Brief analysis: Vampilov, “Elder son. Alexander vampilov eldest son comedy in two acts

06.08.2019

Late spring evening. Courtyard in the suburbs. Gates. One of the entrances of a stone house. Nearby there is a small wooden house with a porch and a window to the courtyard. Poplar and bench. Laughter and voices are heard in the street.

Busygin, Silva and two girls appear. Silva deftly plays the guitar, as if by the way. Busygin leads one of the girls by the arm. All four are visibly cold.

SILVA (hums).

We drove in a troika - you can't catch up,

And flickered in the distance - you won't understand ...

FIRST GIRL. Well, boys, we're almost home.

BUSYGIN. Almost does not count.

FIRST GIRL (to Busygin). Allow your hand. (He frees his hand.) Thank you for walking along. Here we will reach ourselves.

SILVA (stops playing). By yourself? How to understand this? .. You are here (shows), and we, then, are back? ..

FIRST GIRL. So so.

SILVA (to Busygin). Listen, friend, how do you like this?

BUSYGIN (to the first girl). Are you leaving us in the street?

FIRST GIRL. What do you think?

SILVIA. Did you think? .. Yes, I was sure that we were going to visit you.

FIRST GIRL. On a visit? At night?

BUSYGIN. What's special?

FIRST GIRL. Then you are mistaken. Guests do not come to us at night.

SILVA (to Busygin). What do you say to that?

BUSYGIN. Goodnight.

GIRLS (together). Good night!

SILVA (stops them). Think about it, girls! Where is the hurry? You will howl with melancholy now! Get your mind, invite to visit!

SECOND GIRL. Visit us! Look how fast you are! .. We danced, treated us to wine and immediately - on a visit! The wrong ones were attacked!

SILVIA. Tell me what deceit! (Delays the second girl.) Give me at least a kiss for the coming sleep!

The second girl breaks free, and both quickly leave.

Girls, girls, stop!

Busygin and Silva follow the girls. Sarafanov appears with a clarinet in his hands. A neighbor, an elderly man, comes out to meet him. He is dressed warmly, looking sickly. By manners - a middle-class employee, a procurer.

NEIGHBOR. Hello Andrey Grigorievich.

SARAFANOV. Good evening.

NEIGHBOR (sarcastically). From the job?

SARAFANOV. What? .. (Hastily.) Yes, yes ... From work.

NEIGHBOR (mockingly). From work? .. (Reproachfully.) Eh, Andrei Grigorievich, I don’t like your new profession.

SARAFANOV (hastily). What are you, neighbor, where are you going for the night looking?

NEIGHBOR. How - where? Nowhere. My pressure jumps, I came out into the air.

SARAFANOV. Yes, yes ... Take a walk, take a walk ... It's useful, useful ... Good night. (He wants to leave.)

NEIGHBOR. Wait…

Sarafanov stops.

(He points to the clarinet.) Whom did you see?

SARAFANOV. That is?

NEIGHBOR. Who died, I ask.

SARAFANOV (scared). Shh! .. Hush!

The neighbor covers his mouth with his hand, nods quickly.

(Reproachfully.) Well, what about you, I asked you. God forbid, mine will hear ...

NEIGHBOR. Okay, okay ... (In a whisper.) Who was buried?

SARAFANOV (in a whisper). Human.

NEIGHBOR (in a whisper). Young? .. Old?

SARAFANOV. Middle-aged…

The neighbor shakes his head long and ruefully.

Excuse me, I'm going home. I was chilled for something ...

NEIGHBOR. No, Andrei Grigorievich, I don't like your new profession.

Disperse. One disappears into the entrance, the other goes out into the street.

Vassenka appears from the street and stops at the gate. There is a lot of anxiety and uncertainty in his behavior, he is waiting for something. Footsteps were heard in the street. Vassenka rushes to the entrance - Makarskaya appears at the gate. Vassenka calmly, pretending to be an accidental meeting, goes to the gate.

VASENKA. Who do I see!

MAKARSKAYA. And it's you.

VASENKA. Hey!

MAKARSKAYA. Hello, kiryushechka, hello. What are you doing here? (Goes to the wooden house.)

VASENKA. Yes, so, I decided to walk a little. Let's take a walk together?

MAKARSKAYA. What are you, what a walk - a dog's cold. (Takes out a key.)

VASENKA (standing between her and the doors, detains her on the porch). I won't let it go.

MAKARSKAYA (indifferently). Well. Begins.

VASENKA. You are little outside.

MAKARSKAYA. Vassenka, go home.

VASENKA. Wait ... Let's chat a little ... Tell me something.

MAKARSKAYA. Goodnight.

VASENKA. Tell me that tomorrow you will go to the cinema with me.

MAKARSKAYA. We'll see tomorrow. Now go to sleep. Well, let me go!

VASENKA. I won't let it go.

MAKARSKAYA. I will complain to yours, you will get through!

VASENKA. Why are you screaming?

MAKARSKAYA. No, this is some kind of punishment!

VASENKA. Well, shout. I might even like it.

MAKARSKAYA. What do you like?

VASENKA. When you scream.

MAKARSKAYA. Vassenka, do you love me?

VASENKA. I AM?!

MAKARSKAYA. You love. Something bad you love me. I'm standing here in a sweater, I'm cold, tired, and you? .. Well, let it go, let it go ...

VASENKA (for rent). Are you cold? ..

MAKARSKAYA (opening the door with a key). Well ... Clever. If you stop loving, you have to obey. (On the threshold.) And in general: I want you not to wait for me anymore, not to follow me, not to follow me. Because nothing will come of it ... Now go to sleep. (He enters the house.)

VASENKA (approaches the door, the door closes). Open up! Open up! (Knocks.) Open for a minute! I need to tell you. Do you hear? Open up!

MAKARSKAYA (in the window). Don't shout! You will wake up the whole city!

VASENKA. To hell with him, with the city! .. (Sits on the porch.) Let them get up and listen, what a fool I am!

MAKARSKAYA Just think how interesting ... Vassenka, let's talk seriously. Understand you, please, you and I cannot have anything. Except for the scandal, of course. Think, silly, I'm ten years older than you! After all, we have different ideals and all that - didn't they explain this to you at school? You should be friends with girls. Now at school, it seems, and love is allowed - that's wonderful. So love who you are supposed to.

VASENKA. Do not be silly.

MAKARSKAYA. Enough! Apparently, you don't understand good words. I'm fed up with you. Tired of it, is it clear to you? Go away, and so I don't see you here again!

VASENKA (goes to the window). Okay ... You won't see me again. (Mournfully.) You will never see.

MAKARSKAYA. The boy is completely crazy!

VASENKA. Will see you tomorrow! Once! For half an hour! Goodbye! .. Well, what should you!

MAKARSKAYA. Well, yes! Then you will not get rid of you. I know you very well.

VASENKA (suddenly). Rubbish! Rubbish!

MAKARSKAYA. What?!. What?!. Well, the order! Any punks can offend you! .. No, apparently you can't live in this world without a husband! .. Get out of here. Well!

Silence.

VASENKA. I'm sorry ... I'm sorry, I didn't mean to.

MAKARSKAYA. Leave! Bainki! The puppy is tailless! (She slams the window.)

Vassenka wanders into his entrance. Busygin and Silva appear.

SILVIA. How do they tell us? ..

BUSYGIN. Let's have a smoke.

SILVIA. And the blond one, nothing ...

BUSYGIN. Small in stature.

SILVIA. Listen! You liked her.

Related to the play "The Elder Son", date back to 1964: the title - "Peace in the House of Sarafanov", future characters: Alexei Nikolayevich Sarafanov - retired colonel, Emma - his daughter, Vasya - his son, ninth grader, Zabrodin - a student on vacation, Kemerovskaya is a typist, Chistyakov is an engineer.

Even earlier, in Vampilov's notebooks, names and characteristics of future characters were mentioned that were different from the final version: Nikolai Zabrodin is a student on vacation, a physicist (22), a tramp and a fatalist (embittered). Alexey Nikolaevich Sarafanov - tuner (50), kind-hearted, cheerful person, he understood everything and forgave everything, a gentle person. Loves work. Olenka Sarafanova is a girl making her way onto the stage. Sober, cold, but sweet, etc. Greta Komarovskaya is a woman who is waiting for an opportunity. Secretary-typist. Vassenka Sarafanov is an infant, a beginner, a bum, behind the back of the first two courses. Yuri Chistyakov is an engineer, a man with a Moscow residence permit, Olenka's fiancé.

