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 grade 9 “A”
GBOU secondary school No. 137 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 which 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 in place of Christ.
In the image of the Doctor of Puppet Science, the owner of the Karabas-Barabas puppet theater, one can trace the features of the theater director Vsevolod Emilievich Meyerhold, whose stage name was the name Doctor Dapertutto. 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 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 on the Head.” they will hit you with a stick, slap you in the face and slap you upside the head. This is a very funny comedy... Another man jumped out from behind another cardboard tree, 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 Pinocchio, concerned only with how well the poodle Artemon chases 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 be of benefit to society, say, in the position of a theater janitor, which he dreams of when the population that 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. Pinocchio contains the traits of many of A. Tolstoy’s favorite heroes, 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 A. Tamirov’s studio.
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.
Comparative analysis of "Pinocchio" by C. Collodi and "The Golden Key, or the Adventures of Pinocchio" by A.N. Tolstoy
2. Issues
5. Main characters
7. Addressee of the book
Alexey Nikolaevich Tolstoy (1882/83-1945) - Russian writer, an extremely versatile and prolific writer who wrote in all kinds and genres (two collections of poems, more than forty plays, scripts, adaptations of fairy tales, journalistic and other articles, etc.) , first of all, a prose writer, a master of captivating storytelling. Academician of the USSR Academy of Sciences (1939).
In 1918-23 in exile. Tales and stories from the life of the estate nobility (cycle "Zavolzhye", 1909-11). Satirical novel "The Adventures of Nevzorov, or Ibicus" (1924). In the trilogy “Walking through Torment” (1922-41), A. Tolstoy strives to present Bolshevism as having a national and popular basis, and the Revolution of 1917 as the highest truth, comprehended by the Russian intelligentsia; in the historical novel "Peter I" (books 1-3, 1929-45, unfinished) - an apology for the strong and cruel reformist government. He also wrote the science fiction novels "Aelita" (1922-23), "Engineer Garin's Hyperboloid" (1925-27), stories and plays.
Among the best stories in world literature by Alexei Tolstoy for children is “The Golden Key, or the Adventures of Pinocchio” (1935), a very thorough and successful adaptation of the fairy tale “Pinocchio” by the Italian writer C. Collodi.
2. Issues
For the first time, the fairy tale of the Italian writer C. Collodi “The Adventures of Pinocchio. The Story of a Puppet,” which was published in 1883, was translated into Russian in 1906 and published in the magazine “Dushevnoye Slovo”. The preface to The Golden Key (1935), whose hero is Pinocchio (Pinocchio in Italian), states that the writer allegedly heard the fairy tale as a little boy. The author clearly mystified the reader, perhaps in order to gain greater freedom in self-expression, filling the tale with the subtexts of his time. In fact, back in 1924, together with the writer N. Petrovskaya, he published the book “The Adventures of Pinocchio” at the Berlin publishing house “Nakanune”. On the title it is noted: “Reworked and processed by Alexey Tolstoy.” Apparently, the writer did his retelling word by word. The desire to preserve the somewhat old-fashioned aesthetics of the fairy tale, sentimentality and humor collided with the desire to give the text a more modern rhythm, to get rid of unnecessary sententiousness and moralizing. Here the impetus for a radical revision of the text was laid, which was carried out twelve years later in Russia. In 1935, following first the text of Pinocchio, the author created a completely original work, a masterpiece fairy tale, surpassing its source in its cultural significance. The break in the plots occurs after Pinocchio's escape from the Country of Fools. In addition, magic (transformations) is excluded. A year later, Tolstoy wrote the play “The Golden Key”.
In the fairy tale, 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.” K. Collodi (Carlo Lorenzini, 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 plan to Yu. Olesha, A.N. Tolstoy emphasized that he would not write an edifying work, but an entertaining and cheerful memoir of what he read in childhood.Yu. Olesha wrote later that he wanted to evaluate this idea “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.
3. Plot, conflict, composition
The plot is based on the struggle of Pinocchio (burattino - “doll” in Italian) and his friends with Karabas-Barabas, Duremar, the fox Alice, and the cat Basilio. At first sight. it seems that the struggle is for mastery of the golden key. But the traditional motif of mystery in children's literature in the book by A.N. Tolstoy sounds in its own way. 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.
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 into 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.
