“I don’t want to study, I want to get married!” This cry of Mitrofanushka’s mama’s son is known to everyone. The play “The Minor” was written more than two centuries ago, but it seems created specifically to warn today’s youth from repeating Mitrofanushkin’s mistakes. At the beginning of 1782, Fonvizin read to friends and social acquaintances the comedy “The Minor,” on which he worked for many years. In “The Minor,” according to the fair remark of Fonvizin’s first biographer P. A. Vyazemsky, the author “no longer makes noise, does not laugh, but is indignant at the vice and brands it without mercy, if the pictures of abuse and tomfoolery make the audience laugh, then even then the inspired laughter does not distract from deeper and more regrettable impressions.” There is a legend that after the premiere in St. Petersburg, Prince Potemkin approached Fonvizin and said: “Die, Denis, you can’t write better.” According to another version, these words belong to Derzhavin, and not Potemkin.
The premiere of the play took place on January 6, 1986, and since then it has firmly entered the repertoire of the Maly Theater. The first production of Denis Fonvizin’s comedy “The Minor” took place on September 24, 1782 in St. Petersburg at the Free Russian Theater (Karl Knieper Theater).
A fragment of the book by Lyubov Kulakova “Denis Ivanovich Fonvizin. Biography of the Writer" (Leningrad, 1966):
“Fonvizin worked on the comedy for about three years and did more than was expected of him. His reproaches became even more pointed, his sharp words were tinged with anger and bitterness
First Russian realistic comedy became our first folk comedy. That's what the Decembrists called it. For Pushkin, Fonvizin is “a Russian from the Russians” not so much by his biography, but by his mentality and talent, his excellent knowledge vernacular and the amazingly bold handling of it - everything that allowed him to create “the only folk satire.”
“Everything in this comedy seems to be a monstrous caricature of the Russian, and yet there is nothing caricatured in it: everything was taken alive from nature and verified by the knowledge of the soul,” Gogol affirmed the same thought. Gogol called “The Minor” and Griboyedov’s “Woe from Wit” “truly social comedies.”
Having finished “The Minor” at the end of 1781, Fonvizin resorted to a technique he had already tried: he began to read the comedy in private homes. It was a huge success. In the spring of 1782, the play was supposed to be staged. Expectations were not met. In May, one of his contemporaries wrote with regret that due to the actors’ ignorance of the roles, the comedy would not be presented. He called this a real deprivation for the public, which has long given due justice to the excellent talent of Mr. Fonvizin.
Fonvizin was not easy to break; he went to Moscow for several days. While negotiating with the theater here, Fonvizin and Dmitrevsky introduced comedy to the Moscow public. An interesting story has been preserved about reading in the house of the Moscow postal director B.V. Pestel: “A large society has gathered for dinner; the curiosity of the guests was so great that the owner begged the author, who was himself an excellent actor, to read at least one scene without delay; he fulfilled the general desire, but when he stopped after Prostakova’s explanation with the tailor Trishka about Mitrofan’s shortened caftan, those present were so interested that they asked to continue reading; Several times they brought and took away food from the table, and before they sat down at the table, the comedy was read to the end, and after dinner, Dmitrevsky, according to the general requirement, had to read it again from the beginning.”
So, “Nedorosl” was a success in Moscow no less than in St. Petersburg. The theater was glad to stage the play, which promised sure receipts. The Moscow censor opposed this. Leaving the manuscript of the comedy to his brother, Fonvizin returned to St. Petersburg. What step he took to save his beloved child is unknown. Perhaps he turned to Potemkin, who, according to legend, exclaimed after reading the comedy: “Die, Denis! You couldn’t write better.”
On September 24, 1782, “The Minor” was performed by court actors on the stage of Volny Russian theater. The writer took an active part in organizing the production: he chose the actors himself, and “read” the roles to each of them.
On the day of the performance, the theater was packed. Throughout the entire performance, the audience responded with “almost continuous laughter and applause” and, as was customary then, threw wallets onto the stage as a sign of encouragement.
“It was a complete success,” Fonvizin wrote with satisfaction a few days later to the owner of the Moscow theater Medox. “The Minor” was staged in Moscow on May 14, 1783 and published the same year.”