The first version of the play was created in 1965 and was published in excerpts under the title "Grooms" on May 20, 1965 in the newspaper "Soviet Youth". In 1967 the play was called "Suburb" and in 1968 it was published in the anthology "Angara".

In 1970 he finalized the play for the publishing house "Art", where "The Elder Son" was published as a separate edition.

Playwright Alexei Simukov kept Vampilov's letter, in which he explains Busygin's actions:

“... At the very beginning ... (when it seems to him that Sarafanov went to commit adultery) he (Busygin) and does not think about meeting him, he avoids this meeting, and having met, he does not deceive Sarafanov just like that, out of evil hooliganism, but rather , acts like a moralist in some way. Why shouldn't this (father) suffer a little for that (father Busygin)? Firstly, having deceived Sarafanov, he is constantly weighed down by this deception, and not only because - Nina, but also before Sarafanov he has downright remorse. Subsequently, when the position of an imaginary son is replaced by that of a beloved brother - the central situation of the play, Busygin's deception turns against him, he acquires a new meaning and, in my opinion, looks completely harmless.

Characters (edit)

Busygin
Silvia
Sarafanov
Vassenka
Kudimov
Makarska
Two friends
Neighbor

Plot

On a cold spring evening, Busygin and Silva, who had just met in a cafe, escorted their friends to the house, hoping for a continuation of the relationship. However, at the very house, the girls give them a turn from the gate - and the young people, realizing that they were late for the train, are looking for an overnight stay, but - “no one opens. Fear". By chance they see Sarafanov leaving the house, hear his name and decide to take advantage of this: go into his apartment, posing as acquaintances, and at least warm up. However, in a conversation with Vassenka, the son of Sarafanov, Silva unexpectedly informs that Busygin is his brother and son of Sarafanov. Returning Sarafanov takes this story at face value: in 1945 he had an affair with a girl from Chernigov, and now he wants to believe that Volodya is really his son.

In the morning, friends try to escape from the hospitable home, but Busygin feels like a deceiver: “God forbid, deceive the one who believes your every word” - and when Sarafanov hands him a family heirloom - a silver snuff-box that has always been passed on to his eldest son, he decides stay.

So Busygin has a "father", "brother" and "sister", and he has to get involved in solving family problems. The younger brother, a 10th grade student, Vassenka, is in love with a neighbor, 30-year-old Makarskaya, a court secretary, but she laughs at his feelings, and Vassenka wants to run away from home; Busygin manages to persuade him to stay. Silva, who liked Makarskaya, flirts with her, and the enraged Vassenka sets fire to the house of the traitor. Makarskaya is amazed: she did not expect such an act from the boy and is now ready to take him seriously.

A second love story develops in parallel: Busygin falls in love with his new-found "sister", but she is going to marry a pilot cadet and go with him to Sakhalin. Nina and Busygin feel mutual sympathy, and both regret that they were “relatives”. Unable to bear it, Busygin exposes himself, admitting at the same time to Sarafanov: "Frankly speaking, I myself no longer believe that I am not your son." “Whatever it is, I consider you my son,” Sarafanov answers him, and Busygin remains in their house.

Criticism about the play

Mark Lipovetsky:

“Rogue Busygin literally becomes the hope and support of the crumbling house. Sarafanov and his children grab at the idea of the eldest son like a straw ... And Busygin suddenly feels responsible, this is expressed in the fact that he not only lasts for the deception started by Silva, but also becomes a participant in intra-family deceptions. The mask, the role, knowingly untrue, unexpectedly meets the internal need of Busygin to be needed by someone, to belong to the house, to be loved, to be a member of the family ".

Vladimir Klimenko:

“Vampilov gradually and unobtrusively brings us to the idea that the kinship of people is more important in spirit than kinship ties, and the responsiveness of the heart is the most important human dignity ... Busygin's soul is transformed under the influence of a meeting with Sarafanov. An elderly musician, a loser and "blissful", in the opinion of his wife who abandoned him, is in fact a repository of the best feelings. ".

Theatrical performances

First production

1969, November - Irkutsk Drama Theater, director V. Simonovsky (Vampilov himself participated in the preparation of the play). Cast Tamara Panasyuk - Natalia, Gennady Marchenko - Vassenka Sarafanov... The play has been in the theater's repertoire for 11 years.

Notable productions

1972 - Theater them. M. N. Ermolova, directed by G. Kosyukov
1983 - opera "Elder Son", composer G. Gladkov, [[Moscow Academic Musical Theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko
1992 - Theater without decorations
2002 - Theater on Pokrovka n / a Sergei Artsibashev
2005 - Yekaterinburg State Academic Drama Theater
2008 - Moscow Studio Theater directed by Oleg Tabakov, director Konstantin Bogomolov
Theater Gesher, directed by Lena Kreindlina
Taganka Theater, director Yuri Pogrebnichko
2011 - Krasnoyarsk Drama Theater. A.S. Pushkin, director Nikita Rak, stage director Oleg Rybkin.

Screen adaptations

1976 - "The Eldest Son" - directed by Vitaly Melnikov, starring Evgeny Leonov - Andrey G. Sarafanov, Natalia Egorova - Nina Sarafanova, Vladimir Izotov - Vassenka Sarafanov, Nikolay Karachentsov - Vladimir Busygin, Mikhail Boyarsky - Silva (Semyon Sevostyanov), Svetlana Kryuchkova - Natalia.
2006 - "The Eldest Son" - directed by Marius Weisberg, starring Rade Sherbedzhia - Max (Andrey Grigorievich) Sarafanov, Lily Sobieski - Lolita (Nina Sarafanova), Reilly McClendon - Nikita (Vassenka) Sarafanov, Shane West - Bo (Vladimir Busygin), Eric Balfour - Skip (Silva), Regina Hall - Susan (Natalia).

Biography of A. Vampilov

Alexander Vampilov was born on August 19, 1937 in the regional center Kutulik of the Irkutsk region in an ordinary family. His father, Valentin Nikitovich, worked as the director of the Kutulik school (his ancestors were Buryat lamas), his mother, Anastasia Prokopyevna, worked there as a head teacher and a mathematics teacher (her ancestors were Orthodox priests). Before Alexander was born, the family already had three children - Volodya, Misha and Galya.

Valentina Nikitovich never had a chance to raise his son. Just a few months after his birth, one of the teachers in his own school wrote a denunciation against him to the NKVD. The charge was grave and did not give the arrested person any chance of survival. The court sentenced him to death, the sentence was carried out in early 1938 near Irkutsk. Only 19 years later was Valentin Vampilov rehabilitated.

The Vampilov family lived very hard, literally interrupting from bread to water. Relatives of Valentin Nikitovich, even during his lifetime, disliked his Russian wife, and when Vampilov Sr. passed away, they completely turned away from her. Anastasia Prokopyevna continued to work at school, and her salary was barely enough to support herself and four young children. Sasha Vampilov received his first suit in his life only in 1955, when he finished ten classes of high school.

Sasha grew up quite an ordinary boy, and for a long time his relatives did not distinguish any special talents in him. After graduating from school, Vampilov entered the history and philology faculty of Irkutsk University. Already in his first year, he began to try his hand at writing, writing short comic stories. In 1958, some of them appeared on the pages of local periodicals. A year later, Vampilov was enrolled in the staff of the Irkutsk regional newspaper "Soviet Youth" and in the Creative Association of Young (TOM) under the auspices of the newspaper and the Writers' Union. In 1961, the first (and only during his lifetime) book of Alexander's humorous stories was published. It was called "Concourse of Circumstances." True, on the cover was not his real name, but a pseudonym - A. Sanin. In 1962, the editorial board of "Soviet Youth" decided to send its talented collaborator Vampilov to Moscow to the Higher Literary Courses of the Central Komsomol School. After studying there for several months, Alexander returns to his homeland and immediately rises one step higher in his official career: he is appointed executive secretary of the newspaper. In December of the same year, a creative seminar was held in Maleevka, at which Vampilov presented two one-act comedies of his to the readers' judgment: "The Crow Grove" and "One Hundred Rubles with New Money".

In 1964, Vampilov left the "Soviet Youth" and devoted himself entirely to writing. Soon two collective collections with his stories will be published in Irkutsk. A year after that, Vampilov again went to Moscow in the hope of adding his new play "Farewell in June" to one of the capital's theaters. However, these attempts then ended in vain. In December, he entered the Higher Literary Courses of the Literary Institute. Here, in the winter of 1965, he unexpectedly met the playwright Alexei Arbuzov, who was fashionable in those years.

