Kaskelainen Oleg 9th grade
"The Mystery of Alexei Tolstoy's Fairy Tale
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Literature Research Paper
The mystery of Alexei Tolstoy's fairy tale
"The Golden Key, or the Adventures of Pinocchio"
Completed by: student of class 9 “A”
GBOU secondary school No. 137 of Kalininsky district
St. Petersburg
Kaskelainen Oleg
Teacher: Prechistenskaya Ekaterina Anatolyevna
Chapter 1. Introduction page 3
Chapter 2. Karabas-Barabas Theater page 4
Chapter 3. The image of Karabas-Barabas page 6
Chapter 4. Biomechanics page 8
Chapter 5. Image of Pierrot page 11
Chapter 6. Malvina page 15
Chapter 7. Poodle Artemon page 17
Chapter 8. Duremar page 19
Chapter 9. Pinocchio page 20
Chapter 1. Introduction
My work is dedicated to the famous work of A.N. Tolstoy “The Golden Key or the Adventures of Pinocchio.”
The fairy tale was written by Alexei Tolstoy in 1935 and dedicated to his future wife Lyudmila Ilyinichna Krestinskaya - later Tolstoy. Alexey Nikolaevich himself called The Golden Key “a new novel for children and adults.” The first edition of Buratino in the form of a separate book was published on February 28, 1936, was translated into 47 languages, and has not left bookstore shelves for 75 years.
Since childhood, I have been interested in the question of why there are no clearly expressed positive characters in this fairy tale. If a fairy tale is for children, it should be educational in nature, but here Pinocchio gets a whole magical country-theater just like that, for no reason, without even dreaming about it... The most negative characters: Karabas - Barabas, Duremar - the only heroes who really work, benefit people - they maintain a theater, catch leeches, that is, treat people, but they are presented in some kind of parody color... Why?
Most people believe that this work is a free translation of the Italian fairy tale Pinocchio, but there is a version that in the fairy tale “The Golden Key” Tolstoy parodies the theater of Vsevolod Meyerhold and the actors: Mikhail Chekhov, Olga Knipper-Chekhova, Meyerhold himself, the great Russian poet Alexander Blok and K. S. Stanislavsky - director, actor. My work is devoted to the analysis of this version.
Chapter 2. Karabas-Barabas Theater
The Karabas-Barabas Theater, from where the dolls escape, is a parody of the famous theater of the 20-30s by the director - “despot” Vsevolod Meyerhold (who, according to A. Tolstoy and many of his other contemporaries, treated his actors as “puppets” ). But Buratino, with the help of the golden key, opened the most wonderful theater where everyone should be happy - and this, at first glance, is the Moscow Art Theater (which A. Tolstoy admired).Stanislavsky and Meyerhold understood theater differently. Years later, in the book “My Life in Art,” Stanislavsky wrote about Meyerhold’s experiments: “The talented director tried to cover up the artists, who in his hands were mere clay for sculpting beautiful groups, mise-en-scenes, with the help of which he realized his interesting ideas.” In fact, all contemporaries point out that Meyerhold treated the actors as “puppets” performing his “beautiful play.”
The Karabas-Barabas theater is characterized by the alienation of puppets as living beings from their roles, the extreme conventionality of the action. In “The Golden Key” the bad theater of Karabas-Barabas is replaced by a new, good one, whose charm is not only in a well-fed life and friendship between the actors, but also in the opportunity to play themselves, that is, to coincide with their true role and act as creators themselves . In one theater there is oppression and coercion, in another Pinocchio is going to “play himself.”
At the beginning of the last century, Vsevolod Meyerhold made a revolution in theatrical art and proclaimed: “Actors should not be afraid of the light, and the viewer should see the play of their eyes.” In 1919, Vsevolod Meyerhold opened his own theater, which was closed in January 1938. Two incomplete decades, but this time frame became the real era of Vsevolod Meyerhold, the creator of the magical “Biomechanics.” He found the foundations of theatrical biomechanics back in the St. Petersburg period, in 1915. The work on creating a new system of human movement on stage was a continuation of the study of the movement techniques of Italian comedians of the times commedia dell'arte.
There should be no room for any randomness in this system. However, within a clearly defined framework there is a huge space for improvisation. There were cases when Meyerhold reduced the performance from eighteen scenes to eight, because this was how the actor’s imagination and desire to live within these limits were played out. “I have never seen a greater embodiment of theater in a person than the theater in Meyerhold,” Sergei Eisenstein wrote about Vsevolod Emilievich. On January 8, 1938, the theater was closed. “The measure of this event, the measure of this arbitrariness and the possibility that this can be done, is not comprehended by us and not felt properly,” wrote actor Alexei Levinsky.
Many critics note that in the emblem of Meyerhold's theatera seagull is visible in the form of lightning, created by F. Shekhtel for the curtain of the Art Theater. In contrast to the new theater, in the theater « Karabas-Barabas”, from which the dolls are running away, “on the curtain were drawn dancing men, girls in black masks, scary bearded people in caps with stars, a sun that looked like a pancake with a nose and eyes, and other entertaining pictures.” This composition is made from elements in the spirit of real-life, and well-known, theater curtains. This, of course, is a romantic stylization dating back to Gozzi and Hoffmann, inextricably linked in the theatrical consciousness of the beginning of the century with the name of Meyerhold.
Chapter 3. The image of Karabas-Barabas
Karabas-Barabas (V. Meyerhold).
Where did the name Karabas-Barabas come from? Kara Bash in many Turkic languages is the Black Head. True, the word Bas has another meaning - to suppress, to press (“boskin” - press), it is in this meaning that this root is part of the word basmach. “Barabas” is similar to the Italian words meaning scoundrel, swindler (“barabba”) or beard (“barba”) - both of which are quite consistent with the image. The word Barabas is the biblical sounding name of the robber Barrabas, who was released from custody instead of Christ.
