The eldest son of the vampires performance. Brief analysis: Vampilov, “The Eldest Son

Vampilov is a writer to whom fame came after his death. It was after the absurd death that happened to him on Lake Baikal that his life began to gain momentum. posthumous fame. Everyone reads his works and books are published, although only one was published during his lifetime. Plays began to be staged in theaters, and films were made based on his works. In a word, people started talking about Vampilov and we are studying his works to this day. So in literature we became acquainted with Vampilov’s work The Eldest Son.

Vampilov Eldest son

The Eldest Son is a play by Vampilov, which was published in two versions. At first it was a work called The World in Sarafanov's House and was written in 1964. In 1970, Alexander Vampilov finalized his play and gave it a new name, Eldest Son.

Vampilov's book The Eldest Son is a wonderful work by the author. She shows us how important it is in life to be able to listen, understand others, and come to the rescue in Hard time, being responsive and how important support is. It is shown that even in spirit one can be closer than any kinship.

In the work we meet such characters as Sarafanov - an elderly man, his children Nina and Vasya, and the named eldest son Busygin. The entire plot of the play is comedic and begins with a joke. So, finding themselves in an unfamiliar area at night, two young guys Silva and Busygin Vova are looking for a place to stay for the night. But no one wants to shelter strangers. And then Silva uses a trick. Seeing a man enter the house, they rush to where they performed the performance. Silva, realizing that they will now be kicked out and will not be given shelter for the night, introduces Busygin as his sworn older brother. The guys, listening to the conversation between father and son, were wondering everything. As a result, they answer all of Sarafanov Sr.’s questions. Busygin gains confidence. Vova himself became so imbued with the old man and his life that he began to consider himself the eldest son.

Busygin came at the right time in the life of Sarafanov, whose daughter was getting married and wants to leave Father's house. Vasya, who is unlucky in love, keeps trying to go to the taiga. And so Busygin, like that magic wand, appears to change everything. Volodya himself enjoyed the role of a son, because he never had a father. He completely immersed himself in his role, and really became like an older brother, like an eldest son who wants to help, guide his adopted brother and sister on the right path, and brighten up the old father’s senile life.

The eldest son Vladimir brings harmony to the house from which everyone wanted to escape. Nina wants to go to Sakhalin, hoping to escape the responsibilities assigned to her. Vasya could not find answers to life questions, I couldn’t find myself in life, that’s why I wanted to go to a construction site in the taiga. And Sarafanov himself would be happy to run away from home but have nowhere to go. Busygin changes everything. Now no one wants to run anywhere. Sarafanov has an eldest son to rely on, Nina has found love, Vasya has overcome his attachment to a girl. Busygin showed Nina and Vasya how much their father meant to them. However, conscience makes itself felt, and then there are also the feelings that arose for Nina. Busygin confesses everything, but this does not change anything, because, as it turns out, spiritual kinship is even stronger than blood.

The main characters of the play

One of the main characters of the play Eldest Son is Sarafanov. His life has not been successful: his wife left him, his children also want to leave home. Things weren’t going well at work and I had to leave my profession. As Sarafanov said, he did not turn out to be a serious musician and he was forced to start playing in a funeral orchestra.

Vasya, Sarafanov’s son, a tenth-grader, is in love with a girl ten years older than him.
Nina is Sarafanov’s daughter. Taking care of the family fell on her. It’s difficult for her, she even looks older than her age. She wants to leave after getting married.

Alexander Alyokhin, 1 – screenplay.

Analysis literary work.

Play by A.V. Vampilov "The Eldest Son".

In my opinion, for a more accurate understanding of the play “The Eldest Son”, it must be considered in the context of Vampilov’s personal biography. After all, the problem of “fatherhood”, or even rather “fatherlessness” posed in the play, is directly related to the author. A.V. Vampilov himself grew up without a father (he was arrested and then shot), and therefore the relationship between “son” and “father” presented in the play was very important for the author himself and was so accurately and poignantly shown by him. And therefore we can say that Busygin is a projection of personal feelings and experiences that are very important for Vampilov. And for the same reason main character in a “random” father he finds a dear, close person.

But let's start in order. First of all, we must understand what the genre of this play is. The author himself defines it as a comedy. And most of the first act fits this genre. Many absurd situations unfold before us, built on classic inconsistency, supported by funny remarks from the heroes. Either the unlucky heroes miss the train, or in the middle of the night they start asking everyone to spend the night. You could even say that Silva does most of the comedy throughout the play. After all, it is “thanks to” him that the main, plotting event takes place, namely the introduction of Busygin by his eldest son. Also comedic, even eccentrically constructed is the scene of the heroes “hide and seek” from Sarafanov, and how Busygin overhears his conversation with Vasenka in the kitchen.

However, in the middle of the first act, after Busygin and Sarafanov meet, the genre of the play increasingly begins to transform from comedy to drama. When the hero realizes that Sarafonov is an unhappy person who really needs a loved one, close person. Here the whole drama of this little man is revealed to us. He is afraid that his children will abandon him and that he will be left alone. All hope now lies in Busygin, in the “eldest son.” He grabs onto it like a life preserver. And Busygin, in turn, is ashamed of his deception, and he himself finds in this man loved one, the father he never had. Busygin’s remark is very accurate and piercing when he tries to escape and says to Silva: “God forbid you deceive someone who believes your every word.”. Here, of course, there is little left of comedy. A family drama unfolds before us, although it is still not without comedic moments.

