Than the work of Pinocchio. Review of A.N. Tolstoy’s fairy tale “The Golden Key or the Adventures of Pinocchio”
80 years of the book by A.N. Tolstoy
"The Golden Key, or the Adventures of Pinocchio"
Alla Alekseevna Kondratyeva, primary school teacher, Zolotukhinsk Secondary School, Kursk Region
Description of material: this material can be used by primary school teachers to summarize the reading of a story or fairy tale, and for extracurricular activities.
Target: formation of general cultural competence through the perception of fiction.
Tasks:
1. Introduce the history of A. Tolstoy’s creation of a fairy tale, summarize knowledge from the work read.
2. Expand your horizons in the field of literature, instill a love of reading.
3. Develop oral speech, memory, thinking, curiosity, attention.
Equipment: books by A. Tolstoy, posters with illustrations; Children's drawings.
Teacher:
Hello, dear guys and guests!
Today we have a big book holiday. We have gathered to remember one of our favorite children's books. Our mothers and fathers, and grandparents read it when they were little. The kids from our school love and know this book. Who is the hero of this fairy tale?
Listen to the riddle:
Wooden boy
Naughty and braggart
With a new alphabet under your arm -
Everyone knows without exception.
He is an adventurer.
It happens to be frivolous
But in trouble he does not lose heart.
And Signora Carabas
He managed to outwit more than once.
Artemon, Pierrot, Malvina
Inseparable from... (Pinocchio)
My father had a strange boy,
Unusual - wooden.
But the father loved his son.
What a weird one
Wooden man
On land and under water
Looking for a golden key?
He sticks his long nose everywhere.
Who is this?.. (Pinocchio)
-What is the name of the fairy tale whose main character is Pinocchio, who is its author?
(A. N. Tolstoy “The Golden Key, or the Adventures of Pinocchio”)
Many generations of readers are familiar with the antics of the mischievous and naughty wooden boy. The book was reprinted more than two hundred times and was translated into 47 languages!
In November 2016, the famous fairy tale by Alexei Nikolaevich Tolstoy “The Golden Key, or the Adventures of Pinocchio” turns 80 years old!
The fairy tale “The Golden Key, or the Adventures of Pinocchio” was written in 1936. In August 1936, the fairy tale was completed and submitted for production to the Detgiz publishing house.
-Did you know, Based on which fairy tale was the fairy tale "The Golden Key or the Adventures of Pinocchio" written? ("The Adventures of Pinocchio. The Story of a Wooden Doll").
“Once upon a time...
"King!" – my little readers will immediately exclaim.
No, you didn't guess right. Once upon a time there was a piece of wood.
It was not some noble tree, but the most ordinary log, one of those used to heat stoves and fireplaces in winter to heat a room.”
So cheerfully and unexpectedly the Italian writer C. Collodi began a book of numerous adventures of a wooden man named Pinocchio, whom Father Geppetto once carved from a piece of wood in his poor closet. This book was born almost a hundred years ago in Italy. But now she is known in all countries of the world, everywhere where her children are. In Italy, this book immediately became famous among little Italians; it was reprinted many times every year!
The story of our Pinocchio was told for you by Alexey Nikolaevich Tolstoy.
In the preface of the book, A. Tolstoy addressed his young readers:
“When I was little, a long, long time ago, I read one book: it was called “Pinocchio, or the Adventures of the Wooden Doll.” I often told my comrades, girls and boys, the entertaining adventures of Pinocchio. But since the book was lost, I told it differently each time, inventing adventures that were not at all in the book. Now, many, many years later, I remembered my old friend Pinocchio and decided to tell you, girls and boys, an extraordinary story about this wooden man.”
80 years have passed, but our cheerful Pinocchio remains the children's favorite.
Do you guys know this fairy tale?Buratino's appearance at Papa Carlo's, advice from a talking cricket
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, Buratino met the fox Alice and the cat Basilio. These swindlers, having learned about the coins, invited the boy to go to the Land 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, the poodle of a girl with blue hair - Malvina, who ran away from the theater of Karabas Barabas. 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 road 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 turned to the police dogs with a complaint about Buratino. 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.
QUIZ
1. Wearing a wide hat, he walked around the cities with a beautiful barrel organ and earned his living by singing and music. (Organ grinder Carlo.)
2. Where did Papa Carlo live? (In the closet under the stairs)
3. Who found the magic log, from which Papa Carlo later made Pinocchio?
(Carpenter Giuseppe, nicknamed “Blue Nose”).
4. What did Papa Carlo make Pinocchio’s clothes from? ((A jacket made of brown paper, bright green pants, shoes from an old top, a hat - a cap with a tassel - from an old sock).
5. What thoughts came to Pinocchio’s mind on his first birthday?
(His thoughts were small, small, short, short, trivial, trivial.)
6. What did Pinocchio love more than anything in the world? (Terrible adventures.)
7. Who almost killed Pinocchio on the first day of his life? (Rat Shushara)
8. What thing did Carlo’s dad sell to buy Buratino’s alphabet? (Jacket)
9. Where did Pinocchio go instead of going to school? (To the puppet theater)
10. How much did a ticket to the puppet theater cost? (Four soldi)
11. How did Pinocchio get to see a performance at the puppet theater? (Exchanged my ABC for a ticket)
12. What was the name of the play at the Karabas Barabas Theater?
("The girl with blue hair or 33 slaps")
13. What academic title did the owner of the Karabas-Barabas puppet theater have? (Doctor of Puppet Science)
14. What was the name of the most beautiful doll in the puppet theater of Signor Karabas Barabas - the girl with curly blue hair? (Malvina)
15. Which of the dolls was the first to recognize Pinocchio in the theater? (Harlequin)
16. What did Barabas Buratino want to use for disrupting the performance?
(As firewood)
17. Why did Karabas Barabas, instead of burning Pinocchio, let him go home and give him five gold coins? (He learned from Buratino that there is a secret door in Papa Carlo’s closet. Buratino said that in Papa Carlo’s closet the fireplace is not real, but a painted one.)
18. What was hidden behind the secret door? (Puppet theater of wonderful beauty.)
19. Why did Malvina and the poodle Artemon run away from the Karabas Barabas theater?
(He treated his puppet actors cruelly, beat them).
20. Whom did Pinocchio meet on the way home? (fox Alice and cat Basilio)
21. Where did the fox Alice and the cat Basilio lure Pinocchio to turn the five gold coins given by Karabas-Barabas into a pile of money? (To the magical Field of Miracles in the Land of Fools)
22. What method did the two swindlers offer the wooden boy to turn a few coins into a “big pile of money”? (“Dig a hole, say “krex, fex, pex” three times, put in the gold, cover it with earth, sprinkle salt on top, pour it well with water and go to sleep. The next morning a tree will grow from the hole, on which gold coins will hang instead of leaves.”)
23. Who saved Pinocchio on the Field of Miracles? (Poodle Artemon and Malvina - the most beautiful doll from the Karabas-Barabas theater).
24. Who was part of the medical team that treated Buratino in Malvina’s house.
(The famous doctor Owl, paramedic Toad and healer Mantis)
25. What medicine did Malvina treat Pinocchio with? (Castor oil)
26. What did Malvina Buratino begin to teach? (Good manners, arithmetic, literacy)
26. What phrase did Malvina dictate to her guest Buratino in a dictation? Why is she magical? (“And the rose fell on Azor’s paw”)
27. In what terrible room in Malvina’s house was Pinocchio put as punishment for his sloppiness? (Into the closet)
28. Who helped Pinocchio get out of the closet? (Bat)
29. Who told the naive Pinocchio the truth about his “friends” Alice and Basilio? (Turtle Tortilla)
30. What did the turtle Tortilla give to Pinocchio? (Golden Key)
31. Where did the turtle get the golden key? (A long time ago, a golden key was dropped into the water by an evil man with a long, scary beard. He shouted that the key could open the door to happiness and wealth).
32. How did Pinocchio find out the secret of the golden key? (Hid inside a clay jug in the tavern of the Three Minnows and forced Karabas Barabas to tell the secret).
33. What door can be opened with a golden key? (Pinocchio learned the big secret of the golden key: the door that it opens is located in Papa Carlo’s closet behind the painted fireplace).
