A girl's cry at dawn summary. Who is Narspi? Narspi is a young girl who knows nothing in life except her parents' home

Final test on Chuvash literature. 11th grade.
1. Establish correspondences between authors and titles of works
"Black bread"
"Dance of the Little Swans"
"Red Poppy"
"A Piece of Bread"
"The Voice of the Unborn Child"
"Blackberries along the fence"
Nikolay IzhendeyEva LisinaVasley Ignatiev
Migulay IlbekBoris ChindykovYuri Skvortsov
2.Name the work of A. Artemyev, dedicated to the military feat of Soviet soldiers.
3.Which work by D. Kibek addresses the problem of the relationship between man and nature?
4. Establish correspondences between the title of the work and the genre:
"Black bread"
"Red Poppy"
"A Piece of Bread"
"The Voice of the Unborn Child"
"Blackberries along the fence"
1.Drama 2.Tale 3.Poem 4.Novel 5.Story
5. Who is the author of the tragedy “The Cry of the Girl at Dawn”?
a) N. Terentyev b) N. Sidorov c) B. Chindykov 6. How did Gennady Volkov define the genre of his work “The Golden Cradle”?
a) novel b) historical story c) sentimental monologue d) folk parable
7.Which of the heroines of the work “The Red Poppy” dreamed of entering the agricultural institute?
a) Tamara b) Valya c) Varuk8. Whose works were first highly appreciated abroad, and then at home?
a) Nikolay Tevetkel b) Gennady Aigi c) Vasily Mitta d) Peder Eizin9. Who owns the following lines?
1. Without getting hungry,
don't sit at the table:
more expensive than bread -
No
2. If your conscience troubles the whole world, do not judge:
Take the first train
And count the stations.
3. ...Darling, don’t rush love!
Be patient like this rye.
Be patient!
4. Chuvash land - native land,
You are worthy of all praise and honors.
Here the sun is like a lush loaf,
The air here is like it’s infused with honey.
a) Peder Eizin b) Peter Jakkusen c) Alexey Vorobyov d) Anatoly Smolin
10. Add:
a) The first publication by G.N. Volkov dates back to ... the year.
b) ..._this is the main idea of the artistic and pedagogical works of the writer and publicist G.N. Volkov.
11. Determine the main idea of R. Sarbi’s work “Meeting in Rome”.
12.What does Tamara Golubeva have in common with her friend Valya.
Explanatory note.
Tests on Chuvash literature for grade 11 are compiled in accordance with the program.
For the correct answer to tasks, except for 1, 4, 9, 10, 12 tasks, 1 point is awarded, for the correct completion of 1 task - 7 points, for 4 - 5 points, for 9 - 4 points, for 10 - 2 points, for detailed answer to task 12 – 3 points. Total for the test – 28 points.
Grading:
“5” - 27-28 points
“4” - 22-26 points
“3” - 14-21 points
“2” - 13 points and below.

Attached files

Kirillova Irina Yurievna

Keywords

CHUVASH DRAMATURGY OF THE 1990S/ NEW DRAMA / REALISM / POETICS / VALUE SYSTEM/ CHARACTER

Annotation scientific article on literature, literary criticism and oral folk art, author of the scientific work - Kirillova Irina Yurievna

The article examines the main trends in the development of Chuvash drama in the 1990s. The end of the twentieth century was marked in the history of the Chuvash people by a number of social, political, and cultural changes that influenced the development of national drama. During this period, it was characterized by multidirectional development and expansion of the ideological and thematic range. In an article on broad material Chuvash drama of the 1990s. the motives of social and economic upheavals that affected family values and moral guidelines modern society, shows the relevance of the conflict between society and man in a rapidly changing world. The article is a continuation scientific research its author, related to the generalization of the artistic merits of Chuvash drama. The main attention is paid to the dramas of B. Chindykov, N. Sidorov, N. Ugarin, A. Tarasov, in which the authors use dramatic means to analyze current problems of history and today, comprehend the past of the people, explore the development national character, reveal the origins of social and moral problems of our time. Considerable attention is paid in the article to various approaches to the problem of identifying modern Chuvash drama in the paradigm of one or another type of creativity (realistic, postmodern). Thus, based on an analysis of the artistic system of B. Chindykov’s dramatic experiments (“Blackberries along the fence”, etc.), their inclusion in the general paradigm of the so-called “new drama” is proven. The article also provides an analysis of the genre components of Chuvash drama, determines the artistic status of each of them in the system of poetics of the genre, and examines the features of the conflict. The main tendencies of development of the Chuvash dramaturgy in the 1990s are considered in the article. The end of the twentieth century was marked in the history of the Chuvash people by a number of social, political, cultural changes that had an impact on the development of the national drama. During this period, it was characterized by a multidirectional development and expansion of the ideological and thematic range. In the article on the broad material of the Chuvash dramaturgy of the 1990s the motives of social and economic shocks, reflected on family values and moral orientations of modern society, are shown, the urgency of the conflict between the society and the person in the conditions of the rapidly changing world is shown. The article is a continuation of the author's scientific research related to the generalization of the artistic merits of the Chuvash drama. The main attention is paid to the dramas of B. Chindykov, N. Sidorov, N. Ugarin, A. Tarasov, in which the authors analyze the actual problems of history and the present day with dramatic means, comprehend the past of the people, investigate the development of the national character, identify the sources of social and moral problems of modernity. Considerable attention is paid to different approaches to the problem of identification of modern Chuvash drama in the paradigm of one or another type of creativity (realistic, postmodern). , based on the analysis of B. Chindykov's artistic system of dramaturgic experiments (“Blackberries Thus along the wattle fence” etc.), their involvement in the general paradigm of the so called “new drama” is proven. The article also analyzes the genre components of the Chuvash drama, determines the artistic status of each of them in the system of poetics of the genre, examines the features of the conflict.

Text of scientific work on the topic “Chuvash drama of the 1990s. : some aspects of studying the issue"

UDC 82-2=512.111

CHUVASH DRAMATURGY OF THE 1990S: SOME ASPECTS OF STUDYING THE ISSUE

I. Yu. Kirillova

Chuvash State Institute of Humanities, Cheboksary

Key words: Chuvash drama of the 1990s, new drama, realism, poetics, value system, character.