In the image of the Doctor of Puppet Science, the owner of the puppet theater Karabas-Barabas, the features of theater director Vsevolod Emilievich Meyerhold, whose stage name was the name Doctor Dapertutto, can be traced. The seven-tailed whip that Karabas never parted with is the Mauser that Meyerhold began to wear after the revolution and which he used to place in front of him during rehearsals.
In his fairy tale by Meyerhold, Tolstoy implies beyond portrait resemblance. The object of Tolstoy's irony is not the true personality of the famous director, but rumors and gossip about him. Therefore, the self-characterization of Karabas Barabas: “I am a doctor of puppet science, the director of a famous theater, a holder of the highest orders, the closest friend of the Tarabar King” - so strikingly corresponds to the ideas about Meyerhold of naive and ignorant provincials in Tolstoy’s story “Native Places”: “Meyerhold is a complete general. In the morning, his sovereign emperor calls: cheer up, he says, the general, the capital and the entire Russian people. “I obey, Your Majesty,” the general answers, throwing himself into a sleigh and marching through the theaters. And in the theater they will present everything as it is - Bova the prince, the fire of Moscow. That's what a man is"
Meyerhold tried to use acting techniques in the spirit of the ancient Italian comedy of masks and rethink them in a modern space.
Karabas-Barabas - the ruler of the puppet theater - has his own “theory”, corresponding to practice and embodied in the following “theatrical manifesto”:
Puppet lord
This is who I am, come on...
Dolls in front of me
They spread like grass.
If only you were a beauty
I have a whip
Whip of seven tails,
I'll just threaten you with a whip
My people are meek
Sings songs...
It is not surprising that actors run away from such a theater, and it is the “beauty” Malvina who runs away first, Pierrot runs after her, and then, when Pinocchio and his companions find a new theater with the help of the golden key, all the doll actors join them, and the theater of the “puppet lord” collapses.
Chapter 4. Biomechanics
V. E. Meyerhold paid a lot of attention to the harlequinade, Russian booth, circus, and pantomime.
Meyerhold introduced the theatrical term “Biomechanics” to designate his system of actor training: “Biomechanics seeks to experimentally establish the laws of movement of an actor on the stage, working out training exercises for the actor based on the norms of human behavior.”
The main principles of biomechanics can be formulated as follows:
“- the creativity of an actor is the creativity of plastic forms in space;
- the art of an actor is the ability to correctly use the expressive means of one’s body;
- the path to an image and a feeling must begin not with an experience or with an understanding of the role, not with an attempt to assimilate the psychological essence of the phenomenon; not from the inside at all, but from the outside - start with movement.
This led to the main requirements for an actor: only an actor who is well trained, has musical rhythm and slight reflex excitability can begin with movement. To do this, the actor’s natural abilities must be developed through systematic training.
The main attention is paid to the rhythm and tempo of the acting.
The main requirement is the musical organization of the plastic and verbal drawing of the role. Only special biomechanical exercises could become such training. The goal of biomechanics is to technologically prepare the “comedian” of the new theater to perform any of the most complex gaming tasks.
The motto of biomechanics is that this “new” actor “can do anything,” he is an omnipotent actor. Meyerhold argued that the actor's body should become an ideal musical instrument in the hands of the actor himself. An actor must constantly improve the culture of bodily expressiveness, developing the sensations of his own body in space. The master completely rejected reproaches to Meyerhold that biomechanics brings up a “soulless” actor who does not feel, does not experience, an athlete and an acrobat. The path to the “soul,” to experiences, he argued, can only be found with the help of certain physical positions and states (“excitability points”) fixed in the role’s score.
Chapter 5. The image of Pierrot
The prototype of Pierrot was the brilliant Russian poet Alexander Blok. A philosopher and poet, he believed in the existence of the Soul of the world, Sophia, the Eternal Feminine, called upon to save humanity from all evils, and believed that earthly love has a high meaning only as a form of manifestation of the Eternal Feminine. In this spirit, Blok’s first book, “Poems about a Beautiful Lady,” was translated into his “romantic experiences” - his passion for Lyubov Dmitrievna Mendeleeva, the daughter of a famous scientist, who soon became the poet’s wife. Already in earlier poems, later united by Blok under the title “AnteLucem” (“Before the Light”), as the author himself puts it, “it continues to slowly take on unearthly features.” In the book, his love finally takes on the character of sublime service, prayers (this is the name of the whole cycle), offered not to an ordinary woman, but to the “Mistress of the Universe.”Talking about his youth in his autobiography, Blok said that he entered life “with complete ignorance and inability to communicate with the world.” His life seems normal, but as soon as you read any of his poems instead of prosperous “biographical data”, the idyll will crumble to pieces, and prosperity will turn into disaster:
"Dear friend, and in this quiet house
The fever hits me.
I can't find a place in a quiet house
Near the peaceful fire!
I'm afraid of comfort...
Even behind your shoulder, friend,
Someone's eyes are watching!"
Blok's early lyrics arose on the basis of idealistic philosophical teachings, according to which, along with the imperfect real world, there is an ideal world, and one should strive to comprehend this world. Hence the detachment from public life, mystical alertness in anticipation of unknown spiritual events on a universal scale.
The figurative structure of the poems is full of symbolism, and extended metaphors play a particularly significant role. They convey not so much the real features of what is depicted, but rather the emotional mood of the poet: the river “hums,” the blizzard “whispers.” Often a metaphor develops into a symbol.
Poems in honor of the Beautiful Lady are distinguished by moral purity and freshness of feelings, sincerity and sublimity of the young poet’s confessions. He glorifies not only the abstract embodiment of the “eternally feminine”, but also a real girl - “young, with a golden braid, with a clear, open soul”, as if she came out of folk tales, from whose greeting “the poor oak staff will sparkle with a semi-precious tear...”. Young Blok affirmed the spiritual value of true love. In this he followed the traditions of 19th century literature with its moral quest.
