Kaskelainen Oleg Grade 9

"The mystery of a fairy tale Alexei Tolstoy

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Research work on literature

The mystery of the tale of Alexei Tolstoy

"The Golden Key, or the Adventures of Pinocchio"

Completed: student 9 "A" grade

GBOU Secondary School No. 137 of the Kalininsky District

St. Petersburg

Kaskelainen Oleg

Teacher: Prechistenskaya Ekaterina Anatolyevna

Chapter 1. Introduction page 3

Chapter 2. Theater of Karabas-Barabas p. 4

Chapter 3. The image of Karabas-Barabas p. 6

Chapter 4. Biomechanics page 8

Chapter 5. The image of Pierrot p. 11

Chapter 6. Malvina p. 15

Chapter 7. Poodle Artemon p. 17

Chapter 8. Duremar p. 19

Chapter 9. Pinocchio p. 20

Chapter 1. Introduction

My work is dedicated to the famous work of A.N. Tolstoy "The Golden Key or the Adventures of Buratino."

The tale was written by Alexei Tolstoy in 1935 and is dedicated to his future wife Lyudmila Ilyinichna Krestinskaya - later Tolstoy. Aleksey Nikolayevich himself called "The Golden Key" "a new novel for children and adults." The first edition of Pinocchio in the form of a separate book was published on February 28, 1936, was translated into 47 languages, and for 75 years it has not left the shelves of bookstores.

Since childhood, I was interested in the question why there are no clearly expressed positive characters in this fairy tale, if a fairy tale is for children, it should be of an educational nature, but here Buratino gets a whole magical country-theater just like that, for nothing, without even dreaming about it ... negative characters: Karabas - Barabas, Duremar - the only heroes who really work, benefit people - maintain the theater, catch leeches, that is, treat people, but they are displayed 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 actors: Mikhail Chekhov, Olga Knipper-Chekhov, Meyerhold himself, the great Russian poet Alexander Blok and KS Stanislavsky - director, actor. My work is devoted to the analysis of this version.

Chapter 2. Theater of Karabas-Barabas

The Karabas-Barabas Theater, from where the puppets run away, is a parody of the theater of the famous director - "despot" Vsevolod Meyerhold (who, according to A. Tolstoy and many of his other contemporaries, regarded 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 his book My Life in Art, Stanislavsky wrote about Meyerhold's experiments: “A talented director tried to close with himself the artists who in his hands were simple clay for modeling beautiful groups, mise-en-scenes, with the help of which he carried out 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 dolls as living beings from their roles, the ultimate convention of action. In the "Golden Key" the bad theater of Karabas-Barabas is replaced by a new, good one, whose charm is not only 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 to act as creators themselves ... Oppression and coercion reign in one theater, in another Buratino is going to "play himself."

At the beginning of the last century, Vsevolod Meyerhold revolutionized the art of theater and proclaimed: "Actors should not be afraid of light, and the viewer should see the play of their eyes." In 1919, Vsevolod Meyerhold opened his own theater, which was closed already in January 1938. Two incomplete decades, but this time frame became the real era of Vsevolod Meyerhold, the creator of magical "Biomechanics. He groped the basics of theatrical biomechanics back in the St. Petersburg period, in 1915. Work on the creation of a new system of human movement on stage was a continuation of the study of the technique of movement of Italian comedians of the times commedia dell'arte.

There should be no chance in this system. However, within a well-defined framework, there is a huge space for improvisation. There were cases when Meyerhold reduced the performance from eighteen pictures to eight, because the actor's imagination and the desire to live within this framework were played out in this way. "I have not seen a greater embodiment of theater in a person than the theater in Meyerhold" - this is how 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 it can be done, we do not make sense of it, and do not feel it properly," wrote the actor Alexei Levinsky.

Many critics note that in the emblem of the Meyerhold Theatera seagull is visible in the form of a lightning, created by F. Schechtel for the curtain of the Moscow Art Theater. In contrast to the new theater, in the theater « Karabas-Barabas ", from which the dolls run away," on the curtain were painted dancing men, girls in black masks, terrible bearded people in caps with stars, the sun, like a pancake with a nose and eyes, and other entertaining pictures. " This composition is made of elements, and in the spirit of real-life, moreover, loudly famous theater curtains. This, of course, is a romantic stylization that goes back to Gozzi and Hoffmann, inextricably linked in the theatrical consciousness at 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 on many Turkic languages this is the Black Head. True, the word Bass has another meaning - to suppress, to press ("boskin" - press), it is in this sense that this root is part of the word basmach. "Barabas" is consonant with Italian words with the meaning of a villain, a swindler ("barabba") or a beard ("barba") - both are quite consistent with the image. The word Barabas is the biblical sound of the 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 Karabas-Barabas puppet theater, one can trace the features of the theatrical director Vsevolod Emilievich Meyerhold, whose stage name was Doctor Dapertutto. The lash, the seven-tailed one, which Karabas does not part with, is a Mauser that Meyerhold began to wear after the revolution and which he used to put in front of him during rehearsals.

In his tale of Meyerhold, Tolstoy implies beyond portrait likeness. 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 puppetry, director of a famous theater, holder of higher orders, closest friend of the Tarabar king” - so strikingly corresponds to the notions of Meyerhold of naive and ignorant provincials in Tolstoy’s story “Native Places”: “Meyergold is a complete general. In the morning, his sovereign, the emperor, calls: cheer up, he says, the general, the capital and the entire Russian people. “Yes, your majesty,” the general replies, throwing himself into the sleigh and marching through the theaters. And in the theater, they will present everything as it is - to the prince's Bove, the fire of Moscow. That's what kind of person "

Meyerhold tried to use the techniques of acting in the spirit of the old Italian comedy of masks to rethink them in modern space.

Karabas-Barabas, the ruler of the puppet theater, has his own "theory" corresponding to practice and embodied in the following "theater manifesto":

Puppet lord

This is who I am, come on ...

Dolls in front of me

They spread in the grass.

Even if you are pretty

I have a whip

Seven-tailed lash

I will immerse myself only with a whip

My people are meek

Sings songs ...

It is not surprising that artists run from such a theater, and it is the "beauty" Malvina who runs away first, Pierrot runs after her, and then, when Buratino and his companions acquire a new theater with the help of the golden key, all the puppet actors join them. and the theater of the "puppet master" collapses.

Chapter 4. Biomechanics

V.E. Meyerhold paid much attention to the harlequinade, Russian booth, circus, pantomime.

Meyerhold introduced the theatrical term "Biomechanics" to refer to his system of training an actor: "Biomechanics seeks to experimentally establish the laws of motion 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 creation of plastic forms in space;
- the art of an actor is the ability to correctly use the expressive means of his body;
- the path to the image and to the feeling must begin not with experience and not with understanding the role, not with an attempt to assimilate the psychological essence of the phenomenon; not "from within" at all, but from the outside - to start with movement.

Hence, the main requirements for the actor followed: only such an actor who is perfectly trained, has musical rhythm and slight reflex excitability can start with movement. For this, the natural data of the actor must be developed by systematic training.
The focus is on 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 trainings. The goal of biomechanics is to technologically prepare the "comedian" of a new theater to perform any of the most difficult game tasks.
Biomechanics' motto is this "new" actor - "anything can", this is an almighty actor. Meyerhold argued that the body of an actor should become an ideal musical instrument in the hands of the actor himself. The actor must constantly improve the culture of bodily expressiveness, developing the sensations of his own body in space. Reproaches to Meyerhold that biomechanics educates a "soulless" actor who does not feel, does not worry, an actor, an athlete and an acrobat, the master completely rejected. The path to the "soul", to experiences, he argued, can be found only with the help of certain physical positions and states ("points of excitability"), fixed in the score of the role.