In 1966, Vampilov joined the Writers' Union. Vampilov wrote his first play in 1962 - "Twenty Minutes with an Angel". Then there were "Farewell in June", "The Case of the Metranpage", "The Eldest Son" and "Duck Hunt" (both 1970), "Last Summer in Chulimsk" (1972) and others. Those who read them, they aroused the hottest responses, but not a single theater in Moscow or Leningrad undertook to stage them. Only the provinces welcomed the playwright: by 1970, his play Farewell in June was being staged in eight theaters at once. But his native Irkutsk Youth Theater, which now bears his name, during Vampilov's lifetime did not stage any of his plays.

By 1972, the attitude of the Moscow theater community to Vampilov's plays began to change. “Last summer in Chulimsk” he took over the Yermolova Theater for his production, “Farewell” - the Stanislavsky Theater. In March, the premiere of "Provincial Anecdotes" takes place at the Leningrad BDT. Even the cinema pays attention to Vampilov: Lenfilm signs a contract with him for the script for Pine Springs. It seemed that luck finally smiled at the talented playwright. He is young, full of creative energy and plans. His personal life with his wife Olga is also developing well. And suddenly - an absurd death.

On August 17, 1972, two days before his 35th birthday, Vampilov, together with his friends - Gleb Pakulov and Vladimir Zhemchuzhnikov - went on vacation to Lake Baikal.

According to the description of the witnesses of the incident, the boat, in which Vampilov and Pakulov were, caught on the sinker and overturned. Pakulov grabbed the bottom and began to call for help. And Vampilov decided to swim to the shore. And he got to him, touched his feet to the ground, and at that moment his heart could not stand it.

No sooner had the earth on Vampilov's grave cooled down than his posthumous fame began to gain momentum. His books began to be published (only one was published during his lifetime), theaters staged his plays (only "The Elder Son" was shown in 44 theaters of the country at once), directors at the studios began filming films based on his works. In Kutulik, his museum was opened, in Irkutsk, the Theater for Young Spectators was named after A. Vampilov. A memorial stone appeared at the place of death ...

Play "Elder Son"

The play by A. Vampilov "The Elder Son" exists in several versions. The earliest recordings of Vampilov relating to the play "The Eldest Son" date back to 1964: the title is "Peace in Sarafanov's House". A version of the play called "Grooms" was published in excerpts on May 20, 1965 in the newspaper "Soviet Youth". In 1967 the play was called "Suburb", published in 1968 in the anthology "Angara". In 1970 Vampilov finalized the play for the publishing house "Art", where it is called "The Elder Son" and is published as a separate edition.

Note that the title "Elder Son" is the most apt. For the author, the main thing is not where the events take place, but who participates in them. To be able to listen, understand another, support in difficult times - this is the main idea of the play. Being close in spirit is more important than blood relationship.

In addition, Volodya Busygin justified the role he had taken: he helped Nina and Vassenka understand how much their father meant to them, having raised both without a mother who had abandoned the family, and Father Sarafanov, in turn, found support and understanding in Volodya's face.

Vampilov himself wrote: “ ... At the very beginning ... (when it seems to him that Sarafanov went to commit adultery) he (Busygin) and does not think about meeting him, he avoids this meeting, and having met, he does not deceive Sarafanov just like that, out of evil hooliganism, but rather, acts like a moralist in some way. Why shouldn't this (father) suffer slightly for that (father Busygin)? Firstly, having deceived Sarafanov, he is constantly weighed down by this deception, and not only because - Nina, but also before Sarafanov he has downright remorse. Subsequently, when the position of an imaginary son is replaced by that of a beloved brother - the central situation of the play, Busygin's deception turns against him, he takes on a new meaning and, in my opinion, looks completely harmless».

The plot of the play "Elder Son" is born out of chance, out of a strange combination of circumstances. Like no other play by Vampilov, in "The Elder Son" "coincidence" is the engine of the plot. An accident, a trifle, a coincidence of circumstances become the most dramatic moments in the development of the action of this play. By chance, the heroes meet in a cafe, accidentally find themselves in the suburbs, accidentally eavesdrop on Sarafanov's conversation with a neighbor, accidentally learn about the relationship between Vassenka and Makarskaya, accidentally find themselves privy to a family secret. Busygin then confesses to Nina himself: "It all happened completely by accident." Busygin and Silva are not very familiar, in the cafe they did not even hear each other's names and in the course of the play they get to know each other again, but this does not prevent them from understanding each other literally at a glance.

The poetics of the play retains the main features of Vampilov's dramaturgy: this, as O. Efremov noted, is a craving for an acute form, a non-standard situation, an unused technique; according to V. Rozov, it is a vaudeville and even farcical beginning, rapidly reaching the ultimate dramatic tension; convex everyday materiality, corporeality of life, acute plot tension, according to E. Gushanskaya; a combination of philosophical depth with a dazzlingly bright purely theatrical form, according to A. Simukov.

In The Elder Son, the anecdote becomes a genre-forming component - a kind of novelization of the genre takes place. It is the novelistic intrigue that gives the play what the critics almost unanimously call "high skill in plotting."

Undoubtedly, the adventurous idea of meeting the Sarafanov family belongs to Busygin, and Silva cowardly warns her friend: “This night will end at the police station. I feel"... But the idea to pass off Busygin to the eldest son belongs to Silva. Rhetorical biblical the figure of "suffering, hungry, cold" brother, standing at the threshold, takes on the features of a real Busygin. Busygin does not immediately take on the role offered to him, he hesitates. The heroes seem to change places: now Silva is ready to stay, and Busygin is in a hurry to leave. However, the cowardice of Silva and Busygin has different roots: if the former is governed by fear of the police, the latter is governed by fear of conscience.

The naivety, purity, gullibility, “word of mouth” of the father, sober skepticism and distrust of Nina, growing into frank sympathy for the imaginary brother, Vassenka's enthusiasm, the charm and intelligence of Busygin himself, the assertive impudence of Silva condense, materialize the image of the eldest son. The family faced a situation when he - the eldest son - had to appear and he appeared.

In parallel, the image of another "eldest son" is materialized - Nina's husband, cadet and future officer Kudimov. It is created mainly by Nina and is jealously corrected by Busygin. About Kudimov, even before his appearance on the stage, we know almost everything. Busygin is in an incomparably more advantageous position: no one knows anything about him and he communicates what he wants to communicate about himself. Already in the assessment of Nina, Kudimov appears as a rather limited person. The appearance of the hero only confirms this.

The scene of the appearance of Kudimov (second act, scene two) is a mirror image of another scene - the appearance of Busygin and Silva in the Sarafanovs' house (first act, second scene): acquaintance, an offer to drink, claims to sonship ("Where's Daddy?"- asks Kudimov).

The clash between Busygin and Kudimov is a kind of duel, the reason for which is Nina. But behind this reason are hidden other reasons, which lie in the belonging of these people to different spheres of human life and to their different understanding of life itself.

Like an incantation, Nina's continuously repeated words, addressed to Kudimov, “It doesn’t matter if today you’re even late”, “today you’ll be late”, “just like that, you’ll be late and that’s all”, “today you’ll be late, I want it so much”, “no, you’ll stay”,- not easy "caprice", according to Kudimov, but the last attempt to humanize his fiancé, who is ready to bring the spirit of barracks and discipline into family life.

Nina talks about Kudimov : “Let's say he doesn't have enough stars from the sky, so what? I think this is even for the best. I don't need Cicero, I need a husband. " Excellent combat and political training Kudimov now, in the future he is capable of "Marks of darkness of distinction" pick up, because he is never late and does not do what he does not see the point in. Holding Kudimov, Nina keeps herself from loving Busygin. Nina has no choice but ultimately she makes her choice: "I'm not going anywhere."

If Busygin's phrase "A suffering, hungry, cold brother stands at the door ..." the elder brother begins to enter the Sarafanov family, then from Nina's remark addressed to Kudimov: “Enough for you! So you can remember until your death! "- the reverse process begins.

The image of the funeral begins to hover invisibly over the Sarafanov family: the head of the family himself buries his dreams of the vocation of a composer ("I won't make a serious musician, and I must admit it"); parting with her hopes Nina ( "Yes. Go. And what good, you really will be late "), arranges a funeral pyre for Vassenka, burning the Makarskaya carpet and the pants of his rival. But death is ambivalent: it is reborn for the Sarafan family, Nina finds new love, Makarskaya's interest in Vassenka flares up.

