Hoffmann's tales can easily be funny and scary, bright and frightening, but the fantastic in them always arises unexpectedly, from the simplest things. This was the main secret, which Ernst Hoffmann was the first to guess.
You will discover a vibrant world by reading Hoffmann's fairy tales. How charming are these stories! How strikingly different are the tales of Hoffmann from the majority that we have read so far!
The fantastic world under the pen of Hoffmann arises from simple things and events. That is why the entire list of Hoffmann's fairy tales opens up a completely different, even more interesting world for us - the world of human feelings and dreams. At first glance, it seems that the action in fairy tales takes place, as happens in a fairy tale, “in a certain state,” but in fact everything that Hoffmann writes about can be traced back to that disturbing time, of which the writer was a contemporary. On our site you can read Hoffmann's tales online without any restrictions.
VIGILE ONE The misadventures of the student Anselm... - Beneficial tobacco of the director Paulmann and golden-green snakes. On Ascension Day, about three o'clock in the afternoon, a young man was rapidly walking through the Black Gate in Dresden and just got into a basket of apples and pies that an old, ugly woman was selling - and he hit so well that ...
Publisher's Preface The Wandering Enthusiast 1 - and from his diary we borrow another fantastic play in the manner of Callot - apparently separates his inner world from the outer world 2 so little that the very border between them is hardly distinguishable. However, precisely due to the fact that you, the benevolent reader, cannot clearly see this ...
“As the supreme judge, I divided the entire human race into two unequal parts. One consists only of good people, but not musicians at all, while the other consists of true musicians ... ”(Ernst Theodor Amadeus Hoffmann)
The German writer and poet, E. T. A. Hoffmann, in his work followed the principle of combining the real and the fantastic, showing the ordinary through the unusual, when incredible events happen to unremarkable people. His influence on the work of Edgar Allan Poe and Howard is undeniable. F. Lovecraft and Mikhail Bulgakov, who named Hoffmann, along with Goethe and Gogol, the main source of inspiration for the creation of the Master and Margarita menippea. Hoffmann's fairy tales and fantastic stories, which mix drama and romance, comic elements and phantasmagoria, dreams and sobering reality, have repeatedly attracted composers. The popular ballets "The Nutcracker" by P. I. Tchaikovsky and "Coppelia" by Delibes were created on the plots of Hoffmann. He himself became the hero and narrator in French composer Jacques Offenbach's only posthumous opera, The Tales of Hoffmann, for which the libretto was based on his stories The Sandman, The Tale of the Lost Image and The Counselor Crespel. In 1951, Offenbach's opera was filmed by a British director duo, Michael Powell and Emeric Pressburger, known as The Archers, after the film studio they founded.
The poet Hoffmann, the hero of opera and film, is fantastically unlucky in love. Every time happiness seems close, it is destroyed by the machinations of his insidious and mysterious enemy with different names, but with the same face, as if he had been seen in a nightmare. As a student in Paris, Hoffmann saw Olympia for the first time through magical rose-colored glasses. She was gorgeous, with snow-white skin, radiant eyes and fiery red hair. But, to his horror, she turned out to be a clockwork doll. In order to forget Olympia, broken into pieces with her head falling to the floor, but continuing, smiling serenely, blinking her long eyelashes, the unlucky lover retires to Venice. There he is struck to the very heart by the beauty of the courtesan Juliet and is ready to fulfill any order of her unfaithful eyes, shining like black suns. But the insidious seductress stole not only the hearts of men, but also their reflections in the mirror, and with them - the soul. In desperation, Hoffmann flees from Venice to a picturesque Greek island, where he meets the young and tender Antonia, a singer with a wonderful voice, suffering from an incurable disease. The poet recalls the sad misfortunes of love in a Nuremberg tavern opposite the theater, where his new lover, the ballerina Stella, is dancing. Maybe with her, in which “three souls, three hearts” were embodied for him, he will find happiness?
Among the bright, colorful and innovative films created by the tandem of Powell and Pressburger, the most popular ballet drama is The Red Shoes (1948), in which the Archers fearlessly included a 16-minute ballet based on the fairy tale by Hans Christian Andersen. The insert episode became the emotional and aesthetic center of the film, taking it from the world of familiar melodrama to the unthinkable heights of pure art. "The Tales of Hoffmann" was conceived as a kind of artistic sequel to "The Shoes", which, referring to the same theme of the confusion of the creative person, forced to choose between art and love, will give another opportunity to shine the talent of the fiery passionary ballerina Moira Shearer after her stunning film debut. But Tales is much more than a sequel. In it, the Archers realized their cherished and ambitious dream - to make a film born of music. Unlike most films, for which the music was created after the end of filming, "Hoffmann" began with the recording of the soundtrack of the opera. This gave the directors the opportunity to get rid of the bulky soundproof shell that enveloped the three-film Technicolor camera during filming, which allowed it to easily move to the beat of the music. Powell and Pressburger invited the ballet dancers from the Red Shoes, who were voiced in Tales by opera singers, to play the main roles. Thanks to this important decision, in each character the harmony of a captivating voice was combined with the ethereal lightness of a ballet. In addition to Moira Shearer, who played and danced Hoffmann's two lovers, Olympia and Stella, Leonid Myasin, the famous dancer and choreographer, in his youth a soloist of the legendary Diaghilev troupe, appeared in three roles. Lyudmila Cherina, a French ballerina of Circassian origin, is irresistible in the role of the siren Juliet, who literally steps on corpses with a light and elegant gait. Robert Helpman has become the supernatural villain of every story, set out to deprive Hoffmann of the slightest hope for the happiness of love. Or maybe, as part of that force that always wants evil, but always does good, he directs the poet to the true beloved - his Muse?
In just 17 days, without leaving the walls of their film studio, Powell and Pressburger created the magic of Hoffmann's fantastic travels. Sadly ironic stories of unfulfilled love are just part of this magic. What makes The Tales of Hoffmann an unforgettable spectacle is its unique combination of fantasy and classical music, ballet and opera singing, mesmerizing color effects and bizarre, sometimes terrifying imagery that would fit in a horror movie. The sumptuous and refined visual world of The Tales of Hoffmann is created in a style that combines the expressionism of silent films with the romanticism of the best melodramas and the surrealism that would later flourish in the baroque delights of Satyricon, Rome and Fellini's Casanova. With each story, reflecting its emotional intensity, the color palette changes. From the mindlessly lively bright yellow tones of the puppet world of Olympia to the sensual red color, spilled in the atmosphere of the screen Venice, indulging in carnival and carnival joys. It will give way to a melancholy blue sea bathing the island, where Antonia suffers over the dilemma of whether to sing or live. Like obsessed illusionists, the Archers generously scatter in front of the audience more and more exciting images, born in their imagination by enchanting music. Puppets come to life with frozen smiles. Spinning in an endless fouette, the mechanical Olympia suddenly freezes in anticipation of winding up. Juliet stands motionless in the gondola, gliding silently across the lagoon to the mellifluous Barcarolle; a light breeze plays with her emerald green transparent scarf. The wax of a burning candle hardens into precious stones, and the carpet underfoot rushes up and turns into a staircase in shining stars.