4. Narrator (lyrical hero). Figurative taxonomy of the work
Of course, the narrator in a work of fiction can in no way be identified with the author of this work. Moreover, in this case it is clearly visible that the narrator is endowed by Tolstoy with his own, and very specific, psychology; therefore, he is a character, one of the heroes of the fairy tale.
What is striking is the somewhat feigned familiarity with which the story is told towards the reader: “But Pinocchio’s long nose pierced the pot right through, because, as we know, the hearth, the fire, the smoke, and the pot were drawn by poor Carlo on a piece old canvas." However, the reader just didn’t know that all this was drawn by poor Carlo. Or again: “We already know that Pinocchio has never even seen a pen and an inkwell” - although this is the first time we are hearing (reading) about this. It is also characteristic that the lyric poet Pierrot in the fairy tale is ridiculed not only by Pinocchio, but also by the narrator. For example: “At the sight of Malvina, Pierrot began to mutter words - so incoherent and stupid that we do not present them here.”
There are also facts of frank empathy with the events described in the narrator’s story. Or maybe he himself is an active participant in these events, if he brings his own emotional moment to them? In addition, this participant does not have a sufficient level of literacy, although he is narrating. From here it becomes clear that the work contains vulgar storytelling techniques and numerous logical inconsistencies at the plot level, which A. Tolstoy, as a high-class professional, could not allow. Here, apparently, it is worth remembering that the character-narrator is the artistic means of the writer, whom he “instructs” to lead the story, therefore the level of his intelligence and literacy leaves its mark on literally the entire narrative.
5. Main characters
Characters from A.N. Tolstoy is depicted clearly and definitely, as in folk tales. They take their origins from folk stories, epic and dramatic. Pinocchio is in some ways close to the reckless Petrushka from the folk theater. 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, trivial, 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.
It can be considered that the meaning of the country of children as a true country of happiness in the “Golden Key” is embodied by the Malvina clearing. Children-dolls independently directed their lives, and did not turn it into chaos (in “Pinocchio” the dolls are presented as toys in the hands of the puppeteer, in “The Golden Key” the dolls are completely independent characters. In this temporary paradise, “rehearsing” the final scene of “The Golden Key” key", the contradiction "play-work", as noted, is removed in the aesthetics of role-playing game and the theatricality of puppet life, which is directly inscribed in the open space of nature. The description of nature, in turn, takes on the features of theatricality: "... the moon hung over the mirror water, like in a puppet theater." Malvina inherited from the Sorceress from "Pinocchio" not only blue hair, but also an authoritarian character with an admixture of outright tediousness, parodicly exaggerating the moralizing of her predecessor. Especially straightforward phrases: "Now I will take care of your upbringing" and "She took him to home to educate", introduced by Tolstoy in the last version of the manuscript, did not give up hope for an educational effect gradually. Excessive education is motivated in the fairy tale by the immaturity of the child dolls: in the role-playing game everything is just like in adults. Playing teacher, Malvina dictates to Pinocchio a phrase from Fet: “And the rose fell on Azor’s paw,” which reads the same way from left to right - and vice versa. The bewitching serenity of this palindrome is consonant with the mood of Malvinina's meadow, on which "azure flowers" grow, and is literally consonant with: "Rose", "Azore" - "azure". And isn’t the beautiful country of “Azora” encrypted in Fet’s phrase (along with other subtexts identified by researchers), and in it still the same dream of happiness? In "The Golden Key" the curtain opens - and this is the curtain of the new theater. The door of Papa Carlo’s closet house opens into the endless space of the big world. From here the heroes begin their journey, because happiness is “not a state,” but “free movement forward,” as L.I. Tolstoy wrote. Barsheva, to whom he dedicated his book. The heroes of the fairy tale go down the stairs (the author himself recreates the symbolic procession along the steps for the first time in the poem “Creativity” (Lyrics, 1907), find themselves in a round room, illuminated like a temple (associations involuntarily reach for ideal “glades” and “islands” ) and see a “wonderfully beautiful puppet theater.” Suddenly, a “stop-disappointment” arises, inevitable and psychologically extremely reliable on the way to the Absolute: the theater in the eyes of the adult dad Carlo is just an “old toy.” At worst, it would be better if there was a lot of gold and silver! But the degree of disappointment is not so great as to destroy the tense expectation of a miracle, and only makes it more convincing. The “substitution” of points of view occurs unmotivated and imperceptibly for the reader: the staircase down turns out to be the way up, an old toy turns out to be a wonderfully beautiful theater, on the dimensionless stage of which “tiny” worlds are replaced, and then the children-dolls, continuing the procession on a different scale, will “play” themselves". "
No less significant is the omission of individual motifs in The Golden Key. As already mentioned, the motive of labor “falls out” when the Cricket appears. The author crosses out the instruction: “You will earn bread” as unnecessary in the main ideas - “game-creativity” and “childhood-happiness”. And even more so, the motive of labor is impossible as punishment, which is clearly seen in the old fairy tale. Cruelty is unthinkable in the Golden Key, where no one kills even their enemies (with the exception of the rat Shushara). Instead of “Poor Cricket squeaked for the last time - cri-cri - and fell with his paws up,” the author’s handwriting is written in the margins: “He sighed heavily, moved his mustache and crawled forever over the edge of the fireplace.”