CHUVASH DRAMATURGY OF THE 1990S: SOME ASPECTS OF STUDYING A QUESTION

I. Yu. Kirillova

Chuvash State Institute of Humanitarian Sciences, Cheboksary

The main tendencies of development of the Chuvash dramaturgy in the 1990s are considered in the article. The end of the twentieth century was marked in the history of the Chuvash people by a number of social, political, cultural changes that had an impact on the development of the national drama. During this period, it was characterized by a multidirectional development and expansion of the ideological and thematic range. In the article on the broad material of the Chuvash dramaturgy of the 1990s the motives of social and economic shocks, reflected on family values and moral orientations of modern society, are shown, the urgency of the conflict between the society and the person in the conditions of the rapidly changing world is shown. The article is a continuation of the author's scientific research related to the generalization of the artistic merits of the Chuvash drama. The main attention is paid to the dramas of B. Chindykov, N. Sidorov, N. Ugarin, A. Tarasov, in which the authors analyze the actual problems of history and the present day with dramatic means, comprehend the past of the people, investigate the development of the national character, identify the sources of social and moral problems of modernity Considerable attention is paid to different. approaches to the problem of identification of modern Chuvash drama in the paradigm of one or another type of creativity (realistic, postmodern). Thus, based on the analysis of B. Chindykov"s artistic system of dramaturgic experiments ("Blackberries along the wattle fence "etc.), their involvement in the general paradigm of the so called "new drama" is proven. The article also analyzes the genre components of the Chuvash drama, determines the artistic status of each of them in the system of poetics of the genre, examines the features of the conflict.

Key words: Chuvash dramaturgy of the 1990s, a new drama, realism, poetics, value system, character.

Turn of the XX-XXI centuries. characterized by dramatic changes in the political sphere for Russia, social institutions, culture. A restructuring of social consciousness is taking place, a new ethics is being formulated, which in one way or another is reflected in the theatrical and dramatic processes of this period. In the history of the development of regional drama, it is marked by searches in ideological and aesthetic terms, renewal of artistic consciousness, experiments in plot-compositional construction, diversity of characters and images, etc.

In Chuvash literature of the 1990s. new directions in the movement of artistic thought emerged with the advent of younger generation playwrights. The searches of B. Chindykov, N. Sidorov, V. Turgay, G. Medvedev, N. Ugarin, A. Tarasov, L. Sachkova, A. Prtti were aimed at developing new artistic means, a study of the changed reality, which undoubtedly expanded the boundaries of the artistic system of Chuvash drama. Truthfulness is no longer considered by them as a copy of reality, but the artistic is realized on the basis of their individual worldview, sensation and understanding. And, as a result, drama acquires openness, genre and stylistic blurring, a tendency towards experimentation, conventions, when the conventional does not imply an escape from reality, but a deeper comprehension of it.

Chuvash drama until the end of the 1980s. officially remained traditionally “Soviet”. At the end of the twentieth century, playwrights of the older generation, unable to find themselves in new reality, moved away from drama (G. Krasnov, N. Terentyev, G. Terentyev, M. Yukhma, A. Ugolnikov, I. Kuzmin, etc.). This may explain the fact that the repertoire of national theaters during the “perestroika” years saw a slight decrease in plays by contemporary playwrights.

The situation is changing, and already in the 1990s, plays by young authors B. Chindykov, N. Sidorov, N. Ugarin, A. Tarasov appeared in the repertoire. To some extent, they predetermined the search for modern Chuvash theater. Dramaturgy came to the fore with a different perception of modern reality, the main theme of which was the problem of the complex relationship between the inner world of an ordinary person and the world around him.

The “New Wave” in Chuvash drama is associated with the name of B. Chindykov, who entered literature at the very beginning of the 1980s. First book

prose writer, playwright, critic, translator, graduate of the Literary Institute. A. M. Gorky was published in 1987 (Chuk uyahyo (Harvest Month)), and the stage debut took place even later - in 1990. From his very first literary steps, he was distinguished by his unlike any other contemporary author, by the uniqueness of his author's style, which was expressed in an innovative form of expression of objective reality, which was the result of the ambiguous, sometimes opposing perception of his works by critics. It was enthusiastically received by young people, who called on Chuvash writers to shock them with the novelty of words and the courage of thought. In the author’s new style for Chuvash literature, critics saw the influence of Western art, “a kind of fusion of ancient Chuvash poetics with avant-garde literary technique". One way or another, the writer’s creative searches made it possible to talk about the manifestation of such trends in Chuvash literature as postmodernism and ethnofuturism.

B. Chindykov's author's style was distinguished by an innovative form of expression of reality. A feature of his work was that modern problems of society in his works acquired the most pronounced character. As one of the active figures in the national movement in Chuvashia, in his works he acutely raised current issues social functioning and preservation Chuvash language, culture, art, issues of national self-identification, problems of the development of modern Chuvash literature. They clearly revealed the echoes of impending socio-political changes and the state of mind of the national creative intelligentsia of the 1980s, their moral quests and interruptions of feelings. Already in the early 1980s, contrary to the established traditions in Soviet censored literature, in the drama “Atan karta?inchi hura hamla ^yrli” (Blackberries along the fence, 1982) he managed to reflect the moral crisis state of the people of the stagnant period. For objective reasons, the play was staged on the stage of the Chuvash State Academic Drama Theater named after. K.V. Ivanova (ChGADT) directed by V. Yakovlev only in 1990 and became a clear evidence of the increased performing culture of the theater. The new dramaturgy dictated a different stage interpretation, based on conditionally metaphorical reality as a special system of imagery. The director's rejection of the principle of representation allowed him

B. Chindykov’s searches in line with the “new drama”, which again declared itself in Russian drama at the end of the twentieth century, turned out to be fruitful. in response to the perestroika processes of the late twentieth century. Drama responds to them with a restructuring of character, a new quality of plot, transformation of forms, and the desire to create a synthetic form. Thus, for Chindykov’s work, the most significant turned out to be the two-dimensionality of the action, which develops both in terms of the personal relationships of the characters, and in terms of the relationship of each of them to general life and social problems due to the new onslaught historical forces. His drama, like his prose, raises eternal questions of the national universe, makes us think about the role and place of the Chuvash in this huge contradictory world, tries to reveal historical roots problems raised by modern times. The moral crisis of the foundations of modern life of the people is the result of the Chuvash’s renunciation of their national roots, their clan, faith, moral and spiritual worldview. Having ceased to honor age-old traditions, moral laws people, people have lost their values. This is their tragedy (“Blackberries along the fence”, “Alaksem Umenche” (At the Doors, 1986), “Urasmet” (Urazmet, 1989), etc.). His plays appeal not only to reason and feeling, but also to the national nature of the reader (viewer), while embodying not only a narrow national meaning, but a universal one as a whole.