Opera for ballet lovers. Ballet for horror lovers. Love stories, in none of which love triumphs in the finale. Arthouse film, after the first viewing of which, 15-year-old George Romero and 13-year-old Marty Scorsese firmly decided to devote themselves to film directing. An extravagant fantasy that brought to life the enduring idea of E. T. A. Hoffmann, a musician, composer, artist and writer, about the romantic synthesis of the arts, which is achieved by the interpenetration of literature, music and painting. Adding the possibilities of cinema to them, The Tales of Hoffmann became a harmonious union of words, sound, color, dance, singing, fastened and assured by the free movements of a liberated movie camera and captured by her intent, all-absorbing gaze.
Information sheet:
Hoffmann's tales are distinguished by indescribable mysticism, mystery, and sometimes a touch of horror. This is literature for adult children and schoolchildren. It is they who will gladly plunge into the world of Hoffmann's works, covered with secrets and tragedies.
The fate of the storyteller
It so happened that the fate of the writer constantly fueled his interest in the mystical component in life. As a child, he talked a lot with his uncle, a smart man, but prone to mysticism and fantasy. As a young man, he was fond of music, which fascinated him and carried him into mysterious dreams, he composed himself.
As an adult, he spent a lot of time in wine cellars, from where he could come home only in the morning. A free way of life, frequent insomnia and a special way of thinking gave Hoffmann his own themes for fairy tales. He mixed the folk fiction of different countries and eras with his own visions and created a special fairy tale - attractive and terrible at the same time. The tragedy and beauty of the image was added by unhappy love, which the writer and composer suffered for many years.
A new surge of interest in creativity in our days
The work of Hoffmann cannot be left without attention in our time. Children's interest in his fairy tales is explained not only by the mystical content, but also by great attention to the experiences of the characters, a description of their inner world. Students pass positive feedback to each other, check the list of read fairy tales among themselves, happy to finish reading the missed ones. We hope that the opportunity to get acquainted with the fabulous heritage of Hoffmann for free will be perceived as an unexpected discovery not only by children, but also by curious parents.
To the 240th anniversary of the birth
Standing at Hoffmann's grave in the Jerusalem cemetery in the center of Berlin, I marveled at the fact that on a modest monument he was presented first of all as an adviser to the court of appeal, a lawyer, and only then as a poet, musician and artist. However, after all, he himself admitted: “On weekdays I am a lawyer and perhaps a little bit of a musician, on Sunday afternoon I draw, and in the evenings until late at night I am a very witty writer.” All his life he is a great partner.
The third on the monument was the baptismal name Wilhelm. Meanwhile, he himself replaced it with the name of the idolized Mozart - Amadeus. I accidentally replaced it. After all, he divided humanity into two unequal parts: "One consists only of good people, but bad musicians or not musicians at all, the other consists of true musicians." No need to take it literally: the lack of an ear for music is not the main sin. "Good people", philistines, devote themselves to the interests of the purse, which leads to irreversible perversions of humanity. According to Thomas Mann, they cast a wide shadow. Philistines are made, musicians are born. The part to which Hoffmann belonged is the people of the spirit, not the belly - musicians, poets, artists. "Good people" most often do not understand them, despise them, laugh at them. Hoffmann realizes that his heroes have nowhere to run, to live among the philistines is their cross. And he himself carried it to the grave. And his life by today's standards was short (1776-1822)
Bio pages
Blows of fate accompanied Hoffmann from birth to death. He was born in Königsberg, where the "narrow-faced" Kant was professor at that time. His parents quickly separated, and from the age of 4 until the university he lived in the house of his uncle, a successful lawyer, but a snobby and pedantic person. An orphan with living parents! The boy grew up closed, which was facilitated by his small stature and the appearance of a freak. With external laxity and buffoonery, his nature was extremely vulnerable. An exalted psyche will determine much in his work. Nature endowed him with the sharpest mind and observation. The soul of a child, a teenager, vainly longing for love and affection, did not harden, but, wounded, suffered. Significant confession: “My youth is like a parched desert, without flowers and shade.”
He considered university studies in law as an unfortunate duty, for he truly loved only music. Official service in Glogau, Berlin, Poznan and especially in the provincial Plock was a burden. But still, in Poznan, happiness smiled: he married a charming Polish woman, Mikhalina. The bear, although alien to his creative quest and spiritual needs, will become his true friend and support to the end. He will fall in love more than once, but always without reciprocity. He will capture the torment of unrequited love in many works.
At 28, Hoffmann is a government official in Prussian-occupied Warsaw. Here the composer's abilities, and the singing gift, and the talent of the conductor were revealed. Two of his singspiel were successfully staged. “The Muses still guide me through life as holy intercessors and patrons; I surrender myself entirely to them,” he writes to a friend. But he does not neglect the service either.
Napoleon's invasion of Prussia, the chaos and confusion of the war years put an end to a short-lived prosperity. A wandering, financially unsettled, sometimes hungry life began: Bamberg, Leipzig, Dresden ... A two-year-old daughter died, his wife fell seriously ill, he himself fell ill with a nervous fever. He took on any job: a home teacher of music and singing, a sheet music merchant, a bandmaster, an artist-decorator, a theater director, a reviewer of the Universal Musical Gazette ... And in the eyes of the philistine townsfolk, this small, nondescript, impoverished and powerless little man is a beggar at the door burgher salons, jester pea. Meanwhile, in Bamberg, he showed himself as a man of the theater, anticipating the principles of both Stanislavsky and Meyerhold. Here he developed as a universal artist, whom the romantics dreamed of.
Hoffmann in Berlin
In the autumn of 1814, with the help of a friend, Hoffmann secured a seat at a criminal court in Berlin. For the first time in many years of wandering, he had the hope of finding a permanent home. In Berlin, he found himself at the center of literary life. Here acquaintances began with Ludwig Tieck, Adalbert von Chamisso, Clemens Brentano, Friedrich Fouquet de la Motte, the author of the story "Ondine", the artist Philipp Veit (son of Dorothea Mendelssohn). Once a week, friends who named their community after the hermit Serapion gathered in a coffee shop on Unter den Linden (Serapionsabende). Stayed up late. Hoffmann read them his latest works, they evoked a lively reaction, he did not want to disperse. Interests overlap. Hoffmann began to write music for Fouquet's story, he agreed to become a librettist, and in August 1816 the romantic opera Ondine was staged at the Royal Berlin Theater. There were 14 performances, but a year later the theater burned down. The fire destroyed the wonderful scenery, which, according to the sketches of Hoffmann, was made by Karl Schinkel himself, a renowned artist and court architect, who at the beginning of the 19th century. built almost half of Berlin. And since I studied at the Moscow Pedagogical Institute with Tamara Schinkel, a direct descendant of the great master, I also feel myself involved in Hoffmann's Ondine.
Over time, music lessons faded into the background. Hoffmann, as it were, transferred his musical vocation to his beloved hero, his alter ego, Johann Kreisler, who carries a high musical theme from work to work. Hoffmann was an enthusiast of music, he called it "the parent language of nature."