The image of the funeral of "some chauffeur" - a symbol of an interrupted path, both life and professional - is ambiguous in the play. The cadet of the flight school Kudimov leaves, Sevostyanov "disappears". The last attempt of Silva, who is no longer satisfied with the secondary role, to annoy a successful rival and expose the impostor was belated and unsuccessful: physical relationship ceases to be defining and significant and gives way to true spiritual relationship: “You are a real Sarafanov! My son. And, moreover, a beloved son. " In addition, Busygin himself admits : "I am glad that I came to you ... Frankly speaking, I myself do not believe that I am not your son."

Reasonable and serious Nina, ready to repeat her mother's act and leave with a "serious person", in the finale of the play realizes that she "father's daughter. We are all in daddy. We have one character "... They, the Sarafanovs, are wonderful people, blessed.

A. Demidov also called the comedy "Elder Son" "A kind of philosophical parable".

Started as an everyday joke, the play gradually develops into a dramatic story, behind which the motives of the biblical parable of the prodigal son are guessed.

At the same time, the well-known biblical parable undergoes a certain transformation: the prodigal "son" returns to the house from which he never left; Sarafanov's "prodigal" children return to the house from which they never left. They stay in the House to rebuild it.

This play is a kind of philosophical parable about kinship of souls and finding a home. A new person appears in the Sarafanov family, introducing himself as the "eldest son" of the head of the family. In the whirlwind of family troubles and problems, Busygin really begins to feel like a family in the Sarafanovs' house and responsible for their lives.

Spiritual kinship of people turns out to be more reliable and stronger than formal relations. Behind the outward bravado and cynicism of young people, a capacity for love, forgiveness, and compassion, unexpected for them, is revealed. So from a private household history, the play rises to universal humanistic problems (trust, mutual understanding, kindness and responsibility). And the paradox is that people become relatives, they begin to feel responsibility for each other only by a happy coincidence. The play shows the moral essence of the eldest son - everything is on his shoulders: hope, the future of the family. And Busygin revived the family.

Literature

Vampilov A.V. The eldest son. - M .: Pushkin Library: AST: Astrel, 2006 .-- S. 6 - 99.
Gushanskaya E. Alexander Vampilov: Essay on creativity. - L .: Sov. Writer. Leningrad. department, 1990. - 320s.
The World of Alexander Vampilov: Life. Creation. Fate. - Irkutsk, 2000 .-- S. 111-116.
About Vampilov: Memories and Reflections // Vampilov A. House with Windows in the Field. Irkutsk: East Siberian book publishing house, 1981. - S. 612-613.
Russian literature XX - early XXI century: textbook. manual for students of higher. ped. study. institutions: in 2 volumes. T. 2. 1950 - 2000s / (L.P. Krementsov, L.F. Alekseeva, M.V. Yakovlev, etc.); ed. L.P. Krementsov. - M .: Publishing Center "Academy", 2009. - P.452 - 460.
Sushkov B.F. Alexander Vampilov: Reflections on the ideological roots, problems, artistic method and the fate of the playwright's work. - M .: Sov. Russia, 1989 .-- 168p.

The play "The Eldest Son" by Vampilov was written in 1967, and initially had several variations with different titles: "Peace in the Sarafanovs' House", "Grooms", "Suburb". The comedy in two acts is built on strange coincidences, chance coincidences, which form the basis of the plot.

main characters

Vladimir Busygin- a young man, a medical student, a kind, sympathetic guy.

Andrey G. Sarafanov- a middle-aged man, a musician in a railroad club.

Other characters

Nina- Sarafanov's daughter, 19 years old, responsible, serious girl.

Vassenka- the youngest son of Sarafanov, a tenth grader.

Semyon Sevostyanov (Silva)- a sales agent, a big lover of women and feasts.

Mikhail Kudimov- Nina's fiancé, a flight school student, a purposeful and strong-willed guy.

Natalia Makarskaya- Vassenka's beloved, a frivolous girl of 26 years old.

Action one

Scene one

Silva and Busygin, accompanied by guitar chords, escorted home two girlfriends whom they met this evening. Saying goodbye, young people try to ask them to visit, but the girls resolutely refuse, saying that "guests do not go to them at night."

At this moment, "Sarafanov appears with a clarinet in his hands." Faced with a neighbor at the entrance, he asks not to tell anyone that he is moonlighting at the funeral.

Vassenka, having waited for Makarskaya to appear, takes on an indifferent air and depicts an "accidental meeting." The young man is secretly in love with a girl who is ten years older than him, and he does not have to count on reciprocity.

Realizing that they were late for the train, Busygin and Silva are trying to solve a serious question - how to spend the night in this wilderness. They start calling the apartments with a request to let them spend the night, but no one opens them.

Soon, the friends notice how Andrei Grigorievich Sarafanov goes to the house of Makarskaya and asks to let him in. Not wanting to waste a minute, they go to Sarafanov's apartment, where a young man is left, ready to leave the house with a backpack on his shoulders.

Scene two

Humiliated by Makarskaya's refusal, Vassenka writes her a farewell note and is going to leave her father's house forever. Nina notices her younger brother's preparations and takes the backpack away from him.

At this moment, Silva and Busygin appear in the apartment, who are ready to do anything for an overnight stay. Silva goes all-in and informs the dumbfounded boy that Busygin is his half-brother. Vassenka is “embarrassed and confused,” and flawlessly prepares a feast for the deceivers.

Sarafanov comes in and learns from his son that they have "unusual guests." Vassenka reassures her father that he understands everything, to which Andrei Grigorievich irritably replies: “I was a soldier! A soldier, not a vegetarian! " ...

Nadya appears, who first of all begins to interrogate the "stepbrother", demanding proof of kinship from him. Busygin, who managed to overhear Sarafanov's revelations with Vassenka, gives out all the necessary information - the name of the mother and the time of her meeting with her father.

Sarafanov talks peacefully with Busygin until morning. He complains that the children intend to leave him soon: Nina is going to get married and one of these days is leaving for Sakhalin, and Vassenka "is going to the taiga to a construction site."

The friends want to get out of the house unnoticed, but Andrey Grigorievich does not let them do it. As a souvenir, he wants to give Busygin a silver snuff-box, which in his family "always belonged to the eldest son." The young man is ashamed of his lies, and he decides to stay one more day.

During the joint cleaning, the girl shares her plans for the future with her “brother”, praises her fiancé. At some point, the young people almost kissed, and this incident greatly discouraged them.

Second action

Scene one

Unexpectedly for Vassenka, Makarskaya invites him to go to the cinema, and he does not believe in his own happiness. While he is running for tickets, the girl agrees with Silva on a date in the evening.

Nina shares with Busygin that her father has not played in the Philharmonic for a long time, but worked part-time at dances in the railway workers' club. In order not to upset him, they pretend to believe that "he is still in the symphony orchestra." The girl says that in the evening her fiance will come to dinner with them, and asks her "brother" to stay.

Makarskaya refuses to go to the cinema with Vassenka, since she has already made an appointment with Silva. In her hearts, she confesses to the young man that she agreed to spend the evening with him only at the request of his father. Vassenka runs home and starts packing his backpack again.

Scene two

Kudimov comes to the Sarafanovs with a bouquet of flowers and champagne. This is Nina's fiancé, a brilliant "cadet of the aviation school." He laments that he has very little free time, and out of principle is not going to be late to the barracks even at Nina's request.

Vassenka leaves the house, and no one can keep him. A hysteria happens to Sarafanov, he accuses the children of callousness and selfishness.

Unable to bear it, Busygin confesses his love to Nina, and informs him that he is not her brother and that he "does not and did not have a sister." Meanwhile, Sarafanov is packing his suitcase and his beloved clarinet - he is ready to go with his newfound son to his mother. Young people are confused - they do not know how to tell him the truth.

Meanwhile Vassenka appears on the doorstep - "he looks scared and solemn." He reports that he set fire to Makarska and her lover. After him appears Silva, covered in soot and in burnt pants. He tells Sarafanov the truth about yesterday's adventure.

However, this news does not upset the man - he managed to fall in love with Busygin as his own son, and offers to move to them from the hostel. The young man refuses, but promises to visit them every day.

Conclusion

Vampilov's work teaches mercy, mutual assistance, compassion. Mental closeness does not always depend on family ties: even a completely stranger can become truly dear and close.