Chuvash modern drama naturally grew on the basis of Chindykov’s “new drama”, adopting from the playwright an interest in the national, a tendency towards the substantial-existential, insoluble internal conflict, modern Chuvash drama has found a way to resolve it by entering a fantastic, surreal world that reconciles the heroes with reality, and, what is important, with each other.

The central problem literature of the late 1980-1990s. researcher A. Zakirzyanov connects it with the relationship between man and a renewed society. He explains the correspondence of the writer’s creativity with the spirit of the times by the reflection in the works of the socio-public issues of the era

and their decision. The disclosure of a person’s ideas about the world in a post-totalitarian society comes to the fore. On the one hand, criticism of the Soviet system occupies a significant place in the works, on the other hand, there is a reflection in the socio-philosophical plane of the tragedy of a person who was left in a difficult situation as a result of the harsh conditions of that time. Unfortunately, “the first experiments could not satisfy either the playwrights or the audience.”

Dramas by V. Turgay “Teleipe yunashar” (Next to Happiness, 1985), “Adga es, ^alana??” (Save and be saved, 1988), “Ka?ar mana” (Forgive me, 1989) were perceived by critics as “plays with modern problems that highlight the spiritual decay of society.” The substantive-analytical depiction of life's realities, traditional for Chuvash plays, is replaced in his plays by a conventionally abstract one. Thus, the playwright’s stage space is distinguished by the location of the actions taking place in the dramas, which include the properties of the topoi of the well (“Save and be saved”) and the boarding school for the mentally ill (“Forgive me”). They are models of modern society and reveal its moral degradation. The feeling of tragedy comes to the fore here human life which leads to alienation and isolation of people from each other. This is how the author reveals the fate of people who became victims of the pressure of a totalitarian system.

The image of a madhouse as a model of a totalitarian regime acquires a deeper symbolic meaning in V. Ektel’s play “User Karap” (Drunk Ship, 1999). The author designated it as a tragedy, bringing into the genre designation the very idea of the tragic feeling of the era. Its characters are patients of a drug dispensary: a high-ranking official, an intellectual, a drug addict girl, a young poet and others (representatives of different social strata), people who have lost themselves in the new reality. They feel like passengers on a drunken ship that has lost its course. Thus, the playwright draws a conventional model of a society where the “thief in law” feels like the master of life and the arbiter of human destinies, and shows the reader (viewer) how an ordinary person pays for “universal happiness.” In his journalistic play, Ektel raises current issues of the influence of society on the fate of the individual and critically comprehends post-Soviet reality. Like the Tatar writers Z. Hakim (“Crazy

house”, 1995), F. Bayramova (“The action takes place in a madhouse”, 1998), V. Ektel is concerned with moral social decay.

Young playwrights are not devoid of the desire to convey the documentary accuracy of modern reality, which consisted in showing real life without embellishment, without false appearances, which was characteristic of plays Soviet period. Didn't go unnoticed by them hot topic war in peacetime (fighting in Afghanistan (1979-1989) and the Chechen Republic (1994-1996, 1999-2002)). These are dramas by K. Kirillov “Kaya yulsa ^uralna” (Platoon, 1985), B. Chindykov “Khuplanna tökersem” (Curtained mirrors, 1989), N. Ugarin “Mankun smart” (Before Easter, 1995), L. Sachkova “Es kairan ta...” (With and without you, 1998), etc. As a rule, the heroes of these dramas, who went through the hardships of the war, did not find a place in peaceful life, become depressed, become an alcoholic, and lose interest in life. The feeling of guilt before their dead comrades does not allow them to sleep peacefully. The authors especially emphasize the idea of the unnecessaryness of war, its harmful role in the degradation of modern men.

The genre of melodrama is actively developing: G. Medvedev “Kolennyo yuratu” ( Broken love, 1986), N. Sidorov “Yunasharah tel?uret” (Happiness Walks Nearby, 1987), “Yuratu Kaarmast” (Love Does Not Forgive, 1990). At the turn of the century, the genre was actively developed by A. Prtta - “Tura purmen yuratu” (Forbidden Love, 1997), “Kachcha Kaichchen” (Before Marriage, 1999), “Varmana yulna ^amraklah” (Lost Youth, 2000), etc.; L. Sachkova - “Yuratu Turri” (God of Love, 2000), “Ukhalna hurkayak?ulyo” (Lost Milky Way, 2003), etc. The success of their productions is associated with the demand for this genre by theaters and the audience of those years. Along with the melodramatic plot, the authors touch on the problems of personal relationships and teach to value family and spiritual values.

The process of moral decay of society was also reflected in the moral and psychological drama, the search for a solution to which was at the forefront of the aspiring playwright N. Sidorov. His plays are based on “Fallen Leaves” (Fallen Leaves, 1990), “Kötröm sana, kötröm” (Waiting for You, 1992), “Yut Yavari Kukkuk” (Cuckoo in Someone Else’s Nest, 1997), “Atte Mana Shur” purt lartsa paras tet" (Bequeathed to me by my father., 1998) lie the social and moral conflicts of society. Thus, a successful and educated woman-mother abandons her disabled son for the sake of a career, renounces both

from unnecessary problem which becomes a problem for the whole society. The fallen leaves in the drama are unwanted orphanage residents who, against their will, entered a socially disadvantaged layer of society (“Fallen Leaves”). And the symbolic image of the cuckoo-Nata speaks for itself: a mercantile girl destroys the family of a forester, who kills his sick wife for her sake, and leaves him for a more profitable candidate (“Cuckoo in someone else’s nest”). N. Sidorov in his plays forces the reader (viewer) to turn his face to such moral problems, to look at the “painful” points of social life.

