Lesson-reflection on the drama of F. Schiller "Robbers

Shapovalova Irina Anatolyevna, teacher of Russian language and literature

gymnasium No. 3 in Belgorod

Romantic tragedy by F. Schiller "Robbers"

Lesson study

Target: help to form the social competence of students.

Tasks for the formation of students' competencies:

Educational and cognitive (work out the skills of independent text analysis; continue work on the development of students' creative abilities);

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

During the classes

Long live the great Schiller,

noble advocate of humanity!

V. Belinsky

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

We will try to prove that the tragedy "The Robbers" by Friedrich Schiller can be attributed to a romantic tragedy.

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

Well, we open an impromptu curtain. A word to the assistant director Kamenskaya Darina, who will remind us of the beginning of the drama. In the course of her performance, actors will join her, who will try to convey the most important task of their image. Note that Schiller's tragedy is a romantic tragedy. Romanticism had a huge impact on the development of acting: for the first time in history, psychologism became the basis for creating a role. The rationally verified acting style of classicism was replaced by violent emotionality, vivid dramatic expression, versatility and inconsistency in the psychological development of characters.

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

The plot is based on a family tragedy. In the ancestral castle of the barons von Moor, the father, the youngest son, Franz, and the ward of the count, the bride of the eldest son, Amalia von Edelreich, live. The plot is a letter allegedly received by Franz from the "Leipzig correspondent", which tells about the dissolute life of Karl von Moor, the eldest son of the count, who is at the university in Leipzig. Saddened by the bad news, the old man von Moore allows Franz to write a letter to Karl and inform him that the count, enraged by the behavior of his eldest son, is depriving him of his inheritance and his parental blessing.

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

/Reading an excerpt/

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

Carl Moore. My brother's hand!

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

Roller(after him). Moor! Where are you, Moore? What happened to you?

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

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

Roller(picks up a letter from the floor and reads it). "Unfortunate brother! I must briefly inform you that your hopes were not justified. Go, your father tells you, to where your shameful deeds lead you. Then he tells me to tell you not to hope on your knees to beg forgiveness from him if you do not want to feast on bread and water in the cellars of his towers until your hair grows like eagle feathers and your nails become like bird claws. These are his own words. Farewell forever. I feel sorry for you! Franz von Moor.

Schweitzer. Dear brother! What to say! Is this rascal called Franz?

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

Roller. You're not the first crook to look over the gallows. And yet, your truth - we have no choice.<...>

M o r(enters in great agitation and rushes about the room, talking to himself). People! People! False, treacherous echidnas! Their tears are water! Their hearts are iron! Lions and leopards feed their cubs, ravens carry carrion to their chicks, and he, he...

Roller. Listen, Moore! What do you think, is it better to rob than to sit on bread and water in the dungeon?

Moor. And this is a father's feelings? Repentance - and no forgiveness! Such credulity, such unshakable confidence - and there is no mercy!

Roller. Yes, listen, Moore, what I'm going to tell you!<...>

Moor. I loved him so unspeakably! No son has ever loved his father so much! I would give a thousand lives for him! (He stamps his foot furiously.) Oh, whoever puts a sword into my hands to inflict a burning wound on a human tribe, he will become my friend, an angel, a god! I will pray for him.

Roller. We want to become such friends. Hear us

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

Schweitzer. You will be our leader! You must be our leader!

Moor. Like a thorn has fallen from my eyes. What a fool I was, striving back into the cage! My spirit yearns for exploits, my breath for freedom! Assassins, robbers! With these words, I am breaking the law. People shielded humanity from me when I called out to humanity. Away from me, compassion and human mercy! I have no more father, no more love!.. So let blood and death teach me to forget everything that was once dear to me! Let's go, let's go! Oh, I will find for myself a terrible oblivion! Resolved: I am your chieftain! Become all around me, and let everyone swear fidelity and obedience to me to the grave! Let's shake hands!

Everyone (holding out her hands to him). We swear to you allegiance and obedience to the grave.

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

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

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

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

French I thought that he had two of them ... I love you like myself, Amalia!

You think of Karl, but our fraternal hearts beat so in unison!

Amalia. Oh no, that never happened!

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

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

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

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

Amalia. Go, rascal! Now I'm back with Carl. "Beggars," he said? Everything has turned upside down in this world! The beggars became kings and the kings became beggars. I will not exchange the tatters he wears for the purple of God's anointed ones! His look when he begs - oh, that proud, regal look, turning pomp, magnificence, the triumph of the rich and strong into ashes! Wallow in the dust shiny necklace! (Tears pearls from her neck.) Wear it, rich, noble ones! Wear that damned gold and silver, those damned diamonds! Satiate yourself with sumptuous dishes, bask your bodies in a soft bed! Charles! Charles! Now I deserve you!