A short retelling "The Elder Son" will be useful both for a reader's diary and in preparation for a literature lesson.

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Alexander Vampilov
Eldest son
Comedy in two acts

CHARACTERS:

Sarafanov

VASENKA

MAKARSKAYA

TWO FRIENDS

ACTION ONE

Scene one

Busygin, Silva and two girls appear. Silva deftly plays the guitar, as if by the way. Busygin leads one of the girls by the arm. All four are visibly cold.

SILVA (hums).

We drove in a troika - you can't catch up,
And flickered in the distance - you won't understand ...

FIRST GIRL. Well, boys, we're almost home.

BUSYGIN. Almost does not count.

FIRST GIRL (to Busygin). Allow your hand. (He frees his hand.) Thank you for walking along. Here we will reach ourselves.

SILVA (stops playing). By yourself? How to understand this? .. You are here (shows), and we, then, are back? ..

FIRST GIRL. So so.

SILVA (to Busygin). Listen, friend, how do you like this?

BUSYGIN (to the first girl). Are you leaving us in the street?

FIRST GIRL. What do you think?

SILVIA. Did you think? .. Yes, I was sure that we were going to visit you.

FIRST GIRL. On a visit? At night?

BUSYGIN. What's special?

FIRST GIRL. Then you are mistaken. Guests do not come to us at night.

SILVA (to Busygin). What do you say to that?

BUSYGIN. Goodnight.

GIRLS (together). Good night!

SILVA (stops them). Think about it, girls! Where is the hurry? You will howl with melancholy now! Get your mind, invite to visit!

SECOND GIRL. Visit us! Look how fast you are! .. We danced, treated us to wine and immediately - on a visit! The wrong ones were attacked!

SILVIA. Tell me what deceit! (Delays the second girl.) Give me at least a kiss for the coming sleep!

The second girl breaks free, and both quickly leave.

Girls, girls, stop!

NEIGHBOR. Hello Andrey Grigorievich.

SARAFANOV. Good evening.

NEIGHBOR (sarcastically). From the job?

SARAFANOV. What? .. (Hastily.) Yes, yes ... From work.

NEIGHBOR (mockingly). From work? .. (Reproachfully.) Eh, Andrei Grigorievich, I don’t like your new profession.

SARAFANOV (hastily). What are you, neighbor, where are you going for the night looking?

NEIGHBOR. How - where? Nowhere. My pressure jumps, I came out into the air.

SARAFANOV. Yes, yes ... Take a walk, take a walk ... It's useful, useful ... Good night. (He wants to leave.)

NEIGHBOR. Wait…

Sarafanov stops.

(He points to the clarinet.) Whom did you see?

SARAFANOV. That is?

NEIGHBOR. Who died, I ask.

SARAFANOV (scared). Shh! .. Hush!

The neighbor covers his mouth with his hand, nods quickly.

(Reproachfully.) Well, what about you, I asked you. God forbid, mine will hear ...

NEIGHBOR. Okay, okay ... (In a whisper.) Who was buried?

SARAFANOV (in a whisper). Human.

NEIGHBOR (in a whisper). Young? .. Old?

SARAFANOV. Middle-aged…

The neighbor shakes his head long and ruefully.

Excuse me, I'm going home. I was chilled for something ...

NEIGHBOR. No, Andrei Grigorievich, I don't like your new profession.

Disperse. One disappears into the entrance, the other goes out into the street.

VASENKA. Who do I see!

MAKARSKAYA. And it's you.

VASENKA. Hey!

MAKARSKAYA. Hello, kiryushechka, hello. What are you doing here? (Goes to the wooden house.)

VASENKA. Yes, so, I decided to walk a little. Let's take a walk together?

MAKARSKAYA. What are you, what a walk - a dog's cold. (Takes out a key.)

VASENKA (standing between her and the doors, detains her on the porch). I won't let it go.

MAKARSKAYA (indifferently). Well. Begins.

VASENKA. You are little outside.

MAKARSKAYA. Vassenka, go home.

VASENKA. Wait ... Let's chat a little ... Tell me something.

MAKARSKAYA. Goodnight.

VASENKA. Tell me that tomorrow you will go to the cinema with me.

MAKARSKAYA. We'll see tomorrow. Now go to sleep. Well, let me go!

VASENKA. I won't let it go.

MAKARSKAYA. I will complain to yours, you will get through!

VASENKA. Why are you screaming?

MAKARSKAYA. No, this is some kind of punishment!

VASENKA. Well, shout. I might even like it.

MAKARSKAYA. What do you like?

VASENKA. When you scream.

MAKARSKAYA. Vassenka, do you love me?

VASENKA. I AM?!

MAKARSKAYA. You love. Something bad you love me. I'm standing here in a sweater, I'm cold, tired, and you? .. Well, let it go, let it go ...

VASENKA (for rent). Are you cold? ..

VASENKA (approaches the door, the door closes). Open up! Open up! (Knocks.) Open for a minute! I need to tell you. Do you hear? Open up!

MAKARSKAYA (in the window). Don't shout! You will wake up the whole city!

VASENKA. To hell with him, with the city! .. (Sits on the porch.) Let them get up and listen, what a fool I am!

VASENKA. Do not be silly.

MAKARSKAYA. Enough! Apparently, you don't understand good words. I'm fed up with you. Tired of it, is it clear to you? Go away, and so I don't see you here again!

VASENKA (goes to the window). Okay ... You won't see me again. (Mournfully.) You will never see.

MAKARSKAYA. The boy is completely crazy!

VASENKA. Will see you tomorrow! Once! For half an hour! Goodbye! .. Well, what should you!

MAKARSKAYA. Well, yes! Then you will not get rid of you. I know you very well.

VASENKA (suddenly). Rubbish! Rubbish!

MAKARSKAYA. What?!. What?!. Well, the order! Any punks can offend you! .. No, apparently you can't live in this world without a husband! .. Get out of here. Well!

Silence.

VASENKA. I'm sorry ... I'm sorry, I didn't mean to.

MAKARSKAYA. Leave! Bainki! The puppy is tailless! (She slams the window.)

Vassenka wanders into his entrance. Busygin and Silva appear.

SILVIA. How do they tell us? ..

BUSYGIN. Let's have a smoke.

SILVIA. And the blond one, nothing ...

BUSYGIN. Small in stature.

SILVIA. Listen! You liked her.

BUSYGIN. I don't like it anymore.

SILVA (looks at his watch, whistled). Listen, what time is it?

BUSYGIN (looks at his watch). Half past eleven.

SILVIA. How much? .. Congratulations, we were late for the train.

BUSYGIN. Seriously?

SILVIA. Everything! The next one is at six in the morning.

Busygin whistled.

(Freezes.) Brr ... Gentlemen! .. They arranged the escort! Wraps!

BUSYGIN. Far from home?

SILVIA. Twenty kilometers, no less! .. And all these modest girls! Why the hell did we get in touch with them!

BUSYGIN. What is this area, I have never been here.

SILVIA. Novo-Mylnikovo. Wilderness!

BUSYGIN. No acquaintances?

SILVIA. Nobody! No relatives, no police.

BUSYGIN. It's clear. Where are the passers-by?

SILVIA. Village! Everybody is sleeping already. They lie down here before dark.

BUSYGIN. What are we going to do?

SILVIA. Listen, what's your name? Sorry, there, in the cafe, I really didn't hear.

BUSYGIN. I didn't hear either.

SILVIA. Let's do it again, or something ...

They shake each other by the hand.

BUSYGIN. Busygin. Vladimir.

SILVIA. Sevostyanov. Semyon. In common parlance - Silva.

BUSYGIN. Why Silva?

SILVIA. And the devil only knows. Guys - nicknamed, but did not explain to explain.

BUSYGIN. I saw you once. On the main street.

SILVIA. But how! I take it there from eight to eleven. Every evening.

BUSYGIN. Do you work anywhere?

SILVIA. Necessarily. While in trade. Agent.

BUSYGIN. What kind of work is this?

SILVIA. Normal. Accounting and control. And you? Are you working?

BUSYGIN. Student.

SILVIA. We will be friends, you will see!

BUSYGIN. Wait. Someone is coming.

SILVA (freezes). But it's cool, tell me!

A neighbor is returning from a walk.

BUSYGIN. Good evening!

NEIGHBOR. Greetings.

SILVIA. Where is the nightclub here? Oh, dear? ..

BUSYGIN (to Silva). Wait. (To a neighbor.) Where is the bus, please tell me.