Chapter 5. Image of Pierrot

The genius Russian poet Alexander Blok became the prototype of Pierrot. A philosopher and poet, he believed in the existence of the Soul of the world, Sophia, the Eternal Femininity, designed to save humanity from all evils, and believed that earthly love has a high meaning only as a form of manifestation of the Eternal Femininity. It was in this spirit that Blok's first book, Poems about the Beautiful Lady, embodied his “romantic experiences” - his infatuation with Lyubov Dmitrievna Mendeleeva, the daughter of a famous scientist, who soon became the poet's wife. Already in earlier poems, later united by the Block under the name "AnteLucem" ("Before the Light"), in the words of the author himself, "it continues to slowly take on unearthly features." In the book, his love finally takes on the character of exalted service, prayers (this is the name of the whole cycle), offered up not to an ordinary woman, but to the "Lady 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 one has only to read any of his poems instead of favorable "biographical data", as the idyll will crumble to smithereens, 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 a peaceful fire!

I am afraid of comfort ...

Even over your shoulder, friend,

Someone's eyes are guarding! "

Blok's early lyrics arose on the basis of idealistic philosophical teachings, according to which, along with the imperfect the 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 of a universal scale.

The figurative structure of the poems is full of symbolism; detailed metaphors play a particularly significant role. They convey not so much the real features of the depicted as the emotional mood of the poet: the river "hums", the blizzard "whispers". Often a metaphor develops into a symbol.

Poems in honor Of the lovely lady are distinguished by moral purity and freshness of feelings, sincerity and sublimity of the young poet's confessions. He praises not only the abstract embodiment of the "eternal 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 greetings "the poor oak staff will shine with a gem tear ...". Young Blok asserted 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 primary source or in the Berlin "alteration and processing". This is a purely Tolstoyan creation. Collodi does not have Pierrot, but there is Harlequin: he recognizes Pinocchio among the audience during the performance, and it is Pinocchio that saves him his puppet life later. Here the role of the Harlequin in the Italian fairy tale ends, and Collodi no longer mentions him. This is the only mention that the Russian author seizes and pulls onto the stage the natural partner of Harlequin - Pierrot, because Tolstoy does not need the mask "lucky lover" (Harlequin), but he needs - "the deceived husband" (Pierrot). Calling Pierrot on the stage - the Harlequin has no other function in the Russian fairy tale: Buratino is recognized by all the puppets, the scene of Harlequin's rescue is omitted, in other scenes he is not occupied. Pierrot's theme is introduced immediately and decisively, the game is played simultaneously on the text - the traditional dialogue of two traditional characters of the Italian folk theater and on the subtext - satirical, intimate, full of caustic allusions: “From behind a cardboard tree, a small man appeared in a long white shirt with long sleeves. His face was sprinkled with powder, white as tooth powder. He bowed to the respectable audience and said sadly: Hello, my name is Pierrot ... Now we are going to play in front of you a comedy called: "The Girl with Blue Hair, or Thirty-Three Cuffs." they will be pounded with a stick, slapped and slapped on the back of the head ... This is a very funny comedy ... Another man jumped out from behind another cardboard tree, all checkered like a chessboard.
He bowed to the most respectable audience: - Hello, I am the Harlequin!

After that he turned to Pierrot and gave him two slaps in the face, so loud that the powder fell from his cheeks. "
It turns out that Pierrot is in love with a girl with blue hair. The 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, for Pierrot to love her 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 it is easy to see from the development of this novel that Tolstoy, like his other contemporaries, was initiated into family drama Block.
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 poems he writes. He writes poems like this:
The shadows are dancing on the wall

Nothing is scary to me.

Let the stairs be steep

Let the darkness be dangerous

It's still an underground path

Will lead somewhere ...

"Shadows on the Wall" is a regular feature of Symbolist poetry. "Shadows on the Wall" are danced in dozens of A. Blok's poems and in the title of one of them. "Shadows on the Wall" is not just a detail of lighting that Blok often repeats, 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 not parodying this or that Blok text, but precisely the poet's work, the image of his poetry.

Malvina fled to foreign lands,

Malvina is gone, my bride ...

I'm sobbing, I don't know where to go ...

Isn't it better to part with your doll life?

Blok's tragic optimism implied faith and hope in spite of circumstances leading to disbelief and despair. The word “in spite of”, all the ways of conveying the courageous meaning contained in it were at the center of the Blok's style. Therefore, even Pierrot's syntax reproduces, as befits a parody, the main features of the parodied object: despite the fact that ... but ... let ... all the same ...

Pierrot spends time longing for his missing lover and suffering from everyday life. Due to the transcendental nature of aspirations, it gravitates towards a blatant theatricality of behavior, in which it sees a practical meaning: for example, it tries to contribute to the general hasty gathering for the battle with Karabas by "wringing his hands and even trying to throw himself backwards on the sandy path." Involved by Buratino in the fight against Karabas, he turns into a desperate fighter, even begins to speak “in a hoarse voice, as large predators speak,” instead of the usual “incoherent verses,” he makes 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).

The fate depicted by Tolstoy is a very ironic person: how else to explain that Buratino falls into the walled forest, fenced off from the world of troubles and adventures, Malvina's house of beauty? Why Pinocchio, who does not need this beauty, and not in love with Malvina Pierrot? For Pierrot, this house would become the coveted "Nightingale Garden", and Buratino, concerned only with how well the poodle Artemon chases birds, can only compromise the very idea of ​​the "Nightingale Garden". That's why he gets into 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 major phenomena of Russian culture: the Moscow Art Theater and Anton Pavlovich Chekhov.

To the art theater she gave almost all of her long life, from the moment the theater was founded and almost until his death. She perfectly knew English, French, German. She possessed great tact, taste, was noble, refined, femininely attractive. There was an abyss of charm in her, she knew how to create a special atmosphere around herself - sophistication, sincerity and tranquility. She was friends with Blok.

There was always a lot of flowers in the apartment, they were everywhere in pots, baskets and vases. Olga Leonardovna loved to look after them herself. Flowers and books replaced her with any collections that she had never interested in: Olga Leonardovna was not at all a philosopher, but she was characterized by an amazing breadth and wisdom of understanding life. She somehow in her own way distinguished in her 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 with some even unpleasant features if she was attracted by his essence. And to the "smooth", "correct" she treated suspiciously or with humor.

A devoted student of Stanislavsky and Nemirovich-Danchenko, she not only admits, accepts the existence of other paths in art, "more theatrical than ours," as she writes in an article about Meyerhold, but dreams of freeing the Art Theater itself from its squat, petty, everyday life, the neutrality of a poorly understood "simplicity".

What kind of Malvina appears before us? Malvina is the most beautiful doll from the theater of Karabas Barabas: "A girl with curly blue hair and pretty eyes", "Her face is freshly washed, there is pollen on her upturned nose and cheeks."

Tolstoy describes her character with the following phrases: "... a well-bred and meek girl"; "With an iron character", smart, kind, but because of her moralizing turns into a decent bore. Defenseless, weak, "coward". It is these qualities that help to reveal 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 Buratino - and in life Olga Knipper tried to help people, she was disinterested, kind and sympathetic. She was captivated not only by the charm of her stage talent, but also by her love of life: lightness, young curiosity for everything in life - for a book, a picture, music, a play, dance, the sea, stars, for smells and colors, and, of course, for a person. When Buratino gets into Malvina's forest house, the blue-haired beauty immediately begins raising a mischievous person. 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 the mistress, with its outward childish carelessness and restlessness, it manages to perform the function of strength, those very fists, without which good and reason cannot improve reality. Artemon is self-sufficient, like a samurai: he never questions the orders of the mistress, does not look for any other meaning of life, except for loyalty to duty, he trusts others to make plans. In his free time, he indulges in meditation, chasing sparrows or spinning around. In the finale, it is the spiritually disciplined Artemon who strangles Shushara the rat and puts Karabas in a puddle.

The prototype of the poodle Artemon was Anton Pavlovich Chekhov. They With Olga Knipper married and lived together until the death of A.P. Chekhov.The closeness between the Art Theater and Chekhov was extremely deep. The related artistic ideas and influence of Chekhov on the theater were very strong.