The dramatic component of the play reaches its greatest intensity in the scenes when Nina’s fiancé, Kudimov, comes to the house, and then everyone leaves except Busygin. Here, all of Sarafanov’s despair, his fear of loneliness, is revealed to us in full force.

“Sarafanov: I’m superfluous here. I! I am the old sofa that she has long dreamed of taking out... Here they are, my children, I just praised them - and on you, please... Receive for your tender feelings!.

And then everyone returns and stays with their father. The play ends, as they would say today, with a “happy ending”, characteristic of a comedy, that is, the play begins and ends as a comedy, but just inside, in the main part, the real drama unfolds. Therefore, it is still possible to define the genre of this play as a tragicomedy. And in this approach to the genre, one might say, Vampilov is close to Chekhov, whose plays also often begin as comedies (and were also defined by the author himself as a comedy), and then turn into a tragedy.

Now let's trace the development line of the main character, Busygin. Already at the beginning of the play we learn that he grew up without a father, which, of course, will have vital importance in the further development of the action. However, the main character appears to us at the beginning as a kind of idiot, he walks with girls, drinks with strangers (after all, it turns out that he met Silva that same evening). In short, an ordinary impudent young man.

But after he meets Sarafanov, Busygin reveals himself to us from a completely different side. He shows attention and concern to the unfortunate father of the family. At some point, he no longer just portrays the eldest son, but becomes the real son of Sarafanov. He finds in this man the father he never had.

On the other hand, and this also speaks of his noble character, he is constantly, more and more, ashamed of his deception, so he constantly strives to disappear from this house as quickly as possible. However, something always stops him. This “something” is precisely the feeling of closeness, kinship that Busygin feels for Sarafanov.

At the same time, Busygin’s relationship with his “sister” Nina develops. Busygin involuntarily falls in love with a girl. Yes, and she too. But the absurdity of his situation (which then turns into almost tragic complexity), of course, does not allow him to confess his love in any way. And in connection with this love line An interesting question is, because of whom does Busygin actually stay in this house all the time, because of “father” or because of “sister”? After all, Busygin will illuminate the answer to this question from completely different angles. If because of the “father,” then this, one might say, is a pure, spiritual interest, but if because of the “sister,” then Busygin automatically becomes selfish and not a very good person. However, what is so charming about Vampilov’s play is that, in essence, it is very vital and humane, and in life there are no clear answers. So it would be correct to say that they both hold it.

Also, the love line has a special, important function in the play. Firstly, it supports the comedic component of the play, and secondly, it does not allow the hero to turn into a completely noble, correct character of the socialist realist type. Thanks to this, Busygin becomes, as it were, more humane, more down-to-earth. After all, in the end, he takes advantage of the fact that he is Nina’s “big brother” for some time.

Ultimately, Busygin finds all that is most valuable - love in the person of Nina, and a close, dear person, father (this time without quotes) in the person of Sarafanov. Imbued with a sincere feeling for this family, he, one might say, returns all its members to native home, to his father and himself becomes a member of it.

But, of course, no one can speak better about the hero than the author himself. Therefore, it would be appropriate to quote A.V. himself. Vampilov regarding Busygin’s actions.

From a letter from A.V. Vampilov to playwright Alexei Simukov:

“...At the very beginning... (when it seems to him that Sarafanov has gone to commit adultery) he (Busygin) does not even think about meeting him, he avoids this meeting, and having met, he does not deceive Sarafanov just like that, out of evil hooliganism, but rather , acts like a moralist in some ways. Why shouldn’t this (father) suffer a little for that (Busygin’s father)? Firstly, having deceived Sarafanov, he is constantly burdened by this deception, and not only because it is Nina, but also in front of Sarafanov he has downright remorse. Subsequently, when the position of the imaginary son is replaced by the position of the beloved brother - the central situation of the play, Busygin’s deception turns against him, it acquires a new meaning and, in my opinion, looks completely harmless.

This search and “finding” of loved ones is the main message of the play. A.V. Vampilov, probably, was looking for this himself throughout his unfortunately short life, and in this play he expressed his most sincere, important feelings and thoughts, and raised timeless questions and problems. That’s why this kind of work will always touch people.

Literature lesson in 10th grade based on the play by A.V. Vampilov "Elder Son"

Subject:

1.Acquaintance with the biography of A.V. Vampilova.

2. Analysis of the play by A.V. Vampilov "The Eldest Son".

Target:

1. To interest students in the personality of A.V. Vampilova.
2. Encourage students to seriously think about the meaning of life, about the purpose of man on earth, about responsibility for their deeds and actions.
3. Develop the ability to think and empathize.

