At the theater
The appearance of the role of the reasoner dates back to the times of Moliere's theater. Examples of a reasoner in Moliere's plays:
- Krizald in the play “School for Wives” ( L'école des femmes, 1662);
- Cleante in the play "Tartuffe" ( Le Tartuffe, 1664) ;
- Philint in the play "The Misanthrope" ( Le Misanthrope, 1666) ;
- Berald in the play “The Imaginary Invalid” (Le malade imaginaire, 1673).
In other areas
Neologism in computer science “reasoner” (from English) is a system of logical inference in semantic networks.
See also
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Excerpt characterizing the Reasoner
- Marya Dmitrievna? what ice cream! I don't like cream.- Carrot.
- No, which one? Marya Dmitrievna, which one? – she almost shouted. – I want to know!
Marya Dmitrievna and the Countess laughed, and all the guests followed them. Everyone laughed not at Marya Dmitrievna’s answer, but at the incomprehensible courage and dexterity of this girl, who knew how and dared to treat Marya Dmitrievna like that.
Natasha fell behind only when she was told that there would be pineapple. Champagne was served before the ice cream. The music started playing again, the count kissed the countess, and the guests stood up and congratulated the countess, clinking glasses across the table with the count, the children, and each other. Waiters ran in again, chairs rattled, and in the same order, but with redder faces, the guests returned to the drawing room and the count’s office.
The Boston tables were moved apart, the parties were drawn up, and the Count's guests settled in two living rooms, a sofa room and a library.
The Count, fanning out his cards, could hardly resist the habit of taking an afternoon nap and laughed at everything. The youth, incited by the countess, gathered around the clavichord and harp. Julie was the first, at the request of everyone, to play a piece with variations on the harp and, together with other girls, began to ask Natasha and Nikolai, known for their musicality, to sing something. Natasha, who was addressed as a big girl, was apparently very proud of this, but at the same time she was timid.
- What are we going to sing? – she asked.
“The key,” answered Nikolai.
- Well, let's hurry up. Boris, come here,” Natasha said. - Where is Sonya?
She looked around and, seeing that her friend was not in the room, ran after her.
Running into Sonya's room and not finding her friend there, Natasha ran into the nursery - and Sonya was not there. Natasha realized that Sonya was in the corridor on the chest. The chest in the corridor was the place of a woman's sorrows younger generation Rostov's house. Indeed, Sonya in her airy pink dress, crushing it, lay face down on her nanny’s dirty striped feather bed, on the chest and, covering her face with her fingers, cried bitterly, shaking her bare shoulders. Natasha's face, animated, having had a birthday all day, suddenly changed: her eyes stopped, then her wide neck shuddered, the corners of her lips drooped.
REASONER
REASONER
[fr. raisonneur raisonner - reason] - 1) lit. in dramaturgy: a character in a play that directly expresses the ideas, moral and ethical views of the author; 2) a person who likes to talk about morality, teach, and instruct.
Dictionary of foreign words. - Komlev N.G., 2006 .
REASONER
(French, from raison - reason). He loves to reason and speak in a moralizing tone, a person who tires with long arguments and stupid contradictions. One of the roles of performing arts.
Dictionary of foreign words included in the Russian language. - Chudinov A.N., 1910 .
REASONER
leading long moralizing discussions, with a penchant for useless explanations and pointless debates; This is the name of one of the divisions (roles) from the total set of stage roles.
Complete dictionary foreign words that have come into use in the Russian language. - Popov M., 1907 .
REASONER
who loves to conduct discussions of a moralizing nature.
Dictionary of foreign words included in the Russian language. - Pavlenkov F., 1907 .
REASONER
French raisonneur, from raison, reason. Loves to reason.
Explanation of 25,000 foreign words that have come into use in the Russian language, with the meaning of their roots. - Mikhelson A.D., 1865 .
Reasoner
(fr. raisonneur raisonner to reason)
1) a character in literature of the 17th-18th centuries. (especially comedies), who does not take an active part in the development of the action and is called upon to exhort or denounce other characters, expressing moralizing judgments from the author’s position;
2) the role of the actors who played the roles of such characters;
3) a person prone to lengthy discussions of a moralizing nature.
New dictionary foreign words.- by EdwART,, 2009 .