The speed and intensity of the ongoing changes encouraged modern Chuvash drama to develop new artistic ways of understanding reality. Mastering new stages in the development of society and overcoming established cliches, the authors looked for the emerging, changing and dying eternal foundations in man. They paid special attention to disturbing processes in the moral atmosphere and reacted sharply to emerging pockets of social trouble. The deeper the spiritual crisis of society manifested itself, the more acute the problem of the relationship between man and society, “man among others,” became, the problem of the social stratum, one’s own circle, where the conflict situation does not escalate, is not overcome, but, on the contrary, multiplies. The rift in the soul of one of the heroes is repeated many times by a similar situation with other heroes, emphasizing the common fate of generations.

Playwright N. Ugarin devoted all his work to moral issues, preaching goodness and humanity against the backdrop of lack of spirituality. The feeling of the tragic hopelessness of existence, the unrealizability of simple human happiness runs like a red thread through all of his work. His plays “Irtni te tavranat” (And the past returns, 1992), “Yunpa varalanna fata” (Bloody veil, 1993), “Topser sapkari acha sassi” (The cry of a child from the cradle 1993), “Ah, kaykaram...” ( My Falcon, 1994), “Pulaimaram ep san masharu” (It is not fate to know, 1994), “Mankun is smart” (Before Easter, 1995), “Saltak yuratave” (A soldier’s love, 1996), “Chechek ashenchi?urt” (Home in flowers, 2000) were successful not only on the Chuvash, but also on the Tatar and Mari stages. In them, the author raises the problems of educating the younger generation and influencing family relations on the formation of personality, the object of it

Negative social phenomena of the 1990s began to receive attention.

The name of playwright A. Tarasov is not new for Chuvash literature. In dramaturgy, he continued his search in the field of intellectual, philosophical, moral and psychological literature. They are meaningful in terms of showing modern Chuvash reality. Revealing the problem of finding the meaning of life in the dramas “In?et tel?uti” (Light of distant happiness, 1998), “Vyo?se irte??yo kayaksem” (Farewell cry of sad cranes, 1999), A. Tarasov focuses on the inner world heroes, introspection and moral torment of images, their spiritual quest. Strength emotional influence on the reader (viewer) is achieved by appropriately selected stylistic devices: the author skillfully uses conditionally associative images-symbols, applies an element of psychological analysis, refers to national traditions etc.

The aesthetic principles of Chuvash drama of recent decades were largely associated with the process of revival of national-ethnic self-awareness. Being at a crossroads, thinking about future fate of their people, national cultural figures seek answers to their questions in historical events, in folklore - in a word, in the origins of folk culture. A creative stimulus for writers was also the surge in activity in studying the history of the Chuvash people in the aspect national problems, which was unacceptable in Soviet times. The history of the Chuvash as part of the Kazan Khanate, their annexation to the Russian state, the manifestation of national liberation aspirations is subject to rethinking and factual updating; the negative impact of “Stalin’s deformations” and their consequences for the national life of the Chuvash people, etc. is acutely noted.

In these conditions, Chuvash writers looked at the struggle of the people for their national interests and priorities, national freedom from new perspectives and covered them in such historical dramas as “Per kheres ayonche” (Under one cross, 1990) by N. Maksimova, “Mön-shi val ireoklekh” ? (What is freedom? 1991) M. Yukh-my, “Khuhyom hören huhlevö” (The cry of a girl at dawn, 1995) and “£altar sunnyo ka?” (When the Stars Go Out, 2000) by N. Sidorov, monodrama by B. Chindy-kov “Hura Cheke?” (Black Swallow, 2002), etc. Historical plays by B. Chindykov “Urasmet” (Urazmet, 1989), N. Ismukov “Aharsamana” (Sve-

death, 1991), N. Petrovsky-Tevetkel's "Kiremet" (Kiremet, 1994), M. Karyagina's "Kemel tumla?ar" (Silver Army, 1997) - a clear sign of the search for new forms in the genre of tragedy in verse in modern Chuvash drama. It is necessary to note the decisive departure of writers beyond those traditional principles and forms in which in the second half of the twentieth century. the historical genre developed. The novelty of the author's thematic concept is expressed in the depicted dramatic situation and strong human characters. They understood their task not only as showing certain historical events, but also as revealing the real driving forces behind them.

N. Sidorov’s historical dilogy “The Cry of a Girl at Dawn” and “When the Stars Go Out” covers the period of the struggle of the Chuvash-Bulgars against the Tatar-Mongol invaders and tells the story of the period of the Chuvash region’s annexation to the Russian state. Based on the conclusions of historians, the author refutes the simplified concept of Chuvashia’s voluntary entry into Russia. It is important for him not so much to recreate real historical events as to reflect the national spirit, the spirit of the era, engulfed in strife between clans, unrest of the people: who to be with, who to bow to, how to preserve one’s identity? And at the most turning points in history, among the Chuvash there were strong in spirit, leaders devoted to the common idea, the people, the nation, who saved the people in defiance of the vain Murzas and Turkhans striving for power and wealth.

The conflict between power and man, the idea of uniting the people in the struggle for independence, self-preservation, and defending their interests, also worries B. Chindykov in the tragedy “Urazmet”. On historical subjects, he also developed a completely new genre of monodrama for Chuvash drama. He easily succumbed to the author, whose style in criticism is defined as monological, which is characterized by inaction, the implementation of conflict in the inner world of the hero. In its theme, “The Black Swallow” is close to the genre of historical tragedy, revealing the pages of Chuvash history during the fall of the Bulgarian state as a result of the Tatar-Mongol invasion.

The theme of preserving the native language, procreation, traditions of ancestors for the future generation in a conventionally mythological vein is continued by M. Karyagina in the tragedy “The Silver Army”.