Decor:

1. Exhibition of books with works by A.V. Vampilov, books about Vampilov.
2. Portrait of A.V. Vampilova, Illustrations for
3. Fragments from feature film"Eldest son."
4. Presentation about the life and work of A. Vampilov

Preparatory work:

1. Read the play by A.V. Vampilov "The Eldest Son".
2. Think over answers to questions, support with excerpts from the work
3. Questions for analyzing the play “The Eldest Son”

1. What is the plot of the play?
2. Who are its main characters? Secondary?
3. Who can be classified as off-stage characters?
4. Reveal the meaning of the names of the play (“Moral teaching with a guitar”, “The Suburb”, “Elder Son”) Which of them is the most successful?
5. What collision is the play based on?
6. What can you tell us about the members of the Sarafanov family?
7. What does their comparison give us to understand the images of Busygin and Silva?
8. How do you feel about Nina Kudimov’s fiance?
9. What is the role of Makarska, the neighbor, in the play?
10. What is the problem and main idea plays?
11. What genre can we classify the play into and why?
12. How is the work constructed? What was the author's position?
13. We read the last page and closed the book. What would you say to your friends about this play?

1. Individual tasks

a) find material related to Vampilov’s biography, read

b) learn the poem by P. Reutsky “Remember me cheerfully”

Teacher:

Alexander Vampilov, cast in bronze, stands in Irkutsk on a low pedestal next to drama theater. It was no coincidence that the author of the sculpture, Mikhail Pereyaslavets, placed the monument almost on the sidewalk. Every day Irkutsk residents scurry past, and

Vampilov is alive, still young, handsome, as if flowing into this talkative stream. Fate has given him only 35 years, and even then it has not given him a full count of two days. On Thursday, August 17, 1972, he died on Lake Baikal, ten meters short of swimming to Listvyanka.

Student: (reading by heart the poem by P. Reutsky “Remember me cheerfully”)

Remember me cheerfully

In a word, the way I was.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

I don’t want her to remember me sad.

I'll go under the wind boom.

Only songs full of sadness,

I value it more than everyone else.

I walked the earth in joy.

I loved her like God

And no one to me in this smallness

I couldn’t refuse anymore...

Everything that is mine will remain with me,

Both with me and on earth

Someone's heart is hurting

In my native village.

Will there be springs, will there be winters,

Sing my song.

Just me, my loved ones,

I won't sing with you anymore.

Why are you, willow tree, hanging down your branches?

Or did I not like it?

Remember me cheerfully

In a word, the way I was.

Teacher:

Close friends, and among them - writers Valentin Rasputin, Vyacheslav Shugaev, they affectionately called him Sanya.

From this name the pseudonym A. Sanin was formed, with which the writer signed his first book “Coincidence of Circumstances”.

Pupil:

He reads the beginning of the story: “A chance, a trifle, a coincidence of circumstances sometimes become the most dramatic moments in a person’s life.” Vampilov developed this idea in his plays.

Student: (continues the story)

Alexander Valentinovich Vampilov Born in 1937 in the village of Kutulik, Irkutsk region, into a teacher’s family. In my youth I read N.V. Gogol and V.G. Belinsky, loved to quietly play on the guitar the melody of Yakovlev’s romance to the words of A. Delvig “When I had not yet drunk tears from the cup of existence...”

(Romance sounds)

He loved fishing and hunting.

After graduating from school, he studied at the Faculty of History and Philology Irkutsk University, since 1960 he worked in the editorial office of the regional newspaper “Soviet Youth”.

Pupil:

He became interested in dramaturgy and began writing plays.

In 1965, A. Vampilov brought to Moscow, to the Sovremennik Theater, and offered O. N. Efremov the play “Moral Teaching with a Guitar”, which was then called “The Suburb”, and in 1972 - “The Elder Son”.

During the life of A.V. Vampilov produced only two plays - “Farewell in June” (1966) and “The Eldest Son” (1968). " Duck hunting"(1970), "Provincial jokes" (1970), "Last summer in Chulimsk" (1972). These plays saw the light of day and were staged on stage after the death of the playwright.

Student:

“It was cloudy, but dry and quiet when we carried him in our arms to the theater building, where the cars were waiting,” recalled V. Shugaev. “We refused the orchestra, remembering Sasha’s sad smile with which he wrote Sarafanov, the musician from “The Elder Son,” playing at the funeral.”

A, V. Vampilov was buried in Irkutsk.

Teacher:

We heard short story about the life of A. Vampilov. And now…

The teacher announces the topic and purpose of the lesson. Students write in a notebook: Alexander Valentinovich Vampilov (1937-1972).

They remember what is called an epigraph. Writing in a notebook.

As an epigraph to the words of V.G. Rasputin: “The traditional principles of Russian literature are well known, they still remain its continuation: preaching goodness, conscientiousness, a heightened sense of truth, righteousness and hope”

And the young playwright was worried about moral problems.

What is morality?

Morality - rules that determine human behavior; spiritual and spiritual qualities, necessary for a person in society, as well as the implementation of these rules, human behavior.

A moral person is a deeply conscientious person.

What is conscience?

Conscience is the ability to distinguish between good and evil, to give a moral assessment of one’s actions.

Conscience condemns a person if he acts immorally, contrary to the demands of conscience.

Teacher:

And now we will talk with you about the issues that were proposed in advance.

(Each student has cards with questions for analyzing the play “The Eldest Son”)

Working with the word.

During the conversation, students remember what a plot is? moralizing? suburb? collisions?

Fable is the content of a literary work and the events depicted in it.