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

Costume designer Anastasia Bereznyak will introduce you to make-up options and costume designs for the characters. Actors will describe their characters. Thus, we will be able to evaluate the work of the artist by analyzing the most important task of the image of each character.

/Presentation/

Old Moore is honest, condescending. His house was a haven for the orphans, a haven for the mourners. He is about 70 years old, but he feels like an octogenarian old man.

Slide 3-5

Act one. Scene 2

Tavern in Saxony.

Karl Moor received a letter from home that turned his whole life upside down.

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

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

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

slide 6.

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

Slide 7-9.

Amalia von Edelreich

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

Slide 10

Spiegelberg was poor, got to Lepzig from Jordan, he is a thief. It is Spielberg who invites young people to become robbers. Arriving in some city, he first of all found out from the guards about the beggars, from the bailiffs and sentinels about swindlers, swindlers and other rabble, he looked for these thugs and recruited them into a gang. Spielberg was a coward, they say about him that there is not a single scar on his body.

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

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

slide 11

Shufterle. Poor, dressed from someone else's shoulder. I wanted to have weekly edifying talks. During a fire in the city, he acted outrageously and showed himself as a villain: he threw the baby into the fire. He admired his act. Moor drove him out of the gang, saying that he would not leave the gallows. And so it happened: Schafterle was hanged in Switzerland.

Grimm. The weak-willed person: If everyone agrees, then I will not contradict. Friend of Spiegelberg. Participated in dirty tricks in the monastery with Spiegelberg. His motto: whoever gives more, I will follow.

slide 12

Roller was devoted to Mor, and the ataman always distinguished Roller.

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

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

thickest. Roller died a heroic death.

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

shoots himself in the temple.

slide 13

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

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

Slide 14

Hermann“decisive fellow, soldier's heart. The illegitimate son of a nobleman, poor.

He was in love with Amalia. He committed a mean act for the sake of love for Amalia. Having recognized the intentions of Franz, he confesses to his deed.

slide 15

Daniel- Count von Moor's servant. He is seventy-two. He always respected

Parents of Karl Moor .. He did not take a penny from anyone by deceit. He was honest in his faith. Franz offers the old man to kill the count, but he refuses.

Pastor Moser leads a soul-saving conversation with Franz.

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

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

Elena Shkuratova.

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

Count von Moore blames himself for the death of his son, and his heart seems to stop. Franz rejoices at the long-awaited death of his father. Herman, Mon I who said that Franz deceived him, reveals to Amalia a "terrible secret" - Karl von Moor is alive and the old man von Moor too. I liked this scene because there is intrigue in it, and the reader does not yet suspect what will happen next. We understand that the playwright in the image of Karl Mohr, already at the beginning of the action, declares a complex, deep human personality. Carl shows a view of life "through the prism of the heart."

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

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

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

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

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

/Presentation /

slide 1.

1. ACT ONE. SCENE ONE Franconia. Hall in the castle of Moors.

2. The scenery of the first stage is presented in golden and black colors. Franz and old man Moor are involved in this scene. We would like to emphasize the richness of the soul of Maximilian More and highlight the black thoughts, and, consequently, the black soul of Karl.

Slide 2.

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

2. This scene is also solved in orange and black tones. Orange clears from unpleasant sensations, helps to accept negative events in life, helps to forgive another person, let go of an unsolvable situation.

1. Karl Moor is at an impasse and is afraid of change, his condition corresponds to this particular color.

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

Slide 3.

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

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

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

slide 4.

1.ACT TWO

SCENE ONE. Franz von Mohr's room.

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

1. Dark fireplace, dark ceiling. We placed the fireplace in Franz's room, it is cold, and the fireplace, perhaps, will help him to thaw, his dirty deeds, like the dark ceiling, press on him.

2. In this room there is a conversation with Herman. And Herman agrees to do meanness.

Slide 5.

1.SCENE TWO. Bedroom of old Moor.

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

slide 6.

1. SCENE THREE. Bohemian forests.

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

Slide 7.

1. ACT THREE

SCENE ONE. Garden

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

slide 8.

1.SCENE TWO. Against the background of the backdrop "Forest" the robbers are located.

Slide 9

1. ACT FOUR

SCENE ONE.

2. Backdrop "Area near the castle." Pale yellow color prevails. This color sets feelings in motion, frees from negativity, gives self-confidence. The desperate robber Moore, under an assumed name, decides to appear before Amalia and his father.