In his notebook, AP Chekhov once remarked: "Then a person will become better when you show him what he is." The features of the Russian national character were reflected in Chekhov's work - softness, sincerity and simplicity, with a complete absence of hypocrisy, posture and hypocrisy. Chekhov's behests of love for people, responsiveness to their grief 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 man on the bush of his land would do everything he can, how beautiful our land would be."

Chekhov seeks not only to describe life, but also to remake it, to build it: he is busy with the organization in Moscow of the first people's house with a reading room, a library, a theater, then he seeks that a clinic for skin diseases be built right there in Moscow, then he is busy with Crimea of ​​the first biological station, then he collects books for all Sakhalin schools and sends them there in whole lots, then he builds three schools for peasant children near Moscow, and at the same time a bell tower and a fire shed for peasants. When he started to set up a public library in his hometown of Taganrog, he not only donated more than a thousand volumes of his own books for her, but also sent her piles of books he bought in bales and boxes for 14 years in a row.

Chekhov was a doctor by profession. He treated the peasants free of charge, announcing to them: "I am not a master, I am a doctor."His biography is a textbook on literary modesty.“You have to train yourself,” Chekhov said. To train, to impose high moral requirements on himself and strictly ensure that they are fulfilled - this is the main content of his life, and this role he loved most of all - the role of his own educator. Only in this way did he acquire his moral beauty - through persistent 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 I have a harsh character, I am hot-tempered and so on, so on, but I am used to restrain myself, for a decent person does not dissolve myself befits. " 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 features 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 science Karabas Barabas is formed from the domestic words "fool", "fool" and the foreign name Volmar (Voldemar). The director V. Solovyov, Meyerhold's closest assistant both on stage and in The Love for Three Oranges magazine (where the poetry department was led by Blok), had a magazine pseudonym Voldemar (Volmar) Luccinius, who apparently gave Tolstoy “an idea "Named after Duremar. The "similarity" is traced not only in the names. Tolstoy describes Duremar as follows: “A long man entered with a small, small face, as wrinkled as a morel mushroom. He was wearing an old green coat. " And here is the portrait of V. Solovyov, painted by the memoirist: "A tall, thin man with a beard, in a long-length black coat."

Duremar in the work of Tolstoy is a leech dealer, himself similar to a leech; kind of a medic. Selfish, but in principle not evil, can benefit society, say, as a theatrical janitor, which he dreams of when the population that has recovered after the opening of the Buratino theater stops buying his leeches.

Chapter 9. Pinocchio

The word "Pinocchio" is translated from Italian as a puppet, but apart from the literal meaning, this word had at one time a very definite common noun meaning. The surname Buratino (later - Buratini) had a family of Venetian usurers. They, like Buratino, also "grew" money, and one of them - Titus Livy 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 Pinocchio in the following words: “A wooden man with small round eyes, long nose and mouth to ear. " Buratino's long nose in the fairy tale acquires a slightly different meaning than that of Pinocchio: he is curious (in the spirit of Russian phraseological unit “to poke your nose into your own business”) and naive e. "does not see beyond its own nose"). In addition, Pinocchio's perky protruding nose (in Collodi's in no way connected with the character of Pinocchio) in Tolstoy began to denote a hero who does not hang his nose.

As soon as he was born, Buratino is already mischievous and mischievous. Such a carefree, but full of common sense and tirelessly active, conquering his enemies "with the help of wit, courage and presence of mind" - he is remembered by the readers as a devoted friend and warm-hearted, kind man. In Buratino - the features of many favorite heroes of A. Tolstoy, inclined rather to action than to thinking, and here, in the sphere of action, finding and embodying themselves. Pinocchio is infinitely charming even in his sins. Curiosity, innocence, naturalness ... The writer entrusted Buratino with the expression of not only his most cherished convictions, but also the most attractive human qualities, if only it 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 his boyish passion for "terrible adventures", his frivolity, based on the life position "What else can you think of?" He reincarnates without the help of fairies and sorceresses. The helplessness of Malvina and Pierrot helped to reveal the best traits of his character. If we begin to list the character traits of Pinocchio, then dexterity, courage, ingenuity, a sense of camaraderie will be blown into the first place. Of course, throughout the entire work, first of all, the self-praise of Pinocchio is striking. During the "terrible battle at the edge of the forest," he sat on a pine tree, and it was mainly the forest fraternity who fought; victory in battle is the business of Artemon's paws and teeth, it was he who “emerged victorious from the battle”. But then Buratino appears at the lake, behind him barely trudges bleeding Artemon, laden with two bales, and our “hero” declares: “They also wanted to fight with me! .. What is a cat for me, what is a fox for me, what are police dogs for me, what I myself Karabas Barabas - 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 puts himself in a comical position (for example, while fleeing): “No panic! Let's run! " - commanded Pinocchio, "bravely walking ahead of the dog ..." Yes, here is no longer a fight, you no longer need to sit on the "Italian pine", and now you can absolutely "walk bravely 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 upbringing of good traits in the character and deeds of the hero. A distinctive feature of Buratino's character at the beginning of the work is rudeness, bordering on rudeness. His expressions such as "Pierrot, roll to the lake ...", "What a fool girl ..." "I am the owner here, get out of here ..."

The beginning of the tale is characterized by the following actions: offended a cricket, grabbed a rat by the tail, sold the alphabet. “Buratino sat down at the table, twisted his leg under him. He stuffed almond cakes whole into his mouth and swallowed without chewing. Then we observe “politely thanked the turtle and the frogs ...” “Buratino terribly wanted to boast that the key was in his pocket. In order not to let it slip, he pulled off the cap from his head and stuffed it into his mouth ... ”; “… I was in charge of the situation…” “I am a very reasonable and prudent boy…” “What am I going to do now? How can I get back to Papa Carlo? " “Beasts, birds, insects! Ours are beaten! " As the plot develops, Buratino's actions and phrases change dramatically: he himself took water, collected branches for a fire, lit a fire, cooked cocoa; worries about friends, saves their lives.

The excuse for the Field of Miracles adventure is to cover Daddy Carlo with jackets. Poverty, which forced Carlo to sell his only jacket for the sake of Pinocchio, gives rise to the last dream of getting rich quickly in order to buy Carlo a thousand jackets ..

In the pope's closet, Carlo Buratino finds the main goal for which the work was conceived - a new theater. The author's intention is that only a hero who has gone through the path of spiritual improvement can achieve the cherished goal.

The prototype of Buratino, according to many authors, was the actor Mikhail Aleksandrovich Chekhov, the nephew of the writer Anton Pavlovich Chekhov.From his youth, Mikhail Chekhov was seriously engaged in philosophy; subsequently, there was an interest in religion. Chekhov was not interested in social problems, but in “a lonely Man facing Eternity, Death, Universe, God”. The main feature that unites Chekhov and his prototype is "Contagion". Chekhov had a huge impact on the audience of the twenties of all generations. Chekhov had the ability to infect the audience with his feeling. “His genius as an actor is primarily the genius of communication and unity with the audience; he had a direct, reverse and continuous connection with her.

In 1939 Chekhov Theater settles in Ridgefield, 50 miles from New York, in 1940-1941 there were prepared performances "Twelfth Night" (new, different from the previous edition), "Cricket on the stove", "King Lear" by Shakespeare.

Theater-studio M.A. Chekhov. USA. 1939-1942

In 1946, newspapers announced the creation of the "Actors' workshop", where "in currently the "Mikhail Chekhov method" is being developed (in a modified form it exists to this day. Among his students were Hollywood actors: G. Peck, Marilyn Monroe, Y. Brinner). He worked as a director at the Hollywood Laboratory Theater.

Since 1947, due to the exacerbation of the disease, Chekhov limited his activities mainly to teaching, taught acting courses in the studio of A. Tamirov.