Moral teaching - teaching, instilling moral rules.

Suburb is a village directly adjacent to the city, but not within its boundaries.

Collision. A clash of some opposing forces, interests, aspirations.

During the conversation, students noted: (1-3 questions)

The plot of the play is simple. Two young men - medical student Volodya Busygin and a trade agent nicknamed Silva (Semena Sevostyanova) - were brought together by chance at a dance. They accompany two girls home who live on the outskirts of the city and are late for the last train. We had to look for accommodation for the night. The young men call the Sarafanovs’ apartment. Here, the resourceful Silva came up with the idea of ​​calling Busygin the eldest son of Andrei Grigorievich, allegedly born to a woman with whom fate accidentally brought the hero together at the end of the war. Busygin does not reject this fiction. The entire Sarafanov family takes him for a son and older brother.

The fate of the head of the Sarafanov family did not work out: his wife left, things weren’t going well at work; he had to leave his position as an actor-musician and work part-time in an orchestra playing at funerals. Things are not going well with the children either. Sarafanov's son Vasenka, a tenth-grader, is in love with his neighbor Natasha Makarskaya, who is ten years older than him and treats him like a child. Daughter Nina is going to marry a military pilot, whom she does not love, but considers a worthy couple, and wants to go with him to Sakhalin.

Andrei Grigorievich is lonely and therefore becomes attached to his “eldest son.” And he, who grew up in an orphanage, is also drawn to the kind, nice, but unhappy Sarafanov, and besides, he also likes Nina. The end of the play is prosperous. Volodya honestly admits that he is not Sarafanov’s son, Nina does not marry someone she doesn’t love. Vassenka manages to persuade him not to run away from home. The “eldest son” becomes a frequent guest of this family.

4).According to the students, the title of the play “The Eldest Son” is the most successful, since its main character, Volodya Busygin, fully justified the role he took on. He helped Nina and Vasenka understand how much their father, who raised them both without a mother who abandoned the family, meant to them.

5-6) One can feel the gentle character of the head of the Sarafanov family. He takes everything to heart: he is ashamed of his position in front of the children, hides the fact that he left the theater, recognizes his “eldest son,” tries to calm Vasenka down and understand Nina.

The students conclude that he cannot be called a loser, since at the very peak of his mental crisis, Sarafanov survived when others broke. Sarafanov values ​​his children.

Comparing the elder Sarafanov with Nina and Vasenka, the guys noticed that the children were callous towards their father. Vasenka is so carried away by his first love that he does not notice anyone except Makarska. But his feeling is selfish. It is no coincidence that in the finale, having become jealous of Natasha and Silva, he starts a fire, without being tormented by conscience for what he has done. There is little truly masculine in the character of this young man - this is the conclusion the students come to.

In Nina, smart, beautiful girl, the guys noted practicality and prudence, manifested, for example, in choosing a groom. But these qualities were the main ones in her until she fell in love.

7) Busygin and Silva. When they find themselves in special circumstances, they manifest themselves in different ways. Volodya Busygin loves people. He is conscientious, responsive to the misfortune of others, which is obviously why he acts decently. Silva, like Volodya, is essentially also an orphan: he was raised in a boarding school by his surviving parents. Apparently, his father’s dislike was reflected in his character. It was no coincidence that Vampilov made the origins of the heroes’ destinies similar. With this, he wanted to emphasize how important a person’s own choice is, independent of circumstances. Unlike the orphan Volodya, the “orphan” Silva is cheerful, resourceful, but cynical. His true face is revealed when he “exposes” Volodya, declaring that he is not a son or a brother, but a repeat offender.

8) The students noted the “impenetrable soul” of Mikhail Kudimov, Nina’s fiancé. You meet such people in life, but you don’t immediately understand them. He is indifferent to people. This character occupies an insignificant place in the play, but he represents a clearly defined type of “right people” who create around themselves an atmosphere that suffocates all life in a person.

9) The author deepens the theme of loneliness in the play, which can bring a person to the brink of despair. (Natasha Makarskaya). In the image of the neighbor, according to the guys, the type of cautious person, an ordinary person who is afraid of everything, is deduced.

10) The issues and the main idea of ​​the play are to be able to listen, understand each other, support in difficult times of life, and show mercy. To be related in spirit is more than by birth.

11) Students noticed that the author does not define the genre of the play. Classifying it as a comedy, many noticed that, along with comic ones, the play has many dramatic moments, especially in the subtext of the characters’ statements (Sarafanov, Silva, Makarskaya).

How does the author relate to his main characters? What affirms in a person and what denies in him?

Teacher: Summing up the discussion of the play, I turned to the statement of V.G. Rasputin about Vampilov’s dramatic work: “It seems main question, which Vampilov constantly asks: will you, man, remain a man? Will you be able to overcome all the false and unkind things that are prepared for you in many everyday trials where the opposites have become difficult to distinguish - love and betrayal, passion and indifference, sincerity and falsehood, good and enslavement ... "

Bibliography:

Vampilov A.V. Dramatic heritage. Plays. Editions and variants different years. Skits and monologues. - Irkutsk, 2002.

Vampilov A.V. Duck hunting. Plays. - Irkutsk, 1987.