Reasoner
resonator, m. [fr. raisonneur] (book). 1. A person who likes to conduct lengthy discussions is preferable. of a moralizing nature. A boring reasoner. 2. A traditional character in an old comedy, through whose lips the author expresses his views and moral teachings (lit.). 3. The name of the corresponding acting role.
Big dictionary foreign words.- Publishing house "IDDK", 2007 .
Reasoner A, m., shower (fr. raisonneur raisonner to reason).
1.
A person who likes to conduct long discussions of a moralizing nature.
Reasoning- a tendency towards this kind of reasoning.
Reasonersky- characterizing the behavior of the reasoner.
2.
The character of a play or novel, usually expressing the author’s attitude to the events described.
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In the literature of the 17th and 18th centuries, especially comedies, p. - an almost indispensable character who does not take an active part in the action and is called upon to exhort or denounce other heroes, expressing moralizing judgments from the author’s position.
Explanatory dictionary of foreign words by L. P. Krysin. - M: Russian language, 1998 .
Synonyms:
See what "REASONER" is in other dictionaries:
A traditional character in an old comedy, through whose lips the author expresses his views and moral teachings (Ushakov) See chatty... Dictionary of Russian synonyms and similar expressions. under. ed. N. Abramova, M.: Russian dictionaries, 1999.… … Dictionary of synonyms
A character in a play (or novel) who does not take an active part in the action, but is only a witness who gives moral assessments to everything that happens. The character R. (in a broader sense) is found in the medieval, and in the Renaissance, and in ... ... Literary encyclopedia
- (French raisonneur) (outdated expression) stage role; an actor who plays the roles of rational people prone to edifying reasoning... Big Encyclopedic Dictionary
Theatrical term: in an old comedy, a person who, in contrast to the hobbies of some and the depravity of others, represents reason, common sense, moderation, morality. Such are, for example, Cleont in Tartuffe, Starodum in Nedorosl. Contemporary drama… … Encyclopedia of Brockhaus and Efron
Genus. p.a. From French raisonneur, possibly through it. Räsoneur… Etymological Dictionary of the Russian Language by Max Vasmer
Theatrical term: in an old comedy, a person who, in contrast to the hobbies of some and the depravity of others, represents reason, common sense, moderation, morality. Such are, for example, Cleont in Tartuffe, Starodum in Nedorosl. Contemporary drama... Encyclopedic Dictionary F.A. Brockhaus and I.A. Ephron
Reasoner I m. A character in literature from the era of classicism (especially comedies), who does not take an active part in the development of the action, but is called upon to exhort or denounce other characters, expressing moralizing judgments from the point of view of the author. II m. That... Modern explanatory dictionary Russian language Efremova
reasoner- Borrowing. in the second half of the 19th century. from French lang., where raisonneur suf. derived from raison “reasonable explanation” lat. ratio "reason". See rational... Etymological Dictionary of the Russian Language
A reasoner is, if you explain in simple words, a person who is inclined to talk boringly and at length about something, without knowing the essence of what he is talking about. In addition, his speeches are moralizing; this concept is interpreted in more detail and clearly, so for a complete understanding it should be considered.
Interpretation options
It is worth noting that “reasoner” is a multifaceted term. For example, in psychopathology it denotes the loss of the ability and ability to think specifically. Reasoners do not pursue a specific goal, do not use any facts in their arguments, and are not able to draw clear and unambiguous conclusions.
There is another interpretation option. Only it concerns not psychology, but literature. Reasoning heroes are those characters in a work who take virtually no part in the development of the plot or action. In other words, they are only witnesses who state what is happening. These heroes are most often found in classical and medieval theaters. However, the use of such characters reached its peak of popularity during the period of bourgeois literature. And the reasoners in such works were not just staters - in these characters the authors expressed objectivity and logic, criticizing through them the sad (at that time) reality. A striking example may become Chatsky from the work “Woe from Wit” - it is he who speaks out about problems while really talking about life.
Characteristics of resonators
So, we should take a closer look at this concept in psychology. A reasoner is a person who simply cannot think concretely. Often his specific thinking is accompanied by excessive emotions, pathos, as well as expression, manifested in huge quantities. All this, of course, looks unnatural. Stilted speech, verbosity, and florid speech are characteristic features, inherent in such a person, who is called a “reasoner”. Psychology and medicine treat this as a disease. In fact, this is true. Reasoning is one of the many types. Scientists have classified this disease as a motivational-personal group.