Being in the highest degree Homo Ludens (a person playing), Hoffmann in Shakespeare's way perceived the whole world as a theater. His close friend was the famous actor Ludwig Devrient, whom he met at Lutter and Wegner's tavern, where they spent their evenings exuberantly, indulging in both libations and inspired humorous improvisations. Both were sure that they had doubles and amazed the regulars with the art of reincarnation. These gatherings cemented his fame as a half-mad alcoholic. Alas, in the end he really became a drunkard and behaved eccentrically and pretentiously, but the further, the clearer it became that in June 1822 in Berlin, the greatest magician and sorcerer of German literature died from dryness of the spinal cord in agony and lack of money.
Hoffmann's literary legacy
Hoffmann himself saw his vocation in music, but gained fame as a writer. It all started with "Fantasy in the manner of Callot" (1814-15), then followed by "Night stories" (1817), a four-volume short story "The Serapion Brothers" (1819-20), a kind of romantic "Decameron". Hoffmann wrote a number of long stories and two novels - the so-called "black", or Gothic novel "Elixirs of Satan" (1815-16) about the monk Medard, in which two creatures sit, one of them is an evil genius, and the unfinished "Worldly views of a cat Murra" (1820-22). In addition, fairy tales were composed. The most famous of them is the Christmas one - "The Nutcracker and the Mouse King". With the approach of the New Year, the Nutcracker ballet is being staged in theaters and on television. Everyone knows the music of Tchaikovsky, but only a few know that the ballet was written based on the fairy tale by Hoffmann.
About the collection "Fantasy in the manner of Callot"
The 17th-century French artist Jacques Callot is known for his grotesque drawings and etchings, in which reality appears in a fantastic guise. The ugly figures on his graphic sheets depicting carnival scenes or theatrical performances frightened and attracted. Kallo's manner impressed Hoffmann and gave him a certain artistic stimulus.
The central work of the collection was the short story "The Golden Pot", which has a subtitle - "A Tale from New Times". Fabulous incidents happen in the modern writer Dresden, where next to the ordinary world there is a hidden world of sorcerers, wizards and evil sorceresses. However, as it turns out, they lead a dual existence, some of them perfectly combine magic and sorcery with service in archives and government offices. Such is the grouchy archivist Lindhorst - the lord of the Salamanders, such is the evil old sorceress Rauer, who trades at the city gates, the daughter of a turnip and a dragon feather. It was her basket of apples that the protagonist, student Anselm, accidentally overturned, and all his misadventures began from this trifle.
Each chapter of the tale is called by the author "vigilium", which in Latin means - night guard. Night motifs are generally characteristic of romantics, but here the twilight lighting enhances the mystery. Student Anselm is a bungler, from the breed of those who, if a sandwich falls, will certainly be buttered down, but he also believes in miracles. He is the bearer of poetic feeling. At the same time, he hopes to take his rightful place in society, to become a gofrat (outside councilor), especially since Veronika, the daughter of Con-Rector Paulman, whom he takes care of, has firmly decided in life: she will become the wife of a gofrat and will show off in the morning in the window in an elegant toilet to the surprise of passers-by dandies. But by chance, Anselm touched the world of the miraculous: suddenly, in the foliage of a tree, he saw three amazing golden-green snakes with sapphire eyes, he saw and disappeared. “He felt how something unknown stirred in the depths of his being and caused him that blissful and tormenting sorrow that promises a person another, higher being.”
Hoffmann leads his hero through many trials before he ends up in the magical Atlantis, where he connects with the daughter of the powerful ruler of the Salamanders (he is the archivist Lindhorst) - the blue-eyed snake Serpentina. In the finale, everyone acquires a particular appearance. The case ends with a double wedding, for Veronica finds her gofrat - this is the former rival of Anselm Geerbrand.
Yu. K. Olesha, in his notes about Hoffmann, which arose while reading The Golden Pot, asks the question: “Who was he, this crazy man, the only writer of his kind in world literature, with raised eyebrows, a thin nose bent down, with hair standing on end forever?" Perhaps familiarity with his work will help answer this question. I would venture to call him the last romantic and the founder of fantastic realism.
"Sandman" from the collection "Night stories"
The name of the collection "Night Stories" is not accidental. By and large, all Hoffmann's works can be called "night", because he is a poet of gloomy spheres in which a person is still connected with secret forces, a poet of abysses, failures, from which either a double, or a ghost, or a vampire arises. He makes it clear to the reader that he has been in the realm of shadows, even when he dresses his fantasies in a bold and cheerful form.
The Sandman, which he has repeatedly remade, is an undoubted masterpiece. In this story, the struggle between despair and hope, between darkness and light, acquires special tension. Hoffman is sure that the human personality is not something permanent, but unsteady, capable of transforming, bifurcating. Such is the main character of the story, student Nathanael, endowed with a poetic gift.
As a child, he was frightened by a sandman: if you don’t fall asleep, a sandman will come, throw sand in your eyes, and then take your eyes away. Already becoming an adult, Nathaniel cannot get rid of fear. It seems to him that the puppet master Coppelius is a sandman, and Coppola's traveling salesman, who sells glasses and magnifying glasses, is the same Coppelius, i.e. the same sandman. Nathaniel is clearly on the verge of mental illness. In vain Nathaniel's fiancee Clara, a simple and sensible girl, tries to heal him. She correctly says that the terrible and terrible thing that Nathanael constantly talks about happened in his soul, and the outside world had little to do with it. His verses with their gloomy mysticism are boring to her. The romantically exalted Nathanael does not heed her, he is ready to see in her a miserable bourgeois. It is not surprising that the young man falls in love with a mechanical doll, which Professor Spalanzani, with the help of Coppelius, has been making for 20 years and, passing her off as his daughter Ottilia, introduced him into the high society of a provincial town. Nathaniel did not realize that the object of his sighs was a contraption. But they were all deceived. The clockwork doll attended secular meetings, sang and danced as if alive, and everyone admired her beauty and education, although apart from “oh!” and "ah!" she didn't say anything. And in her, Nathanael saw a "kindred soul." What is this if not a mockery of the youthful quixotic nature of the romantic hero?
Nathaniel goes to propose to Ottilie and finds a terrible scene: the quarreling professor and the puppet master are tearing the Ottilie doll to pieces before his eyes. The young man goes crazy and, having climbed the bell tower, rushes down from there.
Apparently, reality itself seemed to Hoffmann a delirium, a nightmare. Wishing to say that people are soulless, he turns his heroes into automata, but the worst thing is that no one notices this. The incident with Ottilie and Nathaniel excited the townspeople. How to be? How to find out if the neighbor is a mannequin? How, finally, to prove that you yourself are not a puppet? Everyone tried to behave as unusually as possible in order to avoid suspicion. The whole story took on the character of a nightmarish phantasmagoria.