34. Who came to the rescue of Pinocchio and his friends at the very last moment? (Papa Carlo.)
35. What did Pinocchio and his friends name their new theater? ("Lightning")
36. What did Pinocchio and his friends do during the day, before performing at the theater?
(Started going to school)
37. Which book served as the impetus for L. Tolstoy to create the “Golden Key”?
(“Pinocchio or the adventures of a wooden doll” by Collodi.)
38. Why did the author name his main character Pinocchio?
(Wooden doll in Italian is “Pinocchio.”)
39. Name the hero of the fairy tale who gave Buratino wise advice, but he did not listen to him.
(Cricket: “stop pampering, listen to Carlo, don’t run away from home idle and start going to school tomorrow, otherwise terrible dangers and terrible adventures await you).
40. What does A. N. Tolstoy’s fairy tale “The Golden Key, or the Adventures of Pinocchio” teach us?
(Kindness and friendship)
Conclusion: the fairy tale teaches us to be purposeful and active in achieving our goals. The main meaning of the fairy tale “The Adventures of Pinocchio” is that good always wins, and evil is left with nothing. But in order for good to win, one must make an effort, act, and not sit idly by. The fairy tale also shows us that cunning people and flatterers are bad friends. The main character of the fairy tale Pinocchio was at first a stupid, disobedient creature, but the adventures that he experienced taught him to recognize good and evil and value true friendship.
Pinocchio became the hero of many fairy tale sequels, films, performances, as well as catchphrases, phraseological units and anecdotes.
It is impossible to imagine childhood without the “Golden Key”, without the mischievous Pinocchio, without the girl with blue hair, without the faithful Artemon.
A. Tolstoy lived in Samara for a long time. Now there is a museum in his house.
In front of the museum, Buratino happily greets everyone.
Who walks around the world with a book?
Who knows how to be friends with her?
This book always helps
Study, work and live.
We will grow up, we will become different,
And maybe among the worries
We will stop believing fairy tales,
But the fairy tale will come to us again.
And we will greet her with a smile:
Let him live with us again!
And this fairy tale to our children
We will tell you again in good time.
HAPPY BIRTHDAY, BURATINO! Class hour for Bird Day, grades 2-3
Who is Buratino
In the book we find gray, ugly characters: drunkards, beggars, slackers. Gray, joyless pictures of life are drawn, and even the decoration of the home reflects some kind of wretchedness. From the very beginning, the book creates a similar atmosphere, and until the very end the aftertaste of the first impression does not disappear; on the contrary, it becomes stronger with each page. See for yourself, the beginning: a quarrel and fight between friends over a trifle (between a drunkard and Carlo’s dad).
And in this unfavorable situation, they find a log and make a wooden man out of it.
That is, in an unfavorable environment of poverty and drunkenness, something is created from wood.
And nowadays we create incubator conditions for children. And children don't always turn out good. Conversely, in families with unfavorable conditions, it seems that the child will grow up disadvantaged, but he, as an adult, has the right life goals and priorities.
Further in the fairy tale everything follows the standard pattern. They are trying to give the boy knowledge, with the last money they buy him the alphabet and send him to school. Dad thinks it's important. But the child doesn’t need this knowledge, he saw that everyone was going to the theater, and he wanted to. The boy comes to the conclusion that if people don’t go to school, it means it’s boring and uninteresting. He is attracted to theater because it is interesting to other people. What is he doing? Pinocchio exchanges the alphabet for theater tickets. With this, he clearly showed how he sets his priorities: what is more important to him.
So in our world, children who choose interest in life achieve success. We often hear stories: a former poor student at school became a millionaire.*
Then a chain of events followed. Pinocchio saw a boy being hit in the theater, and everyone laughed, everyone had fun. And he had a different worldview, different from recognized standards. He saw that this was not entirely normal. And he was not shy or timid. The wooden boy boldly came out, did not care about the crowd and stood up. This is a manifestation of leadership inclinations! What are other people's reactions? Buratino aroused admiration: “wow, how brave.”
By the way, from this episode I want to focus on the different images of Pinocchio in the movies, in the cartoon and in the book. In the book and cartoon this moment is described as follows: Pinocchio sat silently and watched. And then the actors noticed a wooden boy in the hall and began to sing and dance. I liked the interpretation of the movie image better. The boy's behavior is admirable. He comes to the stranger's defense. Even when no one cares, everyone is laughing, he doesn’t look at the crowd, but does what he thinks is right.
When I read the book to my son, Oleg, I deviated from the text and described this moment as in a film. I want him to see how to do the right thing, that it is not the opinion of the crowd that is important, but to have your own point of view and not be afraid to express it. Perhaps this was also the case in the book in the original edition, or maybe the screenwriter of the film saw Pinocchio this way.
They write that the image of Pinocchio is almost literally copied from the Italian character Pinocchio. But in the story about Pinocchio, the emphasis is on the connection between the length of the nose and lying, on how useful it can sometimes be to lie. Our Pinocchio always has a long nose as a symbol of curiosity. It was with this nose that he first pierced the picture of the hearth.
There is also a difference in the images. In the cinema, he may not want to study and does not know a lot of things, but he is not stupid, he thinks, he fools around, but not like a stupid person, but like a cheerful, purposeful person who has a dream. Pinocchio thinks soberly when he expresses distrust and suspicion towards robbers and bats, and questions their thoughts and ideas. That is, in the film he is a thinker. And in the cartoon he is just stupid, not just uneducated, but shown as more jelly, characterless, stupid, floating with the flow. What's in the book? In the book, it depends on how you place the accents. I think that the directors and screenwriters of films and films, reading the book, saw different images in it, highlighted different accents for themselves, either intentionally, or simply as a human being, or in connection with who their audience was: kids or older ones kids.
The climax of the story was the struggle. Buratino came to the attention of the “system” - the head of this entire theater, the main ideologist - Karabas. Then Buratino gleaned secret information that there was a key somewhere, and let slip about a secret door.
What is the key to transformation, how to change everything?
What is this key? The key to transformation, to understanding how to change everything. We need to build a new theater. That is, a new system, with its ideology and norms. There are many ideological and patriotic organizations that called themselves “Golden Key”. And no one understands why it has this name. And the name is precisely because they understood the essence and have the key, the knowledge of how to change everything, how to create a “new theater”.
It is noteworthy that Pinocchio never fought the system!!! If he didn’t like something because it was unfair, he spoke up, stood up for the boy, and immediately put on a new show, which everyone liked. That is, he acted without delay! On his own, without relying on anyone, the boy transformed and improved the existing system as best he could. Not much, but that's all he could do.
The lesson for us is how Pinocchio behaved in difficult circumstances for him. He did not fight with anyone, on the contrary, he collaborated. When the Cat and the Fox said: “let’s go to the land of Fools,” he went, he believed them, because he was trusting and kind. And at the same time, he did not lose heart, did not go into depression that he had lost all his money. He didn’t cut his wrists and didn’t complain at every corner, which can be seen everywhere now. On the contrary, the boy gained some useful experience. He gave Fate a chance to help him. And in the end, Fate gave him an OPPORTUNITY! Led to the creation of her own theater.
Tolstoy deliberately makes his book symbolic, giving the reader the opportunity to explore this story on a multi-level basis: it is useful and interesting for both children and adults. For example, a beard symbolizes power and money. Theater symbolizes the system. Karabas cannot be destroyed, and it is not necessary. It turns out that no one killed him, no one got rid of him, he lives on. But no one feels sympathy for him anymore; there is no complete trust and desire to cooperate with him in everything. Do you remember how this moment was presented by the writer? Nobody comes to the theater to see Karabas anymore.
In the holy books, in the Bible** and in the Koran, it is written that you cannot fight evil, you can change evil by turning it into good. Only the best can change people. And only then everything will work out. I'll give you a simple example. Remember how we “fight” drunkenness? Vodka is being removed from the shelves. Does it help? Are people quitting drinking? Maybe it’s not a matter of where the vodka is: on the counter, under the counter, or somewhere else. Maybe if people change so much and UNDERSTAND that life is more interesting and easier without alcoholic beverages, then alcohol will not be needed? What do you think?
My notes:
*A teacher-psychiatrist I know used to say: “Millionaires” or those who have achieved success in life often become people who think outside the box and have the courage not to live like everyone else. Therefore, a child who learned to be a blunderer and thought about pranks more than about lessons will be more successful than a quiet person and a nerd.