There is no Pierrot either in the Italian original source or in the Berlin “remake and processing”. This is a purely Tolstoyan creation. Collodi does not have Pierrot, but he does have Harlequin: it is he who recognizes Pinocchio among the audience during the performance, and it is Pinocchio who later saves his puppet life. Here the role of Harlequin in the Italian fairy tale ends, and Collodi does not mention him again. It is this single mention that the Russian author seizes on and drags onto the stage Harlequin’s natural partner - Pierrot, because Tolstoy does not need the mask of a “successful lover” (Harlequin), but rather a “deceived husband” (Pierrot). Calling Pierrot onto the stage - Harlequin has no other function in a Russian fairy tale: Pinocchio is recognized by all the dolls, the scene of Harlequin's rescue is omitted, and he is not busy in other scenes. Pierrot's theme is introduced immediately and decisively, the play is carried out simultaneously on the text - a traditional dialogue between two traditional characters of Italian folk theater and on the subtext - satirical, intimate, full of caustic allusions: “A small man in a long white shirt with long sleeves appeared from behind a cardboard tree. His face was sprinkled with powder, white as tooth powder. He bowed to the most respectable audience and said sadly: Hello, my name is Pierrot... Now we will play before you a comedy called: “The Girl with Blue Hair, or Thirty-three Slaps.” Me They will hit you with a stick, slap you in the face and slap you upside the head. This is a very funny comedy... From behind another cardboard tree, another man jumped out, all checkered like a chessboard.
He bowed to the most respectable audience: - Hello, I am Harlequin!
After that, he turned to Pierrot and gave him two slaps in the face, so loud that powder fell from his cheeks.”
It turns out that Pierrot loves a girl with blue hair. Harlequin laughs at him - there are no girls with blue hair! - and hits him again.
Malvina is also the creation of a Russian writer, and she is needed, first of all, to be loved by Pierrot with selfless love. The novel of Pierrot and Malvina is one of the most significant differences between The Adventures of Pinocchio and The Adventures of Pinocchio, and from the development of this novel it is easy to see that Tolstoy, like his other contemporaries, was initiated into Blok’s family drama.
Pierrot of Tolstoy's fairy tale is a poet. Lyric poet. The point is not even that Pierrot’s relationship with Malvina becomes a poet’s romance with an actress, the point is what kind of poetry he writes. He writes poems like this:
Shadows dance on the wall,
I'm not afraid of anything.
Let the stairs be steep
Let the darkness be dangerous
Still an underground route
Will lead somewhere...
“Shadows on the wall” is a regular image in Symbolist poetry. “Shadows on the wall” dance in dozens of poems by A. Blok and in the title of one of them. “Shadows on the wall” is not just a detail of lighting often repeated by Blok, but a fundamental metaphor for his poetics, based on sharp, cutting and tearing contrasts of white and black, anger and kindness, night and day.
Pierrot is parodied not by this or that Blok text, but by the poet’s work, the image of his poetry.
Malvina fled to foreign lands,
Malvina is missing, my bride...
I'm sobbing, I don't know where to go...
Isn't it better to part with the doll's life?
Blok's tragic optimism implied faith and hope in spite of circumstances that inclined towards disbelief and despair. The word “despite”, all the ways of conveying the masculine meaning contained in it were at the center of Blok’s stylistics. Therefore, even Pierrot’s syntax reproduces, as befits a parody, the main features of the parodied object: despite the fact that... but... let... anyway...
Pierrot spends his time longing for his missing lover and suffering from everyday life. Due to the supermundane nature of his aspirations, he gravitates towards blatant theatricality of behavior, in which he sees a practical meaning: for example, he tries to contribute to the general hasty preparations for the battle with Karabas by “wringing his hands and even trying to throw himself backwards onto the sandy path.” Involved in the fight against Karabas, Pinocchio turns into a desperate fighter, even begins to speak “in a hoarse voice like large predators speak,” instead of the usual “incoherent verses” he produces fiery speeches, in the end it is he who writes that very victorious revolutionary play in verse, which is given in the new theater.
Chapter 6. Malvina
Malvina (O.L. Knipper-Chekhova).
Fate, drawn by Tolstoy, is a very ironic person: how else can one explain that Pinocchio ends up in the house of the beautiful Malvina, surrounded by a wall of forest, fenced off from the world of troubles and adventures? Why Pinocchio, who doesn’t need this beauty, and not Pierrot, who is in love with Malvina? For Pierrot, this house would become the coveted “Nightingale Garden,” and Buratino, concerned only with how well the poodle Artemon chases the birds, can only compromise the very idea of the “Nightingale Garden.” This is why he ends up in Malvina’s “Nightingale Garden”.
The prototype of Malvina, according to some researchers, was O.L. Knipper-Chekhov. The name of Olga Leonardovna Knipper-Chekhova is inextricably linked with two most important phenomena of Russian culture: the Moscow Art Theater and Anton Pavlovich Chekhov.
She devoted almost her entire long life to the Art Theater, from the moment the theater was founded and almost until her death. She knew English, French, and German perfectly. She had great tact and taste, was noble, refined, and femininely attractive. She had an abyss of charm, she knew how to create a special atmosphere around herself - sophistication, sincerity and tranquility. She was friends with Blok.
There were always a lot of flowers in the apartment, they stood everywhere in pots, baskets and vases. Olga Leonardovna loved to look after them herself. Flowers and books replaced any collections that never interested her: Olga Leonardovna was not a philosopher at all, but she was characterized by an amazing breadth and wisdom of understanding of life. She somehow, in her own way, distinguished the main from the secondary, what is important only today, from what is generally very important. She did not like false wisdom, did not tolerate philosophizing, but she also simplified life and people. She could “accept” a person with oddities or even some unpleasant traits if she was attracted to his essence. And she treated “smooth” and “correct” with suspicion or humor.