Phenomenology
Reasoning is also called a verbal tumor. How do you even know that a person has this disorder? His speech is filled with overly pretentious and complex expressions, very abstract phrases, terms the interpretation of which the speaker himself does not understand, as well as various concepts that are not appropriate in a particular case. Perhaps these are the most recognizable signs. A reasoner is a person who is not interested in the final thought. He enjoys the direct process of presenting his ideas. Although the thoughts he expresses are difficult to call this concept. After all, an idea is something concrete, a prototype that exists in a reasoner. There is no such thing, he just has a stream of words that are not related to each other in meaning.
How to find out the reasoner?
Such people have amorphous thinking. That is, without specific content. How do you know that a reasoner is standing in front of you? It's simple. Even when discussing simple everyday issues, it will be difficult for a reasoner to formulate his thoughts. In other words, they will even consider the purchase of pasta from the point of view of cosmology or philosophy. Although in reality, reasoners always reveal themselves quickly. After all, such thinking cannot but affect their life and worldview. They are interested in strange things, they like things that seem wild and unacceptable to a normal, healthy person. In medicine this is called metaphysical intoxication.
So finding out the reasoner is not so difficult. It is much more difficult to understand him and avoid a conversation with such a person. People with such different mindsets simply cannot exist peacefully together, even for a minimal amount of time.
OPTION 1
_________________________________________
_________________________________________
2.
A. realism B. sentimentalism
B. classicism D. romanticism
3 . Underageduring the time of Fonvizin it was called...:
A. main character comedy
B. teenager 15 – 17 years old
B. lazy, narrow-minded, ignorant person
G. a nobleman who has not received an education, does not have the right to serve, or to marry.
5. Who is Mitrofan's main teacher, whose lessons did he learn?
A. Vralman V. Kuteikin
B. Tsyfirkin G. Prostakova
6.Tell me about the language of the characters in the comedy.
_____________________
7. Give 2-3 “speaking” names from the work, reveal their meaning.
____________________________________________________________________________________________________________________________________
TEST WORK ON THE COMEDY “UNDERGROUND” 
OPTION 2
________________________________
1. .To which literary direction Can we include the play “The Minor”?
A. realism B. sentimentalism
B. classicism D. romanticism
2. Time during which the action of the comedy develops:
a) week b) month
____________________________________________________________
4. Remember which science “teaches” Mitrofanushka Vralman:
a) grammar b) history
c) mathematics d) geography
__________________________________________________________________
6. :
7. Tell us about the language of the characters in the comedy.
__________________________________________________________________
8. Remember who Sophia chose as her husband:
a) Skotinin b) Mitrofanushka
c) Milona d) Pravdina
9. Tell us about the composition of the play.
______________________________________________________________________________________________________________________________________________________________________________________________________
10. What letter does Sophia receive? What does it say?
11. Determine the themes of D.I. Fonvizin’s comedy “The Minor”:
A. upbringing and education B. love
B. denunciation of ignorance D. fight against autocracy
12 . Who is Mitrofan Skotinin related to?
__________________________________________________________________
13. List negative heroes comedy with speaking surnames, names.
________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
14.
Which comedy hero wrote the words: “I don’t want to study, I want to get married”?
A) Milon B) Mitrofan C) Pravdin D) Tsyfirkin
15. Who in Mitrofan’s dream falls under the hot hand of his mother?
__________________________________________________________________
8. What hero - reasoner sets out author's program spreading the Enlightenment and fighting ignorance, which D.I. Fonvizin considers the cause of all vices?
A. Starodum V. Milon
B. Prostakov G. Pravdin
9. Match the characters in the play with the aphorisms they uttered:
1. “I don’t want to study, I want to get married” A. Pravdin
2. “Now I scold, now I fight; This is how the house holds together.” B. Starodum
3. “Between the pigs, I’m smarter than everyone else” by V. Prostakova
4. “No one is free to tyrannize” G. Mitrofan
5. “With your eyes, mine don’t see anything” D. Skotinin
6. “Here are the fruits of evil!” E. Prostakov
10. Specify quantity characters. Are they all involved in the conflict?
__________________________________________________________________
11. Who do you think is to blame for the fact that Mitrofan is ignorant, ignorant, and rude?
__________________________________________________________________
12.
. Who taught Mitrofan mathematical sciences?