A fragment of Natalia Staroselskaya’s essay “Afanasy Kochetkov” from the series “Library of the Maly Theater” (2003):
Afanasy Kochetkov: <...>“I’ve been playing in Starodum’s “Nedorosl” for many years and I think: Lord, when will this finally end?! I was terribly tired, but suddenly at some performance schoolchildren came to a matinee, and from their reaction I suddenly realized that in our time of the absence of any positions, they were interested in the position of this character, his philosophy, his thoughts. And, having caught this, he began to play somehow differently. I instantly feel such things, and if I, an actor, do not have a clear position, do not have a firm understanding of what is Good and what is Evil, sooner or later my audience will feel it, and they will become uninterested. And if they are captured... well, that means there is hope..."
The performance has been running for many years, but, judging by Afanasy Ivanovich’s words, if there is hope in it, it means there is also some hidden reserve: something unpredictable suddenly becomes important right now, today, here, gaining new breath. There is edification and edification: in our vague reality it is almost impossible to predict with what, when and how exactly the underlying classic work morality. Maybe this is partly where the happiness of the profession lies?..<...>
“I don’t want to study, I want to get married!” - this quote from Denis Fonvizin’s comedy became not only catchphrase, but also turned into a comic motto for all lazy people and spoiled “mama’s boys.” For more than two centuries, the famous comedy has remained relevant and interesting. D. Fonvizin, with the help of his play, left a powerful instruction for future generations not to repeat the fate of the careless Mitrofanushka. The author boldly branded the vices of an idle lifestyle and focused on the problem of the importance of educating the future generation. After all, if there are more lowlifes like Mitrofanushka, then such a society is doomed to degradation.
In his play Minor Fonvizin not only ridiculed the noble upbringing, but also described the life of generations of the 17th century. Following the traditions of classicism, the author directly and sharply points out the positive and negative aspects their heroes. This is facilitated by the “talking” names of the characters, sparkling humor, and vivid dialogues. Many of the characters in the play have become household names, and phrases from the work have become popular quotes. The Prostakov family with their son Mitrofan turned into collective image many vices and negative qualities.
The significance of Fonvizin’s comedy is enormous not only for Russian literature, but also for the understanding of many social problems. It is not for nothing that the author’s satire at the time of its appearance was even considered dangerous for the state. But today this work has become a classic. It not only provides an opportunity to laugh at stupidity, greed and cowardice, but also makes one think about how important it is to instill hard work, a thirst for knowledge and respect for others in the younger generation. Having bought a ticket to the play Nedorosl, you will not regret your choice, because your attention will be presented to the classic of Russian comedy, which has not left the stage for hundreds of years the best theaters countries.
Stage director: Gennady Chikhachev
Composer: Alexander Zhurbin
Libretto: Lev Yakovlev
Musical director and conductor – Vladimir Yankovsky
Choreographer: Ekaterina Fomicheva
Choirmaster – Elena Konoreva
Cast: Lyudmila Polyanskaya/Natalia Osipova, Vladimir Kurkin/Evgeniy Bashlykov, Vadim Popovichev/Sergei Kanygin, Sergei Ryazanov/Anton Fadeev, Natalya Rebrova/Dina Veles-Morozova/Zhanna Andreeva, Konstantin Skripalev/Valery Polovinkin, Tatyana Petrova/Natalia Zamniborshch/ Alena Kornienko and others.
“Minor” is about contrasts Russian life"- this is how composer Alexander Zhurbin described his new musical, which premiered on July 28, 2015. Ceremonial views Northern capital here they combine with pictures of the provincial outback, velvet camisoles embroidered with gold - with padded jackets and linen shirts, luxurious wigs of the courtiers of Catherine II - with the greasy beards and floor-length braids of peasants. According to the production, kilometers of rope were required to make the braids and beards - enough to pave the way from St. Petersburg to Moscow, and about 1,000 square meters of burlap and trim were used for the costumes. In this performance there is both a snow-white imperial carriage and a dilapidated wooden fence, a river, a bridge, and even a dovecote where the undergrowth Mitrofanushka settled. One of characters Catherine the Second will perform, to whom Pravdin comes with a petition to stage a new comedy.