"Little Tsakhes, nicknamed Zinnober" (1819) - one of Hoffmann's most grotesque works. This tale partly echoes the Golden Pot. Its plot is quite simple. Thanks to three wonderful golden hairs, the freak Tsakhes, the son of an unfortunate peasant woman, turns out to be wiser, more beautiful, worthy of everyone in the eyes of those around him. With lightning speed he becomes the first minister, receives the hand of the beautiful Candida, until the wizard exposes the vile freak.
“A crazy tale”, “the most humorous of all that I have written,” the author said about it. Such is his manner - to clothe the most serious things in veils of humor. After all, we are talking about a blinded, stupid society that takes “an icicle, a rag for an important person” and creates an idol out of it. By the way, this was also the case in Gogol's The Government Inspector. Hoffmann creates a magnificent satire on the "enlightened despotism" of Prince Paphnutius. “This is not only a purely romantic parable about the eternal philistine hostility of poetry (“Drive all the fairies!” - such is the first order of the authorities. - G.I.), but also a satirical quintessence of German squalor with its claims to great power and ineradicable petty habits, with its police education, with servility and depression of subjects ”(A. Karelsky).
In a dwarf state, where "enlightenment broke out", his program is planned by the prince's valet. He proposes to “cut down forests, make the river navigable, plant potatoes, improve rural schools, plant acacias and poplars, teach youth to sing morning and evening prayers in two voices, pave highways and instill smallpox.” Some of these "enlightenment actions" actually took place in Prussia, Frederick II, who played the role of an enlightened monarch. Enlightenment here took place under the motto: "Drive all dissidents!"
Among the dissidents is the student Balthazar. He is from the breed of true musicians, and therefore suffers among the philistines, i.e. "good people". “In the wonderful voices of the forest, Balthazar heard the inconsolable complaint of nature, and it seemed that he himself should dissolve in this complaint, and his whole existence is a feeling of the deepest insurmountable pain.”
According to the laws of the genre, the fairy tale ends with a happy ending. With the help of theatrical firework-like effects, Hoffmann allows the student Balthazar, "gifted with inner music", who is in love with Candida, to defeat Tsakhes. The savior-sorcerer, who taught Balthazar to pull out three golden hairs from Tsakhes, after which the veil fell from everyone's eyes, makes a wedding gift to the newlyweds. This is a house with a plot where excellent cabbage grows, “pots never boil over” in the kitchen, porcelain does not break in the dining room, carpets do not get dirty in the living room, in other words, quite bourgeois comfort reigns here. This is how romantic irony comes into play. We also met her in the fairy tale “The Golden Pot”, where the lovers received the golden pot at the end. This iconic vessel-symbol replaced the blue Novalis flower, in the light of this comparison, the ruthlessness of Hoffmann's irony became even more obvious.
About the "Worldly Views of the Cat Murr"
The book was conceived as a final one, it intertwined all the themes and features of Hoffmann's manner. Here the tragedy is combined with the grotesque, although they are opposite to each other. The composition itself contributed to this: the biographical notes of the scientist cat are interleaved with pages from the diary of the brilliant composer Johann Kreisler, which Murr used instead of blotters. So the unlucky publisher printed the manuscript, marking the “blotches” of the brilliant Kreisler as “Mac. l." (waste sheets). Who needs the suffering and sorrow of Hoffmann's favorite, his alter ego? What are they good for? Is that to dry the graphomaniac exercises of the learned cat!
Johann Kreisler, a child of poor and ignorant parents, who knew the need and all the vicissitudes of fate, is an itinerant musician-enthusiast. This is a favorite of Hoffmann, he acts in many of his works. Everything that has weight in society is alien to the enthusiast, therefore misunderstanding and tragic loneliness await him. In music and love, Kreisler is carried away far, far into the bright worlds known to him alone. But the more insane for him is the return from this height to the earth, to the hustle and bustle of a small town, to the circle of base interests and petty passions. Nature is unbalanced, constantly torn apart by doubts in people, in the world, in their own creativity. From enthusiastic ecstasy, he easily passes to irritability or to complete misanthropy on the most insignificant occasion. A false chord causes him a fit of despair. “Kreisler is ridiculous, almost ridiculous, he constantly shocks respectability. This lack of contact with the world reflects the complete rejection of the surrounding life, its stupidity, ignorance, thoughtlessness and vulgarity ... Kreisler rises alone against the whole world, and he is doomed. His rebellious spirit perishes in mental illness” (I. Garin).
But it's not him, but the scientist cat Murr who claims to be the romantic "son of the century." Yes, and the novel is written in his name. Before us is not just a two-tiered book: Kreisleriana and the animal epic Murriana. New here is the Murr line. Murr is not just a philistine. He tries to present himself as an enthusiast, a dreamer. Romantic genius in the form of a cat is a funny idea. Listen to his romantic tirades: “... I know for sure: my homeland is an attic!. The climate of the motherland, its customs, customs - how inextinguishable are these impressions ... Where does such an exalted way of thinking come from in me, such an irresistible desire for higher spheres? Whence such a rare gift to instantly ascend upwards, such courageous, most ingenious jumps worthy of envy? Oh, sweet longing fills my chest! Longing for my native attic rises in me in a powerful wave! I dedicate these tears to you, O beautiful homeland…” What is this if not a murderous parody of the romantic empyreans of the Jena romantics, but even more of the Germanophilism of the Heidelbergers?!
The writer created a grandiose parody of the romantic worldview itself, fixing the symptoms of the crisis of romanticism. It is the interweaving, the unity of the two lines, the collision of parody with a high romantic style that gives rise to something new, unique.
“What truly mature humor, what strength of reality, what anger, what types and portraits and next to it - what a thirst for beauty, what a bright ideal!” Dostoevsky gave such an appraisal of Cat Murr, but this is a worthy assessment of Hoffmann's work as a whole.
Hoffmann's dual world: a riot of fantasy and the "vanity of life"
Each true artist embodies his time and the situation of a person in this time in the artistic language of the era. The artistic language of Hoffmann's time is romanticism. The gap between dream and reality is the basis of the romantic worldview. “The darkness of low truths is dearer to me / The deceit that elevates us” - these words of Pushkin can be put as an epigraph to the work of German romantics. But if the predecessors, building their castles in the air, were carried away from the earthly into the idealized Middle Ages or into the romanticized Hellas, then Hoffmann bravely plunged into the modern reality of Germany. At the same time, he, like no one before him, was able to express anxiety, unsteadiness, the brokenness of the era and the person himself. According to Hoffmann, not only society is divided into parts, each person, his consciousness is split, torn apart. Personality loses its certainty, integrity, hence the motive of duality and madness, so characteristic of Hoffmann. The world is unstable and the human personality is disintegrating. The struggle between despair and hope, between darkness and light, is fought in almost all of his works. Do not give dark forces a place in your soul - that's what worries the writer.
On careful reading, even in the most fantastic works of Hoffmann, such as The Golden Pot, The Sandman, one can find very deep observations of real life. He himself admitted: "I have too much sense of reality." Expressing not so much the harmony of the world as life's dissonance, Hoffmann conveyed it with the help of romantic irony and the grotesque. His works are full of all sorts of spirits and ghosts, incredible things happen: a cat composes poetry, a minister drowns in a chamber pot, a Dresden archivist has a brother - a dragon, and daughters - snakes, and so on and so forth, nevertheless, he wrote about modernity, about the consequences of the revolution, about the era of Napoleonic unrest, which turned a lot in the sleepy way of three hundred German principalities.