Mikhail Chekhov died in Beverly Hills (California) on October 1, 1955, an urn with his ashes was buried in the Forest Lawn Memorial Cemetery ("Forest Glade") in Hollywood. Almost until the mid-1980s, his name at home was forgotten, found only in separate memoirs (S.G. Birman, S.V. Giatsintova, Bersenev, etc.). In the West, the Chekhov method over the years has gained a significant influence on the technique of acting, since 1992 the International Workshops of Mikhail Chekhov have been regularly organized in Russia, England, the USA, France, the Baltic States, 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 (Buratino), who opened the door to a fairyland - a new theater, founded a school of theatrical art in Hollywood, which still has not lost its relevance.

The work is dedicated to the memory of the teacher of the Russian language and literature

Belyaeva Ekaterina Vladimirovna.

Among such books The Three Musketeers, Alice in Wonderland, Winnie the Pooh, The Wizard of the Emerald City, Dunno in the Sunny City. In this obligatory list, in our deep conviction, the story of the adventures of a wooden boy named Pinocchio.

In 2015, eighty years have passed since the day when the fairy tale came out from under the pen Alexey Tolstoy, who was in exile at that time, and forty years of its adaptation by the film studio "Balarusfilm". Thanks to the author's revision of "Pinocchio" Carla Collodio and the magnificent play of not only the meters of Soviet cinema by Vladimir Etush, Rina Zelena, Elena Sanaeva, Rolan Bykov, Nikolai Grinko and others, but also young artists Dima Iosifov, Tanya Protsenko, Buratino firmly entered the minds 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, he filled it with deep meaning. Pinocchio is not Pinocchio, deception, cunning and resourcefulness are alien to him. Yes, he himself, his main attribute (long nose) turned from a symbol of lies into a symbol of curiosity inherent in any creative person. It is a creative person who is capable of transforming and cultivating the world around him.

The tale of Pinocchio has the potential not only for the moral, but also for the spiritual education of children. A deep analysis of the work shows that many subjects have parallels with Christian theology. At first glance, posing the problem may seem far-fetched, but is it? Let's try to comprehend the tale from a Christian point of view.

Let's make a reservation right away that we do not share the point of view of some literary critics that Tolstoy's tale is extremist in nature and offends the feelings of believers, since, in their opinion, it is a parody of Jesus Christ. Say, the father of the protagonist of the tale is a carpenter, like Joseph the Betrothed, Pinocchio bought a ticket to the performance "The Girl with Blue Eyes, or Thirty-Three Cuffs", which is a mockery of the age of Christ, and Karabas Barabas- generally a parody of priests wearing beards in accordance with the canons of the Church.

Following this "far-fetched" logic, you can play the heroes of the cult cartoon "Well, wait a minute!" accuse of propaganda of 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 us return to the "Golden Key" and carefully read into the dialogue between Pinocchio and Talking Cricket in the closet Papa Carlo:

“Buratino saw a creature a bit like a cockroach, but with a head like a grasshopper. It sat on the wall above the hearth and quietly crackled - krri-kri - looked bulging, as if made of glass, rainbow eyes, wiggled its antennae.

- Hey, who are you?

“I am the Talking Cricket,” the creature replied, “I have lived in this room for over a hundred years.

- Here I am the master, get out of here.

“Okay, I’ll leave, although I’m sad to leave the room where I lived for a hundred years,” the Talking Cricket replied, “but before I leave, listen to some useful advice.

- I really need advice from an old cricket ...

- Ah, Pinocchio, Pinocchio, - said the cricket, - give up self-indulgence, listen to Carlo, don't run away from home idle and start going to school tomorrow. Here's my advice. Otherwise, terrible dangers and terrible adventures await you. For your life, I will not give even a dead dry fly.

- Why why? - asked Buratino.

- But you will see - pochchchemu, - said the Talking Cricket.

- Oh, you, a hundred-year-old insect-cockroach! - Buratino shouted. - More than anything, I love scary adventures. Tomorrow I’ll run away from home a little light - climb fences, destroy bird nests, tease boys, drag dogs and cats by the tails ... I’ll think of something else! ..

- I'm sorry for you, sorry, Pinocchio, you will shed bitter tears.

- Why why? Buratino asked again.

“Because you have a stupid wooden head.

Then Buratino jumped on a chair, from a chair to a table, grabbed a hammer and launched it at the Talking Cricket's head.

The smart old cricket sighed heavily, moved his mustache and crawled behind the hearth - forever from this room. "

Pinocchio talks to Cricket as a rival, insisting on his superiority. Doesn't this communication of a person with his ... conscience remind us?

Old Testament the prophet Hosea, lamenting Ephraim, says: "Soodole Ephraim of his rival, trample on judgment, as if she began to follow the vain ones" (Hos. 5:11). The rival, according to the interpretation of the Monk Abba Dorotheos, 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 what we should do, but we do not; and again, what we ought not to do, we do, and for this she condemns us "(Abba Dorotheos. Soulful teachings and epistles. Teaching 3. About conscience).

How does Buratino react to the instructions of the Talking Cricket? Just like a person stricken by sin of his conscience - first drowns it out, elevating his vices to the rank of permissible, and then completely expels it.

Almost immediately after the conflict between Pinocchio and the Talking Cricket arises threat to life and inevitability of death:

“Now Buratino was frightened, let go of the cold rat's tail and jumped onto a chair. The rat follows him.

He jumped from the chair to the windowsill. The rat follows him.

From the windowsill, he flew across the closet to the table. The rat followed him ... And here, on the table, she grabbed Buratino by the throat, knocked him down, holding him in her teeth, jumped to the floor and dragged him under the stairs, underground.

- Papa Carlo! - only managed to squeak Buratino.

The door flew open and Daddy 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- to Pope Carlo, so Buratino is in a seemingly critical situation, when, as Alexei Tolstoy himself notes, he almost died due to his own frivolity. Pinocchio calls dad Carlo for help, although he realizes that he is in the police station, and not next to him. And yet, Carlo's dad suddenly comes to the rescue. You can see an artistic idea in this plot. However, it is easy to see parallel with the help of God to man, located in desperate situation and calling Him for help.

As the Lord cares about his creation, so Pope Carlo creates comfortable environment for Pinocchio - feeds and dresses him, and 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,” Carlo said and scratched his stubbled chin. - You're right, kid!

He lit a lamp, took scissors, glue, and scraps of colored paper. Cut and glued a brown paper jacket and bright green pants. He made shoes from an old bootleg and a cap - a cap with a tassel - from an old sock. He put all this on Pinocchio. "

Doesn't this plot resemble dialogue Adama from By god that he was naked and felt a sense of shame and that "... the Lord God made for Adam and his wife coats of skins, and clothed them" (Genesis 3:21)?

As well as Creator gives a person Book of Life, reading which, he learns to communicate with God and the world around him, so dad Carlo gives Buratino the alphabet, thanks to which he had to learn to know the world. Unfortunately, the desire for sensual pleasure takes precedence over the desire to develop their intellectual abilities, and Pinocchio trades school for theater.

Getting out of the way indicated by Pope Carlo, leads to the fact that Buratino's life is filled with danger and, at times, exciting adventures. But, despite the winding road, Buratino 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 brings the attentive reader back to the realities of everyday life modern man: social inequality, the superiority of power over citizens, the rich over the poor, lack of justice and imperfection of the judicial system, desire for easy money:

“The three of them went along the dusty road. The fox said:

- Clever, prudent Buratino, would you like your money to be ten times more?

- Of course I want! How is this done?

The fox sat on her tail, licked her lips:

- I'll explain to you now. In the Land of Fools there is a magic field called the Field of Miracles ... Dig a hole in this field, say three times: "Krex, fex, pex" - put gold in the hole, cover with earth, sprinkle with salt on top, fill the fields well and go to sleep. In the morning, a small tree will grow out of the hole, gold coins will hang on it instead of leaves ”.

Pinocchio, like defrauded depositors of financial pyramids the end of the 20th and the beginning of the 21st centuries, is failing. But Alexey Tolstoy leads his hero through trials to understand that vain and perishable the world is deceiving, but it is there that he receives the golden key from the tortoise Tortilla.