**The Bible says: “overcome evil with good.”
Among such books“The Three Musketeers”, “Alice in Wonderland”, “Winnie the Pooh”, “The Wizard of the Emerald City”, “Dunno in the Sunny City”. This mandatory list, in our deep conviction, should include the story about the adventures of a wooden boy named Pinocchio.
In 2015, it was eighty years since the fairy tale came out of the pen Alexei Tolstoy, who was in exile at that time, and forty years of its film adaptation by the Balarusfilm film studio. Thanks to the author's adaptation of "Pinocchio" Carla Collodio and the magnificent performance not only of masters of Soviet cinema Vladimir Etush, Rina Zelenaya, Elena Sanayeva, Rolan Bykov, Nikolai Grinko and others, but also of young artists Dima Iosifov, Tanya Protsenko, Pinocchio firmly entered the consciousness of more than one generation of boys and girls and from their simple wooden doll (Italian burattino - wooden doll-actor) has become an example of the best human qualities: courage, independence, humor, nobility, love and respect for elders, generosity, generosity, optimism, intolerance of injustice.
Alexey Tolstoy not only Russified the Italian fairy tale by Carlo Collodi, full of moral maxims (i.e., edifications), but, through the introduction of a new image of the golden key as a symbol of happiness, filled it with deep meaning. Pinocchio is not Pinocchio; deception, cunning and resourcefulness are alien to him. Yes, his very main attribute (long nose) turned from a symbol of lies into a symbol of curiosity inherent in every creative personality. Precisely a creative personality, capable of transforming and cultivating the world around him.
The tale of Pinocchio has potential not only for the moral, but also for the spiritual education of children. A deep analysis of the work shows that many plots have parallels with Christian theology. At first glance, the statement of the problem may seem far-fetched, but is it so? Let's try to understand the fairy tale from a Christian point of view.
Let us immediately make a reservation that we do not share the point of view of some literary scholars that Tolstoy’s fairy tale is of an extremist nature and offends the feelings of believers, since, in their opinion, it is a parody of Jesus Christ. They say that the father of the main character of the fairy tale is a carpenter, like Joseph the Betrothed, Pinocchio bought a ticket to the performance “The Girl with Blue Eyes, or Thirty-three Slaps on the Head,” which is a mockery of the age of Christ, and Karabas Barabas- in general, a parody of priests who wear beards in accordance with the canons of the Church.
Following this “far-fetched” logic, one can find the heroes of the cult cartoon “Well, wait a minute!” accused of promoting violence against animals, drunkenness and hooliganism, and Uncle Fyodor from “Three from Prostokvashino” - of vagrancy and illegal possession of property (a house in the village).
But let’s return to “The Golden Key” and carefully read the dialogue between Buratino and Talking Cricket in the closet Papa Carlo:
“Pinocchio saw a creature that looked a little like a cockroach, but with a head like a grasshopper. It sat on the wall above the fireplace and quietly crackled - kri-kri - looked with bulging, glass-like iridescent eyes, and moved its antennae.
- Hey, who are you?
“I am the Talking Cricket,” the creature answered, “I have been living in this room for more than a hundred years.”
“I’m the boss here, get out of here.”
“Okay, I’ll leave, although I’m sad to leave the room where I’ve lived for a hundred years,” answered the Talking Cricket, “but before I go, listen to some useful advice.”
– I really need the old cricket’s advice...
“Ah, Pinocchio, Pinocchio,” said the cricket, “stop self-indulgence, listen to Carlo, don’t run away from home without doing anything, and start going to school tomorrow.” Here's my advice. Otherwise, terrible dangers and terrible adventures await you. I won’t give even a dead dry fly for your life.
- Why? - asked Pinocchio.
“But you’ll see - a lot,” answered the Talking Cricket.
- Oh, you hundred-year-old cockroach bug! - Buratino shouted. “More than anything in the world, I love scary adventures.” Tomorrow, at first light, I’ll run away from home - climb fences, destroy birds’ nests, tease boys, pull dogs and cats by the tails... I can’t think of anything else yet!..
“I feel sorry for you, I’m sorry, Pinocchio, you will shed bitter tears.”
- Why? - Buratino asked again.
- Because you have a stupid wooden head.
Then Pinocchio jumped onto a chair, from the chair to the table, grabbed a hammer and threw it at the head of the Talking Cricket.
The old smart cricket sighed heavily, moved his whiskers and crawled behind the fireplace - forever from this room.”
Pinocchio talks to Cricket as a rival, insisting on his superiority. Doesn't this remind us of a person's communication with his... conscience?
Old Testament prophet Hosea, mourning Ephraim, says: “Ephraim overcame his adversary, trampling down judgment, because he began to walk after vain things” (Hos. 5:11). The rival, according to the interpretation of the Monk Abba Dorotheus, is conscience. “But why is conscience called a rival?” - asks the holy father. “He is called a rival because he always resists our evil will and reminds us of what we should do, but do not do; and again, we do what we should not do, and for this she condemns us” (Abba Dorotheus. Soulful teachings and messages. Teaching 3. On conscience).
How does Pinocchio react to the instructions of the Talking Cricket? Just like a person stricken by sin, his conscience first suppresses it, elevating his vices to the level of permissible, and then completely expels it.
Almost immediately after the conflict between Pinocchio and the Talking Cricket, threat to life and imminence of death:
“Now Buratino got scared, let go of the cold rat’s tail and jumped onto a chair. The rat is behind him.
He jumped from the chair to the windowsill. The rat is behind him.
From the windowsill it flew across the entire closet onto the table. The rat is behind him... And then, on the table, she grabbed Pinocchio by the throat, knocked him down, holding him in her teeth, jumped to the floor and dragged him under the stairs, into the underground.
- Papa Carlo! – Pinocchio only managed to squeak.
The door opened and Papa Carlo entered. He pulled a wooden shoe off his leg and threw it at the rat. Shushara, releasing the wooden boy, gritted her teeth and disappeared.”
The only hope- on Papa Carlo, so Pinocchio is in a seemingly critical situation, when due to his own frivolity, as Alexey Tolstoy himself notes, he almost died. Pinocchio calls dad Carlo for help, although he realizes that he is in the police station and not next to him. And yet, Papa Carlo unexpectedly comes to the rescue. You can see an artistic intention in this plot. However it is easy to see parallel with God's help to man, who is in a hopeless situation and calls on Him for help.
Just as the Lord takes care of his creation, so Papa Carlo creates a comfortable environment for Pinocchio - feeds and clothes him, and the fact that the wooden boy needs clothes, he says himself:
“- Papa Carlo, but I’m naked, wooden, the boys at school will laugh at me.
“Hey,” said Carlo and scratched his stubbled chin. - You're right, baby!
He lit the lamp, took scissors, glue and scraps of colored paper. I cut and glued a brown paper jacket and bright green pants. I made shoes from an old boot and a hat - a cap with a tassel - from an old sock. I put all this on Buratino.”
Doesn't this plot resemble a dialogue? Adam With God about the fact that he is naked and feels a sense of shame and that “... the Lord God made garments of skins for Adam and his wife, and clothed them” (Genesis 3:21)?
As well as Creator gives the person Book of Life, by reading which, he learns to communicate with God and the world around him, and Papa Carlo gives Pinocchio the alphabet, thanks to which he was supposed to learn to understand the world. Unfortunately, the desire for sensual pleasure takes precedence over the desire to develop his intellectual abilities, and Buratino exchanges school for the theater.
Getting out of the way indicated by Papa Carlo, leads to the fact that Pinocchio’s life is filled with danger and, at times, exciting adventures. But, despite the winding road, Pinocchio returns to his father’s house, and even with a golden key. The central event of his life is his acquaintance with the puppets of the Karabas Barabas Theater, whom he strives to help. But first it was necessary to meet with the swindlers who invited him to Country of Fools.
The Country of Fools returns the attentive reader to the realities of everyday life modern man: social inequality, superiority of power over citizens, rich over poor, lack of justice and imperfection of the judicial system, desire for easy income:
“The three of them walked along the dusty road. Lisa said:
- Smart, prudent Pinocchio, would you like to have ten times more money?