Pinocchio not only became more harmless and closer to children's perception, but at the same time the entire concept of the fairy tale changed. The motives of guilt and repentance are greatly muted in it. The adventures of Pinocchio are more likely not violations of morality ("don't steal" was preserved only for the Cat and the Fox), but a violation of the rules due to Pinocchio's "short" thoughts.
pinocchio pinocchio thick collodi
6. The word in the work: details, repetition of details, figurative structure of speech
The text of "The Golden Key" is a completely different fairy tale story than "The Adventures of Pinocchio", and its hero not only has a different character, he is the bearer of a different aesthetics and different life attitudes, incorporating the dynamic experience of his era. However, at the same time, the later text is polemically sharpened in relation to “Pinocchio” and literally grows through it. We have before us a unique case when the text of one work is a draft for another. This is not just a collection of sketches; in the margins and between the lines of one of the copies of “Pinocchio” the “Golden Key” is outlined and built. By crossing out large chunks of text, the writer gives the tale a new rhythm, removes endless moralizing maxims: “naughty children cannot be happy in this world,” comically sharpens many scenes, for example, in the scene of the hero’s healing, recklessly introduces expressive words like: “gotcha” instead “hit”, “beat with all your might” instead of “run with all your might” (about the rooster) ... This continues until the “resistance” of the material of the early text, apparently giving new ideas, becomes insurmountable. The plot of the tales finally diverges “in the clearing of Malvina (the Sorceress)”; any marks on the copy of the book disappear. But internal polemics are preserved until the end, just as hints, reminiscences and compositional parallels are preserved and realized. And at the end there is a scene of a meeting with Cricket, which, by analogy with the earlier text, sums up the adventures of the heroes. Various phrases heard in the early text of 1906 (“bats will eat him,” “pull the dog by the tail,” etc.) are used in “The Golden Key,” giving rise to new images in a completely different context. Many details are sequentially converted from text to text. In “The Golden Key,” the pine tree is replaced by an oak tree, on which, rather conventionally, Pinocchio was hanged, since his enemies “got tired of sitting on their wet tails” (a detail indicated by the author in the text of “Pinocchio”). But the “pine tree” is not forgotten and was useful to the author in another scene - a battle scene at the edge of the forest to decide its outcome, when the savvy Pinocchio (again conditionally, as in a children’s game) wins by twisting the enemy’s beard onto a resinous tree, thereby immobilizing him . If the differences between the two texts of "Pinocchio" are mainly in the sphere of stylistics, then between "Pinocchio" and "The Golden Key" they certainly turn into polemics.
In "The Golden Key" in the image of Carlo the Organ Grinder, the gaiety and artistry of his predecessors - the fair one and the red one - were polemically revealed. The barrel organ, associated with play, art, theater, wandering, becomes the central and positive... image of the “Golden Key”. It is no coincidence that in the final chapter, at the stage of final editing of the text, the writer introduced the epithet “organ organ” into the description of the theater (“organ organ music began to play”), uniting the entire tale with the theme of play and theater. In Pinocchio, play and fun only lead to sad consequences... The theater removed the opposition between work and play within the text, but polemically sharpened it in the text of Pinocchio.