Without using documentary historical facts, the author reveals to us significant events from the life of the distant ancestors of the Chuvash people, when, faced with the threat of complete extermination of the clan, women, showing will and courage, turn into a formidable force and repel the onslaught of an enemy superior in all respects. The main idea of the tragedy carries a deep philosophical meaning - the truth is on the side of those who defend the lands of their ancestors, the freedom and independence of the people. This is a play about human wisdom and stupidity, about honesty and lies, about ancient traditions and respect for one’s ancestors. It also shows pain for the fact that in modern hectic times the centuries-old traditions of the people are gradually being lost, kindness and humanity are disappearing, and language is being lost. Researcher Y. Artemyev: “The dramatic fate of the Chuvash people, presented in the projection of Marina Karyagina, evokes a feeling of pride and admiration: how, despite such sensitive losses that have continued for centuries, they preserve their gene pool and never tire of raising talented sons and daughters, selflessly devoted to the land of their ancestors.”

The authors of the tragedies considered, while affirming the idea of the enduring value of the cultural and historical experience of antiquity, at the same time, especially carefully sought to reproduce the struggle of passions that tore apart the souls of heroes and leaders of the people, as the embodiment of the eternal and timeless restless nature of man. The personal and social are in tragic conflict in the plays. As you read plays and watch performances, doubts and hopes constantly arise associated with thoughts about the historical fate of the people.

Chuvash comedy, like all drama and theater at the turn of the century, was in a difficult situation. This was evidenced by half-empty auditoriums and a decline in the artistic, ideological and aesthetic level of plays and performances. Chuvash theaters came out of the situation in different ways, one of which was staging plays of a light genre. And N. Sidorov found himself at the head of modern Chuvash comedians. His “light” comedies are characterized by a rejection of social issues in favor of family and everyday life, a departure from direct didacticism and moralizing, which made it possible to “dissolve” the straightforward author’s attitude in light irony and thus make funny human weaknesses and psychological shortcomings the subject of ridicule (serial comedy “Shupashkarti savni” (Bride from Chebko-

sar), “Her çypaçMa kaisan” (Matchmaking, 1994), “Pusa kachchi” (Wedding guy, 1996), “nyçâ kilsen pyçana” (A misfortune came to call my brother-in-law, 1998), “Tuy khçyn arim shyramççë” (After the wedding they are not looking for a bride, 1998), etc.). They are characterized by light, elegant intrigue, anecdotal, shallow conflict, and playful gaiety of stage situations. Primary attention is given to the language, to which the author strives to impart, and successfully, conversational ease and ease. Their popularity among viewers at the turn of the century is explained by their naturalistic verisimilitude; they evoke direct associations, everyday anecdotal superficial analogies, extremely easy to understand. Thus, the viewer of the 1990s. determined not only the direction of the theater, but of Chuvash drama itself. The importance of the readership (viewership) audience is especially clearly realized in critical years.

The comic N. Sidorov is more impressively represented in the genre of tragicomedy. He successfully raises social and moral issues in the tragicomedies “Vëçken Vaççan çichçëmösh áryme” (The Seventh Wife, 1999), “Vun çççëre çynat chöre” (How Young We Were, 2001).

“In an era of spiritual crisis and ideological disorientation, comedy loses its fighting critical spirit, its satirical pathos fades and it degenerates into farce.” B. Chindykov’s play “Masarkasi yasaryon çitmel çichçëmësh uteri” (77 wife of a Don Juan from Cemetery Avenue, 1998), a kind of experiment in the field of absurd theater, was written in this genre. In a farce, the author, through laughter, tries to reveal to the reader (viewer) the absurd aspects of his existence. Seemingly meaningless intrigues and dialogues should reveal to him the pettiness and meaninglessness of his own intrigues and conversations with loved ones and friends, leading him to rethink his life. “The absurd will save humanity from evil, its home is human soul“,” reflects Arthur, the hero of another play by B. Chindykov, “Dinner after Midnight.”

In terms of commercialization theatrical arts When the audience was perceived as the economic basis of the theater’s existence, its entertainment role increased. If earlier the theater was the leader of social thought, then in the new conditions the theater acquired importance as a place of recreation, which directly affected the formation of its repertoire policy and the development of drama itself.

So, the development of drama in 1980-2000. accompanied by active artistic and aesthetic searches, the coexistence of various artistic movements, traditional and avant-garde forms. Chuvash drama of the late twentieth century. is represented by a variety of genres, both traditional and new, sometimes invented by playwrights for a specific play, such as a “dramatic story” or “tragi-comic extravaganza,” etc. Psychological, social-moral, and everyday dramas are being modernized. Tragic as aesthetic category is felt in moral-psychological, philosophical, historical plays. Chuvash plays with national historical issues are experiencing a rise; they certainly testify to the deepening of the process of artistic knowledge of the history of the people.

Literature

1. Antonov Yu. G. Origins of the evolution of the comedy genre in Mordovian drama // Proceedings of the Karelian Scientific Center of the Russian Academy of Sciences. Petrozavodsk, 2014. pp. 120-124. URL: https://eHbrary.ru/item.asp?id= 21705785 (date of access: 04/08/2017).

2. Artemyev Yu. M. Preface // Karyagina M. F. Silver Army. Tragedy in verse in Chuvash, Russian and English. Cheboksary: JSC IPK Chuvashia, 2017, pp. 3-5.

3. Danilova G. Blackberries grew along the fence... // Theater life. 1990. No. 16. P. 34-35.

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6. Kirillov K. Pi^yohu // Yalav. 1988. No. 8. 30-31 p.

7. Kirillova I. Yu. Development of the genre of tragedy in verse in Chuvash drama // Humanities and education. 2016. No. 4 (28). pp. 156-158. URL: https://elibrary.ru/ item.asp?id=27700992 (date of access: 05/12/2017).

8. Nigmatullina Yu. G. “Belated modernism” in Tatar literature and fine arts. Kazan: Feng, 2002. 155 p.

9. Nikitina M.V. The problem of morality in dramatic works Alexander Prtta // International scientific research journal. 2012. No. 7-2 (7). URL: https://elibrary.ru/query_results.asp (access date: 06/04/2017).