Reflecting on the episode of the transfer of the golden key by the tortoise Tortila Buratino, let us pay attention to the motive of her act. In Tolstoy's text, this is presented as follows:

- Oh, you brainless, gullible boy with short thoughts! - said Tortila. - You should sit at home and study hard! Brought you to the Land of Fools!

- So I wanted to get more gold coins for Papa Carlo ... I am a very good and sensible boy ...

“The cat and the fox stole your money,” said the turtle. - They ran past the pond, stopped to drink, and I heard how they boasted that they dug up your money, and how they fought over them ... Oh, you brainless, gullible fool with short thoughts! ..

- You shouldn't swear, - Buratino grumbled, - here you need to help a man ... What am I going to do now? Oh-oh-oh! .. How do I get back to dad Carlo? Ah ah ah!..

He rubbed his eyes with his fists and whimpered 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, recalled something ...

“Once I helped one person in the same way, and then he made turtle combs from 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 will find one useful little thing. She drew in the snake's head and slowly sank under the water.

The frogs whispered:

- The tortoise Tortila knows a great secret.

It's been a long, long time.

The moon was already leaning over the hills ...

The green duckweed hesitated again, a turtle appeared, holding a small golden key in its mouth.

She put it on a sheet at Buratino's feet.

- A brainless, gullible fool with short thoughts, - said Tortila, - do not worry that the fox and the cat stole your gold coins. I give you this key. He was dropped to the bottom of the 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, was silent and sighed again so that bubbles came out of the water ...

- But I did not help him, I was very angry then at people for my grandmother and my grandfather, from whom they made 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 ...

Tortilla is impressed by Pinocchio's desire to provide Pope Carlo with a comfortable existence. His desire is altruistic. This idea is very well reflected in the film adaptation of The Golden Key. The scriptwriter managed to convey the main idea of ​​why Pinocchio receives the key to happiness. We will also think about it.

We perfectly understand that neither Karabas Barabas, personifying evil in the fairy tale, nor his henchmen Duremar, earning the misfortune of others, no scammers cat Basilio and the fox Alice cannot be fully happy because they are immoral. But why is not Pinocchio in 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 this is the key to unraveling the action of the tortoise Tortilla. And Malvina, and Harlequin, and Pierrot, and Artemon are puppets. The beautiful, at first glance, appearance of the puppets of the theater of Karabas hides masks.

Pierrot, as a typical lover suffering from unrequited love, is in constant despondency and depression and resembles a representative of the direction of the modern youth subculture emo. Pinocchio calls Pierrot a crybaby and a molester. Harlequin, on the other hand, is a model of carelessness and being in eternal joy. And even the poodle Artemon in the fairy tale looks dandy and dandy. Malvina's pride is so great that in dealing 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 educate him. I recall the words of the Apostle Peter: “They promise them freedom, being themselves slaves of corruption; for whoever is defeated by whom is also a 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, Buratino has free will, this is due to his restlessness and mischief, but at the same time, generosity and disinterestedness, the desire to make others happy.

The motive of the transfer of the golden key by the tortoise Tortila Pinocchio is very subtly reflected in the film "The Adventure of Pinocchio".

Let's get a grasp of 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 daddy 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 have become greedy and angry, while evil and greedy can never be happy. Take the key, it will bring you happiness. "

Recall that the film appeared in 1975 year when atheistic propaganda raged. Consciously or not, but, nevertheless, in this dialogue, the commandments about love for God and for your neighbor sound veiled: “Love the Lord your God with all your heart, and with all your soul, and with all your mind. This is the first and greatest commandment. The second is similar to her: Take love your neighbor as yourself. On these two commandments all the law and the prophets are established (Matt. 22: 37-40).

Possession of the golden key is not able to make the main characters happy - you need the door, to the lock of which this key fits, and behind which the main dream is located. As conceived by the author, the door is behind a canvas with a painted hearth in Pope Carlo's modest little room. In other words, after many adventures, you need to return to your father's house like the prodigal son.

In a fight with Karabas Barabas and his henchmen, far from the house of Pope Carlo, Buratino, according to the author, comes for the first time in his life desperate:

"Fox Alice smiled crookedly:

- Allow me to break the necks of these impudent people?

Another minute, and everything would be over ... Suddenly, the swifts rushed with a whistle:

- Here, here, here! ..

A magpie flew over the head of Karabas Barabas, chattering loudly:

- Rather, rather, rather! ..

And at the top of the hillside old dad Carlo appeared. His sleeves were rolled up, a gnarled stick was in his hand, his eyebrows were furrowed ...

He pushed Karabas Barabas with his shoulder, Duremar with his elbow, pulled the fox Alice with his club, threw Basilio towards 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, Pinocchio, rogue, you are alive and well - come to me soon!

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 came to life, was lost and is found” (Luke 15:23).

The final scenes of the tale also have Christian motives. Here is the dialogue of the main characters before the performance in the new puppet theater:

"Pierrot rubbed his wrinkled forehead with his fists:

- I will write this comedy with gorgeous poetry.

“I’ll sell ice cream and tickets,” Malvina said. - If you find talent in me, I'll try to play the roles of pretty girls ...

- Wait, guys, but when will you study? Dad asked Carlo.

All at once answered:

- We will study in the morning ... And in the evening we will play in the theater ...

- Well, then, kids, - said dad Carlo, - and I, kids, will play the barrel organ for the amusement of the respectable audience, and if we drive around Italy from city to city, I will drive a horse and cook some bar-stew with garlic ... ".

Happiness finds not only Pinocchio, but also his friends. A rebirth is taking 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 Talking Cricket returns to Buratino the day before.

The tale "The Golden Key, or The Adventures of Pinocchio" has deep Christian meaning. Its main idea, in our opinion, is that being in a temporary life, through virtues and the struggle with temptations, a person acquires a "golden key" for a happy eternal life, life with God .

The protagonist of Leo Tolstoy's fairy tale "The Golden Key or the Adventures of Buratino" is a cheerful and mischievous little boy named Buratino, who was kicked out of a talking log by the old organ grinder Carlo. Looking at Buratino, everyone was surprised by 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 hearth. The curious Buratino, who was very hungry, put 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 a canvas.

The organ grinder decided to send Pinocchio to school so that he could learn wits. He sold his jacket and bought a beautiful alphabet. But on the way to school, Buratino saw a puppet theater and, having sold the alphabet, went to watch a puppet show.

The puppets recognized Pinocchio and, interrupting the performance, began to sing merry songs and dance around him. The owner of the theater, Karabas Barabas, came out to the noise. He grabbed the troublemaker and carried him to the closet. In the evening Karabas became cold, and he ordered the dolls to bring a wooden Buratino to heat the fireplace for them. 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 crooks, the fox Alice and the cat Basilio. These sly ones lured the simple-minded Pinocchio to the Land of Fools. During a trip to the Land of Fools, various adventures take place with Buratino - he is attacked by robbers, he again meets with puppets from the theater of Karabas, who fled from their master. Then he parts with the dolls and again meets the fox and the cat. These sly ones cheat him for money. In the old pond, Buratino meets the tortoise Tortilla, and she 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 hearth in the old organ-grinder's closet. Behind the door, the heroes of the fairy tale discovered a wonderful new puppet theater.

In this puppet theater, friends began to give their performances, which were attended by the whole city. And all the other dolls also fled 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 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 efforts, act, and not sit idly by. The tale teaches us to be purposeful and active in achieving our goals. Also, the tale shows us that cunning and flatterers are bad friends.

I liked the main character of the tale, Pinocchio. At first he was a stupid, disobedient creature, but the adventures that he had to endure taught him to recognize good and evil and value true friendship.

What proverbs fit the tale "The Golden Key or the Adventures of Buratino"?

Simpletons are fooled by cunning and flatterers.
A rolling stone gathers no moss.
Friendship is strong not by flattery, but by honor.