The comparisons can be represented as a diagram:
“The Golden Key, or the Adventures of Pinocchio” “The Adventures of Pinocchio” The plot is kind and quite childish. Although several deaths occur in the plot (the rat Shushara, old snakes, Governor Fox), there is no emphasis on this. Moreover, all the deaths occur not through the fault of Pinocchio (Shushara was strangled by Artemon, the snakes voluntarily died a heroic death in a battle with police dogs, the Fox was dealt with by badgers). The book contains scenes related to cruelty and violence. Pinocchio hit the Talking Cricket with a hammer, then lost his legs, which were burned in a brazier. And then he bit off the cat's paw. The cat killed the blackbird who was trying to warn Pinocchio. Malvina with her poodle Artemon, who is her friend. There is clearly no magic in the book. A fairy with the same appearance, who then changes her age several times. Poodle is a very old servant in livery. The Golden Key is present, for information about which Karabas gives Buratino money. The Golden Key is missing (at the same time, Majafoko also gives money). Karabas-Barabas is a clearly negative character, an antagonist of Pinocchio and his friends. Majafoko is a positive character, despite his fierce appearance, and sincerely wants to help Pinocchio. Buratino does not change his character and appearance until the end of the plot. He stops all attempts to re-educate him. Remains a doll. Pinocchio, to whom morals and notations are read throughout the book, first turns into a real donkey (this motif was then clearly borrowed by N. Nosov in “Dunno on the Moon” when describing Stupid Island), but then he is re-educated, and in the end from a nasty and disobedient wooden boy turns into a living, virtuous boy. The dolls behave like independent animate beings. It is emphasized that the dolls are just puppets in the hands of the puppeteer.
The books vary significantly in atmosphere and detail. The main plot coincides quite closely until the moment when the cat and the fox dig up the coins buried by Pinocchio, with the difference that Pinocchio is significantly kinder than Pinocchio. There are no further plot similarities with Pinocchio.
7. Addressee of the book
By excluding from the text of "The Golden Key" the moralistic maxims that fill "Pinocchio", the writer simultaneously makes a "nod" towards modern pedagogical criticism, also oriented towards a "moral lesson". Behind all this is a different attitude towards the child and towards the person in general. For Tolstoy, childhood is not a deteriorated version of adulthood, but a valuable game world in its own right, in which human individuality is especially clearly manifested. In Pinocchio, the child is initially quite flawed (from which it follows that he needs to be completely remade). In addition to the need to “climb trees and destroy birds’ nests,” he is obsessed with laziness: “I want to eat, drink and do nothing,” but does it agree with the active curiosity of a little man with a long nose? Therefore, apparently, in “The Golden Key” the motive of laziness is completely excluded (a healthy child cannot be lazy), and a long nose symbolizes only restlessness and curiosity, and does not act, as in “Pinocchio,” as a criterion for correct (wrong) behavior.
Both Pinocchio and Pinocchio change, but Pinocchio remains a “naughty man” to the end, who, according to the definition of our contemporary teacher and psychologist A. Amonashvili, is the “engine of progress.” It is the naughty man, who first “climbs trees” and then wins victories “with the help of cunning and ingenuity,” who is capable of making independent, creative choices in life, and he does not necessarily have to be in the skin of a “circus donkey” to become a human being. In Pinocchio, only after going through a series of successive transformations does the hero become a “real” boy: the doll disappeared, a man appeared; the game and fun are over - life begins. In "The Golden Key" the antithesis is removed: the doll is a person; play, creativity, fun is life. This simultaneity contains infinity and relativity, as in a theater where the heroes will “play themselves.”
List of sources used
1.Gulyga A.V. Art in the age of science. - M.: Nauka, 1978.
2.Zamyatin E.I. Martyrs of Science // Lit. studies. 1988. No. 5.
.Urnov D.M.A.N. Tolstoy in the dialogue of cultures: the fate of the “Golden Key” // A.N. Tolstoy: Materials and research / Rep. ed.A.M. Kryukova. - M.: Nauka, 1985. - P.255.
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For a reader's diary. It allows you to structure information about the book you read, draw up a plan for retelling the content, and provides the basis for an essay. It should be noted that when completing a school assignment, the title of the book should be indicated in full: A. N. Tolstoy: “The Golden Key, or the Adventures of Buratino” or: A. N. Tolstoy, “The Adventures of Buratino.” Further, when answering verbally, you can use shorter options.
Pinocchio or Pinocchio?
The book is based on A.N. Tolstoy's tale is Carlo Collodi's fairy tale "The Adventures of Pinocchio. The Story of a Wooden Doll." Everyone's favorite American cartoon was based on Collodi's plot, and children often confuse these two works and the main characters - Pinocchio and Pinocchio. But A.N. Tolstoy only took the idea of a wooden doll coming to life, and then the storylines diverged. The summary of "Pinocchio" for the reader's diary contains information only from the Russian version.