He noticed that things began to rule over a person, life is mechanized, automata, soulless dolls take over a person, the individual drowns in the standard. He thought about the mysterious phenomenon of the transformation of all values into exchange value, he saw the new power of money.
What allows the insignificant Tsakhes to turn into the powerful minister Zinnober? Three golden hairs, which the compassionate fairy endowed him with, have miraculous powers. This is by no means a Balzacian understanding of the merciless laws of modern times. Balzac was a doctor of social sciences, and Hoffmann was a visionary, whom science fiction helped to expose the prose of life and build brilliant guesses about the future. It is significant that the fairy tales, where he gave free rein to unbridled fantasy, have subtitles - "Tales from New Times". He not only judged contemporary reality as an unspiritual realm of "prose", he made it the subject of depiction. “Intoxicated with fantasies, Hoffmann,” as the prominent Germanist Albert Karelsky wrote about him, “is in fact discouragingly sober.”
Departing from life, in the last story “The Corner Window”, Hoffmann shared his secret: “You, what good, do you think that I am already getting better? Far from it ... But this window is a consolation for me: here life again appeared to me in all its diversity, and I feel how close its never-ending bustle is to me.
Hoffmann's Berlin house with a corner window and his grave in the Jerusalem cemetery were "given" to me by Mina Polyanskaya and Boris Antipov, from the breed of enthusiasts so revered by our hero of the day.
Hoffmann in Russia
The shadow of Hoffmann beneficially overshadowed Russian culture in the 19th century, as philologists A. B. Botnikova and my postgraduate classmate Juliet Chavchanidze, who traced the relationship between Gogol and Hoffmann, spoke in detail and convincingly. Even Belinsky wondered why Europe does not put the "brilliant" Hoffmann next to Shakespeare and Goethe. "Russian Hoffmann" was called Prince Odoevsky. Herzen admired him. A passionate admirer of Hoffmann, Dostoevsky wrote about "Cat Murr": "What a truly mature humor, what strength of reality, what anger, what types and portraits and next - what a thirst for beauty, what a bright ideal!" This is a worthy assessment of Hoffmann's work as a whole.
In the 20th century, Hoffmann was influenced by Kuzmin, Kharms, Remizov, Nabokov, Bulgakov. Mayakovsky did not mention his name in vain in verse. It was not by chance that Akhmatova chose him as her escort: “Sometimes in the evening / Darkness thickens, / Let Hoffmann be with me / He will reach the corner.”
In 1921, a community of writers formed in Petrograd at the House of Arts, who named themselves after Hoffmann - the Serapion brothers. It included Zoshchenko, Vs. Ivanov, Kaverin, Lunts, Fedin, Tikhonov. They also met weekly to read and discuss their works. They soon brought reproaches from proletarian writers for formalism, which “backfired” in 1946 in the Decree of the Central Committee of the All-Union Communist Party of Bolsheviks on the journals Neva and Leningrad. Zoshchenko and Akhmatova were defamed and ostracized, doomed to civil death, but Hoffmann also fell under the hand: he was called "the founder of salon decadence and mysticism." For the fate of Hoffmann in Soviet Russia, the ignorant judgment of the “Parteigenosse” Zhdanov had sad consequences: they stopped publishing and studying. A three-volume edition of his selected works was published only in 1962 by the Khudozhestvennaya Literatura publishing house in a hundred thousand copies and immediately became a rarity. Hoffmann remained under suspicion for a long time, and only in 2000 a 6-volume collection of his works was published.
Andrei Tarkovsky's film, which he intended to make, could be an excellent monument to the eccentric genius. Did not have time. Only his marvelous script remained - "Hoffmaniad".
In June 2016, the International Literary Festival-Competition "Russian Hoffmann" started in Kaliningrad, in which representatives of 13 countries participate. Within its framework, an exhibition is provided in Moscow at the Library of Foreign Literature. Rudomino “Meetings with Hoffmann. Russian Circle. In September, the full-length puppet film “Hoffmaniada. The Temptation of Young Anselm”, in which the plots of the fairy tales “The Golden Pot”, “Little Tsakhes”, “The Sandman” and the pages of the author’s biography are masterfully intertwined. This is the most grandiose project of Soyuzmultfilm, 100 dolls are involved, director Stanislav Sokolov filmed it for 15 years. The main artist of the picture is Mikhail Shemyakin. At the festival in Kaliningrad, 2 parts of the film were shown. We are in anticipation and anticipation of meeting with the revived Hoffmann.
Greta Ionkis
entertaining hour
"The Magical World of Fairy Tales by E. A. T. Hoffmann"
(6th grade)
Prepared by:
reading room librarian
Children's Department MKUK Central Bank
E. A. Cherkasova.
“Read! And may there not be a single day in your life,
whenever you read at least one page from a new book!”
K.G. Paustovsky.
“Wait a minute, I wanted to ask you something:
To the one who is Ernst, and Theodore, and Amadeus.
KUSHNER ALEXANDER
Target: get acquainted with the main characters of Hoffmann's works (the fairy tale story "The Nutcracker and the Mouse King", the short story "The Golden Pot", the fairy tale story "Little Tsakhes, nicknamed Zinnober", the novel "Worldly Views of the Cat Murr"). Mark the traits of their characters, find out where and when the described events take place.
Tasks
Educational:
Develop the skills of analyzing a prosaic fairy tale text, enrich the idea of an artistic detail;
To form the ability to retell close to the text, without violating logic, to highlight the connections between phenomena, formulate conclusions and generalize.
Developing:
Develop students' creative vision, imagination, memory;
To form the ability to competently work with a book.
Educational:
- to bring children to the realization of how important it is to strive to understand others and, if necessary, to help them;
Develop a culture of communication; to form the creative activity of schoolchildren;
- educate the need to communicate with each other;
- to continue the formation of interest in the subject.
Equipment: books, illustrations, quotes, crossword puzzles, pictures for coloring, music from the ballet of Tchaikovsky P.I. The Nutcracker, portrait of E.T.A. Hoffmann, presentation, worksheets and pens, felt-tip pens.
During the classes.
Organizing time. Hello guys! Take your seats. Today our event is dedicated to the life and work of E. A. T. Hoffmann.
Introduction.
Librarian: All of his books are filled with mysterious characters who can suddenly disappear or appear out of nowhere. His heroes are always accompanied by unusual incomprehensible surprises: a tiny cavalier shark, a surprise box from which a silver bird jumps out with a ring, a mechanical doll that cannot be distinguished from a living girl, a miniature castle with golden turrets and mirrored windows.
This magician and wizard did not wear a black robe with mysterious signs, but walked in a worn brown tailcoat and instead of a magic wand used a quill pen, with which he wrote down all his wonderful stories, created by him literally from “nothing”: from a bronze doorknob with a grinning physiognomy, from nutcracker, from the raucous chiming of an old clock.