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Comparative analysis of "Pinocchio" by K. Collodi and "The Golden Key, or the Adventures of Pinocchio" by A.N. Tolstoy

Content

• 1. Author (brief information)
• 2. Problems
• 5. Main characters
• 7. Book addressee

1. Author (brief information)

Alexei Nikolaevich Tolstoy (1882 / 83-1945) - Russian writer, extremely versatile and prolific writer who wrote in all kinds and genres (two collections of poems, more than forty plays, scripts, processing of fairy tales, journalistic and other articles, etc.) , above all a prose writer, a master of captivating storytelling. Academician of the USSR Academy of Sciences (1939).

In 1918-23 he emigrated. Stories and stories from the life of the estate nobility (cycle "Trans-Volga", 1909-11). The satirical novel "The Adventure of Nevzorov, or Ibicus" (1924). In the trilogy "Walking through the agony" (1922-41) A. Tolstoy seeks to present Bolshevism as having national and popular soil, and the Revolution of 1917 as the highest truth comprehended by the Russian intelligentsia; in the historical novel "Peter I" (book 1-3, 1929-45, not finished) - an apology for a strong and brutal reformist government. He also owns the science fiction novels "Aelita" (1922-23), "The Hyperboloid of Engineer Garin" (1925-27), stories, plays.

Among the best stories in world literature by Alexei Tolstoy for children belongs to "The Golden Key, or the Adventures of Pinocchio" (1935), a very thorough and successful adaptation of the tale of the Italian writer K. Collodi "Pinocchio".

2. Problems

For the first time, the tale of the Italian writer K. Collodi "The Adventures of Pinocchio. The Story of a Puppet", which was published in 1883, was translated into Russian in 1906 and published in the journal "Heartfelt Word". In the preface to "The Golden Key" (1935), whose hero was Pinocchio (in Italian, Pinocchio), it is said that the writer allegedly heard the tale as a little boy. The author clearly mystified the reader, perhaps in order to gain greater freedom in self-expression, filling the tale with the subtexts of his time. In fact, back in 1924, together with the writer N. Petrovskaya in the Berlin publishing house "On the Eve", he published the book "The Adventures of Pinocchio". The title says: "Altered and processed by Alexey Tolstoy." Apparently, the writer was doing his paraphrase by word-for-word. The desire to preserve the somewhat old-fashioned aesthetics of the fairy tale, sentimentality and humor collided with the desire to give the text a more modern rhythm, to get rid of excessive sentimentality and moralizing. Here the impulse was laid for a radical revision of the text, which was carried out twelve years later in Russia. In 1935, first following the text of Pinocchio, the author created a completely original work, a masterpiece fairy tale, surpassing the source in its cultural significance. The plots break after the escape of Buratino from the Country of Fools. In addition, magic (transformations) is excluded. A year later, Tolstoy wrote the play "The Golden Key".

In the fairy tale, the writer again turns to "childhood memory", this time recalling his fascination with S. Collodi's book "Pinocchio, or the Adventures of a Wooden Doll". Collodi (Carlo Lorenzini, 1826-1890) wrote a moralistic book about a wooden boy in 1883. In it, after long adventures and misadventures, the mischievous and lazy Pinocchio corrects himself under the influence of a fairy with blue hair.

A.N. Tolstoy does not follow the source literally, but creates a new work based on its motives. Already in the preface, the author says that in childhood he told the book he loved in different ways every time, invented such adventures that were not in the book at all. The writer focuses on the new reader; it is important for him to instill in a Soviet child good feelings for the oppressed and hatred for the oppressors.

Speaking about his idea to Yu. Olesha, A.N. Tolstoy emphasized that he would not write an edifying work, but an entertaining and funny memory of what he read in childhood. Olesha later wrote that he wanted to evaluate this plan "as a crafty plan, of course, since the author is still going to build his work on someone else's basis, and at the same time as an original, adorable idea, since the borrowing will take the form of a search for someone else's plot in memory, and from this the fact of borrowing will acquire the value of a genuine invention. "

The fairy tale "The Golden Key, or the Adventures of Buratino" turned out to be a great success for A.N. Tolstoy and a completely original work. When creating it, the writer paid the main attention not to the didactic side, but to the connection with folk motives, to the humorous and satirical depiction of the characters.

3. Plot, conflict, composition

The plot is based on the struggle between Buratino (burattino - "doll" in Italian) and his friends with Karabas-Barabas, Duremar, the fox Alice, the cat Basilio. At first sight. it seems that the struggle is for mastering the golden key. But the motive of mystery, traditional in children's literature, in the book by A.N. Tolstoy sounds different. For Karabas-Barabas, Duremar, the fox Alice and the cat Basilio, the golden key is a symbol of wealth, power over the poor, over the "meek", "stupid people". For Pinocchio, Pope Carlo, the poodle Artemon, Pierrot and Malvina, the golden key is a symbol of freedom from oppression and the opportunity to help all the poor. The conflict between the "light and dark world" of the fairy tale is inevitable and irreconcilable; the action unfolds in it dynamically; the author's sympathies are clearly expressed.

"The Dark World", starting with Karabas-Barabas and ending with a general sketch of the Country of Fools, is given satirically throughout the tale. The writer knows how to show vulnerable, funny traits in the characters of the "doctor of puppet science" Karabas, the leech seller Duremar, the fox Alice and the cat Basilio, the governor of the Fox, police dogs. The hostile world of the exploiters was exposed by A.N. Tolstoy, the legend about the omnipotence of the "seven-tailed whip" has been debunked, the humanistic principle wins. Social concepts and phenomena are embodied by the writer in living, full of emotional power images, which is why the beneficial effect on children of the tale of Buratino's adventures is still so noticeable.

4. Narrator (lyric hero). Figurative systematics of the work

Of course, the narrator's fiction in no case can one be identified with the author of this work. Moreover, in this case, it is clearly seen that the narrator is endowed with Tolstoy's own, moreover, a very specific psychology; therefore, he is a character, one of the heroes of the tale.

What is striking is the somewhat feigned familiarity towards the reader with which the narration is conducted: "But Buratino's long nose pierced through the bowler hat, because, as we know, the hearth, fire, smoke, and the bowler hat were drawn by poor Carlo on a piece old canvas. " However, the reader just did not know that all this was drawn by poor Carlo. Or again: "We already know that Buratino never even saw a pen and inkwell" - although this is the first time we hear (read) about it. It is also characteristic that the poet-lyric poet Pierrot in the fairy tale is ridiculed not only by Pinocchio, but also by the narrator. For example: "At the sight of Malvina, Pierrot began to mutter words - so incoherent and stupid that we do not quote them here."

There are also facts of frank empathy for the events described in the narrator's story. Or maybe he himself is an active participant in these events, if he brings his own emotional moment to them? In addition, this participant does not have a sufficient level of literacy, although he leads the story. Hence, it becomes clear that the work contains vulgar narrative techniques and numerous logical inconsistencies at the plot level, which A. Tolstoy, as a high-class professional, could not allow. Here, apparently, it is worth remembering that the narrator character - artistic medium the writer, whom he "instructs" to lead the story, therefore the level of his intellect and literacy leaves its imprint on literally the entire narrative.

5. Main characters

Characters in A.N. Tolstoy are outlined clearly and definitely, as in folk tales. They take their origins from folk stories, epic and dramatic. Buratino is somewhat close to the reckless Petrushka from the folk theater. It is outlined with humorous strokes, given in a combination of positive and negative. It doesn't cost a wooden boy anything to show his tongue to dad Carlo, hit the talking Cricket with a hammer, sell the alphabet to buy a ticket to the theater.

Buratino had to go through many adventures from the first day of his birth, when his thoughts were "small, small, short, trifling, trifling" until the moment when he understood: "we must save comrades - that's all."

The character of Pinocchio is shown in constant development; the heroic beginning in the wooden boy is often seen through the outwardly comic. So, after a courageous fight with Karabas, Malvina forces Pinocchio to write a dictation, but he instantly comes up with an excuse: "The writing instruments were not taken." When it turned out that everything was ready for classes, Buratino wanted to jump out of the cave and run wherever his eyes were looking. And only one consideration restrained him: "it was impossible to leave the helpless comrades and the sick dog." Pinocchio enjoys the love of the guys because he is not only fabulously lucky, but also has truly human weaknesses and shortcomings.