One day, Giuseppe, a carpenter, found a talking log that began to scream when it was cut. Giuseppe was frightened and gave it to the organ grinder Carlo, with whom he had been friends for a long time. Carlo lived in a small closet so poorly that even his fireplace was not real, but painted on a piece of old canvas. An organ grinder carved a wooden doll with a very long nose from a log. She came to life and became a boy, whom Carlo named Pinocchio. The wooden man played a prank, and the talking cricket advised him to come to his senses, obey Papa Carlo, and go to school. Dad Carlo, despite his pranks and pranks, fell in love with Pinocchio and decided to raise him as his own. He sold his warm jacket to buy his son the alphabet, made a jacket and a cap with a tassel from colored paper so that he could go to school.
Puppet theater and meeting Karabas Barabas
On the way to school, Pinocchio saw a poster for a Puppet Theater performance: “The Girl with Blue Hair, or Thirty-Three Slaps.” The boy forgot the talking cricket's advice and decided not to go to school. He sold his beautiful new alphabet book with pictures and used all the proceeds to buy a ticket to the show. The basis of the plot was the slaps on the head that Harlequin very often gave to Pierrot. During the performance, the doll-artists recognized Pinocchio and a commotion began, as a result of which the performance was disrupted. The terrible and cruel Karabas Barabas, director of the theater, author and director of plays, owner of all the dolls playing on stage, became very angry. He even wanted to burn the wooden boy for disturbing order and disrupting the performance. But during the conversation, Pinocchio accidentally told about the closet under the stairs with a painted fireplace, in which Carlo’s dad lived. Suddenly Karabas Barabas calmed down and even gave Pinocchio five gold coins with one condition - not to leave this closet.
Meeting with the fox Alice and the cat Basilio
On the way home, Pinocchio met the fox Alice and these swindlers, having learned about the coins, invited the boy to go to the Country of Fools. They said that if you bury coins in the Field of Miracles in the evening, in the morning a huge money tree will grow from them.
Pinocchio really wanted to get rich quickly, and he agreed to go with them. On the way, Buratino got lost and was left alone, but at night in the forest he was attacked by terrible robbers who resembled a cat and a fox. He hid the coins in his mouth so that they would not be taken away, and the robbers hung the boy upside down on a tree branch so that he would drop the coins and left him.
Meeting Malvina, going to the Land of Fools
In the morning he was found by Artemon, Malvina's poodle, who escaped from Karabas Barabas' theater. It turned out that he abused his puppet actors. When Malvina, a girl with very good manners, met Pinocchio, she decided to raise him, which ended in punishment - Artemon locked him in a dark, scary closet with spiders.
Having escaped from the closet, the boy again met the cat Basilio and the fox Alice. He did not recognize the “robbers” who attacked him in the forest, and again believed them. Together they set off on their journey. When the swindlers brought Pinocchio to the Land of Fools on the Field of Miracles, it turned out to look like a landfill. But the cat and the fox convinced him to bury the money, and then set police dogs on him, who chased Pinocchio, caught him and threw him into the water.
The appearance of the golden key
The boy made of logs did not drown. It was found by the old turtle Tortila. She told the naive Pinocchio the truth about his “friends” Alice and Basilio. The turtle kept a golden key, which a long time ago an evil man with a long terrible beard dropped into the water. He shouted that the key could open the door to happiness and wealth. Tortila gave the key to Pinocchio.
On the way from the Country of Fools, Pinocchio met a frightened Pierrot, who had also fled from the cruel Karabas. Pinocchio and Malvina were very happy to see Pierrot. Leaving his friends in Malvina’s house, Pinocchio went to keep an eye on Karabas Barabas. He had to find out which door could be opened with the golden key. By chance, in a tavern, Buratino overheard a conversation between Karabas Barabas and Duremar, a leech merchant. He learned the big secret of the golden key: the door that it opens is located in Papa Carlo’s closet behind the painted hearth.
A door in a closet, a journey up the stairs and a new theater
Karabas Barabas appealed to Buratino with a complaint. He accused the boy of causing the puppet performers to escape because of him, which led to the ruin of the theater. Fleeing from persecution, Pinocchio and his friends came to Papa Carlo's closet. They tore the canvas off the wall, found a door, opened it with a golden key and found an old staircase that led into the unknown. They went down the steps, slamming the door in front of Karabas Barabs and the police dogs. There Buratino again met the talking cricket and apologized to him. The stairs lead to the best theater in the world, with bright lights, loud and joyful music. In this theater, the heroes became masters, Pinocchio began to play on stage with friends, and Papa Carlo began to sell tickets and play the organ. All the artists from the Karabas Barabas Theater left him for a new theater, where good performances were staged on stage, and no one beat anyone.