- Of course I want! How is this done?
The fox sat on its tail and licked its lips:
– I’ll explain to you now. In the Country of Fools there is a magical field - it’s called the Field of Miracles... In this field, dig a hole, say three times: “Cracks, fex, pex” - put the gold in the hole, fill it with earth, sprinkle salt on top, pour it well and go to sleep. The next morning a small tree will grow from the hole, and gold coins will hang on it instead of leaves.”
Pinocchio, like defrauded investors of financial pyramids late 20th and early 21st centuries, fails. But Alexei Tolstoy leads his hero through trials to the understanding that vain And perishable The world is deceptive, but it is there that he receives the golden key from Tortila the turtle.
Reflecting on the episode of the turtle Tortila Buratino's transfer of the golden key, let us pay attention to the motive of her action. In Tolstoy's text it is presented as follows:
- Oh, you brainless, gullible boy with short thoughts! - Tortila said. - You should stay at home and study diligently! Brought you to the Land of Fools!
- So I wanted to get more gold coins for Papa Carlo... I’m a very good and prudent boy...
“The cat and the fox stole your money,” said the turtle. - They ran past the pond, stopped for a drink, and I heard how they boasted that they dug up your money, and how they fought over it... Oh, you brainless, gullible fool with short thoughts!..
“We shouldn’t swear,” Buratino grumbled, “here we need to help a person... What am I going to do now?” Oh-oh-oh!.. How will I get back to Papa Carlo? Ah ah ah!..
He rubbed his eyes with his fists and whined so pitifully that the frogs suddenly all sighed at once:
- Uh-uh... Tortilla, help the man.
The turtle looked at the moon for a long time, remembering something...
“Once I helped one person in the same way, and then he made tortoiseshell combs out of my grandmother and my grandfather,” she said. And again she looked at the moon for a long time. - Well, sit here, little man, and I crawl along the bottom - maybe I’ll find one useful thing. She pulled in the snake's head and slowly sank under the water.
The frogs whispered:
– Tortila the turtle knows a great secret.
It's been a long, long time.
The moon was already setting behind the hills...
The green duckweed wavered again, and the turtle appeared, holding a small golden key in its mouth.
She put it on a leaf at Pinocchio's feet.
“You brainless, gullible fool with short thoughts,” said Tortila, “don’t worry that the fox and the cat stole your gold coins.” I give you this key. He was dropped to the bottom of a pond by a man with a beard so long that he put it in his pocket so that it would not interfere with his walk. Oh, how he asked me to find this key at the bottom!..
Tortila sighed, paused and sighed again so that bubbles came out of the water...
“But I didn’t help him, I was very angry at the time with people because my grandmother and my grandfather were made into tortoiseshell combs.” The bearded man talked a lot about this key, but I forgot everything. I only remember that you need to open some door for them and this will bring happiness...
Tortila is impressed by Pinocchio's desire to provide Papa Carlo with a comfortable existence. His desire is altruistic. This idea is reflected very well in the film adaptation of The Golden Key. The author of the script managed to convey the main idea of why it is Pinocchio who receives the key to happiness. Let's think about it too.
We understand perfectly well that neither Karabas Barabas, who personifies evil in the fairy tale, nor his minions Duremar, making money from the misfortune of others, not a scammer cat Basilio and the fox Alice cannot be fully happy because they are immoral. But why isn’t Buratino in his place? Malvina, not Pierrot, not Artemon or Harlequin? After all, they, like no one else, need to find happiness, become free, free themselves from the shackles of Karabas Barabas. But herein lies the key to unraveling the action of Tortila the turtle. And Malvina, and Harlequin, and Pierrot, and Artemon are puppets. The beautiful, at first glance, appearance of the puppets of the Karabas Theater hides the masks.
Pierrot, as a typical lover, suffering from unrequited love, is in a constant state of despondency and depression and resembles a representative of the modern youth subculture emo. Pinocchio calls Pierrot a crybaby and a pester. Harlequin, on the contrary, is an example of carelessness and being in eternal joy. And even the poodle Artemon in a fairy tale will look dandy and dandy. Malvina’s pride is so great that when communicating with Buratino, whom she sees for the first time in her life, she is touchy and absurd, capricious to the extreme. However, she tries to raise him. I recall the words of the Apostle Peter: “They promise them freedom, although they themselves are slaves of corruption; for whoever is conquered by someone is his slave (2. Peter 2:19). And the strings from the dolls are in the hands of Karabas Barabas.
Unlike the puppets of the Karabas theater, Pinocchio has free will, this is what determines his restlessness and mischief, but at the same time, generosity and selflessness, the desire to make others happy.
The motive of the turtle Tortila giving Pinocchio the golden key is very subtly reflected in the film “The Adventure of Pinocchio”.
Let's take a look at their dialogue:
“And you know, for some reason I liked you.
I'm charming.
No, that's not the point. You are kind, you love Papa Carlo and believe that you were created for the joy of people. I want to give you a key. I swore that I would never give it to people. They became greedy and evil, and evil and greedy people can never be happy. Take the key, it will bring you happiness."
Let us remind you that the film appeared in 1975 year when atheist propaganda raged. Consciously or not, nevertheless, in this dialogue, the commandments about love for God and neighbor are veiled: “Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind. This is the first and greatest commandment. The second is similar to it: Love your neighbor as yourself. All the law and the prophets are based on these two commandments (Matthew 22:37-40).
Possession of a golden key is not able to make the main characters happy - the door to the lock of which this key fits is necessary, and behind which the main dream is located. According to the author, the door is located behind the canvas with a painted fireplace in Papa Carlo’s modest closet. In other words, after many adventures, like the prodigal son, you need to return to your father’s house.
In a fight with Karabas Barabas and his minions, far from the house of Papa Carlo, Pinocchio, according to the author, comes for the first time in his life in despair:
“Fox Alice smiled wryly:
– Do you allow me to break the necks of these impudent people?
Another minute and everything would have been over... Suddenly swifts rushed by whistling:
- Here, here, here!..
A magpie flew over the head of Karabas Barabas, chattering loudly:
- Hurry, hurry, hurry!..
And at the top of the slope old dad Carlo appeared. His sleeves were rolled up, he had a gnarled stick in his hand, his eyebrows were furrowed...
He pushed Karabas Barabas with his shoulder, Duremar with his elbow, pulled the fox Alice across the back with his baton, and threw Basilio the cat with his boot...
After that, bending down and looking down from the slope where the wooden men stood, he said joyfully:
“My son, Buratino, you rogue, you are alive and well, come to me quickly!”
Let us compare the last words of this passage with the words from the parable of Jesus Christ about the prodigal son: “...my son was dead and is alive again, he was lost and is found” (Luke 15:23).
The final scenes of the tale also have Christian motifs. Here is the dialogue between the main characters before the performance at the new puppet theater:
“Pierrot rubbed his wrinkled forehead with his fists:
- I will write this comedy in luxurious verses.
“I will sell ice cream and tickets,” said Malvina. – If you find my talent, I’ll try to play the roles of pretty girls...
- Wait, guys, when will we study? – asked Papa Carlo.
Everyone answered at once:
- We will study in the morning... And in the evening we will play in the theater...
“Well, that’s it, kids,” said Papa Carlo, “and I, kids, will play the barrel organ for the amusement of the respectable public, and if we start traveling around Italy from city to city, I’ll ride a horse and cook lamb stew.” with garlic..."
Not only Buratino, but also his friends find happiness. A rebirth takes place in their hearts: Malvina turns from capricious and arrogant into a modest girl, Pierrot finally finds inspiration and joy in life. It is especially valuable that Papa Carlo becomes their guide, who will continue to take care of them. It is symbolic that the day before the Talking Cricket returns to Pinocchio.
The fairy tale "The Golden Key, or the Adventures of Pinocchio" has deep Christian meaning. Its main idea, in our opinion, is that by staying in temporary life, through virtues and the fight against temptations, a person acquires the “golden key” for a happy life. eternal life, life with God .