So, above the layer of events on the Prostakov estate, a story about the capital’s power appears. Creating controversial image power-hungry empress, librettist Lev Yakovlev turned to her memoirs and compiled a dictionary of Catherine’s words and expressions. Almost everything that the heroine says on stage is a compilation of phrases ever spoken by Catherine II herself. Gennady Chikhachev focused the performance primarily on the audience school age, staging the action brightly, dynamically, with an abundance of choreographic numbers, without abstruse riddles and the now fashionable flirting with the “basic instinct”. In the musical, sharp humor, hooliganism and enthusiasm are combined with deep thoughts about eternal Russian problems: dependency, disrespect for the individual, despotism, the blind love of parents for their child... and about the problem of power that does not see or hear those it controls. Here there is a place for the tender feelings of Milon and Sophia, the machinations of the restless Prostakovs and the good magic of Starodum. While maintaining the black and white contrast of the images of Fonvizin’s play, the performance presents the story in a less straightforward manner. The period at the end of the performance is a comma, calling for reflection. Not just laugh together at the disgraced Prostakovs, but, taking your eyes off the stage, look around, look inside yourself. So that, having seen the vices, with the enthusiasm of hopeless romantics, enter into battle with them - and make the world a better place.
The duration of the performance is 2 hours 30 minutes with intermission.
Action 1
The play begins with Mrs. Prostakova scolding Trishka for sewing a bad caftan for Mitrofan, although he warned about his inability to sew. Prostakov agrees with his wife. The woman decides to punish the tailor. Skotinin claims that the caftan is well made and Trishka is kicked out. The conversation turns to Mitrofan - he must have gotten sick, as he didn’t sleep well all night. During the discussion, the son claims that he did not eat at all, but in fact he had a hearty dinner, drank kvass all night, and at night he saw his mother beating his father. To this, Prostakova hugs her son, saying that he is her only consolation, and Mitrofan runs away to the dovecote.
Skotinin, Prostakova and Prostakov discuss that they want to give the orphan Sophia for Skotinin. The girl’s only relative, Starodum, left for Siberia a long time ago and did not remind him of himself. The conversation reveals the selfish, evil personality of Skotinin, who likes not Sophia, but the many pigs in her villages.
Sophia brings a letter from Starodum who suddenly appeared. The Prostakovs do not believe that he is alive, they try to convince the girl that this is actually a letter from a fan. When Sophia invites them to read it themselves, it turns out that everyone is illiterate.
Pravdin enters and is instructed to read the letter. Those present learn that Starodum made Sophia the heiress of 10 thousand rubles. Now not only Skotinin wants to woo the girl, but Prostakova also begins to flatter the girl, wanting to marry her to Mitrofan. While the women are leaving, a servant runs in and tells the men that soldiers passing by have stopped in their village.
Act 2
Milon and Pravdin turn out to be old friends. Pravdin says that he came to the village to put the “despicable fury” Prostakova in her place. Milon shares that he is going to Moscow to meet his beloved, whom he has not seen for a long time, since after the death of her parents she was taken into the care of distant relatives.
By chance, Sophia passes by. The lovers are happy with each other. Sophia tells Milon that Prostakova wants to marry her to her stupid 16-year-old son. Immediately they meet Skotinin, who is worried that he might go home without his wife and money. Pravdin and Milon urge him to quarrel with his sister, saying that she is playing with him like a ball. Skotinin loses his temper.
Mitrofan and Eremeevna pass by. The nanny tries to force the young man to study, but he does not want to. Skotinin quarrels with Mitrofan about their upcoming marriage, since both are not against taking Sophia as their wife. However, Eremeevna and Pravdin do not allow them to fight. Skotinin leaves angry. The Prostakovs appear. Prostakova flatters Milon and apologizes for not coming out to meet him on time. She praises Sophia and tells how she has already arranged everything for her uncle. The girl and Prostakov leave to look at the room. They are replaced by Kuteikin and Tsyfirkin. The teachers tell Pravdin about themselves, how they learned to read and write and how they ended up in the Prostakovs’ house.
Act 3
Pravdin, seeing Starodum’s carriage from the window, went out to meet him first. The official talks about the Prostakovs’ outrages towards Sonya. Starodum says that one cannot act on the first impulse, since experience has shown him that ardor is not always good, he tells Pravdin about his life, how he saw that people are different.
Sophia comes up here. Starodum recognizes his niece, they are glad to meet. The uncle says that he abandoned everything and left, because he could not otherwise earn money without “exchanging it for his conscience.” At this time, Prostakova and Skotinin managed to fight. After Milon pacified them, Prostakova notices Starodum and orders Eremeevna to call her son and husband. The entire Prostakov family and Skotinin greet Starodum with excessive joy, hugging him and flattering him in every possible way. Mitrofan repeats after his mother that Starodum is his second father. This surprises Uncle Sophia very much.