NEIGHBOR. Bus? .. It's on the other side, beyond the line.

BUSYGIN. Can we catch the bus?

NEIGHBOR. You can. In general, you will not be in time. (Intends to go.)

BUSYGIN. Listen. Can you tell me where to spend the night? We were visiting, missed the train.

NEIGHBOR (examines them with apprehension and suspicion). It happens.

SILVIA. We would only have to skate until morning, and then ...

NEIGHBOR. It's clear business.

SILVIA. Somewhere behind the stove. Modest, huh?

NEIGHBOR. No, no, guys! I can’t, men, I can’t!

BUSYGIN. Why uncle?

NEIGHBOR. I would love to, but I am not alone, you know, in society. I have a wife, mother-in-law ...

BUSYGIN. It's clear.

NEIGHBOR. And personally I - with great pleasure.

BUSYGIN. Eh, uncle, uncle ...

SILVIA. Valenok you are full of holes!

The neighbor leaves silently and fearfully.

Damn wind! Where did it come from? Such was the day and - on you!

BUSYGIN. It will be raining.

SILVIA. It just wasn't enough!

BUSYGIN. Maybe snow.

SILVIA. Eh! I would rather sit at home. Warm at least. And fun too. My dad is a big joker. You won't get bored with him. No, no, yes, and it will give out something. Yesterday, for example. I, he says, are tired of your ugliness. At work, he says, I feel these ... awkwardness because of you. For, he says, you last twenty rubles, go to a tavern, get drunk, make a brawl, but such a brawl that I won't see you for a year or two! .. Nothing, eh?

BUSYGIN. Yes, venerable parent.

SILVIA. And you have?

BUSYGIN. What do I have?

SILVIA. Well with my father. The same - disagreements?

BUSYGIN. No controversy.

SILVIA. Seriously? How do you do it?

BUSYGIN. Very simple. I do not have a father.

SILVIA. Ah. Another thing. Where do you live?

BUSYGIN. In the campus. At the Red Uprising.

SILVIA. A medical institute?

BUSYGIN. Himself ... Yes, the climate here is unimportant.

SILVIA. Spring is called! .. Brrr ... Besides, I don't get enough sleep for a whole month ...

BUSYGIN. OK then. You go into this entrance, knock on someone. And I will try in the private sector. (He goes to Makarskaya's house.)

Silva goes into the entrance.

(Knocks at Makarskaya.) Alla, master! Alla! (He paused and knocks again.) Master!

The window opens.

MAKARSKAYA (from the window). Who is this?..

BUSYGIN. Good evening girl. Listen, missed the train, I'm freezing.

MAKARSKAYA. I will not let it go. Don't even think about it!

BUSYGIN. Why so categorically?

MAKARSKAYA. I live alone.

BUSYGIN. All the better.

MAKARSKAYA. I'm the only one, okay?

BUSYGIN. Perfectly! So you have a place.

MAKARSKAYA. Crazy! How can I let you in if I don't know you!

BUSYGIN. Great trouble! Please! Busygin Vladimir Petrovich. Student.

MAKARSKAYA. So what of that?

BUSYGIN. Nothing. Now you know me.

MAKARSKAYA. Do you think that's enough?

BUSYGIN. And what else? Oh yeah ... Well, let's not get ahead of ourselves, but I already like you.

MAKARSKAYA. Naughty.

BUSYGIN. Why so rude? .. Tell me better how you feel there, in your empty ...

MAKARSKAYA. Yes?

BUSYGIN. ... cold ...

MAKARSKAYA. Yes?

BUSYGIN. ... a dark house. Aren't you scared alone?

MAKARSKAYA. No, not scary!

BUSYGIN. What if you get sick at night. After all, there is no one to serve water. You can't do that, girl.

MAKARSKAYA. Don't worry, I won't get sick! And let's not! We'll speak another time.

BUSYGIN. And when? Tomorrow? .. Visit you tomorrow?

MAKARSKAYA. Try.

BUSYGIN. And I won't live to see tomorrow. I’ll freeze.

MAKARSKAYA. Nothing will happen to you.

BUSYGIN. And yet, girl, it seems to me that you will save us.

MAKARSKAYA. You? Aren't you alone?

BUSYGIN. In fact of the matter. A buddy with me.

MAKARSKAYA. Also a friend? .. All impudents are impossible! (She slams the window.)

BUSYGIN. Well, we've talked. (He walks through the yard; goes out into the street, looks around.)

Silva appears.

SILVIA. Empty chores. I called three apartments.

BUSYGIN. So what?

SILVIA. Nobody opens it. Fear.

BUSYGIN. The dark forest ... for Christ's sake, nothing will come of it.

SILVIA. Let's bend down. Another half hour - and I will die. I feel.

BUSYGIN. And how is it at the entrance?

SILVIA. Do you think it's warm? Hell no. They don't drown anymore. The main thing is that no one wants to talk. They will only ask who is knocking, and that's it, not a word more ... We will bend.

BUSYGIN. Hmm ... And there are so many warm apartments around ...

SILVIA. What apartments! And how much booze, how many snacks ... Again, how many single women! Rrr! It always pisses me off. Let's go! We will knock on every apartment.

BUSYGIN. Wait, what are you going to tell them?

SILVIA. What can I say? .. Late for the train ...

BUSYGIN. They won't believe it.

SILVIA. Let's say we're freezing.

BUSYGIN. So what? Who are you, what do they care about you? Now is not winter, you will endure until morning.

SILVIA. Let's say that we have lagged behind this ... the fast train.

BUSYGIN. Nonsense. This will not break them through. We need to invent something like that ...

SILVIA. Let's say that bandits are chasing us.

Busygin laughs.

Will they not be allowed in?

BUSYGIN. You don't know people well.

SILVIA. And you?

BUSYGIN. I know. A little. In addition, sometimes I attend lectures, study physiology, psychoanalysis and other useful things. And do you know what I understand?

SILVIA. Well?

BUSYGIN. Humans have thick skin and it is not so easy to pierce it. You have to lie properly, only then they will believe and sympathize with you. They need to be frightened or pityed.

SILVIA. Brrr ... You're right. First, we'll wake them up. (Moves to keep warm, then sings and stomps.)

When the lanterns swing at night
And you can't walk the streets anymore ...

BUSYGIN. Stop.

SILVA (continues).

I'm coming from the pub
I'm not expecting anyone
I am no longer able to love anyone ...

SILVA (raised his head). You do not like?

The banging of a slamming window is heard.

SILVIA. Have you heard? .. That same uncle. See how you have transformed.

BUSYGIN. Yes ...

SILVIA. So trust people after that. (Freezes) Rrr ...

BUSYGIN. Let's go to the entrance. There is even no wind there.

They go to the entrance. At this time, a light flashes in one of the windows. The buddies stop and watch.

Did you call there?

SILVIA. No. Look, someone is getting dressed.

BUSYGIN. It seems two.

SILVIA. They are coming. Let's smoke this business.

Busygin and Silva step aside. Sarafanov comes out of the entrance. He looks around and heads to Makarska's house. Busygin and Silva are watching.

SARAFANOV (knocking at Makarskaya). Natasha! .. Natasha! .. Natasha! ..

MAKARSKAYA (opening the window). What a night! They got mad, and nothing more! Who else is this ?!

SARAFANOV. Natasha! Forgive me, for God's sake! This is Sarafanov.

MAKARSKAYA. Andrey Grigorievich? .. I didn't recognize you.

BUSYGIN (quietly). It's funny ... She doesn't know us, but, therefore, knows him ...

SARAFANOV. Natasha, dear, I'm sorry it's so late, but I need you this minute.

MAKARSKAYA. Now. I open it. (Disappears, then lets Sarafanov in.)

SILVIA. What's being done! She's twenty-five, no more.

BUSYGIN. He's sixty, no less.

SILVIA. Well done.

BUSYGIN. Well, well ... Curious ... Is there anyone left with him at home? .. A wife, in any case, should not be ...

SILVIA. It seems that the guy was still looming there.

BUSYGIN (thoughtfully). Boy, you say? ..

SILVIA. He looks like a young man.

BUSYGIN. A son…

SILVIA. I think he has a lot of them.

BUSYGIN (realizes). Maybe, maybe ... You know what? Let's get to know him.

SILVIA. With whom?

BUSYGIN. Yes, with my son.

SILVIA. What son?

BUSYGIN. With this. With the son of Sarafanov. Andrey Grigorievich.

SILVIA. What do you want?