Karabas Barabas was left alone on the street, in a huge puddle.
Summary of "Pinocchio" for a reader's diary: characteristics of the characters
Pinocchio is a animated wooden doll that Carlo made from a log. He is a curious, naive boy who does not understand the consequences of his actions. As the story progresses, Pinocchio grows up, learns to take responsibility for his behavior, and finds friends whom he tries to help.
Carlo is a poor organ grinder living in poverty, in a cramped closet with a painted fireplace. He is very kind and forgives Pinocchio all his pranks. She loves Pinocchio, like all parents of their children.
Karabas Barabas - theater director, professor of puppet sciences. The evil and cruel owner of the dolls comes up with performances in which they must beat each other, and punishes them with a seven-tailed whip. He has a huge scary beard. He wants to catch Pinocchio. Once upon a time he had a golden key to the door to happiness, but he did not know where the door was and lost the key. Now, having found out where the closet is, he wants to find it.
Malvina is a very beautiful doll with blue hair. She ran away from Karabas Barabas's theater because he treated her badly, and lives in the forest, in a small house with her poodle Artemon. Malvina is sure that everyone should have good manners, and she raises the boys with whom she is friends, teaching them to behave well, read and write. She loves to listen to poems that Piero dedicates to her. Pinocchio and Malvina often quarrel because of his bad behavior.
Artemon is Malvina's poodle, with whom she escaped from Karabas Barabas. Protects her, helps raise boys.
Pierrot is a sad puppet theater artist who always gets slapped on the head by Harlequin based on the scripts of Karabas Barabas. He is in love with Malvina, writes poetry to her, misses her. He eventually goes on a search and, with Pinocchio's help, finds her. Pierrot agrees to learn good manners, literacy - anything, just to be close to her.
Fox Alice and cat Basilio are poor swindlers. Basilio often pretends to be blind to deceive passersby. They are trying to take away from Pinocchio the five gold coins that Karabas Barabas gave him. At first, Alice and Basilio try to lure them out with cunning, promising to grow a Money Tree in the Field of Miracles in the Land of Fools. Then, pretending to be robbers, they want to take the coins by force. As a result, they manage to steal coins buried in the Field of Miracles. After the Country of Fools, they help Karabas Barabas catch Pinocchio.
Tortila is a wise old turtle. She saves Pinocchio from the water, teaches him to distinguish bad people from good ones, and gives him a golden key.
Talking cricket - lives in Papa Carlo's closet behind the painted fireplace. Pinocchio gives useful advice at the beginning of the story.
To the question what thoughts of the author can be read between the lines in the work Buratino asked by the author Conscientious the best answer is The future belongs to cyborgs!))
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. In his preface to the fairy tale, he says that it was based on the Italian fairy tale “Pinocchio or The Adventures of the Wooden Doll.” Pinocchio is translated from Italian as a wooden doll. The image of this cheerful and funny little man with a long nose was invented by the Italian writer C. Collodi. Tolstoy not only retold the Italian fairy tale, he came up with various adventures for Pinocchio and his friends. 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. This key for Karabas Barabas is a symbol of wealth and power over the poor. For Pinocchio, Papa Carlo, Artemon, Piero and Malvina, the golden key is a symbol of freedom. They need a theater to stage plays.
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 experienced many adventures from the very first day of his birth, when his thoughts were “small, small, short, trifling, trivial,” until the moment when he realized: “We need to save our comrades - that’s all.” He inspires our admiration, but that doesn't 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.
Karabas Barabas, the leech seller Duremar, the fox Alice, and the cat Basilio personify evil forces in the work. Tolstoy ridicules them throughout the tale. We laugh with him, remembering, for example, how the ferocious Karabas Barabas, putting his beard in his pocket, sneezes non-stop, which is why everything in the kitchen rattles and sways.