10. Fed N. M. Genres in a changing world. M.: Soviet Russia, 1989. 543 p.

11. Khuzangay A. The wrong side of life // Friendship of Peoples. 1989. No. 2. P. 256-257.

13. Chindykov B. Tukhsa kaichchen. Shupashkar: Chavash ken. publishing house, 2009. 400 p.

14. Yakovleva G. A. Modern Mari drama (1985-2000) // The role of personality in formation and development national cultures: Sat. Art. IYALI Komi Scientific Center Ural Branch RAS. Syktyvkar, 2013. pp. 167-171. URL: https://elibrary.ru/ item.asp?id= 11846780 (date of access: 05/02/2017).

1. Antonov Yu. G. Istoki ehvolyucii zhanra komedii v mor-dovskoj dramaturgii. Trudy Karel "skogo NC RAN = Proceedings of the Karelian scientific center of the Russian academy of sciences, Petrozavodsk, 2014, pp. 120-124. Available from: https://elibrary.ru/item.asp?id=21705785 (accessed 04/08/2017).

2. Artem "ev Ju. M. Predislovie . Karjagina M. F. Serebrjanoe vojsko. Tragedy v stihah na chuvashskom, russ-kom i anglijskom jazykah = Karyagina M. F. The Silver Army. Tragedy in verse in Chuvash, Russian and English, Cheboksary: AO “IPK “Chuvashija”, 2017, pp. 3-5 (In Russ).

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5. Izorkin A. V. Skazka o “dobrovol" nom vhozhdenii" Chu-vashii v sostav Russkogo gosudarstva. LIK Chuvashii = Face of Chuvashia, 1997, no. 2, pp. 127-137 (In Russ).

6. Kirillov K. Pifehy. Jalav, 1988, no. 8, pp. 30-31.

7. Kirillova I. Ju. Razvitie zhanra tragedii v stihah v chu-vashskoj dramaturgii. Humanitarian science and education = Humanities and Education, 2016, no. 4 (28), pp. 156-158. Available from: https://elibrary.ru/item.asp?id=27700992 (accessed 05/12/2017) (In Russ).

8. Nigmatullina Ju. G. “Zapozdalyj modernizm” v tatarskoj literature i izobrazitel "nom iskusstve ["Belated Modernism" in the Tatar literature and fine arts]. Kazan": Fjen, 2002, 155 p. (In Russ).

9. Nikitina M. V. Problema nravstvennosti v dramati-cheskih proizvedenijah Aleksandra Prtty. Mezhdunarod-nyj nauchno-issledovatel"skij zhurnal = International Scientific and Research Journal, 2012, no. 7-2 (7), Available from: https://elibrary.ru/query_results.asp (accessed 06/04/2017). (In Russ).

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12. Huzangaj A. Mezhdu Scilloj i Haribdoj. Republic = Republic, 2001, November 28. (In Russ).

13. Chindykov B. Tuhsa kaichchen. Shupashkar: Chavash ken. izd-vi, 2009, 400 p.

14. Yakovleva G. A. Sovremennaya marijskaya drama (1985-2000). Rol" lichnosti v stanovlenii i razvitii nacional"nyh kul"tur: sb. st. IYALI Komi NC UrO RAN = The role of personality in the formation and

development of national cultures. Sat. Art. IALS of the Komi Scientific Center of the UrB RAS, Syktyvkar, 2013, pp. 167-171. Available from: https://elibrary.ru/item.asp?id=11846780 (accessed 05/02/2017) (In Russ).

The article was received by the editor on September 12, 2017.

Submitted 09/12/2017.

For citation: Kirillova I. Yu. Chuvash drama of the 1990s: some aspects of studying the issue // Bulletin of the Mari State University. 2017. No. 4 (28). pp. 133-140.

Citation for an article: Kirillova I. Yu. Chuvash dramaturgy of the 1990s: some aspects of studying a question. Bulletin of the Mari State University. 2017, no. 4 (28), pp. 133-140.

Kirillova Irina Yurievna, leading researcher, candidate philological sciences, Associate Professor, Chuvash State Institute of Humanities, Cheboksary, [email protected]

Irina Yu. Kirillova, Ph. D. (Pedagogy), associate professor, Chuvash State Institute of humanitarian sciences, Cheboksary, irinakir1@mail. ru

Artistic director of the theater,
People's Artist of the USSR,
laureate of State Prizes of the Chechen Republic and the Russian Federation

Born on September 25, 1939 in the village of Trekh-Izba Shemursha, Shemurshinsky district of the Chuvash Republic, he graduated from two faculties: acting in 1961, directing in 1967, worked at the Chuvash Academic Drama Theater as a stage director (1967-1979), chief director (1979-1990), and since 1990 he has been working as artistic director of the Chuvash Academic Drama Theater.

Yakovlev Valery Nikolaevich is a prominent figure Russian culture and art. Selfless creative work he raised the Chuvash theater to a qualitatively new level of professionalism and artistry, basing it on the careful preservation of folk origins, the poetic beauty of the customs and traditions of the Chuvash people, while simultaneously enriching it with modern theatrical aesthetics. Valery Nikolaevich Yakovlev's talent is rich and multifaceted. His productions fascinate audiences with their frankness, variety of styles and genres while embodying the dramaturgy of different authors on stage. His performances are characterized by a deeply meaningful approach to the style and ideological content of the dramatic source material, and a careful and creative attitude to national traditions. Study of human character, detailed psychological analysis of phenomena, social change events taking place in society are performed by V.N. Yakovlev. not only artistic phenomena, but also acts of civil events for spectators not only of the Chuvash Republic, but also of other regions of Russia.

His performance “Blackberries along the fence” based on the play by B. Chindykov in 1990 All-Russian festival“The best performances of Russia”, in 1991 at the All-Russian Festival of Turkic Peoples, in 1992 at the All-Russian Festival “Federation - 92” in Cheboksary, it took first place and was among the best performances in Russia, receiving great praise from the theater community and critics. On the 2nd International festival Turkic-speaking peoples “Tuganlyk” in 1996, a performance based on V. Rasputin’s story “Farewell to Matera” and at the 6th theater festival “Russian Classics. Pushkin. Turgenev" in 1999, the play "Mozart and Salieri" by A. Pushkin became festival laureates.