A most devoted student of Stanislavsky and Nemirovich-Danchenko, she not only admits and accepts the existence of other paths in art, “more theatrical than ours,” as she writes in an article about Meyerhold, but dreams of liberating the Art Theater itself from the squat, petty, everyday life, neutrality of poorly understood “simplicity”.
What kind of person does Malvina appear to us? Malvina is the most beautiful doll from the Karabas Barabas theater: “A girl with curly blue hair and pretty eyes,” “The face is freshly washed, there is flower pollen on her upturned nose and cheeks.”
Tolstoy describes her character with the following phrases: “...a well-mannered and meek girl”; “with an iron character”, smart, kind, but because of her moral teachings she turns into a decent bore. Defenseless, weak, “coward”. It is these qualities that help bring out the best spiritual qualities of Pinocchio. The image of Malvina, like the image of Karabas, contributes to the manifestation of the best spiritual qualities of the wooden man.
In the work “The Golden Key,” Malvina has a similar character to Olga. Malvina tried to teach Pinocchio - and in life Olga Knipper tried to help people, she was selfless, kind and sympathetic. I was captivated not only by the charm of her stage talent, but also by her love of life: lightness, youthful curiosity about everything in life - books, paintings, music, performances, dance, sea, stars, smells and colors and, of course, people. When Pinocchio ends up in Malvina’s forest house, the blue-haired beauty immediately begins raising the mischievous boy. She makes him solve problems and write dictations. The image of Malvina, like the image of Karabas, contributes to the manifestation of the best spiritual qualities of the wooden man.
Chapter 7. Poodle Artemon
Malvina's poodle is brave, selflessly devoted to his owner, and despite his outward childish carelessness and restlessness, he manages to perform the function of strength, those very fists, without which goodness and reason cannot improve reality. Artemon is self-sufficient, like a samurai: he never questions the orders of his mistress, does not look for any other meaning in life other than loyalty to duty, and trusts others to make plans. In his free time, he indulges in meditation, chasing sparrows or spinning like a top. In the finale, it is the spiritually disciplined Artemon who strangles the rat Shushara and puts Karabas in a puddle.
The prototype of the poodle Artemon was Anton Pavlovich Chekhov. They With Olga Knipper got married and lived together until the death of A.P. Chekhov.The closeness between the Art Theater and Chekhov was extremely deep. Related artistic ideas and Chekhov's influence on the theater were very strong.
In his notebook, A.P. Chekhov once remarked: “Then a person will become better when you show him what he is.” Chekhov's works reflected the features of the Russian national character - gentleness, sincerity and simplicity, with a complete absence of hypocrisy, posture and hypocrisy. Chekhov's testaments of love for people, responsiveness to their sorrows and mercy to their shortcomings. Here are just a few of his phrases that characterize his views:
“Everything in a person should be beautiful: face, clothes, soul, and thoughts.”
“If every person on the bush of his land did everything he could, how beautiful our land would be.”
Chekhov strives not only to describe life, but also to remake, to build it: either he is working on setting up the first people's house in Moscow with a reading room, a library, a theater, then he is trying to get a clinic for skin diseases built right there in Moscow, then he is working on setting up a Crimea, the first biological station, either collects books for all Sakhalin schools and sends them there in whole batches, or builds three schools for peasant children near Moscow, and at the same time a bell tower and a fire shed for the peasants. When he decided to set up a public library in his hometown of Taganrog, he not only donated more than thousands of volumes of his own books for it, but also sent it piles of books he purchased in bales and boxes for 14 years in a row.
Chekhov was a doctor by profession. He treated peasants free of charge, declaring to them: “I am not a gentleman, I am a doctor.”His biography is a textbook of writerly modesty.“You need to train yourself,” said Chekhov. Training, making high moral demands on himself and strictly ensuring that they are fulfilled is the main content of his life, and he loved this role most of all - the role of his own educator. Only in this way did he acquire his moral beauty - through hard work on himself. When his wife wrote to him that he had a compliant, gentle character, he answered her: “I must tell you that by nature my character is harsh, I am quick-tempered and so on, so on, but I am used to restraining myself, because a decent person cannot let himself go.” appropriate." At the end of his life, A.P. Chekhov was very ill and was forced to live in Yalta, but he did not demand that his wife leave the theater and take care of him.Devotion, modesty, a sincere desire to help others in everything - these are the traits that unite the hero of the fairy tale and Chekhov and suggest that Anton Pavlovich is the prototype of Artemon.
Chapter 8. Duremar
The name of the closest assistant to the doctor of puppet sciences, Karabas Barabas, is formed from the domestic words “fool”, “fool” and the foreign name Volmar (Voldemar). Director V. Solovyov, Meyerhold’s closest assistant both on stage and at the magazine “Love for Three Oranges” (where Blok headed the poetry department), had a magazine pseudonym Voldemar (Volmar) Luscinius, who apparently gave Tolstoy “the idea » named after Duremar. The “similarity” can be seen not only in names. Tolstoy describes Duremar as follows: “A long man with a small, small face, as wrinkled as a morel mushroom, entered. He was wearing an old green coat." And here is the portrait of V. Solovyov, drawn by the memoirist: “A tall, thin man with a beard, in a long black coat.”
Duremar in Tolstoy's work is a leech merchant, himself similar to a leech; somewhat of a medic. Selfish, but in principle not evil, he can bring benefit to society, say, in the position of a theater janitor, which he dreams of when the population, which has completely recovered after the opening of the Buratino theater, stops buying his leeches.