Kaskelainen Oleg 9th grade
"The Mystery of Alexei Tolstoy's Fairy Tale
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Literature Research Paper
The mystery of Alexei Tolstoy's fairy tale
"The Golden Key, or the Adventures of Pinocchio"
Completed by: student of class 9 “A”
GBOU secondary school No. 137 of Kalininsky district
St. Petersburg
Kaskelainen Oleg
Teacher: Prechistenskaya Ekaterina Anatolyevna
Chapter 1. Introduction page 3
Chapter 2. Karabas-Barabas Theater page 4
Chapter 3. The image of Karabas-Barabas page 6
Chapter 4. Biomechanics page 8
Chapter 5. Image of Pierrot page 11
Chapter 6. Malvina page 15
Chapter 7. Poodle Artemon page 17
Chapter 8. Duremar page 19
Chapter 9. Pinocchio page 20
Chapter 1. Introduction
My work is dedicated to the famous work of A.N. Tolstoy “The Golden Key or the Adventures of Pinocchio.”
The fairy tale was written by Alexei Tolstoy in 1935 and dedicated to his future wife Lyudmila Ilyinichna Krestinskaya - later Tolstoy. Alexey Nikolaevich himself called The Golden Key “a new novel for children and adults.” The first edition of Buratino in the form of a separate book was published on February 28, 1936, was translated into 47 languages, and has not left bookstore shelves for 75 years.
Since childhood, I have been interested in the question of why there are no clearly expressed positive characters in this fairy tale. If a fairy tale is for children, it should be educational in nature, but here Pinocchio gets a whole magical country-theater just like that, for no reason, without even dreaming about it... The most negative characters: Karabas - Barabas, Duremar - the only heroes who really work, benefit people - they maintain a theater, catch leeches, that is, treat people, but they are presented in some kind of parody color... Why?
Most people believe that this work is a free translation of the Italian fairy tale Pinocchio, but there is a version that in the fairy tale “The Golden Key” Tolstoy parodies the theater of Vsevolod Meyerhold and the actors: Mikhail Chekhov, Olga Knipper-Chekhova, Meyerhold himself, the great Russian poet Alexander Blok and K. S. Stanislavsky - director, actor. My work is devoted to the analysis of this version.
Chapter 2. Karabas-Barabas Theater
The Karabas-Barabas Theater, from where the dolls escape, is a parody of the famous theater of the 20-30s by the director - “despot” Vsevolod Meyerhold (who, according to A. Tolstoy and many of his other contemporaries, treated his actors as “puppets” ). But Buratino, with the help of the golden key, opened the most wonderful theater where everyone should be happy - and this, at first glance, is the Moscow Art Theater (which A. Tolstoy admired).Stanislavsky and Meyerhold understood theater differently. Years later, in the book “My Life in Art,” Stanislavsky wrote about Meyerhold’s experiments: “The talented director tried to cover up the artists, who in his hands were mere clay for sculpting beautiful groups, mise-en-scenes, with the help of which he realized his interesting ideas.” In fact, all contemporaries point out that Meyerhold treated the actors as “puppets” performing his “beautiful play.”
The Karabas-Barabas theater is characterized by the alienation of puppets as living beings from their roles, the extreme conventionality of the action. In “The Golden Key” the bad theater of Karabas-Barabas is replaced by a new, good one, whose charm is not only in a well-fed life and friendship between the actors, but also in the opportunity to play themselves, that is, to coincide with their true role and act as creators themselves . In one theater there is oppression and coercion, in another Pinocchio is going to “play himself.”
At the beginning of the last century, Vsevolod Meyerhold made a revolution in theatrical art and proclaimed: “Actors should not be afraid of the light, and the viewer should see the play of their eyes.” In 1919, Vsevolod Meyerhold opened his own theater, which was closed in January 1938. Two incomplete decades, but this time frame became the real era of Vsevolod Meyerhold, the creator of the magical “Biomechanics.” He found the foundations of theatrical biomechanics back in the St. Petersburg period, in 1915. The work on creating a new system of human movement on stage was a continuation of the study of the movement techniques of Italian comedians of the times commedia dell'arte.
There should be no room for any randomness in this system. However, within a clearly defined framework there is a huge space for improvisation. There were cases when Meyerhold reduced the performance from eighteen scenes to eight, because this was how the actor’s imagination and desire to live within these limits were played out. “I have never seen a greater embodiment of theater in a person than the theater in Meyerhold,” Sergei Eisenstein wrote about Vsevolod Emilievich. On January 8, 1938, the theater was closed. “The measure of this event, the measure of this arbitrariness and the possibility that this can be done, is not comprehended by us and not felt properly,” wrote actor Alexei Levinsky.
Many critics note that in the emblem of Meyerhold's theatera seagull is visible in the form of lightning, created by F. Shekhtel for the curtain of the Art Theater. In contrast to the new theater, in the theater « Karabas-Barabas”, from which the dolls are running away, “on the curtain were drawn dancing men, girls in black masks, scary bearded people in caps with stars, a sun that looked like a pancake with a nose and eyes, and other entertaining pictures.” This composition is made from elements in the spirit of real-life, and well-known, theater curtains. This, of course, is a romantic stylization dating back to Gozzi and Hoffmann, inextricably linked in the theatrical consciousness of the beginning of the century with the name of Meyerhold.
Chapter 3. The image of Karabas-Barabas
Karabas-Barabas (V. Meyerhold).
Where did the name Karabas-Barabas come from? Kara Bash in many Turkic languages is the Black Head. True, the word Bas has another meaning - to suppress, to press (“boskin” - press), it is in this meaning that this root is part of the word basmach. “Barabas” is similar to the Italian words meaning scoundrel, swindler (“barabba”) or beard (“barba”) - both of which are quite consistent with the image. The word Barabas is the biblical sounding name of the robber Barrabas, who was released from custody instead of Christ.
In the image of the Doctor of Puppet Science, the owner of the puppet theater Karabas-Barabas, the features of theater director Vsevolod Emilievich Meyerhold, whose stage name was the name Doctor Dapertutto, can be traced. The seven-tailed whip that Karabas never parted with is the Mauser that Meyerhold began to wear after the revolution and which he used to place in front of him during rehearsals.
In his fairy tale by Meyerhold, Tolstoy implies beyond portrait resemblance. The object of Tolstoy's irony is not the true personality of the famous director, but rumors and gossip about him. Therefore, the self-characterization of Karabas Barabas: “I am a doctor of puppet science, the director of a famous theater, a holder of the highest orders, the closest friend of the Tarabar King” - so strikingly corresponds to the ideas about Meyerhold of naive and ignorant provincials in Tolstoy’s story “Native Places”: “Meyerhold is a complete general. In the morning, his sovereign emperor calls: cheer up, he says, the general, the capital and the entire Russian people. “I obey, Your Majesty,” the general answers, throwing himself into a sleigh and marching through the theaters. And in the theater they will present everything as it is - Bova the prince, the fire of Moscow. That's what a man is"
Meyerhold tried to use acting techniques in the spirit of the ancient Italian comedy of masks and rethink them in a modern space.
Karabas-Barabas - the ruler of the puppet theater - has his own “theory”, corresponding to practice and embodied in the following “theatrical manifesto”:
Puppet lord
This is who I am, come on...
Dolls in front of me
They spread like grass.
If only you were a beauty
I have a whip
Whip of seven tails,
I'll just threaten you with a whip
My people are meek
Sings songs...
It is not surprising that actors run away from such a theater, and it is the “beauty” Malvina who runs away first, Pierrot runs after her, and then, when Pinocchio and his companions find a new theater with the help of the golden key, all the doll actors join them, and the theater of the “puppet lord” collapses.
Chapter 4. Biomechanics
V. E. Meyerhold paid a lot of attention to the harlequinade, Russian booth, circus, and pantomime.
Meyerhold introduced the theatrical term “Biomechanics” to designate his system of actor training: “Biomechanics seeks to experimentally establish the laws of movement of an actor on the stage, working out training exercises for the actor based on the norms of human behavior.”
The main principles of biomechanics can be formulated as follows:
“- the creativity of an actor is the creativity of plastic forms in space;
- the art of an actor is the ability to correctly use the expressive means of one’s body;
- the path to an image and a feeling must begin not with an experience or with an understanding of the role, not with an attempt to assimilate the psychological essence of the phenomenon; not from the inside at all, but from the outside - start with movement.
This led to the main requirements for an actor: only an actor who is well trained, has musical rhythm and slight reflex excitability can begin with movement. To do this, the actor’s natural abilities must be developed through systematic training.