Alexander Vampilov in memories and photographs. - Irkutsk, 1999.

Play by A.V. Vampilov "The Eldest Son". Materials for the extracurricular reading lesson.//Russian language and literature, No. 3, 1991.-p.62

Two young men - medical student Busygin and sales agent Semyon, nicknamed Silva - hit on unknown girls. Having escorted them home, but not meeting the further hospitality they expected, they discover that they are late for the train. It’s late, it’s cold outside, and they are forced to look for shelter in a strange area. The young people barely know each other, but misfortune brings them closer together. Both of them are guys with humor, they have a lot of enthusiasm and play, they do not lose heart and are ready to take advantage of any opportunity to warm up.

They knock on the house of a lonely thirty-year-old woman, Makarskaya, who has just driven away the tenth-grader Vasenka, who is in love with her, but she turns them away too. Soon not those who know where When the guys get away, they see an elderly man from a neighboring house calling out to her, who introduced himself as Andrei Grigorievich Sarafanov. They think that this is a date and decide to take advantage of the opportunity to visit him in Sarafanov’s absence and warm up a little. At home they find an upset Vasenka, Sarafanov’s son, who is experiencing his love failure. Busygin pretends that he has known his father for a long time. Vassenka behaves very warily, and Busygin tries to reassure him, saying that all people are brothers and we must trust each other. This leads the cunning Silva to think that Busygin wants to play a prank on the boy by introducing himself as Sarafanov’s son, stepbrother Vasenki. Inspired by this idea, he immediately plays along with his friend, and the dumbfounded Busygin, who did not have this in mind at all, appears to Vassenka as his unknown older brother, who has finally decided to find his father. Silva is not averse to building on his success and persuades Vasenka to celebrate the event - to find some alcohol in the house bins and drink it on the occasion of finding a brother.

While they are celebrating in the kitchen, Sarafanov unexpectedly appears, having gone to Makarskaya to ask for his son, who is dying of love. Drunk Vasenka stuns him with stunning news. The confused Sarafanov does not believe it at first, but, remembering the past, he still admits this possibility - then the war had just ended, he “was a soldier, not a vegetarian.” So his son might have been twenty-one years old, and his mother's name was... her name was Galina. These details are heard by Busygin peeking out from the kitchen. Now he is more confident when meeting his imaginary father. Sarafanov, questioning his new son, becomes more and more convinced that this is really his son, sincerely loving father. And Sarafanov now really needs this kind of love: younger son fell in love and tries to fight off his hands, his daughter gets married and is going to Sakhalin. He himself left symphony orchestra and plays at dances and funerals, which he proudly hides from the children, who nevertheless are aware and only pretend that they know nothing. Busygin plays his role well, so even adult daughter Sarafanova Nina, who at first met her brother very distrustfully, is ready to believe.

Sarafanov and Busygin spend the night in a confidential conversation. Sarafanov tells him his whole life, opens his soul: his wife left him because it seemed to her that he played the clarinet for too long in the evenings. But Sarafanov is proud of himself: he did not allow himself to disappear into the bustle, he composes music.

In the morning, Busygin and Silva try to sneak away unnoticed, but run into Sarafanov. Having learned about their departure, he is discouraged and upset; he gives Busygin a silver snuffbox as a souvenir, since, according to him, in their family it always belonged to the eldest son. The touched impostor announces his decision to stay a day. He helps Nina clean up the apartment. A strange relationship develops between him and Nina. They seem to be brother and sister, but their mutual interest and sympathy for each other clearly do not fit into the family framework. Busygin asks Nina about her groom, involuntarily making jealous barbs at him, so that something like a quarrel occurs between them. A little later, Nina will also react jealously to Busygin’s interest in Makarskaya. In addition, they constantly turn to talk about Sarafanov. Busygin reproaches Nina for the fact that she is going to leave her father alone. They are also worried about their brother Vasenka, who continually makes attempts to escape from home, believing that no one needs him here.

Meanwhile, Vasenka, encouraged by the unexpected attention of Makarskaya, who agreed to go to the cinema with him (after a conversation with Sarafanov), comes to life and now has no intention of leaving anywhere. However, his joy does not last long. Makarska has an appointment at ten o'clock with Silva, whom she likes. Having learned that Vasenka bought a ticket for the same time, she refuses to go, and Vasenka’s naive stubbornness indignantly admits that the boy owes her unexpected kindness to his dad. In desperation, Vasenka packs a backpack, and the sensitive Busygin, who had just intended to leave, is again forced to stay.

In the evening, Nina’s fiance, pilot Kudimov, appears with two bottles of champagne. He is a simple and open guy, good-natured and perceives everything too straightforwardly, which he is even proud of. Busygin and Silva make fun of him every now and then, to which he only smiles good-naturedly and offers them a drink so as not to waste time. He has just enough of it, he, a cadet, does not want to be late, because he promised himself never to be late, and his own word is law for him. Soon Sarafanov and Nina appear. The whole company drinks for acquaintance. Kudimov suddenly begins to remember where he saw Sarafanov, although Busygin and Nina

They try to stop him, convincing him that he could not see him anywhere or saw him at the Philharmonic. Nevertheless, the pilot, with his inherent integrity, persists and eventually remembers: he saw Sarafanov at the funeral. Sarafanov is bitterly forced to admit this.