Chapter 9. Pinocchio
The word "Pinocchio" is translated from Italian as puppet, but in addition to the literal meaning, this word at one time had a very definite common meaning. The surname Buratino (later Buratini) belonged to a family of Venetian moneylenders. They, like Buratino, also “grew” money, and one of them, Titus Livius Buratini, even suggested that Tsar Alexei Mikhailovich replace silver and gold coins with copper ones. This replacement soon led to an unprecedented rise in inflation and the so-called Copper Riot on July 25, 1662.
Alexey Tolstoy describes the appearance of his hero Buratino in the following words: “A wooden man with small round eyes, a long nose and a mouth up to his ears.” Pinocchio’s long nose in the fairy tale takes on a slightly different meaning than Pinocchio’s: he is curious (in the spirit of the Russian phraseological unit “poking your nose into someone else’s business”) and naive (having pierced the canvas with his nose, he has no idea what kind of door is visible there - i.e. e. “can’t see beyond his own nose”). In addition, Pinocchio’s provocatively protruding nose (in Collodi’s case is in no way connected with the character of Pinocchio) in Tolstoy began to denote a hero who does not hang his nose.
Having barely been born, Pinocchio is already playing pranks and mischief. So carefree, but full of common sense and tirelessly active, defeating his enemies “with the help of wit, courage and presence of mind,” he is remembered by readers as a devoted friend and a warm-hearted, kind man. Buratino contains the traits of many of A. Tolstoy’s favorite heroes, who are inclined to action rather than to reflection, and here, in the sphere of action, they find and embody themselves. Pinocchio is infinitely charming even in his sins. Curiosity, simplicity, naturalness... The writer entrusted Pinocchio with the expression of not only his most cherished beliefs, but also the most attractive human qualities, if one is allowed to talk about the human qualities of a wooden doll.
Pinocchio is plunged into the abyss of disaster not by laziness and aversion to work, but by a boyish passion for “terrible adventures”, his frivolity, based on the life position “What else can you come up with?” He reincarnates without the help of fairies and sorceresses. The helplessness of Malvina and Pierrot helped bring out the best traits of his character. If we begin to list Pinocchio’s character traits, then agility, courage, intelligence, and a sense of camaraderie will come to the very first place. Of course, throughout the entire work, what is first striking is Pinocchio’s self-praise. During the “terrible battle on the edge of the forest,” he sat on a pine tree, and it was mainly the forest brotherhood who fought; victory in battle is the work of Artemon’s paws and teeth, it was he who “came out of the battle victorious.” But then Pinocchio appears at the lake, behind him barely trails the bleeding Artemon, loaded with two bales, and our “hero” declares: “They also wanted to fight with me!.. What do I need a cat, what do I need a fox, what do I need police dogs, what to me Karabas Barabas himself - ugh! ..." It seems that, in addition to such shameless appropriation of other people's merits, he is also heartless. Choking in the story with admiration for himself, he does not even notice that he is putting himself in a comical position (for example, while fleeing): “No panic! Let's run!" - commands Buratino, “courageously walking ahead of the dog...” Yes, there is no longer a fight here, there is no longer a need to sit on the “Italian pine”, and now you can completely “courageously walk over the bumps,” as he himself describes his next feat. But what forms does this “courage” take when danger appears: “Artemon, throw off the bales, take off your watch - you will fight!”
Having analyzed the actions of Pinocchio as the plot develops, one can trace the evolution of the development of good traits in the character and actions of the hero. A distinctive feature of Pinocchio's character at the beginning of the work is rudeness, bordering on rudeness. Such expressions as “Pierrot, go to the lake...”, “What a stupid girl...” “I am the boss here, get out of here...”
The beginning of the fairy tale is characterized by the following actions: he offended the cricket, grabbed the rat by the tail, and sold the alphabet. “Pinocchio sat down at the table and tucked his leg under him. He stuffed the whole almond cake into his mouth and swallowed it without chewing.” Next we observe “he politely thanked the turtle and the frogs...” “Pinocchio immediately wanted to boast that the key was in his pocket. In order not to let it slip, he pulled the cap off his head and stuffed it into his mouth...”; “... was in charge of the situation...” “I am a very reasonable and prudent boy...” “What will I do now? How will I get back to Papa Carlo? “Animals, birds, insects! They’re beating our people!” As the plot develops, Pinocchio's actions and phrases change dramatically: he fetched water, collected branches for the fire, lit a fire, brewed cocoa; worries about friends, saves their lives.
The justification for the adventure with the Field of Miracles is to shower Papa Carlo with jackets. Poverty, which forced Carlo to sell his only jacket for the sake of Pinocchio, gives birth to the latter’s dream of getting rich quickly in order to buy Carlo a thousand jackets..
In the Pope's closet, Carlo Pinocchio finds the main goal for which the work was conceived - a new theater. The author's idea is that only a hero who has gone through spiritual improvement can achieve his cherished goal.
The prototype of Pinocchio, according to many authors, was the actor Mikhail Aleksandrovich Chekhov, nephew of the writer Anton Pavlovich Chekhov.From his youth, Mikhail Chekhov was seriously involved in philosophy; Subsequently, an interest in religion appeared. Chekhov was not interested in social problems, but in “a lonely Man standing in the face of Eternity, Death, the Universe, God.” The main feature that unites Chekhov and his prototype is “Contagiousness.” Chekhov had a huge influence on viewers of the twenties of all generations. Chekhov had the ability to infect the audience with his feelings. “His genius as an actor is, first of all, the genius of communication and unity with the audience; He had a direct, inverse and continuous connection with her.
In 1939 Chekhov's Theater is coming to Ridgefield, 50 miles from New York, in 1940–1941 the performances of “Twelfth Night” (a new version, different from the previous ones), “The Cricket on the Stove,” and “King Lear” by Shakespeare were prepared.
Theater-studio M.A. Chekhov. USA. 1939-1942
In 1946, newspapers announced the creation of an “Actors’ Workshop”, where “Mikhail Chekhov’s method” is currently being developed (it still exists in a modified form. Among his students were Hollywood actors: G. Peck, Marilyn Monroe, Yu. Brynner) . He worked as a director at the Hollywood Laboratory Theater.