Guys, are you familiar with Hoffmann's fairy tales? What works have you read? Maybe you have seen a famous cartoon based on a fairy tale storyThe Nutcracker and the Mouse King? Today we will get acquainted with the author of these fascinating stories, and also plunge into the magical world of his fairy tales.
Biography and work of E. A. T. Hoffmann:
Librarian: Let's remember, and maybe learn something new from the biography of the author. To begin with, let's listen to a poem by Alexander Kushner, in which the poet accurately noticed the main points of Hoffmann's biography.
Hoffman
Wait a minute, I wanted to ask:
Is it easy for Hoffmann to bear three names?
Oh, to grieve and be tired for three people
To the one who Ernst, and Theodore, and Amadeus.
Ernst is just a cog, office lawyer,
He stains a new sheet behind a sheet in court,
Do not draw, do not compose for him, do not sing -
In the bureaucratic machine that creak.
To creak, to sweat, to soften someone's sentence.
Much luckier than Ernst Theodor.
Arriving home, overcoming the pain in the shoulder,
He writes novels at night by candlelight.
He writes stories, but his heart is sadder.
Then Amadeus comes to Theodore,
The guest is amazing and dearest.
He, like Mozart, waves his hand in the air ...
On Friedrichstrasse, Hoffmann drinks and eats coffee.
"On the Friedrichstrasse," says Ernst quietly.
"Oh no, to the right!" Theodore pleads.
"Let's go to the left, - both hear, - and into the yard."
The flute is barely playing in the yard,
As if a schoolboy leads a finger in a primer.
“But all the same, she,” Amadeus sighs, “
Court records miles and stories.
KUSHNER ALEXANDER
Librarian: Ernst Theodor Wilhelm Hoffmann, now known as Ernst Theodor, was born in Königsberg in 1776.Amadeus Hoffmann. Hoffmann changed his name already in adulthood, adding to it, Amadeus in honor of Mozart, the composer, whose work he admired. And it was this name that became a symbol of a new generation of fairy tales from Hoffmann, which both adults and children began to read with rapture.
The future famous writer and composer Hoffmann was born in the family of a lawyer, but his father divorced his mother when the boy was still very young. Ernst was raised by his grandmother and uncle, who, by the way, also practiced as a lawyer. It was he who brought up a creative personality in the boy and drew attention to his penchant for music and drawing, although he insisted that Hoffmann receive a law degree and work in law to ensure an acceptable standard of living. Ernst was grateful to him for the rest of his life, because it was not always possible to earn a living with the help of art, and it happened that he had to starve.
In 1813, Hoffmann received an inheritance, although it was small, it nevertheless allowed him to get on his feet. Just at that time, he had already got a job in Berlin, which came in very handy, by the way, because there was time to devote himself to art. It was then that Hoffmann first thought about the fabulous ideas that hovered in his head.
Hatred of all social gatherings and parties led to the fact that Hoffmann began to drink alone and write his first works at night, which were so terrible that they led him to despair. However, even then he wrote several works worthy of attention, but even those were not recognized, as they contained unambiguous satire and at that time did not appeal to critics. The writer became much more popular outside his homeland. To our great regret, Hoffmann finally exhausted his body with an unhealthy lifestyle and died at the age of 46, and Hoffmann's fairy tales, as he dreamed, became immortal.
Few writers have received such attention to their own lives, but on the basis of Hoffmann's biography and his works, the poem "Hoffmann's Night" and the opera "Tales of Hoffmann" were created.
From early childhood, Hoffmann loved music more than anything in the world, played the piano, violin, organ, sang, drew and composed poetry - but, despite this, he, like all his ancestors, had to become an official. He submitted to the will of the family: he graduated from the Faculty of Law of the University of Königsberg and served in various judicial departments for many years. Life circumstances developed in such a way that his creative interests had to remain in second place - he was burdened with his profession all his life: he was oppressed by the need to go to a boring legal service every day (which, by the way, he knew brilliantly), he was unlucky in his personal life, and his character was complex, prone to frequent depression.
Creativity Hoffmann
Hoffmann's creative life was short. He released the first collection in 1814, and after 8 years he was gone.
If we wanted to somehow characterize in what direction Hoffmann wrote, we would call him a romantic realist. What is the most important thing in Hoffmann's work? One line runs through all his worksawareness of the deep difference between reality and the ideal and the understanding that it is impossible to get off the ground, as he himself said.
Hoffmann's whole life is a continuous struggle. For bread, for the opportunity to create, for respect for yourself and your works. Hoffmann's fairy tales, which both children and their parents are advised to read, will show this struggle, the strength to make difficult decisions and even greater strength not to give up in case of failure.
the first fairy tale Hoffmann became a fairy tale"Golden Pot" . Already from it it became clear that a writer from ordinary everyday life is able to create a fabulous miracle. There, people and objects are real magic. Like all the romantics of that time, Hoffmann is fond of everything mystical, everything that usually happens at night. One of the best works was "The Sandman". In continuation of the theme of the revival of mechanisms, the author createda real masterpiece - the fairy tale "The Nutcracker and the Mouse King (Some sources also call it The Nutcracker and the Rat King.) Hoffmann's fairy tales are written for children, but the topics and problems that they touch on are not entirely childish.
Hoffmann had a truly creative nature: he lived all the time in a fantasy world and created vivid, unique images in his writings: “I am like children born on Sunday: they see what other people cannot see.” In his fantastic stories and fairy tales, the romantic writer skillfully mixes the wonders of all ages and peoples with his fiction, sometimes gloomy and tragic, sometimes cheerful and mocking.
Hoffmann's short stories can be funny and scary, bright and ominous, but the fantastic in them always arises unexpectedly, from the most ordinary things, from real life itself - this is one of the great secrets of his books. The satirical novel is considered the pinnacle of the writer's work., which presents two storylines: the biography of the cat Murr and the history of life at the court in the German principality of Kapellmeister Johann Kreisler. This book is a confession of the scientist cat Murr, who is here at the same time the author, and the hero, and an ordinary house cat, and a fantastic character (by the way, Hoffmann himself had a favorite cat Murr).
All the works of Hoffmann testify to his talents as a musician and artist. He illustrated many of his books himself.
Hoffmann idolized music:"The secret of music is that it finds an inexhaustible source where speech falls silent." He wrote music under the pseudonym Johann Kreisler. Of his musical compositions, the most famous wasopera "Ondine" , among his works - chamber music, mass, symphony. Hoffmann was also a decorator, playwright, director and assistant director of the Bamberg Theatre.
Fairy tale"The Nutcracker and the Mouse King" became a world-famous Christmas story. The plot of the fairy tale was born during the period of communication between the writer and the children of his friend Hitzig: he was always a welcome guest in this family, where the children were excitedly waiting for his gifts, fairy tales, toys that he made for them with his own hands. Once, like the godfather Drosselmeer from this fairy tale, he made a magnificent model of the castle for his little friends. The names of the children "Marichen" and "Fritz" he also captured in this tale.