The main attention is paid to the rhythm and tempo of the acting.
The main requirement is the musical organization of the plastic and verbal drawing of the role. Only special biomechanical exercises could become such training. The goal of biomechanics is to technologically prepare the “comedian” of the new theater to perform any of the most complex gaming tasks.
The motto of biomechanics is that this “new” actor “can do anything,” he is an omnipotent actor. Meyerhold argued that the actor's body should become an ideal musical instrument in the hands of the actor himself. An actor must constantly improve the culture of bodily expressiveness, developing the sensations of his own body in space. The master completely rejected reproaches to Meyerhold that biomechanics brings up a “soulless” actor who does not feel, does not experience, an athlete and an acrobat. The path to the “soul,” to experiences, he argued, can only be found with the help of certain physical positions and states (“excitability points”) fixed in the role’s score.
Chapter 5. The image of Pierrot
The prototype of Pierrot was the brilliant Russian poet Alexander Blok. A philosopher and poet, he believed in the existence of the Soul of the world, Sophia, the Eternal Feminine, called upon to save humanity from all evils, and believed that earthly love has a high meaning only as a form of manifestation of the Eternal Feminine. In this spirit, Blok’s first book, “Poems about a Beautiful Lady,” was translated into his “romantic experiences” - his passion for Lyubov Dmitrievna Mendeleeva, the daughter of a famous scientist, who soon became the poet’s wife. Already in earlier poems, later united by Blok under the title “AnteLucem” (“Before the Light”), as the author himself puts it, “it continues to slowly take on unearthly features.” In the book, his love finally takes on the character of sublime service, prayers (this is the name of the whole cycle), offered not to an ordinary woman, but to the “Mistress of the Universe.”Talking about his youth in his autobiography, Blok said that he entered life “with complete ignorance and inability to communicate with the world.” His life seems normal, but as soon as you read any of his poems instead of prosperous “biographical data”, the idyll will crumble to pieces, and prosperity will turn into disaster:
"Dear friend, and in this quiet house
The fever hits me.
I can't find a place in a quiet house
Near the peaceful fire!
I'm afraid of comfort...
Even behind your shoulder, friend,
Someone's eyes are watching!"
Blok's early lyrics arose on the basis of idealistic philosophical teachings, according to which, along with the imperfect real world, there is an ideal world, and one should strive to comprehend this world. Hence the detachment from public life, mystical alertness in anticipation of unknown spiritual events on a universal scale.
The figurative structure of the poems is full of symbolism, and extended metaphors play a particularly significant role. They convey not so much the real features of what is depicted, but rather the emotional mood of the poet: the river “hums,” the blizzard “whispers.” Often a metaphor develops into a symbol.
Poems in honor of the Beautiful Lady are distinguished by moral purity and freshness of feelings, sincerity and sublimity of the young poet’s confessions. He glorifies not only the abstract embodiment of the “eternally feminine”, but also a real girl - “young, with a golden braid, with a clear, open soul”, as if she came out of folk tales, from whose greeting “the poor oak staff will sparkle with a semi-precious tear...”. Young Blok affirmed the spiritual value of true love. In this he followed the traditions of 19th century literature with its moral quest.
There is no Pierrot either in the Italian original source or in the Berlin “remake and processing”. This is a purely Tolstoyan creation. Collodi does not have Pierrot, but he does have Harlequin: it is he who recognizes Pinocchio among the audience during the performance, and it is Pinocchio who later saves his puppet life. Here the role of Harlequin in the Italian fairy tale ends, and Collodi does not mention him again. It is this single mention that the Russian author seizes on and drags onto the stage Harlequin’s natural partner - Pierrot, because Tolstoy does not need the mask of a “successful lover” (Harlequin), but rather a “deceived husband” (Pierrot). Calling Pierrot onto the stage - Harlequin has no other function in a Russian fairy tale: Pinocchio is recognized by all the dolls, the scene of Harlequin's rescue is omitted, and he is not busy in other scenes. Pierrot's theme is introduced immediately and decisively, the play is carried out simultaneously on the text - a traditional dialogue between two traditional characters of Italian folk theater and on the subtext - satirical, intimate, full of caustic allusions: “A small man in a long white shirt with long sleeves appeared from behind a cardboard tree. His face was sprinkled with powder, white as tooth powder. He bowed to the most respectable audience and said sadly: Hello, my name is Pierrot... Now we will play before you a comedy called: “The Girl with Blue Hair, or Thirty-three Slaps.” Me They will hit you with a stick, slap you in the face and slap you upside the head. This is a very funny comedy... From behind another cardboard tree, another man jumped out, all checkered like a chessboard.
He bowed to the most respectable audience: - Hello, I am Harlequin!
After that, he turned to Pierrot and gave him two slaps in the face, so loud that powder fell from his cheeks.”
It turns out that Pierrot loves a girl with blue hair. Harlequin laughs at him - there are no girls with blue hair! - and hits him again.
Malvina is also the creation of a Russian writer, and she is needed, first of all, to be loved by Pierrot with selfless love. The novel of Pierrot and Malvina is one of the most significant differences between The Adventures of Pinocchio and The Adventures of Pinocchio, and from the development of this novel it is easy to see that Tolstoy, like his other contemporaries, was initiated into Blok’s family drama.
Pierrot of Tolstoy's fairy tale is a poet. Lyric poet. The point is not even that Pierrot’s relationship with Malvina becomes a poet’s romance with an actress, the point is what kind of poetry he writes. He writes poems like this:
Shadows dance on the wall,
I'm not afraid of anything.
Let the stairs be steep
Let the darkness be dangerous
Still an underground route
Will lead somewhere...
“Shadows on the wall” is a regular image in Symbolist poetry. “Shadows on the wall” dance in dozens of poems by A. Blok and in the title of one of them. “Shadows on the wall” is not just a detail of lighting often repeated by Blok, but a fundamental metaphor for his poetics, based on sharp, cutting and tearing contrasts of white and black, anger and kindness, night and day.
Pierrot is parodied not by this or that Blok text, but by the poet’s work, the image of his poetry.
Malvina fled to foreign lands,
Malvina is missing, my bride...
I'm sobbing, I don't know where to go...
Isn't it better to part with the doll's life?
Blok's tragic optimism implied faith and hope in spite of circumstances that inclined towards disbelief and despair. The word “despite”, all the ways of conveying the masculine meaning contained in it were at the center of Blok’s stylistics. Therefore, even Pierrot’s syntax reproduces, as befits a parody, the main features of the parodied object: despite the fact that... but... let... anyway...
Pierrot spends his time longing for his missing lover and suffering from everyday life. Due to the supermundane nature of his aspirations, he gravitates towards blatant theatricality of behavior, in which he sees a practical meaning: for example, he tries to contribute to the general hasty preparations for the battle with Karabas by “wringing his hands and even trying to throw himself backwards onto the sandy path.” Involved in the fight against Karabas, Pinocchio turns into a desperate fighter, even begins to speak “in a hoarse voice like large predators speak,” instead of the usual “incoherent verses” he produces fiery speeches, in the end it is he who writes that very victorious revolutionary play in verse, which is given in the new theater.
Chapter 6. Malvina
Malvina (O.L. Knipper-Chekhova).
Fate, drawn by Tolstoy, is a very ironic person: how else can one explain that Pinocchio ends up in the house of the beautiful Malvina, surrounded by a wall of forest, fenced off from the world of troubles and adventures? Why Pinocchio, who doesn’t need this beauty, and not Pierrot, who is in love with Malvina? For Pierrot, this house would become the coveted “Nightingale Garden,” and Buratino, concerned only with how well the poodle Artemon chases the birds, can only compromise the very idea of the “Nightingale Garden.” This is why he ends up in Malvina’s “Nightingale Garden”.
The prototype of Malvina, according to some researchers, was O.L. Knipper-Chekhov. The name of Olga Leonardovna Knipper-Chekhova is inextricably linked with two most important phenomena of Russian culture: the Moscow Art Theater and Anton Pavlovich Chekhov.
She devoted almost her entire long life to the Art Theater, from the moment the theater was founded and almost until her death. She knew English, French, and German perfectly. She had great tact and taste, was noble, refined, and femininely attractive. She had an abyss of charm, she knew how to create a special atmosphere around herself - sophistication, sincerity and tranquility. She was friends with Blok.