BUSYGIN. Get warm ... Come on! Let's get warm, and we'll see.

SILVIA. I don’t understand anything!

BUSYGIN. Let's go!

SILVIA. This night will end at the police station. I feel.

Disappear at the entrance.

Scene two

The Sarafanovs' apartment. Among the things and furniture there is an old sofa and a well-worn dressing table. Front door, kitchen door, door to another room. A curtain-covered window to the courtyard. On the table is the assembled backpack. Vassenka is writing a letter at the table.

VASENKA (reads what has been written aloud). “... I love you as no one will ever love you. Someday you will understand this. Now be calm. You have achieved your goal: I hate you. Goodbye. S.V. "

Nina appears from another room. She is in a robe and slippers. Vassenka hides the letter in his pocket.

NINA. Dashed off?

VASENKA. What's your business?

NINA. Now go give her your message, come back and go to bed. Where is father?

VASENKA. How do I know!

NINA. Where did it take him at night? .. (Takes a backpack from the table.) And what is this?

Vassenka tries to take Nina's backpack away. Wrestling.

VASENKA (concedes). I'll take it when you fall asleep.

NINA (emptied the contents of the backpack on the table). What does this mean? .. Where are you going?

VASENKA. On a hike.

NINA. And what is this? .. Why do you need a passport?

VASENKA. None of your business.

NINA. What have you invented? .. Don't you know that I'm leaving?

VASENKA. I'm leaving too.

NINA. What?

VASENKA. I'm leaving.

NINA. Are the dates completely crazy?

VASENKA. I'm leaving.

NINA (sitting down). Listen, Vaska ... You bastard, and no one else. I would take you and kill you.

VASENKA. I don’t touch you, and you don’t touch me.

NINA. You don't give a damn about me - okay. But you must think about your father.

VASENKA. You don't think about him, why should I think about him?

NINA. My God! (Rises.) If you only knew how annoying you are! (He collects the things poured on the table into a backpack, takes it to his room; stops at the threshold.) Tell your father not to wake me up in the morning. Let me sleep. (Leaves.)

Vassenka takes a letter out of his pocket, puts it in an envelope, and signs the envelope. A knock on the door.

VASENKA (mechanically). Yes, come in.

Enter Busygin and Silva.

BUSYGIN. Good evening.

VASENKA. Hello.

BUSYGIN. Can we see Andrei Grigorievich Sarafanov?

VASENKA (rises). He's not home.

BUSYGIN. When will he be back?

VASENKA. He just went out. I don’t know when he’ll return.

SILVIA. Where did he go, if not a secret?

VASENKA I don't know. (With concern.) What is it?

BUSYGIN. Well ... how is his health?

VASENKA. Father? .. Nothing ... Hypertension.

BUSYGIN. Hypertension? Wow! .. How long has he had hypertension?

VASENKA. For a long time.

BUSYGIN. Well, in general, how is he? .. How are you? .. Mood?

SILVIA. Yes, how is he here ... Nothing?

VASENKA. And what, in fact, is the matter?

BUSYGIN. Let's get acquainted. Vladimir.

VASENKA. Vasily ... (to Silva.) Vasily.

SILVIA. Semyon ... In common people - Silva.

VASENKA (suspiciously). Silvia?

SILVIA. Silvia. The guys are still in this ... they were nicknamed in the boarding school, for their addiction to this ...

BUSYGIN. To music.

SILVIA. Exactly.

VASENKA. It's clear. Well, why do you need your father?

SILVIA. What for? In general, we came this ... to see.

VASENKA. Have you seen him for a long time?

BUSYGIN. How to say to you? The saddest thing is that we never saw him.

VASENKA (warily). Unclear…

SILVIA. Don't be surprised ...

VASENKA. I'm not surprised ... How do you know him?

BUSYGIN. And this is already a mystery.

VASENKA. Secret?

SILVA A terrible secret. But don't be surprised.

BUSYGIN (in a different tone). OK. (To Vassenka) We went in to warm up. Do you mind if we get warm here?

Vassenka is silent, he is rather alarmed.

We missed the train. We read your father's name on the mailbox. (Not right away.) Don't you believe?

VASENKA (with alarm). Why? I believe, but ...

BUSYGIN. What? (She takes a step or two towards Vassenka, Vassenka backs away. Silva.) She's afraid.

VASENKA. Why did you come?

BUSYGIN. He doesn't believe us.

VASENKA. If something happens - I will shout.

BUSYGIN (to Silva). What did I say? (He plays for time, warms up.) At night it is always like this: if there is one, then it’s a thief, if two, then it’s bandits. (To Vassenka) Not good. People should trust each other, do you know that? No? .. In vain. You are poorly brought up.

SILVIA. Yes ...

BUSYGIN. Well, your father, for example, has no time ...

VASENKA (interrupts). Why do you need a father? What do you want from him?

BUSYGIN. What do we need? Trust. Just nothing. Man to man brother, I hope you heard about it. Or is this news to you too? (To Silva) Just look at him. A suffering, hungry, cold brother stands at the door, and he will not even invite him to sit down.

SILVA (I was still listening to Busygin with bewilderment, suddenly inspired - it dawned on him). Really!

VASENKA. Why did you come?

BUSYGIN. You did not understand anything?

VASENKA. Of course not.

SILVA (amazed). Don't you understand?

BUSYGIN (to Vassenka). You see…

SILVA (interrupts). What is there! I will tell him! Frankly! He is a man, he will understand. (To Vassenka, solemnly.) Complete calm, I am revealing a secret. The thing is that he (points to Busygin) is your brother!

BUSYGIN. What?

VASENKA. What about?

SILVA (impudently). What?

A short pause.

Yes, Vasily! Andrei Grigorievich Sarafanov is his father. Don't you get it yet?

Busygin and Vassenka are equally surprised.

BUSYGIN (to Silva). Listen…

SILVA (interrupts, Vassenka). Not expected? Yes, that's it. Your dad is his own father, oddly enough ...

BUSYGIN. What's the matter? What are you talking about?

SILVIA. The brothers have met! Which case, huh? Which moment?

VASENKA (at a loss). Yes, indeed ...

SILVIA. What a case, just think of it! Gotta drink guys, drink!

BUSYGIN (to Silva). Moron. (To Vassenka) Don't listen to him.

SILVIA. No really! I think it's better to say right away! Honestly and frankly! (To Vassenka) Is that right, Vasily? What is there to obscure when everything is already clear? Nothing to darken, just have to drink to the meeting. Do you have a drink?

VASENKA (in the same confusion). Have a drink? .. Of course ... Now ... (Looking back at Busygin, she goes into the kitchen.)

SILVA (he is delighted). Force!

BUSYGIN. Are you crazy?

SILVIA. Dexterously you drove up to him!

BUSYGIN. Fool, how did this nonsense get into your head?

SILVIA. Me? .. She took it for you! You're just a genius!

BUSYGIN. You cretin! Do you understand what you froze here?

SILVIA. "Suffering brother!" Force! I would never have thought of it!

BUSYGIN. Well, a cudgel ... Think, cudgel, what will happen if daddy walks in here now. Imagine this!

SILVIA. So ... I presented it. (He runs to the exit, but stops and comes back.) No, we will have time to drink. Daddy will be back in an hour, not earlier. (He fusses before drinking.) Well, daddy! (Mimics.) "I need you this minute!" Goose! They are all geese. Yours, it seems, was the same, tell me?

BUSYGIN. None of your business. (Goes to the door.)

SILVIA. Wait, why shouldn't this suffer a little for that. Everything is fair, in my opinion.

BUSYGIN. Come on.

SILVA (rests). Well, I do not! Let's have a drink, then let's go. I don’t understand you, didn’t you deserve a glass of vodka for your idea? .. Shh! This is our drink. Goes on. Approaching. (In a whisper.) Hug him, pat him on the head. Relatively.

BUSYGIN. Damn it! I have to get in touch with such an idiot!

Vassenka enters with a bottle of vodka and glasses. Puts everything on the table. He is confused and confused.

SILVA (pouring). Don't be upset! If you look closely, we all have much more relatives than we should be ... For your meeting!

They drink. Vassenka has difficulty, but drinks.

Life, Vasya, is a dark forest, so don't be surprised. (Pours again.) We're off the train now. He just tortured me and was worn out himself: to call in - not to call in? And we must see. You yourself understand what time we live in.

BUSYGIN (to Vassenka). How old are you?

VASENKA. To me? Seventeenth.