Slide 10

1.SCENE TWO.

2.The backdrop "Gallery in the castle" is made in light gray tones. It is in this scene that the robber Moore is talking to Amalia. Amalia's inner world is expressed by white tones, but there are more gray shades, since Moor's soul no longer contains that purity of feelings, his actions are terrible. Yes, he still loves Amalia, but his heart has become cruel-gray.

slide 11

1.SCENE THREE. Another room in the castle.

2. Room in golden colors. Obviously, this is Karl's former room. It has remained the same, it breathes the former beautiful Karl, with a heart of gold. Here is a conversation between Karl and his old servant Daniel.

slide 12

1.SCENE FOUR. Moore and Amalia.

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

slide 13

1.SCENE FIVE

2. Backdrop "Forest". The robbers are waiting for their chieftain. They are worried and quarreling. Moore returns. He delivers his confession.

Slide 14

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

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

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

slide 15

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

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

I.A. Thank you. I think they liked the scenery. And now I want to announce the start of the game. In every literary work, the text is very important. How well do you remember the text? Now we will test your attention, memory, ingenuity.

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

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

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

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

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

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

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

7. About whom it is: He spent three weeks in prison, he was taken to interrogation three times, he was interrogated under torture where the chieftain was. He did not betray anyone. / Roller /

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

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

10. What amount was assigned as a reward for the capture of the robber Mora? / A thousand louis /

I.A. Let's sum up the game. Thank you. And now let's approve the scenery, costumes. Who agrees? Who is against?

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

So, dad Maximilian von Moor, a wealthy retired warrior, has two sons, one (Karl Moor) studies at a prestigious university, the other (Franz Moor) hangs out at home. Both belong to the "golden youth" and both, out of boredom, arrange art provocations, which gradually turn into real crimes. “Karl and Franz are so different, but the result is the same - a mountain of corpses,” says Vasily Barkhatov. By the way, he considers himself a robber, because he acts with old Schiller - just like Franz - with old Moore.

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

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

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

Dubrovsky and Karl Moor are united by the similarity of destinies. Nobility, honesty, generosity unites these heroes. Karl does not kill for robbery, but the sire distributes his legitimate part of the booty. O there. Both of them fit the characteristic - noble. Their inner world and character are incompatible with the environment (a gang of robbers) in which they both fall: Vladimir Dubrovsky's actions, his desire for revenge and his rejection of it coincide with the path of the hero Schiller, only he, unlike Vladimir, surrenders to justice, and does not hide behind border.

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

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

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

a look at life "through the prism of the heart";

interest in everything strong, bright, sublime;

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

inclination to mix high and low, comic and tragic, ordinary and unusual;

painful experience of discord with reality;

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

Manifestations of classicism: the language is pathetically solemn.

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

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

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

Mishustina Katya:Joy, unearthly flame,
Paradise spirit that flew to us,
Intoxicated by you
We entered your bright temple.
You pull together effortlessly
All divided by enmity,
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!

(Beethoven's 9th symphony, ode "To Joy" sounds.)

I.A. Thank you. Could the heroes of the drama accept the ode "To Joy"?

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

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

So the curtain is closed. It's worth summarizing.

Modern literature needs to be read, because people in modern literature are ourselves. It's nice to realize that everything in our world does not stand still, including literature. It is impossible not to take into account the fact that everyone can write, but not every person has talent. Many of the modern writers and playwrights give literature a new breath also by the fact that they radically change its presentation. Many works of modern literature are filmed. Visualization in our time is very important for society, and it is impossible to deny that it also happens that the film adaptation of a work pushes a person to read and understand a special metatext presented by the author to the reader. Well-known names of modern literature, such as Sanaev, Vyrypaev, Pelevin, Ulitskaya touch a person, primarily because they offer plots subordinate to realism. A lot in the modern world for a person means a game. In literature, as in life, the author offers the reader a game with emotional intelligence, implying the reader's complete openness, his interest, his life response to situations that are definitely vital. We see that the heroes of works of modern literature are similar to ourselves. The way they evolve throughout the finished work resonates with our souls. Modern literature should be read not for self-development, but for introspection, for penetration into one's own world, sometimes hidden from a person under many layers of unnecessary information, fuss and chaos. Someday a person will stop reading altogether, stop picking up books and just read, immersing himself in his own atmosphere, stop being open to literature. But as long as there are poets and writers who act on souls, literature will be alive.

1. Very often one hears such a question: “Here we know Pelevin, Sorokin, Akunin, too. Tell me, are there any other good writers?”