Since 1947, due to the exacerbation of his illness, Chekhov limited his activities mainly to teaching, teaching acting courses in the studio of A. Tamirov.
Mikhail Chekhov died in Beverly Hills (California) on October 1, 1955; the urn with his ashes was buried at Forest Lawn Memorial Cemetery in Hollywood. Almost until the mid-1980s, his name fell into oblivion in his homeland, appearing only in individual memoirs (S.G. Birman, S.V. Giatsintova, Berseneva, etc.). In the West, over the years, Chekhov's method has acquired a significant influence on acting techniques; since 1992, International Workshops of Mikhail Chekhov have been regularly organized in Russia, England, the USA, France, the Baltic States, and Germany with the participation of Russian artists, directors, and teachers.
The main miracle of the whole fairy tale, in my opinion, is that it was Mikhail Chekhov (Pinocchio), who opened the door to a fairyland - a new theater, who founded a school of theatrical art in Hollywood, which has not yet lost its relevance.
The work is dedicated to the memory of the teacher of Russian language and literature
Belyaeva Ekaterina Vladimirovna.
Composition
The writer again turns to the “memory of childhood,” this time recalling his passion for S. Collodi’s book “Pinocchio, or the Adventures of a Wooden Doll.” S. Collodi (Carlo Loranzi, 1826-1890) wrote a moralistic book about a wooden boy in 1883. In it, after long adventures and misadventures, the mischievous and lazy Pinocchio is reformed under the influence of a fairy with blue hair.
A. N. Tolstoy does not follow the source literally, but creates a new work based on it. Already in the preface, the author reports that as a child he told the book he loved every time in a different way, inventing adventures that were not at all in the book. The writer focuses on a new reader; for him it is important to instill in a Soviet child good feelings towards the oppressed and hatred towards the oppressors.
Talking about his idea to Yu. Olesha, A. N. Tolstoy emphasized that he would not write an edifying work, but an entertaining and cheerful memory of what he read in childhood. Yu. Olesha wrote later that he wanted to evaluate this plan “as a plan, of course, a crafty one, since the author is still going to build his work on someone else’s basis, - and at the same time as an original, charming idea, since borrowing will take the form of searching for someone else’s plot in memory, and from this the fact of borrowing will acquire the value of a genuine invention.”
The fairy tale “The Golden Key, or the Adventures of Pinocchio” turned out to be a great success for A. N. Tolstoy and a completely original work. When creating it, the writer paid the main attention not to the didactic side, but to the connection with folk motifs, to the humorous and satirical depiction of the characters.
The plot is based on the struggle of Pinocchio (Pinocchio means “doll” in Italian) and his friends with Karabas-Barabas, Duremar, the fox Alice, and the cat Basilio. At first glance, it seems that the struggle is for mastery of the golden key. But the traditional motif of mystery in children's literature sounds differently in A. N. Tolstoy's book. For Karabas-Barabas, Duremar, the fox Alice and the cat Basilio, the golden key is a symbol of wealth, power over the poor, over the “meek”, “stupid people”. For Pinocchio, Papa Carlo, poodle Artemon, Piero and Malvina, the golden key is a symbol of freedom from oppression and the opportunity to help all the poor. The conflict between the “light and dark world” of the fairy tale is inevitable and irreconcilable; the action in it unfolds dynamically; The author's sympathies are clearly expressed.
A. N. Tolstoy’s characters are depicted clearly and definitely, as in folk tales. They take their origins from folk stories, epic and dramatic. Buratino is in some ways close to the reckless Petrushka from the folk theater, and in some ways he resembles the desperate younger brother Ivanushka from Russian fairy tales. It is depicted with humorous touches, presented in a combination of positive and negative. It costs nothing for the wooden boy to stick his tongue out at Papa Carlo, hit the talking Cricket with a hammer, or sell his ABC book to buy a theater ticket.
Pinocchio had to go through many adventures from the first day of his birth, when his thoughts were “small, small, short, trifling, trivial,” until the moment when he realized: “you need to save your comrades - that’s all.”
The character of Pinocchio is shown in constant development; The heroic element in the wooden boy is often visible through the outwardly comic. So, after a brave fight with Karabas, Malvina forces Buratino to write a dictation, but he instantly comes up with an excuse: “They didn’t take writing materials.” When it turned out that everything was ready for classes, Pinocchio wanted to jump out of the cave and run wherever his eyes were looking. And only one consideration held him back: “it was impossible to abandon his helpless comrades and his sick dog.” Pinocchio enjoys the love of the children because he is not only fabulously lucky, but also has truly human weaknesses and shortcomings.
“The Dark World”, starting with Karabas-Barabas and ending with a general sketch of the Country of Fools, is given satirically throughout the entire tale. The writer knows how to show vulnerable, funny traits in the characters of the “doctor of puppet science” Karabas, the leech seller Duremar, the fox Alice and the cat Basilio, Governor Fox, and police dogs. The hostile world of exploiters was exposed by A. N. Tolstoy, the legend of the omnipotence of the “seven-tailed whip” was debunked, and the humanistic principle was victorious. Social concepts and phenomena are embodied by the writer in living images full of emotional power, which is why the beneficial influence on children of the fairy tale about the adventures of Pinocchio is still so noticeable.
Today is a significant day: first graders have prepared their first reviews of the fairy tale
It was great at the "Pinocchio School"!
A little about the fairy tale...
In 1936, the famous Russian writer A. N. Tolstoy wrote his fairy tale about the wooden man “The Golden Key, or the Adventures of Pinocchio,” which became a favorite work of children.
The written story takes place in an Italian city. This can be judged by the names of the heroes - Carlo, Piero, Giuseppe, as well as by the currency used - the guilder.