SILVIA. Healthy guy!

BUSYGIN (to Vassenka). Well ... your health.

SILVIA. Stop! This is not how we drink. Not intelligent. Is there anything to eat?

VASENKA. Have a snack? .. Of course, of course! Let's go to the kitchen!

SILVA (stops Vassenka). Maybe he won't show himself to his father today, do you think? You can't do it right off the bat, unexpectedly. We will sit a little and ... come tomorrow.

VASENKA (to Busygin). Don't you want to see him?

BUSYGIN. How can I tell you ... I do, but it's risky. I'm afraid for his nerves. After all, he knows nothing about me.

VASENKA. Well what are you! Once found, then found.

All three go to the kitchen. Sarafanov appears. He walks to the door to the next room, opens it, then carefully closes it. At this time Vassenka leaves the kitchen and also closes the door behind her. Vassenka was noticeably drunk, bitter irony seized him.

SARAFANOV (notices Vassenka). You are here ... And I took a walk down the street. It started raining there. I remembered my youth.

VASENKA (cheekily). And very handy.

SARAFANOV. When I was young, I used to do stupid things, but I never got hysterical.

VASENKA. Listen to what I tell you.

SARAFANOV (interrupts). Vassenka, only weak people do this. Also, don't forget, there is only a month left before the exams. You still have to finish school.

VASENKA. Dad, I was walking in the rain ...

SARAFANOV (interrupts). And in the end, you can't do it all at once - both you and Nina. You can't do that ... No, no, you're not going anywhere. I won't let you in.

VASENKA. Dad, we have guests, and unusual guests ... Or rather, like this: a guest and one more ...

SARAFANOV. Vassenka, a guest and one more - these are two guests. Who came to us, speak plainly.

VASENKA. Your son. Your oldest son.

SARAFANOV (not right away). You said ... Whose son?

VASENKA. Is yours. Don't worry ... I, for example, understand all this, do not judge and am not even surprised. I'm not surprised at anything ...

SARAFANOV (not right away). And are such and such jokes in your play? And do you like them?

VASENKA. What kind of jokes? He is in the kitchen. Supper.

SARAFANOV (looks attentively at Vassenka). Someone is having dinner there. Perhaps ... But you know, dear, I don't like you for some reason ... (I saw it.) Wait! You're drunk, in my opinion!

VASENKA. Yes, I drank! For the occasion.

SARAFANOV (menacingly). Who let you drink ?!

VASENKA. Dad, what are you talking about? Here is such a case! I never thought that I had a brother, but here - please. Go take a look at him, you’re not so drunk yet.

SARAFANOV. Are you kidding me, rascal?

VASENKA. No, I'm serious. He is passing here, he missed you very much, he ...

SARAFANOV. Who is he?

VASENKA. Your son.

SARAFANOV. Then who are you?

VASENKA. A! Talk to him yourself!

SARAFANOV (goes to the kitchen; hearing voices, stops at the door, returns to Vassenka). How many are there?

VASENKA. Two. I told you.

SARAFANOV. And second? Does he want me to adopt him too?

VASENKA. Dad, they are adults. Think about it yourself, why does an adult need parents?

SARAFANOV. Do you think they are not needed?

VASENKA. Oh, I'm sorry, please. I wanted to say that an adult does not need someone else's parents.

Silence.

SARAFANOV (listens). Incredible. Their children are running - I can still understand that. But so that strangers and even adults come to me! How old is he?

VASENKA. Twenty years.

SARAFANOV. God knows what! .. You said twenty years? .. Some kind of nonsense! .. Twenty years! .. Twenty years ... (Reluctantly thinking.) Twenty years ... twenty ... (Sits down on a chair.)

VASENKA. Don't be upset, dad. Life is a dark forest ...

Busygin and Silva were leaving the kitchen, but when they saw Sarafanov, they step back and, opening the door, listen to his conversation with Vassenka.

SARAFANOV. Twenty years ... The war is over ... Twenty years ... I was thirty-four years old ... (Rises.)

Busygin opens the door.

VASENKA. I understand, dad ...

SARAFANOV (suddenly angry). Why remember! I was a soldier! A soldier, not a vegetarian! (Walks around the room.)

Busygin, whenever possible, opens the door from the kitchen and listens.

VASENKA. I understand you.

SARAFANOV. What? .. Something you understand too much! We didn’t know your mother yet, keep in mind!

VASENKA. I thought so, dad. Don't worry if you figure it out ...

SARAFANOV (interrupts). No no! Nonsense ... God knows what ...

The sundress is located between the kitchen and the door to the hallway. Thus, Silva and Busygin have no way to escape.

VASENKA. Do you think he's lying? What for?

SARAFANOV. He messed something up! You will see that he messed up! Think! Think about it! To be my son, he needs to be like me! This is the first thing.

VASENKA. Dad, he looks like you.

SARAFANOV. What? .. Nonsense! Nonsense! It just seemed to you ... Nonsense! One has only to ask me how old he is, and you will immediately understand that all this is sheer nonsense! Nonsense! .. And if it comes to that, now he must be ... must be ...

Busygin leans out from behind the door.

Twenty ... twenty one years! Yes! Twenty one! You see! Not twenty or twenty-two! .. (Turns to the door.)

Busygin disappears.

VASENKA. And if he is twenty-one?

SARAFANOV. It can't be!

VASENKA. But what if?

SARAFANOV. You mean a coincidence? A coincidence, right? .. Well, this is not excluded ... Then ... Then ... (Thinks.) Don't bother me, don't bother ... His mother should be called ... her name should be ...

Busygin leans out.

(It dawned on him.) Galina!

Busygin disappears.

SARAFANOV. What do you say now? Galina! And not Tatiana and not Tamara!

VASENKA. And the last name? And the middle name?

Busygin leans out.

SARAFANOV Her patronymic? .. (Uncertainly.) In my opinion, Alexandrovna ...

Busygin disappears.

VASENKA. So. And the last name?

SARAFANOV. Surname, surname ... The name is enough ... It is enough.

VASENKA. Of course of course. After all, so many years have passed ...

SARAFANOV. That's it! Where was he before? Grew up and is now looking for a father? What for? I will take him out into the open, you will see ... What is his name?

VASENKA. Volodya. Go ahead, dad. He loves you.

SARAFANOV. Loves? .. But ... For what?

VASENKA. I don’t know, dad… Native blood.

SARAFANOV. Blood? .. No, no, don't you make me laugh ... (Sits down.) They say they are from the train? .. Did you find what to eat?

VASENKA. Yes. And a drink. Have a drink and a snack.

Busygin and Silva are trying to escape. They take two or three silent steps towards the exit. But at that moment Sarafanov turned in his chair, and they immediately returned to their original position.

SARAFANOV (rises). Maybe I should have a drink too?

VASENKA. Don't be shy, dad.

Busygin and Silva reappear.

SARAFANOV. Wait, I'll… button up. (Turns to Busygin and Silva.)

Busygin and Silva instantly pretend that they have just left the kitchen. Silence.

BUSYGIN. Good evening!

SARAFANOV. Good evening…

Silence.

VASENKA. Well, so you met ... (Busygin.) I told him everything ... (To Sarafanov.) Don't worry, dad ...

SARAFANOV. You ... sit down ... Sit down! .. (He looks intently at both.)

Busygin and Silva sit down.

(Stands.) Are you ... recently off the train?

BUSYGIN. We ... actually, a long time ago. Three hours ago.

Silence.

SARAFANOV (to Silva). So ... So you are passing through? ..

BUSYGIN. Yes. I am returning from a competition. So ... I decided to see you ...

SARAFANOV (all attention to Busygin). O! So you are an athlete! This is good ... Sports at your age, you know ... And now? Back to the competition? (Sits down.)

BUSYGIN. No. Now I am returning to the institute.

SARAFANOV. O! So are you a student?

SILVIA. Yes, we are doctors. Future doctors.

SARAFANOV. That's right! Sport is sport, and science is science. Very correct ... I beg your pardon, I will change my seat. (He transplants closer to Busygin.) At twenty, there is enough time for everything - both for study and for sports; yes, a wonderful age ... (I made up my mind.) You are twenty years old, aren't you?

Characters (edit)

Plot

Criticism about the play

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main characters

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Action one

Scene one

Scene two

Second action

Scene one

Scene two

Conclusion

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Alexander Vampilov Eldest son Comedy in two acts

ACTION ONE

Scene one

Scene two

Alexander Vampilov
Eldest son
Comedy in two acts