“Conservative”, 5.10.2002

"In a situation where So ask and not burn with shame for their own ignorance, Russian literature appeared for the first time. They fell out of love with her. She - making an exception for a few hyped names - is no longer interested. She is shunned. Although, however, they are quite indulgent towards her: let her, they say, live for now. But separately. By her own. Away from the mainstream of national and personal concerns. In their own, more and more narrowing circle, where each other will soon be known by face and by name. In a dispute between physicists and lyricists, accountants won.

Sergei Chuprinin

In a dispute between physicists and lyricists, marketers won. The Eksmo publishing house flooded the ratings with Marinina, Belyanin, Panov and other well-sold waste paper, which, from the point of view of artistic value, is only suitable for kindling a fireplace in an oligarch's cottage. It is not reread. They don't think about it. Pondering is out of fashion now, and the book market encourages this trend. However, it is difficult to figure out what is primary here, the reader's laziness or the publishers' desire for profit. One thing I can say for sure is that the modern reader is eager to find a "good" writer, but will not look for him himself. People willy-nilly trust the market, and the market, in turn, does not miss the opportunity to play with the trust of a lazy reader. 2. “Judging by interests, what is modern is what the reader sees as adequate to his expectations and meets “response” to his questions. Therefore, today, on the one hand, D. Dontsova and A. Marinin can be considered the most modern, and on the other hand, the same Pasternak and Akhmatova, who have become “brands”, and not just myths, sometimes (and increasingly, alas) regardless of insight into their creativity.

Ivanova n.

Before discussing the reader's expectations, one should understand whether there is an unambiguous "modernity"? Cultural realities, supported traditions, canons... Is there a stable idea in the mind of a Russian person about the reality in which he lives?

Modern man is abandoned by modernity. He is no longer required to create a new national idea. It is not surprising that in such a situation the reader becomes self-centered and relies only on himself in everything. He seeks in literature what answers his personal questions and his personal interests. Who cares about Akhmatova's life tragedies when she writes so aptly about women's love and devotion? Who cares about the integrity of the text if it can be torn apart into quotes taken out of context? Take a look at any thematic community on social networks - a lot of scattered quotes stolen from literary texts. And after all, each such piece of text can be given the meaning that suits the current state of a single person. The reader sees in the text only what he wants to see. It may have been so before, but it seems to me that in the 21st century the reader's desire to enter into a dialogue with the author is becoming weaker and weaker. Of course, there is a whole layer of modern literature that helps our lonely reader to revive his abilities. These are the ultra-modern Makanin, the lyrical Dovlatov, L. Ulitskaya, appealing to good nostalgia ... And others.

3. « In the poetry and prose of the new generation there is much that is remarkable, which even today helps to live. New literary landscapes give the impression that the world is growing. The world goes on and on. Against the backdrop of dubious social and everyday vicissitudes, the new depth of the literary space gapes with enticing prospects and promises to give an unprecedented experience of participation in a life more real than the chimerical reality of the era of fictions and spectacles.

8th grade

Elena KUDINOV

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

Lesson-reflection on the drama of F. Schiller "Robbers"

I take two lessons to work on the play, the third is a generalizing lesson-thinking. At the first lessons, there is a detailed work on the text of the play, reading by roles.

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

Decor: theatrical screen, portrait of the writer, playbill for the drama, illustrations for the work.

Musical accompaniment: L.V. Beethoven. 9th Symphony, Ode to Joy.

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

Introductory speech of the teacher

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

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

Conversation with the class

The play The Robbers is set in 18th century Germany. Its plot is built on the enmity of two brothers. What can you say about the main characters of the play?

Student responses

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

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

What artistic technique underlies the construction of the characters of the brothers? Justify it.

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

One hypocritically pretends to be a meek and loving son, although in fact he is ready for meanness in order to discredit Karl. The other is generous, capable of lofty feelings. In the characterization of the brothers, antonyms are used: vile - generous, shameless - honest, immoral - noble.

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

“Who now dares to come and pull me to an answer or say to my eyes: “You are a scoundrel!” Now down with the burdensome mask of meekness and virtue! Look at the real Franz and be horrified!.. Stroking and caressing is not my custom. The pallor of poverty and slavish fear is the color of my livery. I will dress you in this livery!” (Characterization of Franz; act 2, scene 2.)

“Amalia. Faded colors cannot repeat the lofty spirit that shone in his fiery eyes...

Old Moor. That friendly, affectionate look.” (Characterization of Karl; act 2, scene 2.)

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

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

Conversation with the class

Why is a priest brought into the camp of robbers?

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

What better helps us understand the character of the protagonist?