There were always a lot of flowers in the apartment, they stood everywhere in pots, baskets and vases. Olga Leonardovna loved to look after them herself. Flowers and books replaced any collections that never interested her: Olga Leonardovna was not a philosopher at all, but she was characterized by an amazing breadth and wisdom of understanding of life. She somehow, in her own way, distinguished the main from the secondary, what is important only today, from what is generally very important. She did not like false wisdom, did not tolerate philosophizing, but she also simplified life and people. She could “accept” a person with oddities or even some unpleasant traits if she was attracted to his essence. And she treated “smooth” and “correct” with suspicion or humor.
A most devoted student of Stanislavsky and Nemirovich-Danchenko, she not only admits and accepts the existence of other paths in art, “more theatrical than ours,” as she writes in an article about Meyerhold, but dreams of liberating the Art Theater itself from the squat, petty, everyday life, neutrality of poorly understood “simplicity”.
What kind of person does Malvina appear to us? Malvina is the most beautiful doll from the Karabas Barabas theater: “A girl with curly blue hair and pretty eyes,” “The face is freshly washed, there is flower pollen on her upturned nose and cheeks.”
Tolstoy describes her character with the following phrases: “...a well-mannered and meek girl”; “with an iron character”, smart, kind, but because of her moral teachings she turns into a decent bore. Defenseless, weak, “coward”. It is these qualities that help bring out the best spiritual qualities of Pinocchio. The image of Malvina, like the image of Karabas, contributes to the manifestation of the best spiritual qualities of the wooden man.
In the work “The Golden Key,” Malvina has a similar character to Olga. Malvina tried to teach Pinocchio - and in life Olga Knipper tried to help people, she was selfless, kind and sympathetic. I was captivated not only by the charm of her stage talent, but also by her love of life: lightness, youthful curiosity about everything in life - books, paintings, music, performances, dance, sea, stars, smells and colors and, of course, people. When Pinocchio ends up in Malvina’s forest house, the blue-haired beauty immediately begins raising the mischievous boy. She makes him solve problems and write dictations. The image of Malvina, like the image of Karabas, contributes to the manifestation of the best spiritual qualities of the wooden man.
Chapter 7. Poodle Artemon
Malvina's poodle is brave, selflessly devoted to his owner, and despite his outward childish carelessness and restlessness, he manages to perform the function of strength, those very fists, without which goodness and reason cannot improve reality. Artemon is self-sufficient, like a samurai: he never questions the orders of his mistress, does not look for any other meaning in life other than loyalty to duty, and trusts others to make plans. In his free time, he indulges in meditation, chasing sparrows or spinning like a top. In the finale, it is the spiritually disciplined Artemon who strangles the rat Shushara and puts Karabas in a puddle.
The prototype of the poodle Artemon was Anton Pavlovich Chekhov. They With Olga Knipper got married and lived together until the death of A.P. Chekhov.The closeness between the Art Theater and Chekhov was extremely deep. Related artistic ideas and Chekhov's influence on the theater were very strong.
In his notebook, A.P. Chekhov once remarked: “Then a person will become better when you show him what he is.” Chekhov's works reflected the features of the Russian national character - gentleness, sincerity and simplicity, with a complete absence of hypocrisy, posture and hypocrisy. Chekhov's testaments of love for people, responsiveness to their sorrows and mercy to their shortcomings. Here are just a few of his phrases that characterize his views:
“Everything in a person should be beautiful: face, clothes, soul, and thoughts.”
“If every person on the bush of his land did everything he could, how beautiful our land would be.”
Chekhov strives not only to describe life, but also to remake, to build it: either he is working on setting up the first people's house in Moscow with a reading room, a library, a theater, then he is trying to get a clinic for skin diseases built right there in Moscow, then he is working on setting up a Crimea, the first biological station, either collects books for all Sakhalin schools and sends them there in whole batches, or builds three schools for peasant children near Moscow, and at the same time a bell tower and a fire shed for the peasants. When he decided to set up a public library in his hometown of Taganrog, he not only donated more than thousands of volumes of his own books for it, but also sent it piles of books he purchased in bales and boxes for 14 years in a row.
Chekhov was a doctor by profession. He treated peasants free of charge, declaring to them: “I am not a gentleman, I am a doctor.”His biography is a textbook of writerly modesty.“You need to train yourself,” said Chekhov. Training, making high moral demands on himself and strictly ensuring that they are fulfilled is the main content of his life, and he loved this role most of all - the role of his own educator. Only in this way did he acquire his moral beauty - through hard work on himself. When his wife wrote to him that he had a compliant, gentle character, he answered her: “I must tell you that by nature my character is harsh, I am quick-tempered and so on, so on, but I am used to restraining myself, because a decent person cannot let himself go.” appropriate." At the end of his life, A.P. Chekhov was very ill and was forced to live in Yalta, but he did not demand that his wife leave the theater and take care of him.Devotion, modesty, a sincere desire to help others in everything - these are the traits that unite the hero of the fairy tale and Chekhov and suggest that Anton Pavlovich is the prototype of Artemon.
Chapter 8. Duremar
The name of the closest assistant to the doctor of puppet sciences, Karabas Barabas, is formed from the domestic words “fool”, “fool” and the foreign name Volmar (Voldemar). Director V. Solovyov, Meyerhold’s closest assistant both on stage and at the magazine “Love for Three Oranges” (where Blok headed the poetry department), had a magazine pseudonym Voldemar (Volmar) Luscinius, who apparently gave Tolstoy “the idea » named after Duremar. The “similarity” can be seen not only in names. Tolstoy describes Duremar as follows: “A long man with a small, small face, as wrinkled as a morel mushroom, entered. He was wearing an old green coat." And here is the portrait of V. Solovyov, drawn by the memoirist: “A tall, thin man with a beard, in a long black coat.”
Duremar in Tolstoy's work is a leech merchant, himself similar to a leech; somewhat of a medic. Selfish, but in principle not evil, he can bring benefit to society, say, in the position of a theater janitor, which he dreams of when the population, which has completely recovered after the opening of the Buratino theater, stops buying his leeches.
Chapter 9. Pinocchio
The word "Pinocchio" is translated from Italian as puppet, but in addition to the literal meaning, this word at one time had a very definite common meaning. The surname Buratino (later Buratini) belonged to a family of Venetian moneylenders. They, like Buratino, also “grew” money, and one of them, Titus Livius Buratini, even suggested that Tsar Alexei Mikhailovich replace silver and gold coins with copper ones. This replacement soon led to an unprecedented rise in inflation and the so-called Copper Riot on July 25, 1662.
Alexey Tolstoy describes the appearance of his hero Buratino in the following words: “A wooden man with small round eyes, a long nose and a mouth up to his ears.” Pinocchio’s long nose in the fairy tale takes on a slightly different meaning than Pinocchio’s: he is curious (in the spirit of the Russian phraseological unit “poking your nose into someone else’s business”) and naive (having pierced the canvas with his nose, he has no idea what kind of door is visible there - i.e. e. “can’t see beyond his own nose”). In addition, Pinocchio’s provocatively protruding nose (in Collodi’s case is in no way connected with the character of Pinocchio) in Tolstoy began to denote a hero who does not hang his nose.
Having barely been born, Pinocchio is already playing pranks and mischief. So carefree, but full of common sense and tirelessly active, defeating his enemies “with the help of wit, courage and presence of mind,” he is remembered by readers as a devoted friend and a warm-hearted, kind man. Buratino contains the traits of many of A. Tolstoy’s favorite heroes, who are inclined to action rather than to reflection, and here, in the sphere of action, they find and embody themselves. Pinocchio is infinitely charming even in his sins. Curiosity, simplicity, naturalness... The writer entrusted Pinocchio with the expression of not only his most cherished beliefs, but also the most attractive human qualities, if one is allowed to talk about the human qualities of a wooden doll.