The plot of this fairy tale is based on the struggle of Pinocchio and his friends with Karabas Barabas, Duremar, the cat Basilio and the fox Alice - the struggle of good against evil, for mastery of the golden key.
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| Authors: Veronica K., Lisa Ch. |
This is also a fairy tale about friendship. Pinocchio has many friends: Malvina, who is trying to instill in him good manners, and Pierrot, who is in love with a girl with blue hair, and other heroes.
When Pinocchio doesn't find his friends in the cave, he begins to realize how important they are to him and goes to their rescue!
Pinocchio evokes our admiration, but this does not stop us from laughing at his funny antics. This wooden, long-nosed boy is a good comrade and a loyal friend, who has his own weaknesses and shortcomings!
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QUIZ Winners
"The Secret of the Golden Key"
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“The fairy tale about a cheerful wooden boy is very interesting! Malvina, Pierrot, Artemon helped Pinocchio become kind, sympathetic, brave, courageous!
The tale is very kind, I liked Pinocchio and the adventures that happened to him! "
Ksenia Ch.
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| Authors of the drawings: Arina, Seraphim, Ksenia Ch. |
"I really liked the book. I always wanted to know what would happen next. I liked how Malvina taught Pinocchio. The kindest one is Papa Carlo. The funny one is the carpenter Giuseppe. And also funny Duremar and Alice the Fox with the cat Basilio, even though they are evil. Everyone wanted offend Pinocchio. But the most evil Karabas Barabas. And not at all funny, but scary. Most of all I remember how Tortilla gave the golden key to Pinocchio and how they all found the Molniya puppet theater. It’s a pity that the book ended."
JuliaPerhaps an invaluable assistant in a literature lesson is a reading diary. This “lifesaver” will always come to the rescue if you need to quickly and accurately remember this or that piece from the school curriculum. This time the Literaguru team has prepared for you a brief retelling of A. N. Tolstoy’s fairy tale “The Golden Key, or the Adventure of Pinocchio.”
- Full name of the author of the work: Alexey Nikolaevich Tolstoy;
- Title: “The Golden Key, or the Adventure of Pinocchio”;
- Year of writing: 1936;
- Genre: fairy tale.
Brief retelling (413 words) . One day, the merry fellow Giuseppe discovered an unusual talkative log, which scared him seriously. Then he decided to give the strange find to his friend Carlo. The hero lived poorly and modestly: the only decoration of the closet was a painted fireplace. The man thought for a long time about what to do with the donated log and finally it dawned on him: he whittled a long-nosed doll and gave it the name Pinocchio. The hero doted on his son. But the child was naughty, so when the old cricket recommended that he study, he drove the adviser away. Fate punished the hero: he almost became dinner for a big rat. Then, having sold his only jacket, Carlo bought the boy the alphabet and sent him to school to protect the little one from harm. However, along the way, the little hero stumbles upon a theater, so he sells his primer to buy the coveted ticket. Having seen Pinocchio, the dolls were unable to perform the performance to the end. The owner of the theater, Karabas Barabas, did not like this very much, and he decided to punish all his workers. Finding himself in front of the formidable villain, Pinocchio let slip about Papa Carlo and his painted hearth, but the owner of the theater did not swear at him, but simply gave him five coins. When the wooden boy was walking home, on his way he met the fox Alice and the cat Basilio, who decided to steal the doll. They took him to a tavern, forced him to pay for the entire meal, and then assured him that he needed to bury these coins in the land of Fools, so that a large money tree would then grow. At night, a cat and a fox attacked Pinocchio and hung him on a tree. He was saved by the poodle Artemon, who took him to the escaped actors from the Karabas Barabas theater. He met Malvina. The doll with blue hair set about raising her new acquaintance: she gave him castor oil, forced him to study and behave well. The girl tried to teach him good manners, but the student behaved badly. For this, the doll put him in the closet. But Pinocchio escaped and went on a journey again. And in vain, because he again encountered the fox Alice and the cat Basilio, who this time threw the little hero into the river. It is there that the traveler meets the kind turtle Tortilla. She not only told Pinocchio about real friends, but also gave him a golden key. Only later did the boy find out (he was knocked down by a hare who was giving a lift to Pierrot, who had overheard the secret of the secret door from Barabas) that it was this key that opened the mysterious door located behind the painted fireplace in Papa Carlo’s closet. The heroes resort to Malvina, but Karabas and the police lie in wait for them there. A fight for the key ensues. Carlo saves the children. All together they open the door, and behind it was a large theater, in which all the heroes of this wonderful story began to play. Only Karabas Barabas “was left with his nose.”
Review (149 words) . The fairy tale about Pinocchio teaches that good always wins if people stand up for it together. You should never despair, if you have true friends next to you, you cannot betray them. The author also tries to convey to readers the main idea that cunning, evil and greedy people can never be comrades. I have
I’m sure that many people’s favorite hero is Pinocchio, because at the very beginning he appears to us as stupid, sometimes stupid, but after all the adventures he changes for the better. My opinion of him changed significantly in the finale, when he finally accepted responsibility for the future of his family and friends.
My impression of the book is good, because it teaches a person how to behave correctly in society, and also helps to determine true values in life. I want to re-read this fairy tale again and again, and also recommend it to everyone to read, in order to once again understand and grasp the simple truths that Alexey Nikolaevich Tolstoy wants to convey to us.
Interesting? Save it on your wall!Who is Buratino
In the book we find gray, ugly characters: drunkards, beggars, slackers. Gray, joyless pictures of life are drawn, and even the decoration of the home reflects some kind of wretchedness. From the very beginning, the book creates a similar atmosphere, and until the very end the aftertaste of the first impression does not disappear; on the contrary, it becomes stronger with each page. See for yourself, the beginning: a quarrel and fight between friends over a trifle (between a drunkard and Carlo’s dad).
And in this unfavorable situation, they find a log and make a wooden man out of it.