The plot of the fairy tale develops rapidly. Sometimes you don’t even know which of the heroes you should sympathize with and which should be considered a villain. Surprisingly, even negative heroes evoke our sympathy. Perhaps that is why the entire fairy tale - from beginning to end - is read in one breath, fun and easy
It is no secret that everyone’s favorite fairy tale by A. Tolstoy “The Golden Key, or the Adventures of Pinocchio” was created based on the book by C. Collodi “Pinocchio, or the Adventures of a Wooden Doll.” But many, behind the interesting plot and very exciting adventures, do not see the meanings that the author hid (wittingly or unwittingly) behind a seemingly children's fairy tale.
The book contains many allegories and double meanings, which refer everyone to the familiar adventures of the “wooden hero” to the book of “all times and peoples” - the Bible.
Parable of the Prodigal Son
In the Gospel of Luke (Luke 15:11), the Savior tells the parable of the prodigal son. The careless son, not wanting to wait for the inheritance, demanded his share from his father and went to the big city. There he “squandered” his father’s entire inheritance and fell into poverty, not disdaining to eat with pigs. Unable to bear such a life, the son returned to his father and asked for forgiveness. The father did not harbor a grudge against his son, but organized a great celebration upon his return: “he was dead and is alive again, he was lost and is found.”
Parallels
Pinocchio, like the prodigal son, ran away from Papa Carlo, seduced by a theater poster. At the same time, he managed to get into quite a bit of trouble: he pierced the fireplace on the canvas and quarreled with a cricket. Before us appears a typical lost son - stubborn, curious and nasty.
Pinocchio, having escaped from Papa Carlo, soon goes through the most difficult trials, stumbling upon the robbers Karabas-Barabas and his henchmen: Durimar, Basilio the cat and Alice the fox. Malvina fell to be the “guardian angel” and conscience of the “wooden boy”.
Malvina tried as hard as she could to reason with the foolish Pinocchio: admonitions and reproaches had no effect on the disobedient boy. As a result, Pinocchio finds himself locked in a dark closet, where his neighbors turn out to be evil spiders... Isn’t it a familiar picture when a person, showing excessive persistence in his pride or greed, finds himself in such a psychological “closet”.
Country of fools! “In this city they sell famous jackets with hare fur for Papa Carlo,” the fox sang, licking his lips, “alphabet books with painted pictures... Oh, what sweet pies and lollipop cockerels they sell! You haven’t lost your money yet, wonderful Pinocchio?” - this is how the fox Alice lured the gullible boy.
But the prodigal son also left his father for a better and easier life. It turns out that the problem of easy money and temptations are topical not only in biblical times, but also in the times of A. Tolstoy, and, even more so, in our time... But the same Bible says: “ IN sweat faces yours you will There is bread"(Genesis, 3, 19), which instructs man not to look for easy ways.
Like the prodigal son, seduced by temptations, Pinocchio does not pass the test of strength. Only after finding friends and acting to save them does Buratino take the path of correction and return to his father’s house.
Who enters the house with a good story?
In the popular 1976 film "The Adventures of Pinocchio" For the first time, a song based on the verses of Yu. Entin “Bu-ra-ti-no!” was performed. I don’t know whether it was intentionally or unwittingly intended by the author, but the song also has a biblical theme. On the face of either mockery of the Savior or a subtle allusion to the Easter plot of “Pinocchio”.
Who enters the house with a good story?
Who is everyone familiar with since childhood?
Who is not a scientist, not a poet,
And conquered the whole wide world,
Who is recognized everywhere
Tell me, what is his name?
Of course, everyone knows the Savior from childhood, who is neither a scientist nor a poet, but conquered the entire world. A “good tale” may refer to Gospel events.
On his head is a cap,
But the enemy will be deceived
He will show his nose to the villains
And make your friends laugh until they cry,
He will be here very soon
Tell me, what is his name?
What kind of cap did the Savior wear? Of course, the crown of thorns. Who will laugh and rejoice at the end of time? Those who follow Christ, that is, in the language of the song, are friends. Well, how can one not draw a parallel between the second coming and the phrase “He will be here again soon.”
He is surrounded by people's rumors,
He is not a toy - he is alive!
In his hands is the key to happiness,
And that's why he's so lucky
All the songs are sung about him,
Tell me his name!
Christ is truly surrounded by people’s rumors - everyone knows and talks about him. But, like the Pharisees, not everyone believes in him, perceiving him as a “toy”, as a non-existent character. And what a pity that many do not understand that the key to happiness is so close to him, “who is familiar to everyone from childhood”...
Such hidden meanings are often hidden in works of the Soviet period.
If these parallels offend anyone, I apologize in advance.
Music from the film "The Adventures of Pinocchio" 1975.