Busygin reassures him: people need music both when they are having fun and when they are sad. At this time, Vasenka with a backpack, despite attempts to stop him, leaves his home. Nina’s fiancé, despite her persuasion, also rushes away, afraid of being late for the barracks. When he leaves, Nina reproaches her malicious brother for treating her fiancé badly. In the end, Busygin can’t stand it and admits that he is not Nina’s brother at all. Furthermore- He seems to be in love with her. Meanwhile, the offended Sarafanov is packing his suitcase to travel with his eldest son. Vasenka suddenly runs in with a frightened and solemn look, followed by Silva in half-burnt clothes, with a face stained with soot, accompanied by Makarska. It turns out that Vasenka set her apartment on fire. The indignant Silva demands trousers and, before leaving, vindictively reports at the door that Busygin is not Sarafanov’s son at all. This makes a great impression on everyone, but Sarafanov firmly declares that he does not believe it. He doesn’t want to know anything: Busygin is his son, and his beloved one at that. He invites Busygin to move from the hostel to them, although this meets with Nina’s objection. Busygin reassures him: he will visit them. And then he discovers that he was late for the train again.

Biography of A. Vampilov

Alexander Vampilov was born on August 19, 1937 in the regional center of Kutulik, Irkutsk region in ordinary family. His father, Valentin Nikitovich, worked as the director of the Kutulik school (his ancestors were Buryat lamas), his mother, Anastasia Prokopyevna, worked there as a head teacher and mathematics teacher (her ancestors were Orthodox priests). Before Alexander was born, the family already had three children - Volodya, Misha and Galya.

Valentin Nikitovich never had the chance to raise his son. Literally a few months after his birth, one of the teachers at his own school wrote a denunciation against him to the NKVD. The charge was serious and did not give the arrested person any chance of survival. The court sentenced him to death, the sentence was carried out in early 1938 near Irkutsk. Only 19 years later Valentin Vampilov was rehabilitated.

The Vampilov family lived a very difficult life, literally surviving from bread to water. Even during his lifetime, Valentin Nikitovich’s relatives did not like his Russian wife, and when Vampilov Sr. died, they completely turned away from her. Anastasia Prokopyevna continued to work at the school, and her salary was barely enough to support herself and four young children. Sasha Vampilov received his first suit in his life only in 1955, when he finished ten years of high school.

Sasha grew up as a completely ordinary boy, and his loved ones had no special talents in him. for a long time didn't differentiate. After graduating from school, Vampilov entered the Faculty of History and Philology of Irkutsk University. Already in his first year, he began to try his hand at writing, composing short comic stories. In 1958, some of them appeared on the pages of local periodicals. A year later, Vampilov was included in the staff of the Irkutsk regional newspaper “Soviet Youth” and in Creative association young people (TOM) under the auspices of the newspaper and the Writers' Union. In 1961, the first (and only during his lifetime) book was published. humorous stories Alexandra. It was called "Coincidence of Circumstances." True, it wasn’t his on the cover real name, and the pseudonym is A. Sanin. In 1962, the editors of Soviet Youth decided to send their talented employee Vampilov to Moscow for the Higher literary courses Central Komsomol school. After studying there for several months, Alexander returns to his homeland and immediately rises one step higher in his career: He is appointed executive secretary of the newspaper. In December of the same year, a creative seminar took place in Maleevka, at which Vampilov presented two of his one act comedies: “Crow Grove” and “One hundred rubles in new money.”

In 1964, Vampilov left Soviet Youth and devoted himself entirely to writing. Soon two collective collections of his stories will be published in Irkutsk. A year after this, Vampilov again goes to Moscow in the hope of being assigned to one of the capital theaters my new play"Farewell in June." However, these attempts then ended in vain. In December he enters the Higher Literary Courses of the Literary Institute. Here, in the winter of 1965, he unexpectedly met the then fashionable playwright Alexei Arbuzov.

In 1966, Vampilov joined the Writers' Union. Vampilov wrote his first play in 1962 - “Twenty Minutes with an Angel.” Then appeared “Farewell in June”, “The Incident of the Master Page”, “The Eldest Son” and “Duck Hunt” (both 1970), “Last Summer in Chulimsk” (1972) and others. They evoked the warmest responses from those who read them, but not a single theater in Moscow or Leningrad agreed to stage them. Only the provinces welcomed the playwright: by 1970, his play “Farewell in June” was performed in eight theaters at once. But his native Irkutsk Youth Theater, which now bears his name, never staged any of his plays during Vampilov’s lifetime.

By 1972, the attitude of the capital's theater community towards Vampilov's plays began to change. “Last Summer in Chulimsk” was staged by the Ermolova Theater, “Farewell” by the Stanislavsky Theater. In March, the premiere of “Provincial Anecdotes” takes place at the Leningrad Bolshoi Drama Theater. Even cinema is paying attention to Vampilov: Lenfilm signs an agreement with him for the script for Pine Springs. It seemed that luck had finally smiled on the talented playwright. He's young and full creative forces and plans. It also develops well personal life with his wife Olga. And suddenly - an absurd death.