That is, in an unfavorable environment of poverty and drunkenness, something is created from wood.
And nowadays we create incubator conditions for children. And children don't always turn out good. Conversely, in families with unfavorable conditions, it seems that the child will grow up disadvantaged, but he, as an adult, has the right life goals and priorities.
Further in the fairy tale everything follows the standard pattern. They are trying to give the boy knowledge, with the last money they buy him the alphabet and send him to school. Dad thinks it's important. But the child doesn’t need this knowledge, he saw that everyone was going to the theater, and he wanted to. The boy comes to the conclusion that if people don’t go to school, it means it’s boring and uninteresting. He is attracted to theater because it is interesting to other people. What is he doing? Pinocchio exchanges the alphabet for theater tickets. With this, he clearly showed how he sets his priorities: what is more important to him.
So in our world, children who choose interest in life achieve success. We often hear stories: a former poor student at school became a millionaire.*
Then a chain of events followed. Pinocchio saw a boy being hit in the theater, and everyone laughed, everyone had fun. And he had a different worldview, different from recognized standards. He saw that this was not entirely normal. And he was not shy or timid. The wooden boy boldly came out, did not care about the crowd and stood up. This is a manifestation of leadership inclinations! What are other people's reactions? Buratino aroused admiration: “wow, how brave.”
By the way, from this episode I want to focus on the different images of Pinocchio in the movies, in the cartoon and in the book. In the book and cartoon this moment is described as follows: Pinocchio sat silently and watched. And then the actors noticed a wooden boy in the hall and began to sing and dance. I liked the interpretation of the movie image better. The boy's behavior is admirable. He comes to the stranger's defense. Even when no one cares, everyone is laughing, he doesn’t look at the crowd, but does what he thinks is right.
When I read the book to my son, Oleg, I deviated from the text and described this moment as in a film. I want him to see how to do the right thing, that it is not the opinion of the crowd that is important, but to have your own point of view and not be afraid to express it. Perhaps this was also the case in the book in the original edition, or maybe the screenwriter of the film saw Pinocchio this way.
They write that the image of Pinocchio is almost literally copied from the Italian character Pinocchio. But in the story about Pinocchio, the emphasis is on the connection between the length of the nose and lying, on how useful it can sometimes be to lie. Our Pinocchio always has a long nose as a symbol of curiosity. It was with this nose that he first pierced the picture of the hearth.
There is also a difference in the images. In the cinema, he may not want to study and does not know a lot of things, but he is not stupid, he thinks, he fools around, but not like a stupid person, but like a cheerful, purposeful person who has a dream. Pinocchio thinks soberly when he expresses distrust and suspicion towards robbers and bats, and questions their thoughts and ideas. That is, in the film he is a thinker. And in the cartoon he is just stupid, not just uneducated, but shown as more jelly, characterless, stupid, floating with the flow. What's in the book? In the book, it depends on how you place the accents. I think that the directors and screenwriters of films and films, reading the book, saw different images in it, highlighted different accents for themselves, either intentionally, or simply as a human being, or in connection with who their audience was: kids or older ones kids.
The climax of the story was the struggle. Buratino came to the attention of the “system” - the head of this entire theater, the main ideologist - Karabas. Then Buratino gleaned secret information that there was a key somewhere, and let slip about a secret door.
What is the key to transformation, how to change everything?
What is this key? The key to transformation, to understanding how to change everything. We need to build a new theater. That is, a new system, with its ideology and norms. There are many ideological and patriotic organizations that called themselves “Golden Key”. And no one understands why it has this name. And the name is precisely because they understood the essence and have the key, the knowledge of how to change everything, how to create a “new theater”.
It is noteworthy that Pinocchio never fought the system!!! If he didn’t like something because it was unfair, he spoke up, stood up for the boy, and immediately put on a new show, which everyone liked. That is, he acted without delay! On his own, without relying on anyone, the boy transformed and improved the existing system as best he could. Not much, but that's all he could do.
The lesson for us is how Pinocchio behaved in difficult circumstances for him. He did not fight with anyone, on the contrary, he collaborated. When the Cat and the Fox said: “let’s go to the land of Fools,” he went, he believed them, because he was trusting and kind. And at the same time, he did not lose heart, did not go into depression that he had lost all his money. He didn’t cut his wrists and didn’t complain at every corner, which can be seen everywhere now. On the contrary, the boy gained some useful experience. He gave Fate a chance to help him. And in the end, Fate gave him an OPPORTUNITY! Led to the creation of her own theater.
Tolstoy deliberately makes his book symbolic, giving the reader the opportunity to explore this story on a multi-level basis: it is useful and interesting for both children and adults. For example, a beard symbolizes power and money. Theater symbolizes the system. Karabas cannot be destroyed, and it is not necessary. It turns out that no one killed him, no one got rid of him, he lives on. But no one feels sympathy for him anymore; there is no complete trust and desire to cooperate with him in everything. Do you remember how this moment was presented by the writer? Nobody comes to the theater to see Karabas anymore.
In the holy books, in the Bible** and in the Koran, it is written that you cannot fight evil, you can change evil by turning it into good. Only the best can change people. And only then everything will work out. I'll give you a simple example. Remember how we “fight” drunkenness? Vodka is being removed from the shelves. Does it help? Are people quitting drinking? Maybe it’s not a matter of where the vodka is: on the counter, under the counter, or somewhere else. Maybe if people change so much and UNDERSTAND that life is more interesting and easier without alcoholic beverages, then alcohol will not be needed? What do you think?
My notes:
*A teacher-psychiatrist I know used to say: “Millionaires” or those who have achieved success in life often become people who think outside the box and have the courage not to live like everyone else. Therefore, a child who learned to be a blunderer and thought about pranks more than about lessons will be more successful than a quiet person and a nerd.
**The Bible says: “overcome evil with good.”