan! What is the truth? Man - that's the truth! He understood this... you don’t! You are dumb as bricks... I understand the old man... yes! He lied... but it was out of pity for you, damn you! There are many people who lie out of pity for their neighbors... I know! I read! They lie beautifully, inspiredly, stimulatingly!.. There are comforting lies, reconciling lies... Lies justify the weight that crushed the worker’s hand... and blame those dying of hunger... I know the lies! Those who are weak at heart... and those who live on other people's juices need lies... some are supported by it, others hide behind it... And who is his own master... who is independent and does not eat someone else's things - why does he need lies? Lies are the religion of slaves and masters... Truth is the god of a free man!
Baron. Bravo! Well said! I agree! You speak... like a decent person!
Satin. Why can't a sharper sometimes speak well if decent people... speak like a sharper? Yes... I do a lot
I forgot, but I still know something! Old man? He is a smart guy!.. He... acted on me like acid on an old and dirty coin... Let's drink to his health! Pour...
Nastya pours a glass of beer and gives it to Satin.
(Grinsing.) The old man lives from himself... he looks at everything with his own eyes. One day I asked him: “Grandfather! Why do people live?..” (Trying to speak in Luka’s voice and imitating his manners.) “And - people live for the best, dear! Let’s say, carpenters live and that’s all - rubbish people ... And from them a carpenter is born... such a carpenter, the like of which the earth has never seen - he has surpassed everyone, and he has no equal in carpentry. He gives the whole carpentry business his appearance... and immediately the work is twenty years ahead moves... The same goes for all the others... mechanics, there... shoemakers and other working people... and all the peasants... and even gentlemen - they live for the best! Everyone thinks that he lives for himself, but it turns out "What for the best! They live for a hundred years... and maybe more - for the best person!"
Nastya stubbornly looks into Satin’s face. The tick stops working on harmony and also listens. The Baron, bowing his head low, quietly beats his fingers on the table. The actor, leaning out of the stove, wants to carefully climb down onto the bunk.
“Everything, my dear, everyone, as they are, lives for the best! That’s why every person must be respected... we don’t know who he is, why he was born and what he can do... maybe he was born for luck us... for our great benefit?.. We especially need to respect children... children! Children need space! Don't interfere with children's lives... Respect children!" (Laughs quietly.)
When completing tasks, write your answers in the form of a word or phrase
Name the type of trope that helps to understand Satin’s feelings and emotional state (“acted on me like acid on an old and dirty coin...”, “dumb as bricks...”)?
What are the names of emotionally charged sentences pronounced in a higher tone than the others, the use of which Satin repeatedly resorts to?
To which of the heroes of M. Gorky’s drama “At the Lower Depths” the following words belong: “And everyone is people! No matter how you pretend, no matter how you wobble, you were born a man, and you will die a man... And yet, I see, people are becoming smarter, more and more entertaining... and even though they live, they are getting worse, but they want to be better... stubborn! ..."? (in Im. p.)
Which act of M. Gorky’s drama “On the Demise,” according to some critics and writers (for example, A.P. Chekhov), can be called superfluous, “especially unsuccessful, in the sense of dramatic architecture”?
What are the first and last names of the hero of M. Gorky’s drama “At the Lower Depths,” who, under the influence of Vasilisa, commits the murder of Kostylev.
find in Satin’s monologue in the proposed passage of M. Gorky’s drama “At the Bottom” a word that, according to Satin, is the personification of truth on earth.
KEY:
Works of A.M. Gorky (option III)
(based on the play “At the Bottom”)
Read the text fragment below and complete the tasks.
Ash. And it’s boring... why is it boring for me? You live and live - everything is fine! And suddenly you’ll feel cold: it’ll become boring...
Bubnov. Boring? Mm...
Ash. Hey, hey!
Luke (singing). Eh, and there’s no way to see the way...
Ash. Old man! Hey!
Luka (looking out the door). It's me?
Ash. You. Do not sing.
Luka (exits). Don't you like it?
Ash. When they sing well, I love...
Luke. Does that mean I'm not doing well?
Ash. That is...
Luke. Look! And I thought I sing well. This is how it always turns out: a person thinks to himself – I’m doing a good job! Grab - and people are unhappy...
Ashes (laughing). Here! Right...
Bubnov. You say it’s boring, but you want to laugh.
Ash. What do you want? Crow...
Luke. Is this boring for anyone?
Ash. Here I...
Baron enters
Luke. Look! And there, in the kitchen, the girl is sitting, reading a book and crying! Right! Tears are flowing... I tell her: honey, what are you doing, huh? And she is a pity! Who do I say I feel sorry for? But, he says, in the book... This is what a person does, huh? Also, apparently, out of boredom...
Baron. This is stupid...
Ash. Baron! Did you drink tea?
Ash. Do you want me to give you half a bottle?
Ash. Get on all fours, bark like a dog!
Baron. Fool! Are you a merchant? Or is he drunk?
Ash. Well, bark! It will be funny for me... You are a master... there was a time when you didn’t consider our brother to be a person... and all that...
The above dialogue occurs:
A. in the epilogue of the play, B. in the middle of the play after Anna’s death, C. at the beginning of the play, after Luka arrives at the shelter
What prompts the Baron to call Nastya names?
A. desire to show off in front of others, B. desire to show one’s own opinion, C. concern for Nastya’s situation, D. Baron’s reluctance to be sincere with others
A. portraits of heroes, B. speech, actions of heroes and author's remarks, C. author's remarks, D. actions of heroes
Luka, Ash, Bubnov and Baron exchange remarks with each other. What is this type of statement called in a dramatic work?
Name the request that Ash makes the Baron fulfill and which indicates that the Baron has sunk to the very bottom of life.
Luke's speech features characters who do not appear on stage. What are such characters called in drama?
In the conversation of the heroes there are the following statements: “What happened was, but only trifles remained... There are no gentlemen here... everything has faded away, one naked man remains...). What are the names of sayings that are distinguished by brevity, capacity of thought and expressiveness?
What figurative and expressive device is used in the sentence: “It always turns out like this: a person thinks to himself - I’m doing well! Grab - and people are unhappy...”?
KEY:
References:
Korshunova I.N., Lipin E.Yu. Tests on Russian literature. – M.: Bustard, 2000.
Romashina N.F. Literature tests for current and general control. – Volgograd: Teacher, 2007
Berezhnaya I.D. Current control of knowledge in literature. – Volgograd: Teacher, 2008
Mironova N.A. Literature tests in 11th grade. - M.: Exam, 2008.