Pinocchio is plunged into the abyss of disaster not by laziness and aversion to work, but by a boyish passion for “terrible adventures”, his frivolity, based on the life position “What else can you come up with?” He reincarnates without the help of fairies and sorceresses. The helplessness of Malvina and Pierrot helped bring out the best traits of his character. If we begin to list Pinocchio’s character traits, then agility, courage, intelligence, and a sense of camaraderie will come to the very first place. Of course, throughout the entire work, what is first striking is Pinocchio’s self-praise. During the “terrible battle on the edge of the forest,” he sat on a pine tree, and it was mainly the forest brotherhood who fought; victory in battle is the work of Artemon’s paws and teeth, it was he who “came out of the battle victorious.” But then Pinocchio appears at the lake, behind him barely trails the bleeding Artemon, loaded with two bales, and our “hero” declares: “They also wanted to fight with me!.. What do I need a cat, what do I need a fox, what do I need police dogs, what to me Karabas Barabas himself - ugh! ..." It seems that, in addition to such shameless appropriation of other people's merits, he is also heartless. Choking in the story with admiration for himself, he does not even notice that he is putting himself in a comical position (for example, while fleeing): “No panic! Let's run!" - commands Buratino, “courageously walking ahead of the dog...” Yes, there is no longer a fight here, there is no longer a need to sit on the “Italian pine”, and now you can completely “courageously walk over the bumps,” as he himself describes his next feat. But what forms does this “courage” take when danger appears: “Artemon, throw off the bales, take off your watch - you will fight!”
Having analyzed the actions of Pinocchio as the plot develops, one can trace the evolution of the development of good traits in the character and actions of the hero. A distinctive feature of Pinocchio's character at the beginning of the work is rudeness, bordering on rudeness. Such expressions as “Pierrot, go to the lake...”, “What a stupid girl...” “I am the boss here, get out of here...”
The beginning of the fairy tale is characterized by the following actions: he offended the cricket, grabbed the rat by the tail, and sold the alphabet. “Pinocchio sat down at the table and tucked his leg under him. He stuffed the whole almond cake into his mouth and swallowed it without chewing.” Next we observe “he politely thanked the turtle and the frogs...” “Pinocchio immediately wanted to boast that the key was in his pocket. In order not to let it slip, he pulled the cap off his head and stuffed it into his mouth...”; “... was in charge of the situation...” “I am a very reasonable and prudent boy...” “What will I do now? How will I get back to Papa Carlo? “Animals, birds, insects! They’re beating our people!” As the plot develops, Pinocchio's actions and phrases change dramatically: he fetched water, collected branches for the fire, lit a fire, brewed cocoa; worries about friends, saves their lives.
The justification for the adventure with the Field of Miracles is to shower Papa Carlo with jackets. Poverty, which forced Carlo to sell his only jacket for the sake of Pinocchio, gives birth to the latter’s dream of getting rich quickly in order to buy Carlo a thousand jackets..
In the Pope's closet, Carlo Pinocchio finds the main goal for which the work was conceived - a new theater. The author's idea is that only a hero who has gone through spiritual improvement can achieve his cherished goal.
The prototype of Pinocchio, according to many authors, was the actor Mikhail Aleksandrovich Chekhov, nephew of the writer Anton Pavlovich Chekhov.From his youth, Mikhail Chekhov was seriously involved in philosophy; Subsequently, an interest in religion appeared. Chekhov was not interested in social problems, but in “a lonely Man standing in the face of Eternity, Death, the Universe, God.” The main feature that unites Chekhov and his prototype is “Contagiousness.” Chekhov had a huge influence on viewers of the twenties of all generations. Chekhov had the ability to infect the audience with his feelings. “His genius as an actor is, first of all, the genius of communication and unity with the audience; He had a direct, inverse and continuous connection with her.
In 1939 Chekhov's Theater is coming to Ridgefield, 50 miles from New York, in 1940–1941 the performances of “Twelfth Night” (a new version, different from the previous ones), “The Cricket on the Stove,” and “King Lear” by Shakespeare were prepared.
Theater-studio M.A. Chekhov. USA. 1939-1942
In 1946, newspapers announced the creation of an “Actors’ Workshop”, where “Mikhail Chekhov’s method” is currently being developed (it still exists in a modified form. Among his students were Hollywood actors: G. Peck, Marilyn Monroe, Yu. Brynner) . He worked as a director at the Hollywood Laboratory Theater.
Since 1947, due to the exacerbation of his illness, Chekhov limited his activities mainly to teaching, teaching acting courses in the studio of A. Tamirov.
Mikhail Chekhov died in Beverly Hills (California) on October 1, 1955; the urn with his ashes was buried at Forest Lawn Memorial Cemetery in Hollywood. Almost until the mid-1980s, his name fell into oblivion in his homeland, appearing only in individual memoirs (S.G. Birman, S.V. Giatsintova, Berseneva, etc.). In the West, over the years, Chekhov's method has acquired a significant influence on acting techniques; since 1992, International Workshops of Mikhail Chekhov have been regularly organized in Russia, England, the USA, France, the Baltic States, and Germany with the participation of Russian artists, directors, and teachers.
The main miracle of the whole fairy tale, in my opinion, is that it was Mikhail Chekhov (Pinocchio), who opened the door to a fairyland - a new theater, who founded a school of theatrical art in Hollywood, which has not yet lost its relevance.
The work is dedicated to the memory of the teacher of Russian language and literature
Belyaeva Ekaterina Vladimirovna.
The main character of Leo Tolstoy's fairy tale “The Golden Key or the Adventures of Buratino” is a cheerful and mischievous boy named Buratino, who was whittled out of a talking log by the old organ grinder Carlo. Looking at Pinocchio, everyone was surprised at his unusually long nose.
The organ grinder was very poor. Food appeared infrequently in Carlo's closet. On the wall of this closet hung an old canvas with a painted fireplace. The curious Pinocchio, who was very hungry, stuck his long nose into the painted bowler hat and, of course, poked a hole in the canvas. Looking through the hole, he saw a mysterious door that was hidden behind the canvas.
The organ grinder decided to send Pinocchio to school so that he could learn his wits. He sold his jacket and bought a beautiful alphabet book. But on the way to school, Pinocchio saw a puppet theater and, having sold his alphabet, went to watch a puppet show.
The dolls recognized Pinocchio and, interrupting the performance, began to sing funny songs and dance around him. The owner of the theater, Karabas Barabas, came out to hear the noise. He grabbed the troublemaker and carried him to the storage room. In the evening, Karabas felt cold, and he ordered the dolls to bring a wooden Pinocchio to light the fireplace with. But Buratino told Karabas about the painted hearth, after which the owner of the theater unexpectedly gave him five gold coins and sent him home, ordering him not to leave the closet under any circumstances. Buratino realized that there was some secret connected with the closet and the canvas.
On the way home, the wooden boy met two swindlers, Alice the fox and Basilio the cat. These cunning men lured the simple-minded Pinocchio to the Land of Fools. During a trip to the Country of Fools, various adventures occur with Pinocchio - he is attacked by robbers, he again meets with the dolls from the Karabas theater, who escaped from their owner. Then he parts with the dolls and meets the fox and the cat again. These cunning people are tricking him out of money. In an old pond, Pinocchio meets the turtle Tortilla, who gives him a golden key found at the bottom of the pond.
Many more adventures happened in the life of the cheerful wooden boy and his doll friends: Malvina, Pierrot and Artemon. But, in the end, the secret of the golden key was revealed. This key opened that mysterious door that was hidden behind the painted fireplace in the closet of the old organ grinder. Behind the door, the heroes of the fairy tale discovered a new wonderful puppet theater.
In this puppet theater, friends began to give their performances, which the whole city attended. And all the other dolls also ran away from the evil Karabas Barabas to the new theater, so Karabas was left with nothing.
This is the summary of the tale.
The main meaning of the fairy tale “The Adventures of Pinocchio” is that good always wins, and evil is left with nothing. But in order for good to win, one must make an effort, act, and not sit idly by. The fairy tale teaches us to be purposeful and active in achieving our goals. The fairy tale also shows us that cunning people and flatterers are bad friends.
I liked the main character of the fairy tale, Pinocchio. At first he was a stupid, disobedient creature, but the adventures he had to endure taught him to recognize good and evil and value true friendship.
What proverbs fit the fairy tale “The Golden Key or the Adventures of Pinocchio”?
Simpletons fall for cunning and flatterers.
A rolling stone gathers no moss.
Friendship is strong not through flattery, but through honor.
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