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

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

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

What can be said about the life goals of these heroes? What qualities of the characters seem similar to you?

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

Dubrovsky and Karl Moor are united by the similarity of destinies. Karl does not kill for robbery, but distributes his legal part of the booty to orphans. Both of them fit the characteristic - noble. The actions of Vladimir Dubrovsky, his desire for revenge and the rejection of it coincide with the path of the hero Schiller, only he, unlike Vladimir, surrenders to justice, and does not hide abroad. Considering these images of world literature, we see similarities in the depiction of the rebel hero by Pushkin and Schiller. Nobility, honesty, generosity unites these heroes. Their inner world and character is incompatible with the environment (a gang of robbers) in which they both fall: “I am not a thief, tell them that my trade is retribution, my trade is revenge” (Karl Moor).

Teacher. For two hundred years, the finale of the play has been interpreted in different ways. Invariably, the main question of the finale also arises before us:

What did the protagonist condemn himself for? Why is he surrendering to justice?

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

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

Did the main character surprise you? How do you feel about his actions? (Student answers.)

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

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

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

Joy, unearthly flame,
Paradise spirit that flew to us,
Intoxicated by you
We entered your bright temple.
You pull together effortlessly
All divided by enmity,
Where you spread your wings
People are brothers among themselves.
Hug, millions!
Merge in the joy of one!

(Beethoven's 9th symphony, ode "To Joy" sounds.)

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

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

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

Literature

1. History of German Literature: In 3 vols. M.: Raduga, 1985. Vol. 1.
2. Libenzon Z.E. Friedrich Schiller. Moscow: Education, 1990.
3. Materials of the lessons of I. Arkin: Literature at school, 1998.

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

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

Genre and direction

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

The genre of the work "Robbers" is drama. In the finale, all relatives of Karl die, and he himself goes to surrender to the authorities. The contradictions in his life are unresolvable. He is broken morally and expects physical retribution. Some researchers specify the genre, calling the work a robber drama.

Topics and issues

The theme of the drama is enmity and hatred between close people, capable of killing; responsibility of a person for his choice and his actions, for moral obligations.

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

In the preface, Schiller admits that his goal as a playwright is "to peep into the innermost movements of the soul." The problems raised in the drama are human passions: revenge and betrayal, the slander of the eldest son, the grief of the deceived father, the choice of Amalia, the loyalty of the robbers and Charles to the word.

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

The women in the drama make a choice between honor and love. Amalia (Kosinsky's fiancee) chooses love (losing her lover in the process). And Karl saves his Amalia from such a choice by returning home on time.

Plot and composition

The plot is borrowed by Schiller from Schubart's story "On the History of the Human Heart". The plot was influenced by stories about noble robbers fighting against feudal lords. Robbery was a frequent social phenomenon of Schiller's time.

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

Karl, a noble robber, but also a murderer, feeling worried for his bride, decides to secretly sneak into the family castle. He finds a barely alive father who spent 3 months in a crypt, still loving him Amalia. Karl wants to take revenge on his brother for the suffering of his father, but he strangles himself with a string. The father dies when he finds out that Karl is a robber, and Amalia asks to stab her, just not to part with him again. Carl fulfills the request of Amalia and is given into the hands of justice, along the way doing a good deed for the father of 11 children.

Heroes and images

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

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

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

Elder brother Karl Moor is a noble robber. He himself does not consider himself to be either a criminal or a thief, calling his trade retribution, and trade - revenge.

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

Karl, according to the father, is consumed by pride. Indeed, Karl scorns the robbers, calling them godless scoundrels and an instrument of his great plans.

Carl is a natural person, acting according to common sense. Upon learning of his brother's deceit, Karl is ready to flee so as not to kill him in anger. He is generous and generous, giving Daniel a purse. At the end of the tragedy, Karl decides not only to surrender to the authorities, but also to help the poor man by giving him money for his capture.

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

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

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

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

Robber images

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

Amalia

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

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

Conflict

The conflict in the drama is external and internal. External social conflict: rebellion against feudal arbitrariness. He encourages Karl to become a robber, and Franz to plot against his father and brother. At the end of the novel, the conflict is resolved by Karl's recognition of the fallacy of his path.

Karl's internal conflict is the contradiction between the right to protest and the criminal ways of its implementation based on violence. This conflict is unresolvable.

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

Artistic originality

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

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

Songs play an important role in drama. Karl and Amalia sing, restoring their strength by playing the lute and pouring out longing. The songs reveal the true feelings of the characters, for example, Charles sings about Caesar and the traitor Brutus, having learned about his brother's betrayal.