Starodum says that he is taking the girl to Moscow to marry. Sophia, not knowing that her uncle chose Milon as her husband, still agrees with his will. Prostakova and Skotinin are trying to convince him. The woman says that in their family, studying was not held in high esteem, but Mitrofan allegedly does not get up because of the book and studies diligently. Pravdin interrupts the woman, saying that the guest is tired from the road and everyone leaves.
Tsyfirkin and Kuteikin remain, who complain to each other that Mitrofan cannot study arithmetic for three years and literacy for four. They blame the German Vralman for interfering with the teaching and both are not against beating the unfortunate student, if only he would start doing something.
Mitrofan and Prostakova enter. The woman persuades her son to study, at least for show. Tsifirkin sets two problems, but in both cases, before Mitrofan calculates, Prostakova solves them based on her personal experience: “I found the money, didn’t share it with anyone. Take it all for yourself, Mitrofanushka. Don’t learn this stupid science.” As soon as Kuteikin begins to teach the young man to read and write, Vralman appears and says that Mitrofan does not need to learn to read and write and that in general it is better to make friends with “our own” illiterate people, in which Prostakova supports him. Vralman makes a reservation that he saw the light while sitting on the cab's box, but he comes to his senses in time and the woman does not notice that he is lying to her.
Prostakova and Mitrofan leave. Teachers quarrel. Tsyfirkin and Kuteikin want to beat Vralman, but he runs away.
Act 4
Starodum and Sophia talk about virtue, about how people stray from the righteous path. The uncle explains to his niece that nobility and wealth should not be calculated by deeds for one’s own benefit, but by deeds for the fatherland and other people. The man explains that the position should correspond to the deeds, and not just the name. He also talks about family life that husband and wife must understand each other, support each other, that the origin of the spouses does not matter if they love each other, but this love must be friendly.
Then they bring Starodum a letter from which he learns that the young man to whom he was going to marry Sophia is Milon. Starodum, talking with Milon, learns that he is a man with high concepts of duty and honor. The uncle blesses the niece and the young man.
Skotinin interrupts them from the conversation, trying to show himself in a favorable light, but only makes them laugh with his absurdity. Pravdin, Prostakova and Mitrofan arrive. The woman again praises her son's literacy. Pravdin decides to check. Mitrofan does not give a single correct answer, while his mother tries in every possible way to justify his stupidity.
Prostakova and Skotinin continue to ask Starodum who he will choose for his niece, to which they receive the answer that she already has a fiancé and they are leaving tomorrow morning. Skotinin and Mitrofan with Prostakova separately plan to intercept the girl on the road.
Action 5
Pravdin and Starodum discuss what everyone will soon learn, that without truth and good morals it is impossible to achieve anything worthwhile, that the key to the well-being of the state is worthy, honest, educated, well-mannered people.
They are interrupted when they hear a noise. As it turns out, Eremeevna wanted to take Sophia away by force on Prostakova’s orders, but Milon prevented her.
Pravdin says this is an illegal action. He points out that the girl’s uncle and fiance can accuse the Prostakovs of crime and demand immediate punishment. The woman tries to beg forgiveness from Sophia, who forgives her. Prostakova, only she is freed from guilt, is going to punish the servants who prevented the crime from happening and let the girl go. However, Pravdin stops her - he reads out a paper that came from the government that from now on the Prostakovs’ house and villages will come under his care. Prostakova is indignant and asks for at least three days, but Pravdin refuses. Then the woman remembers the debts to the teachers and Pravdin agrees to pay them off himself. Vralman, Kuteikin and Tsyfirkin arrive. Vralman's deception is revealed - that he is actually a retired groom of Starodum, and not a German teacher and expert high society. Vralman agrees to serve Starodum again. Tsyfirkin does not want to take extra money from Prostakova, since for all this time he has not been able to teach Mitrofan anything. Pravdin, Starodum and Milon reward Tsyfirkin for his honesty. Kuteikin is not against receiving money even for fruitless science, but he is left with nothing.
Starodum, Milon and Sophia are getting ready to leave. Mitrofan tells his mother to get rid of him, his father reproaches him for this. Pravdin invites the young man to go serve and he agrees. Prostakova is in despair because she has lost everything. Starodum sums up what happened: “These are the worthy fruits of evil!”