The play “The Cry of a Girl at Dawn”, staged by Valery Yakovlev, dedicated to the 1100th anniversary of the formation of the state of Volga Bulgaria, became a laureate of the International Theater Festival of Turkic Peoples “Nauruz” in 1998. He received the prize “For the production culture of the performance.” Same for this one historical tragedy Yakovlev V.N. awarded State Prize Chuvash Republic.

The play “The Light of Distant Happiness” by A. Tarasov, where Yakovlev V.N. acts as a director and at the same time as a production designer, designed in a figurative and associative style, and is a worthy continuation of his previous works. This performance opens up new dramatic aspects of our life, which force the viewer to take a fresh look at their life, at the lives of those around them, and takes its rightful place among the best performances not only of our republic, but also of Russia. This is evidenced by the statements of critics, journalists, as well as prizes received at the VII International Festival of Turkic Theaters "Nauruz" and at the International Theater Festival "To Volkov, Volkov, Volkov, we owe everything..." in 2002. At the VIII International Festival of Turkic Speaking theaters "Nauruz" in Kazan with the play "The House of Bernarda Alba" by F. G. Lorca Yakovlev V.N. received a prize for " Best job director" (2005).

In addition to the director's work, Yakovlev V.N. created many images on stage as an actor: Leonardo - “Bloody Wedding” by F.G. Lorki, Caliph Jafar al Muktadir - “Telei and Ilem” by I. Petrova, Peacock - “Barbarians” by M. Gorky, Ivan - “Marry, marry Ivan” by N. Aizman, Grand Duke- “The Cry of a Girl at Dawn” by N. Sidorov and others. As an actor, he is flexible and temperamental, endowed with a bright personality and a deep understanding of the essence of the image.
An integral part of the creative work of Yakovlev V.N. is the staging of concerts, and there were about 100 of them: dedicated to the Days literature and art of Chuvashia in Moscow, the Tatar, Bashkir, Mordovian republics, Belarus, Gorky region, as well as for memorable and anniversary dates of the republic and country.

As a professor at the Chuvash State Institute of Culture and Art, Yakovlev V.N. has a lot of strength and energy. devotes itself to training professional artists. Also, with his active participation, there were different years Three Chuvash studios were organized at the Moscow Theater School named after. M.S. Shchepkina, one - at the Leningrad Institute of Theater of Music and Cinematography

Evidence of the fruitful creative work of the Chuvash Academic Drama Theater named after. K.V. Ivanov, whose artistic director is Yakovlev V.N., is a stable audience interest, the great love of the Chuvash people, who gave it the definition of “theater beloved by the people.”
Yakovlev V.N. - twice laureate of the State Prize of the Chuvash Republic (1977, 1999), laureate of the State Prize of the Russian Federation in the field of literature and art (2003), awarded the Russian Government Prize named after. F. Volkova (2002).

He was awarded the titles: “Honored Artist of the Chechen Republic” (1970), “Honored Artist of the RSFSR” (1975), “People’s Artist of the RSFSR” (1981), “People’s Artist of the USSR” (1991). Awarded the Orders of “Friendship of Peoples” (1999), “For Services to the Chuvash Republic” (2008), and Honor (2010).

Valery Nikolaevich is a laureate of the Russian National Theater Award "Golden Mask 2015".

Elected as a deputy Supreme Council CHASSR and member of the Presidium of the Supreme Council of the CHASSR (1980, 1985).

Plan:

1 Biography
2 Family and personal life
3 Roles in the theater
4 Awards and titles

Introduction

Vera Kuzminichna Kuzmina(born November 16, 1923, Yanshihovo-Norvashi village, (now Yantikovsky district, Chuvashia) - theater actress, People's Artist of the USSR (1980).

1. Biography

Vera Kuzmina was born in 1923 in Chuvashia.

Graduated from the State Institute of Theater Arts named after. A. V. Lunacharsky (GITIS). Kuzmina’s first teacher was the famous Moscow Art Theater actor M. M. Tarkhanov. Since 1947, Vera Kuzmina has been working at the Chuvash Academic Drama Theater in the city of Cheboksary. for a long time is the leading actress of this theater.

For more than 60 years of service to the theater, Vera Kuzmina has embodied on the Chuvash stage many images of Russian and foreign classics, as well as works of national Chuvash literature and drama. Among them are Tanya (“Tanya” by A. Arbuzov), Anisya (“The Power of Darkness” by L. N. Tolstoy), Clavier (“Fire Horse” by N. Terentyev), Kederuk (“Marry Ivan” by N. Aizman), Leader, Chuvash woman (“The Cry of a Girl at Dawn”), Uneslu (“When the Stars Go Out” by N. Sidorov), Grandma (“Trees Die Standing” by A. Kason) and many others.

From huge number Of the various female roles of Vera Kuzmina, the images of mothers can be especially highlighted. These are works in the plays: “Black Bread” by N. Ilbekov, “Bloody Wedding” by Garcia Lorca, “Siberian Division”, “The Cuckoo Cuckoos” by N. Terentyev, “Narspi” by K. Ivanov, “Aidar” by P. Osipov, “Blackberry” along the fence" by B. Chindykov and many others.

She almost never acted in films.

The actress’s 80th and 85th birthdays were widely celebrated at the Chuvash Academic Drama Theater and throughout the republic. For her 80th birthday, Vera Kuzminichna prepared a complex character - the role of Bernarda - based on the play by F. Garcia Lorca.

Vera Kuzmina is actively involved in social activities in the Republic of Chuvashia, takes part in many republican events, festivals, shows, competitions, and meetings.

Also known for educational, pedagogical and charitable activities.

2. Family and personal life

Vera Kuzmina was married to national poet Chuvashia by Peter Khuzangai (died 1970).

Their son Atner Petrovich Khuzangai (born 1948) is a linguist, professor at the Chuvash State University. I. N. Ulyanova, Honorary President of the Chuvash National Congress. He is involved in science and politics.

Vera Kuzminichna leads an active, healthy lifestyle: she loves to travel, skis in winter, and enjoys painting. He devotes a lot of time to reading and loves detective literature.