It is amazing how he managed, describing the usual house of a German medical adviser, to fill it with such a unique atmosphere of mysterious events and unrealizable desires! He turned this pragmatic burgher world into a fantastic multi-storey German Christmas pyramid, illuminated by the light of small candles, in which reality, dreams, and imagination coexist: evil forces coexist with good ones, and sometimes they transform into each other so skillfully that it is impossible to distinguish who is a friend today, who is the enemy.
The wooden man, carved on a lathe by a puppeteer from the Saxon ore mountains, thanks to the magical talent of the writer, became an extraordinary all-powerful superhero who won in an unequal battle over the seven-headed Mouse King and his gray army.
And here is another secret - this fairy tale is similar to a nesting doll: in one big story, others are hidden, smaller ones: “The Tale of the Hard Nut”, “The Doll Kingdom”. Any nut, in itself, is a symbol of overcoming difficulties, because it must be cracked in order to reach a delicious kernel. How many difficulties have to be overcome by a wooden man who endlessly gnaws nuts!
Another facet of this not at all simple fairy tale is a call to be merciful to those who are in trouble, who are now unhappy. Appearance does not matter, because the main values are a pure kind heart and loyalty in friendship and love, however, as in many of the best fairy tales in the world.
Librarian: Let's remember the characters of Hoffmann's fairy tales. I read the descriptions, and you name the hero and what work he is from.
4. Contest "Guess the hero"
Librarian: According to the description, you need to guess the characters of Hoffmann and what fairy tales they are from.
1 . The son of a poor peasant woman, completely ugly, looking like a forked radish, and having no dignity of a normal person. He was pitied by the fairy Rosabelverde, who gave him three golden hairs. From that moment on, he acquires a magical property: everything ugly that comes from him is attributed to someone else and, conversely, everything pleasant or wonderful that anyone else does is attributed to him. He begins to give the impression of a charming child, then a young man "gifted with the rarest abilities", a talented poet and violinist. He overshadows the young prince, distinguished by his sophistication of appearance and manners, so much that those around him assume a princely origin. Finally, he becomes a minister, whom the prince marks with an order specially made for him, and all this is accordingly connected with the fact that another, really worthy person, undeservedly feels resentment or shame, and sometimes simply fails in his career or in love. The good done by the fairy turns into a source of evil. The insignificance of Tsakhes nevertheless reveals itself - in the end that befalls him. He was frightened by the crowd that raged under the windows of his house, because he saw a monster looking out of the window, and hid in a chamber pot, where he died "for fear of dying."( Little Tsakhes, nicknamed Zinnober).
2. He is a student of Kerepes University, a romantic.(Balthazar ).
3. Friend of Balthazar, student, realist, cheerful person (Fabian ).
4. A fairy who endowed little Tsakhes with magical powers. ( Fairy Rosabelverde ).
5. He's a wandering magiciana magician living in the state of Kerepes.At one time, he stayed in Kerepes only because he managed to hide his true “I” and in various writings proved that “without the permission of the prince there can be neither thunder nor lightning, and that if we have good weather and an excellent harvest, then sim we owe it only to the exorbitant labors of the prince. (Prosper Alpanus ).
6. Prince, obsessed with the introduction of education in the country.(Paphnutius ).
7. Mother of Tsakhes, a poor peasant woman.( Liza).
8. He was not distinguished by beauty: he was a small, scrawny little man with a wrinkled face, with a large black band-aid instead of his right eye, and completely bald, which is why he wore a beautiful white wig; and this wig was made of glass, and, moreover, extremely skillfully.(Drosselmeyer).
9. A funny toy given to the little girl Marie by her godfather Drosselmeier for Christmas. The big head looked ridiculous compared to the thin legs, and the cloak on it was narrow and funny, sticking out like a wooden one, and a miner's cap flaunted on his head. ( Nutcracker ).
10. She immediately fell in love with this toy, because the Nutcracker turned out to have kind eyes and an affectionate smile. (Marie ).
11. A romantically inclined student, very constrained in means. He walks around in an old-fashioned pike-gray tailcoat and rejoices at the opportunity to earn a thaler by copying papers from the archivist Lindhorst. The young man is unlucky in everyday life, his indecisive nature causes many comic situations: his sandwiches always fall to the ground with the smeared side, if he happens to leave the house half an hour earlier than usual, so as not to be late, then he will definitely be doused from the window with soapy water. (Anselm).
12. The antipode of Kreisler and at the same time his parodic parallel. Romantic perception and creativity are not alien to him. He has a rich imagination, is able to deeply feel and experience, be devoted to his friends, react sharply to injustice, to failure in love. At first, he is naive and helpless in everyday situations. His first "going out into the world" leads to disappointment in this world "full of hypocrisy and deceit." However, he soon becomes convinced that the pursuit of the extraordinary deprives many of life's joys, brings only anxiety, and renounces the "free spirit" for the sake of the "mortal world", sacrifices ideals, preferring peace and a strong position to them. “Weak cat flesh: the best, most magnificent intentions shattered into dust from the sweet smell of milk porridge.” Thus, the romantic beginning disappears in him, the philistine consciousness triumphs, although he hides behind phrases in the spirit of a sublime romantic style.(Cat Murr ).
5. Competition "Gallery of Hoffmann's characters".
Librarian: Match the names of fairy tale characters.
"Golden Pot"
"Little Tsakhes, nicknamed Zinnober"
"Worldly views of the cat Murr"
"The Nutcracker and the Mouse King"
Drosselmeer
Marie
Fritz
Nutcracker
Pirlipat
Anselm
Tsakhes
murr the cat
Picture number 2.
Picture number 3.
7. Competition "Kaleidoscope of titles of chapters of a fairy tale"
Librarian: Your task is to correctly arrange the titles of the chapters of the fairy tale "The Nutcracker and the Mouse King". If you do not remember, try to make a logical chain. Put numbers next to the name (from 1 to 12).
Conclusion
Christmas tree
puppet kingdom
Battle
Present
favorite
The Tale of the Hard Nut
Miracles
Victory
Capital
Disease
Uncle and nephew
1. Christmas tree 7. Tale of a hard nut
2. Gifts 8. Uncle and nephew
3. Favorite 9. Victory
4. Miracles 10. Puppet Kingdom
5. Battle 11. Capital
6. Disease 12. Conclusion
8. Competition "Solve crossword puzzles"
Crossword #1.
Vertically
1. Name of the senior court counsel?
2. What was the name of Marie's brother?
4. The city where the Krakatuk nut was kept
5. What was the name of the mouse queen?
7. The name of the nut
Horizontally
5. Who did the Nutcracker invite to the puppet kingdom?
6. The Enchanted Prince
Librarian: And now we have a musical break. While the guys are drawing, and you are guessing crosswords, you can enjoy musical compositions from Tchaikovsky's ballet P.I. "Nutcracker".