It can be considered that the meaning of the country of children as a true country of happiness in the "Golden Key" is embodied by the Malvina glade. Children-dolls independently orchestrated their lives, and did not turn it into chaos (in "Pinocchio" dolls are presented as toys in the hands of a puppeteer, in "Golden Key" - dolls are completely independent characters. In this temporary paradise, "rehearsing" final scene "Golden Key", the contradiction "play-work", as noted, is removed in the aesthetics of role-playing and theatricality of puppet life, which is directly inscribed in the open space of nature. The description of nature, in turn, acquires features of theatricality: "... the moon hung over the mirror-like water, like in a puppet theater." Malvina inherited from the Sorceress from "Pinocchio" not only blue hair, but also an authoritarian character with an admixture of outright boring, parodically exaggerating the moralizing of her predecessor. Especially straightforward phrases: "Now I will take care of your upbringing" and "She took him to the house to educate", introduced by Tolstoy in the last version of the manuscript, did not leave hopes for an educational influence gradually. Excessive upbringing is motivated in a fairy tale by the immaturity of children's dolls: in role play, everything is just like in adults. Playing as a teacher, Malvina dictates to Buratino a phrase from Fet: "And the rose fell on the paw of Azor", which reads the same from left to right - and vice versa. The mesmerizing serenity of this palindrome is in tune with the mood of Malvina's meadow, on which "azure flowers" grow, and it is consonant literally: "Rose", "Azore" - "azure". And isn't the beautiful country "Azora" encrypted in the Fetov phrase (along with other subtexts identified by the researchers), but in it there is still the same dream of happiness? In the Golden Key, the curtain opens - and this is the curtain of the new theater. The door of Pope Carlo's father's house-closet opens into the endless space of the big world. From here the heroes begin their journey, for happiness is "not a state," but "free movement forward," as LI Tolstoy wrote. Barsheva, to whom he dedicated his book. The heroes of the fairy tale descend the stairs (the author himself first recreates the symbolic procession on the steps in the poem "Creativity" ("Lyrics", 1907), find themselves in a round, illuminated like a temple, room (associations involuntarily reach for ideal "glades" and "islands" ) and see a “wonderfully beautiful puppet theater.” Suddenly there is a “stop-disappointment”, inevitable and psychologically extremely reliable on the way to the Absolute: the theater in the eyes of adult dad Carlo is just an “old toy.” At worst, a lot of gold and silver! But the degree of disappointment is not so great as to destroy the tense expectation of a miracle, and only makes it more convincing. The "substitution" of points of view occurs unmotivated and imperceptible for the reader: the stage of which "tiny" worlds are replaced, and then the children-dolls, continuing the procession on a different scale, will "play themselves". "

No less significant is the omission in the "Golden Key" of individual motifs. As already mentioned, the labor motive "drops out" when the Cricket appears. The author crosses out the admonition: "You will earn bread" as superfluous in the main ideas - "creative play" and "childhood happiness". And even more so the motive of labor is impossible as a punishment, which is clearly traced in the old tale. Cruelty is inconceivable in The Golden Key, where no one even kills enemies (the only exception is Shushar's rat). Instead of "Poor Cricket squeaked for the last time - kri-kri - and fell up with his paws", in the margin by the author's hand it is written: "He sighed heavily, moved his mustache and crawled away forever over the edge of the fireplace."

Buratino not only became more harmless and closer to children's perception, along with this, the whole concept of the fairy tale changed. The motives of guilt and remorse are strongly muted in it. The adventures of Pinocchio are more likely not a violation of morality (“don't steal” - preserved only for the Cat and Lisa), but a violation of the rules due to “short” thoughts of Pinocchio.

pinocchio pinocchio tolstoy collodi

6. Word in a work: details, repetition of details, figurative structure of speech

The text of The Golden Key is a completely different fairy tale than The Adventures of Pinocchio, and its hero has not only a different character, he is a bearer of a different aesthetics and different attitudes, which have absorbed the dynamic experience of his era. However, at the same time, the later text is polemically sharpened in relation to "Pinocchio" and literally grows through it. We have before us a unique case when the text of one work is a draft for another. It is not just a collection of sketches; in the margins and between the lines of one of the copies of "Pinocchio" the "Golden Key" is outlined and built. Crossing out large chunks of text, the writer sets a new rhythm to the tale, removes endless moralizing maxims: "naughty children cannot be happy in this world", comically sharpens many scenes, for example, in the scene of the hero's healing, recklessly introduces expressive words like: "got stuck" instead of "hit", "beat what is to the spirit" instead of "run what is to the spirit" (about the rooster) ... This continues until the "resistance" of the material of the early text, apparently giving new ideas, becomes insurmountable. In terms of plot, the tales finally diverge "in the meadow of Malvina (The Fairy)", any markings on the copy of the book disappear. But the internal controversy persists to the end, as hints, reminiscences and compositional parallels are preserved and realized. And at the end, a scene of the meeting with Cricket is written, by analogy with the early text, summing up the adventures of the heroes. Various phrases that sounded in the early text of 1906 ("bats will eat it", "pull the dog by the tail", etc.) are used in "The Golden Key", giving rise to new images in a completely different context. Many details are sequentially converted from text to text. In The Golden Key, the pine tree is replaced by an oak tree, on which, rather conditionally, Pinocchio was hanged, since his enemies “got bored of sitting on wet tails” (a detail indicated by the author in the text “Pinocchio”). But the "pine" was not forgotten and came in handy for the author already in another scene - the scene of a battle at the edge of the forest, in order to decide its outcome, when the savvy Buratino (again conventionally, as in a child's game) wins by winding his opponent's beard on a resinous tree, thereby immobilizing him ... If the differences between the two texts of "Pinocchio" are mainly in the sphere of stylistics, then between "Pinocchio" and "Golden Key" they will certainly turn into polemics.

In The Golden Key, in the image of Karlo the organ-grinder, the gaiety and artistry of his predecessors - light and red - were polemically revealed. The barrel organ, associated with play, art, theater, wandering, becomes the central and positive ... image of the Golden Key. It is no accident that in the final chapter, at the stage of the last editing of the text, the writer introduced the epithet "organ-organ" ("organ-organ music played") into the description of the theater, uniting the whole fairy tale with the theme of play and theater. In Pinocchio, play and fun lead only to sad consequences ... The theater has removed the opposition labor-play within the text, but polemically sharpened it in the text of Pinocchio.

Mappings can be represented as a diagram:

The books vary significantly in atmosphere and detail. The main plot coincides quite closely until the moment when the cat and the fox dig up the coins buried by Pinocchio, with the difference that Pinocchio is significantly kinder than Pinocchio. Further, plot coincidences with Pinocchio do not occur.

7. Book addressee

Excluding from the text of "The Golden Key" moral moralizing maxims that overwhelm "Pinocchio", the writer simultaneously makes a "nod" in the direction of modern pedagogical criticism, also focused on " moral lesson". Behind all this is a different attitude towards a child and towards a person in general. Childhood for Tolstoy is not a worsened version of adulthood, but an intrinsically valuable play world in which human individuality is especially clearly manifested. In Pinocchio, the child is initially rather vicious (from which it follows, that it needs to be fundamentally altered.) In addition to the need to "climb trees and destroy birds' nests," he is obsessed with laziness: "I want to eat, drink and do nothing," but is it consistent with the active curiosity of a man with a long nose? Therefore, apparently , in the "Golden Key" the motive of laziness is completely excluded ( healthy child cannot be lazy), and a long nose symbolizes only restlessness and curiosity, and does not act, as in Pinocchio, as a criterion for correct (incorrect) behavior.