3. Roles in the theater

Vera Kuzmina in the one-woman show “Black Swallow”

As for the most famous roles, the following should be noted:

Ulyana Gromova(“Young Guard”, 1947);
Anisya(“Power of Darkness”, 1966);
Polinka(A. Makaenka “Tribunal”, 1972);
Mother(F.-G. Lorca, “Bloody Wedding”, 1974);
Kederuk(N. Aizman, “Kai, Kai Ivan” (“Marry, marry Ivan”), 1965, 1974);
Sentier's mother(P. Osipov, “Aidar”, 1965, 1988);
Miheter's wife(K. Ivanov, “Narspi”, 1979);
Ilyinichna(M. Sholokhov, “ Quiet Don", 1981);
Mother(B. Chindykov, “Blackberries along the fence”, 1990);
Leader of the choir(N. Sidorov, “The Cry of a Girl at Dawn”, 1995);
Grandma Eugeni(A. Kason, “Trees Die While Standing,” 1996);
and others.

As well as roles played in plays written by N. Terentyev:

Nadya(“What is happiness?”, 1958);
Khvedura(“There is no life without you.” Chuvash Youth Theater, 1970);
Pelagia(“Sin”, 1980);
Clavier(“Fire Horse”, 1986);
and others.

4. Awards and titles

Order of Merit for the Fatherland, IV degree (November 13, 1999) - for his great personal contribution to the development of Russian theatrical art.
Order of Friendship of Peoples.
Medal "For the Defense of Moscow".
Order "For Merit to the Chuvash Republic" (Chuvashia, 2008).
People's Artist of the USSR (1980).
People's Artist of the RSFSR (1975).
Honored Artist of the RSFSR (1968).
Honored Artist of the Chuvash Autonomous Soviet Socialist Republic (1958).
State Prize of the Chuvash SSR named after. K. V. Ivanova (1991).
Included in the Honorary Book of Labor Glory and Heroism of the Chuvash Autonomous Soviet Socialist Republic (1973).
Honorary citizen of the Chuvash Republic (2003).

Notes

Decree of the President of the Russian Federation of November 13, 1999 No. 1504
Kuzmina Vera Kuzminichna - www.lib.cap.ru/kuzmina_v_1.asp

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This abstract is based on an article from Russian Wikipedia. Synchronization completed 07/12/11 11:11:52
Similar abstracts: Elena Kuzmina, Valya Kuzmina, Anastasia Kuzmina, Gauss-Kuzmina distribution, Edward Borisovna Kuzmina, Gauss-Kuzmina statistics, Andrey Kuzmin's team.

Surname Writer (poet)	Full name Fully	Years of life
Bichurin
Yakovlev
Khuzangai

2. How did literature change during the Great Patriotic War in the field of topics?

3. List all the characters in K. Ivanov’s poem “Narspi”. Give a description of the main character in 5-7 sentences.

4. Which book was printed in 1769, which had great value for the Chuvash people?

5. What is interesting about F. Pavlov’s drama “In the Village”?

6. What were the main themes in the literature of the 20-30s of the XX century?

7. What significance did the Simbirsk school have for Chuvash literature?

8. What innovations did M. Sespel introduce into the poetry of Chuvash literature?

9. In which book was K. V. Ivanov’s poem “Narspi” first published?

10. Name the genre of P. Khuzangaya’s work “Songs of Tili”

Test on Chuvash literature for grade 10.

Option II

Surname Writer (poet)	Full name Fully	Years of life	Titles of major works (1-2 works indicating the genre)	Name 1-2 biographical facts that characterize the writer (poet) as a person
Sespel
Ivanov
Pavlov

2. How did lyrics develop during the Great Patriotic War?

3. What was the name of the first Chuvash grammar?

4. List all the characters in K. Ivanov’s poem “Narspi”. Give a description of the main character in 5-7 sentences.

5. What article did M. Sespel write while studying the grammar of the Chuvash language?

6. What theme prevailed in V. Mitta’s early lyrics?

7. For what purpose did I. Ya. Yakovlev write his short stories?

8. What was the significance of M. Sespel’s move to Cheboksary?

9. In what year was K. V. Ivanov’s poem “Narspi” first published?

10. Name the genre of P. Khuzangaya’s work “Songs of Tili”

11th grade, 1 option

Surname Writer (poet)	Full name Fully	Years of life	Titles of major works (1-2 works indicating the genre)	Name 1-2 biographical facts that characterize the writer (poet) as a person
Lisina
Yukhma
Sidorov

2. From which works are the data

Katya Serebryakova
Ishmuk

Kurunkkai
Mother
Salime
Elgem Khan
Grandfather Arkhip
Sarkka
Silem
Lizuk

3. What is the significance of the image of the sun in N. Terentyev’s drama “When the Sun Rises?”

4. What new names appeared on the pages of republican newspapers and magazines in the 60-80s of the last century?

5. What nobility he showed main character, when you met grandfather Arkhip, who was returning from a hunt empty-handed? (D. Kibek “Hunting Stories”)

5. What ransom did Sherkey receive for Selime? (Novel by N. Ilbek “Black Bread”)

6. What international prize did E. Lisina receive for her story “A Piece of Bread”?

7. Which Russian writer did G. Aigi maintain friendly relations with?

8. What historical events are embedded in N. Sidorov’s tragedy “The Cry of a Girl at Dawn”?

9. What is interesting about B. Chindykov’s drama “Blackberries along the fence”?

Test on Chuvash literature

11th grade, 2nd option

Surname Writer (poet)	Full name Fully	Years of life	Titles of major works (1-2 works indicating the genre)	Name 1-2 biographical facts that characterize the writer (poet) as a person
Terentev
Chindykov
Skvortsov

2. What works are these characters from?

Gerasim Kremnev Valakhkha
Sherkkey Sarkka
Valya Erzyukki
Taibi Batu Khan
Elya Yosseh

(describe one character)

3. What moral purity and bright thoughts did the author lay in N. Terentyev’s drama “When the Sun Rises?”

4. In the works of which writers did military themes occupy a prominent place?

5. What does the dying Shursyamga think about? (M. Yukhma “Shursyamga, young wolf”).

6. List everyone acting characters in the story by Eva Lisina “A Piece of Bread”.

7. Why was this story not published in the USSR by E. Lisina’s story “A Piece of Bread”?

8. What is interesting about N. Ilbek’s novel “Black Bread”?

9. What French award did G. Aigi receive?