On August 17, 1972, two days before his 35th birthday, Vampilov, together with his friends Gleb Pakulov and Vladimir Zhemchuzhnikov, went on vacation to Lake Baikal.

According to the description of witnesses to the incident, the boat in which Vampilov and Pakulov were caught on a snag and capsized. Pakulov grabbed the bottom and began to call for help. And Vampilov decided to swim to the shore. And he reached it, touched the ground with his feet, and at that moment his heart could not stand it.

No sooner had the earth cooled down on Vampilov’s grave than his posthumous fame began to gain momentum. His books began to be published (only one was published during his lifetime), theaters staged his plays (The Eldest Son alone was shown in 44 theaters across the country), and studio directors began filming films based on his works. His museum was opened in Kutulik, and a Youth Theater was named after A. Vampilov in Irkutsk. A memorial stone appeared at the site of the death...

The play "The Eldest Son"

A. Vampilov’s play “The Eldest Son” exists in several versions. Vampilov’s earliest notes related to the play “The Eldest Son” date back to 1964: the title is “Peace in the House of Sarafanov.” A version of the play entitled "Grooms" was published in excerpts on May 20, 1965 in the newspaper "Soviet Youth". In 1967, the play was called “The Suburb” and was published in 1968 in the anthology “Angara”. In 1970, Vampilov finalized the play for the publishing house “Iskusstvo”, where it was called “The Elder Son” and was published as a separate publication.

Note that the name “Eldest Son” is the most successful. For the author, the main thing is not where the events take place, but who participates in them. To be able to listen, understand another, and support in difficult times - this is the main idea of ​​the play. Being kindred in spirit is more important than blood relationship.

In addition, Volodya Busygin justified the role he took on: he helped Nina and Vasenka understand how much their father, who raised them both without a mother who abandoned the family, meant to them, and Father Sarafanov, in turn, found support and understanding in Volodya.

Vampilov himself wrote: “ ...At the very beginning... (when it seems to him that Sarafanov has gone to commit adultery) he (Busygin) does not even think about meeting him, he avoids this meeting, and having met, he does not deceive Sarafanov just like that, out of evil hooliganism, but rather, acts like a moralist in some ways. Why shouldn’t this (father) suffer a little for that (Busygin’s father)? Firstly, having deceived Sarafanov, he is constantly burdened by this deception, and not only because it is Nina, but also in front of Sarafanov he has downright remorse. Subsequently, when the position of the imaginary son is replaced by the position of the beloved brother - central situation of the play, Busygin’s deception turns against him, it takes on a new meaning and, in my opinion, looks completely harmless».

The plot of the play “The Eldest Son” is born from accidents, from a strange coincidence of circumstances. Like in no other play by Vampilov, in “The Eldest Son” “random coincidence” is the engine of the plot. An accident, a trifle, a coincidence of circumstances become the most dramatic moments in the development of the action of this play. By chance the heroes meet in a cafe, accidentally end up in the suburbs, accidentally overhear Sarafanov's conversation with a neighbor, accidentally learn about the relationship between Vasenka and Makarskaya, accidentally find themselves privy to family secret. Busygin later confesses to Nina: “It all happened completely by accident.” Busygin and Silva don’t know each other well; in the cafe they didn’t even hear each other’s names and as the play progresses they become acquainted again, but this does not prevent them from understanding each other literally without a word.

The poetics of the play retains the main features of Vampilov’s dramaturgy: this, as O. Efremov noted, is a craving for acute form, non-standard situation, unconventional technique; according to V. Rozov - a vaudeville and even farcical beginning, rapidly reaching the utmost dramatic tension; prominent everyday materiality, physicality of life, acute plot tension, as E. Gushanskaya believes; combination of philosophical depth with dazzlingly bright pure theatrical form, according to A. Simukov.

In “The Eldest Son,” the anecdote becomes a genre-forming component—a kind of novelization of the genre occurs. It is the novelistic intrigue that gives the play what critics almost unanimously call “ high skill plot construction."

Undoubtedly, the adventurous idea of ​​meeting the Sarafanov family belongs to Busygin, and Silva cowardly warns his friend: “This night will end in the police station. I feel". But the idea to marry Busygin to his eldest son belongs to Silva. Rhetorical biblical figure of “suffering, hungry, cold” the brother standing at the threshold takes on the features of the real Busygin. Busygin does not immediately accept the role offered to him; he hesitates. The heroes seem to change places: now Silva is ready to stay, and Busygin is in a hurry to leave. However, the cowardice of Silva and Busygin has different roots: if the former is driven by fear of the police, then the latter is driven by fear of conscience.

The father’s naivety, purity, gullibility, word of mouth, Nina’s sober skepticism and distrust, which develops into open sympathy for her imaginary brother, Vasenka’s enthusiasm, Busygin’s own charm and intelligence, Silva’s assertive impudence condense and materialize the image of the eldest son. The family faced a situation where he, the eldest son, was supposed to appear and he appeared.

At the same time, the image of another “eldest son” materializes - Nina’s husband, cadet and future officer Kudimov. It is created mainly by Nina and jealously corrected by Busygin. We know almost everything about Kudimov, even before he appeared on stage. Busygin is in an incomparably more advantageous position: no one knows anything about him and he communicates about himself what he wants to communicate. Already in Nina’s assessment, Kudimov appears as a rather limited person. The appearance of the hero only confirms this.