Both Pinocchio and Buratino change, but Buratino remains to the end a "rascal" who, according to the definition of our contemporary teacher and psychologist A. Amonashvili, is the "engine of progress." It is the mischievous person who first "climbs trees" and then gains victories "with the help of cunning and ingenuity" who is capable of making independent, creative choices in life, and he does not have to be in the shoes of a "circus donkey" in order to become a man. In "Pinocchio" only after passing through a series of successive transformations, the hero becomes a "real" boy: the doll has disappeared, a man has appeared; the game and the fun are over - life has begun. In The Golden Key, the antithesis is removed: the doll is the person; play, creativity, fun is life. In this simultaneity lies infinity and relativity, as in a theater, where the characters will "play themselves."

List of sources used

1. Gulyga A.V. Art in the Age of Science. - M .: Nauka, 1978.

2. Zamyatin E.I. Martyrs of Science // Lit. study. 1988. No. 5.

3. Urnov D. M.A.N. Tolstoy in the dialogue of cultures: the fate of the "Golden Key" // A.N. Tolstoy: Materials and research / Otv. edited by A.M. Kryukov. - M .: Nauka, 1985. - P.255.

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For reader's diary... It allows you to structure information about the book you have read, draw up a plan for retelling the content, and provides a basis for writing. It should be noted that when performing school assignment, the title of the book should be indicated in full: A. N. Tolstoy: "The Golden Key, or the Adventures of Buratino" or: A. N. Tolstoy, "The Adventures of Buratino". Further, when answering verbally, you can use shorter options.

Pinocchio or Pinocchio?

The book by A.N. Tolstoy lies the tale of Carlo Collodi "The Adventures of Pinocchio. The Story of a Wooden Doll". According to Collodi's plot, the beloved American cartoon was shot, and children often confuse these two works and the main characters - Pinocchio and Pinocchio. But A.N. Tolstoy took only the idea of ​​a wooden doll that came to life, and then the storylines diverge. Summary"Buratino" for the reader's diary contains information only from the Russian version.

Once the carpenter Giuseppe found a talking log that started screaming when it was being cut. Giuseppe got scared and presented it to organ-grinder Carlo, with whom he had long been friends. Carlo lived in a small closet so poorly that even his hearth was not real, but painted on a piece of old canvas. The organ-grinder carved a wooden doll with a very long nose from logs. She came to life and became a boy whom Carlo named Pinocchio. The little wooden man was playing pranks, and the talking cricket advised him to take up his mind, obey Pope Carlo, and go to school. Papa Carlo, despite his pranks and pranks, fell in love with Pinocchio and decided to educate him as his own. He sold his warm jacket to buy his son an alphabet, made a jacket and a cap with a tassel out of colored paper so that he could go to school.

Puppet theater and acquaintance with Karabas Barabas

On the way to school, Pinocchio saw the poster of the Puppet Theater show: "The Girl with Blue Hair, or Thirty-Three Cuffs". The boy forgot the advice of the talking cricket and decided not to go to school. He sold his beautiful new alphabet with pictures and bought a ticket to the show with all the money he got. The plot was based on the cuffs that Harlequin very often gave to Pierrot. During the performance, the puppets-artists recognized Buratino 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 puppets playing on the stage, became very angry. He even wanted to burn the wooden boy for disturbing the order and disrupting the performance. But during the conversation, Buratino accidentally told about the closet under the stairs with a painted hearth, in which Carlo's dad lived. Suddenly Karabas Barabas calmed down and even gave Buratino five gold coins with one condition - not to leave this closet.

Meeting with fox Alice and cat Basilio

On the way home, Buratino met the fox Alice and These crooks, having learned about the coins, invited the boy to go to the Country of Fools. They said that if you bury the coins in the Field of Miracles in the evening, then in the morning they will grow a huge money tree.

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 resembling 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 to drop the coins and left him.

Acquaintance with Malvina, a trip to the Land of Fools

In the morning he was found by Artemon, a poodle - Malvina, who escaped from the theater of Karabas Barabas. It turned out that he mistreated 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 crooks brought Pinocchio to the Land of Fools on the Field of Miracles, it turned out to be like a dump. But the cat and the fox convinced him to bury the money, and then set the police dogs on him, who chased Buratino, caught him and threw him into the water.

The appearance of the golden key

The boy made of logs did not drown. The old tortoise Tortila found him. She told the naive Buratino the truth about his "friends" Alice and Basilio. The turtle kept a golden key, which he dropped into the water a long time ago. evil person with a long, ugly beard. He shouted that the key could open the door to happiness and wealth. Tortilla gave the key to Pinocchio.

On the way from the Country of Fools, Buratino met a frightened Pierrot, who also ran away from the cruel Karabas. Buratino and Malvina were very happy to see Pierrot. Leaving friends in Malvina's house, Buratino went to watch Karabas Barabas. He had to find out which door could be opened with a golden key. By chance, in a tavern, Buratino overheard a conversation between Karabas Barabas and Duremar, a leech dealer. He found out the big secret of the golden key: the door he opens is in Pope Carlo's closet behind the painted hearth.

The closet door, stair trip and new theater

Karabas Barabas turned to with a complaint about Buratino. He accused the boy of the fact that the puppets-artists escaped because of him, which led to the ruin of the theater. Fleeing from persecution, Buratino and his friends came to Pope Carlo's closet. They tore the canvas off the wall, found the 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 staircase leads to the best theater in the world, with bright lights, loud and joyful music. In this theater, the heroes became masters, Buratino began to play on stage with friends, and Carlo's dad - selling tickets and playing the barrel organ. All the artists from the Karabas Barabas theater left him for a new theater, where good performances were staged on the stage, and no one beat anyone.

Karabas Barabas was left alone on the street, in a huge puddle.

A summary of "Pinocchio" for the reader's diary: characteristics of the characters

Pinocchio is a revived wooden doll that Carlo made from logs. He is a curious, naive boy who does not understand the consequences of his actions. In the course of the story, Pinocchio grows up, learns to take responsibility for his behavior, finds friends whom he tries to help.

Carlo is a poor organ grinder living in poverty, in a cramped closet with a painted hearth. He is very kind and forgives Buratino all his pranks. Loves Buratino, like all parents of their children.

Karabas Barabas - theater director, professor of puppet science. An evil and cruel owner of the dolls, he comes up with performances in which they have to beat each other, punishes them with a seven-tailed whip. He has a huge, scary beard. He wants to catch Buratino. Once upon a time he had a golden key to the door to happiness, but he did not know where the door was and lost the key. Now, having learned where the closet is, he wants to find him.

Malvina is a very beautiful doll with blue hair. She ran away from the theater of Karabas Barabas because he mistreated her, and lives in the forest, in a small house with the poodle Artemon. Malvina is sure that everyone should have good manners, and she brings up boys with whom she is friends, teaches them to behave well, read and write. Loves to listen to the poems that Pierrot dedicates to her. Pinocchio and Malvina often quarrel over his bad behavior.

Artemon is Malvina's poodle, with whom she fled from Karabas Barabas. Protects her, helps raise boys.

Pierrot is a sad puppet theater actor who gets hit on the head from Arlecchino all the time according to the scripts of Carabas Barabas. He is in love with Malvina, writes poetry to her, misses her. In the end, he goes in search and, with the help of Pinocchio, finds her. Pierrot agrees to learn good manners, literacy - whatever, just to be close to her.

Fox Alice and cat Basilio are beggar crooks. Basilio often pretends to be blind in order to deceive passers-by. They are trying to take from Buratino five gold coins that Karabas Barabas gave him. First, Alice and Basilio try to lure them out by cunning, promising to grow a Money Tree on the Field of Wonders in the Land of Fools. Then, pretending to be robbers, they want to take the coins by force. As a result, they manage to steal coins buried in the Field of Wonders. After the Country of Fools, they help Karabas Barabas to catch Buratino.

Tortilla is a wise old turtle. She saves Pinocchio from the water, teaches to distinguish bad people from the good, gives a golden key.

Talking cricket - lives in dad Carlo's closet behind the painted hearth. Gives Pinocchio useful advice at the beginning of the story.