A) Starodum B) Vralman C) Tsyfirkin D) Kuteikin
13.What science is Prostakova talking about: “I found the money, don’t share it with anyone. Take it all for yourself, Mitrofanushka?
_______________________________________________________________
14. Tell us about the composition of the play.
______________________________________________________________________________________________________________________________________________________________________________________________________
15. Who was the German Vralman in the past?
__________________________________________________________
REASONER(French raisonneur, from raisonner - to reason), stage role. A type of role that represents rational people, prone to edifying statements, rhetorical maxims, etc.
This role reflects to the maximum extent the features of pre-director, actor's theatre, not only as a stage art, but also one of its main components, dramaturgy. If in the director's theater all its components (acting ensemble, music, stage design, lighting, etc.) work on the main thought, the idea of the play, then in the actor's theater there was a real danger of distortion of the main idea due to an unsuccessful (or, on the contrary, too bright ) performance of one or another role. Main idea, the “moral imperative” of the author must certainly be included in the text of one of the characters in the play.
Development European culture 17th–18th centuries in general, its pronounced moralizing character made it relevant. The Renaissance, with its ambivalent interpretation of morality and powerful carnivalization of reality, was replaced by the Age of Enlightenment, which declared the restoration of high (even sanctimonious) morality, asceticism, and the fight against “licentiousness and impiety.” These trends were facilitated by the increasing influence of the church in all areas social life. Such features of the Enlightenment era were very clearly reflected in the development of theater as the most living, “momentary” form of art. Almost all genres of theater of that time, be it tragedy, bourgeois drama, or comedy, in one way or another addressed the problems of virtue. The characters in the drama were clearly divided into “positive” and “negative”; at the end of the play, good was supposed to triumph (in tragedy - at least at the level of declaration, moral lesson the surviving characters and, of course, the audience). This stage of development theatrical arts known as classicism.
The general trends of the theater of classicism gave rise to a special spread of the role of reasoner. In the mouths of such characters, playwrights had the opportunity to put a moral assessment of what was happening on stage, to proclaim civil and moral ideals. No wonder stage school classicism, which followed the general aesthetics of this style, developed as the art of heroic recitation, an elevated poetic expression of the hero’s feelings. This artistic tradition led to the appearance of such characters as Cleont in Tartuffe Moliere. Essentially contrary to the entire aesthetic of bright, almost farcical, theatrical comedy, the reasoner Cleon becomes the moral alter ego of the playwright, exposing vices and calling for the triumph of virtue.
Examples of the roles of reasoners can be found in almost every play of classic playwrights (F. Schiller, G. Lessing, P. Beaumarchais, G. Fielding, R. Sheridan, etc.).
For the Russian theater, a classic, ideal example of the role of a reasoner can be considered the role of Starodum in Underage D. Fonvizina. In the theater, such roles were often defined by the term “noble father.” However, there were other types of reasoner roles: “hero-reasoner”, “comedian-reasoner”, “character reasoner”.
According to Mikhail Chekhov’s definition, “role is an organizational category rather than an aesthetic one.” This principle is reflected in Role tables, compiled in 1922 by V. Meyerhold, V. Bebutov and I. Aksenov on behalf of the Scientific Department of the State Higher Directing Workshops. Defining the functions of the role of “moralist (reasoner)” as “deliberate acceleration of the development of an action by introducing moral norms into it,” the authors present the necessary data of the actor minimum requirements: “Deep bass. Build is indifferent,” which is actually a recognition of the purely official purpose of such a character. In the era of acting theater, the roles of reasoners were traditionally considered the least interesting.
With the development of director's theater, the creative possibilities of "reason" roles have changed radically. The fundamental principle of the theatrical embodiment of a role is not “role”, but “interpretation”. Actors who follow the director's plan have the opportunity to give depth and volume to any stage image, changing traditionally established ideas about a particular role. So, in particular, in the late 1970s, L. Dodin staged the play on the stage of the Leningrad Drama and Comedy Theater Minor, which became one of the brightest events theatrical life countries. Starodum performed by I. Mokeev, who was one of the main successes of the performance, appeared to the audience not as a “noble father”, but as a sophisticated and embittered Pharisee, a kind of Tartuffe, a demagogue, using a declaration of ideals as a means of achieving his own goals in a cleverly woven intrigue.
Tatiana Shabalina