The scene of Kudimov’s appearance (second act, second scene) is a mirror reflection of another scene - the appearance of Busygin and Silva in the Sarafanovs’ house (first act, second scene): acquaintance, offer of a drink, claims to sonship (“Where is daddy?”– asks Kudimov).

The clash between Busygin and Kudimov is a kind of duel, the reason for which is Nina. But behind this reason there are other reasons hidden, which lie in the belonging of these people to different spheres. human life and to their different understanding of life itself.

Like a spell, Nina’s continuously repeated words addressed to Kudimov, “It doesn’t matter if you’re even late today”, “Today you’ll be a little late”, “Just like that, you’ll be late and that’s it”, “Today you’ll be late, I want it that way”, “No, you’ll stay”- not easy "caprice", as Kudimov believes, and the last attempt to humanize his fiance, who is ready to family life bring the spirit of barracks and discipline.

Nina talks about Kudimov : “Let’s say he doesn’t have enough stars in the sky, so what? I think this is even for the better. I don’t need Cicero, I need a husband.” Excellent in combat and political training Kudimov now, in the future he is capable "signs of darkness" grab it, because he is never late and does not do anything that he does not see the point in. By holding back Kudimov, Nina restrains herself from loving Busygin. Nina does not have the opportunity to choose, but ultimately she makes her choice: “I’m not going anywhere.”

If in Busygin’s phrase “a brother suffering, hungry, cold is standing at the threshold...” The elder brother begins to enter the Sarafanov family, then with Nina’s remark addressed to Kudimov: “Enough for you! You can remember this until you die!”- the reverse process begins.

The image of a funeral begins to hover invisibly over the Sarafanov family: the head of the family himself buries his dreams of being a composer (“I won’t make a serious musician, and I have to admit it.”); Nina gives up her hopes ( "Yes. Go. But what the hell, you’ll actually be late.”), arranges funeral pyre Vasenka, burning Makarska's carpet and his opponent's pants. But death is ambivalent: it is reborn for the Sarafan family, gains new love Nina, Makarskaya’s interest in Vasenka flares up.

The image of the funeral of “some driver” - a symbol of an interrupted path, both life and professional - is ambiguous in the play. Flight school cadet Kudimov leaves, Sevostyanov “disappears”. last try Silva, who is no longer satisfied minor role, to annoy a successful rival and expose the impostor is belated and unsuccessful: physical kinship ceases to be decisive and significant and gives way to real kinship - spiritual: “You are a real Sarafanov! My son. And a beloved son at that.” In addition, Busygin himself admits : “I’m glad that I came to you... Frankly speaking, I myself no longer believe that I am not your son.”

Reasonable and serious Nina, ready to repeat her mother’s act and leave with “ serious person", at the end of the play she realizes that she « father's daughter. We are all like dad. We have the same character". They, the Sarafanovs, are wonderful people, blessed.

A. Demidov also called the comedy “Eldest Son” "a kind of philosophical parable".

Started as an everyday joke, the play gradually develops into dramatic story, behind which one can guess the motives of the biblical parable of the prodigal son.

At the same time, the famous biblical parable undergoes a certain transformation: the prodigal “son” returns to the house from which he never left; Sarafanov’s “prodigal” children return to the house from which they never left. They stay in the House to rebuild it.

This play is unique philosophical parable about the kinship of souls and finding a home. Appears in the Sarafanov family new person, introducing himself as the “eldest son” of the head of the family. In the whirlwind of family troubles and problems, Busygin really begins to feel like family in the Sarafanovs’ house and responsible for their lives.

The spiritual kinship of people turns out to be more reliable and stronger than formal relationships. Behind the external bravado and cynicism of young people, an unexpected ability for love, forgiveness, and compassion is revealed. So from private household history the play rises to universal humanistic problems (trust, mutual understanding, kindness and responsibility). And the paradox is that people become family and begin to feel responsible for each other only after serendipity. The play shows moral essence the eldest son - everything is on his shoulders: hope, the future of the family. And Busygin revived the family.

Literature

1. Vampilov A.V. Eldest son. – M.: Pushkin Library: AST: Astrel, 2006. – P. 6 – 99.
2. Gushanskaya E. Alexander Vampilov: Essay on creativity. – L.: Sov. Writer. Leningr. department, 1990. – 320 p.
3. The world of Alexander Vampilov: Life. Creation. Fate. – Irkutsk, 2000. – P. 111-116.
4. About Vampilov: Memories and reflections // Vampilov A. House with windows in the field. Irkutsk: East Siberian Book Publishing House, 1981. - P. 612-613.
5. Russian literature XX – beginning of the XXI century: textbook. manual for higher students ped. textbook institutions: in 2 volumes. T. 2. 1950 – 2000s / (L.P. Krementsov, L.F. Alekseeva, M.V. Yakovlev, etc.); edited by L.P. Krementsova. – M.: Publishing Center “Academy”, 2009. – P.452 – 460.
6. Sushkov B.F. Alexander Vampilov: Reflections on ideological roots, issues, artistic method and the fate of the playwright’s work. – M.: Sov. Russia, 1989. – 168 p.