9. Contest "Quiz Experts"
Quiz based on the book by E. A. Hoffmann "The Nutcracker and the Mouse King"
1. What is the name of the most famous work of Ernst Theodor Amadeus Hoffmann?("The Nutcracker and the Mouse King" .)
2. What were the names of the children in the fairy tale? (Marie and Fritz .)
3. What date does the action in the fairy tale begin? (December 24 .)
4. What did they give Marie? (Dressy dolls, crockery, silk dress, books .)
5. What did they give Fritz? (Bay horse, squadron of hussars, books .)
6. How was the Christmas tree decorated? (Golden and silver apples, candied nuts, colorful sweets and all sorts of sweets, hundreds of small candles. )
7. What surprise did the children get from godfather Drosselmeyer? (Castle, Nutcracker. )
8. The Nutcracker is ... (Nut cracker .)
9. Who is the Nutcracker to Drosselmeyer? (Nephew .)
10. When did the mouse invasion start? (At 12 o'clock .)
11. How many heads did the mouse king have? (7 .)
12. What did Clerchen want to give the Nutcracker before the fight with mice? (Sequined sash .)
13. Who commanded the cavalry and artillery? (Pantalone .)
14. What decided the outcome of the battle? (Marie threw her shoe at the mice .)
15. Who is Pirlipat? (A princess. )
16. Why did the King get angry with Myshilda and her relatives? (They ate the lard meant for the guests .)
17. What happened to the seven sons of Mouseilda? (They fell into a trap and were executed. )
18. How did Myshilda take revenge on the King? (I bewitched the princess .)
19. What was the name of the nut that was supposed to heal the princess? (Krakatuk.)
20. Where was the nut found? (In Nurberg .)
21. What is the history of the nut?
22. Who agreed to crack the nut? (Drosselmeyer's nephew, The Nutcracker).
23. How did Drosselmeyer's nephew become the Nutcracker? (He killed Myshilda .)
24. Where did the Nutcracker invite Marie after defeating the mice? (To the puppet kingdom .)
25. What did they meet along the way? (Candy Meadow, Christmas Forest, Orange Creek, Gingerbread Village, Honey River, Candy House, Rose Lake, Candied Grove…)
26. In what year was the fairy tale "The Nutcracker and the Mouse King" written? (1816 )
27. Who wrote the music for the ballet The Nutcracker? (P.I. Tchaikovsky .)
28. In what year was the cartoon "The Nutcracker" released at the Soyuzmultfilm studio? (1973)
29. Who is the director of The Nutcracker? (A. Konchalovsky. )
Librarian: Choose the correct answer. The test is difficult but informative.
The Nutcracker is a device for cracking...
Sahara
nuts
acorns
chips
2. On what holiday were the children presented with the Nutcracker toy in Hoffmann's fairy tale?
For Easter
for Maslenitsa
On Christmas
for the New Year
M. I. Glinka
M. P. Mussorgsky
P. I. Tchaikovsky
S. S. Prokofiev
4. Where did The Nutcracker premiere?
In the Catherine Palace
at the Mariinsky Theater
at the State Academic Bolshoi Theater
at the State Academic Maly Theater
5. In what year did the Kultura TV channel hold the first International Television Competition for Young Musicians "The Nutcracker"?
In 1999
in 2000
in 2001
in 2002
6. The Grand Prix of the first competition was received by a participant who played on ...
Marimbe
violin
piano
flute
7. Where will the competitive auditions of the first and second rounds of The Nutcracker take place?
At the Central Music School at the Conservatory. P. I. Tchaikovsky
at the Bolshoi Theater
at the State Central Museum of Musical Culture. M. I. Glinka
at the Children's Musical Theatre. Natalia Sats
8. Who will conduct the orchestra with which the competition laureates will play on November 10, 2008?
Svetlana Bezrodnaya
Vladimir Spivakov
Yuri Bashmet
Mark Gorenstein
9. Which of the musicians is not on the jury of the IX Nutcracker Competition?
Ekaterina Mechetina
Georgy Garanyan
Mark Pekarsky
Denis Matsuev
10. What award is not in the Nutcracker contest?
Golden Nutcracker
Silver Nutcracker
Bronze Nutcracker
Crystal Nutcracker
10. Conclusion. Summarizing. Reflection.
Attention Test
Librarian: And now let's check how you remember the new information. Let's do an attention test. You need to choose the correct answer:
1. What is the name of the work?
a) Nutcracker
b) "The Mouse King and the Nutcracker"
c) The Nutcracker and the Mouse King
2. How old was Marie?
a) 8
b) 6
at 7
3. The godfather wig was made:
a) wool
b) glass
c) fabric
4. Marzipan is
a) candy
b) pie
c) bagel
5. What did the godfather give to the children?
a) fortress
b) garden
c) castle
Key check: 1-c, 2-c, 3-b, 4-a, 5-c
Reflection.
What did you learn new in the lesson?
How do you feel after today's class?
Summarizing:
Hoffmann's whole life is a continuous struggle. For bread, for the opportunity to create, for respect for yourself and your works. Hoffmann's fairy tales, which both children and their parents are advised to read, will show this struggle, the strength to make difficult decisions and even greater strength not to give up in case of failure.Re-read this well-known (and perhaps completely unknown) fairy tale, because everyone, without exception, is supposed to believe in miracles and magic.
Librarian: Well done! You did a great job today! And now the most active guys will receive well-deserved prizes.Certificates and prizes are awarded.
References:
1. Safranski Rüdiger. Hoffman./ Per. with it.; intro. article by V. D. Balakin .. - M. Young Guard, 2005. - 383 p.: ill. - (Life of remarkable people: Ser. Biogr.; Issue 946).
2. Berkovsky N. Ya. Preface.//Hoffman E. T. A. Novels and stories. L., 1936.
3. Berkovsky N. Ya. Romanticism in Germany. L., 1973.
4. Botnikova A. B. E. T. A. Hoffman and Russian literature. Voronezh, 1977.
5. Vetchinov K. M. Adventures of Hoffmann - police investigator, state adviser, composer, artist and writer. Pushchino, 2009.
6. Karelsky A. V. Ernst Theodor Amadeus Hoffman // E. T. A. Hoffman. Sobr. Cit.: In 6 volumes. T. 1. M .: Hood. literature, 1991.
7. Mirimsky IV Hoffman // History of German literature. T. 3. M.: Nauka, 1966.
8. Turaev SV Hoffman // History of World Literature. T. 6. M.: Nauka, 1989.
9. Hoffmann's Russian circle (compiled by N. I. Lopatina with the participation of D. V. Fomin, editor-in-chief Yu. G. Fridshtein). - M .: Center for the Book of VGBIL named after M. I. Rudomino, 2009-672 s: ill.
10. The artistic world of E. T. A. Hoffmann. M., 1982.
11. E. T. A. Hoffman. Life and art. Letters, statements, documents / Per. with him. Compiled K. Gyuntsel .. - M .: Raduga, 1987. - 464 p.
Internet resources
12. Works of Hoffmann at gofman.krossw.ru
13. 5 articles about Hoffmann on gofman.krossw.ru
14. Works in Russian and German, music, Hoffmann's drawings on etagofman.narod.ru
15. Sergei Kuriy - "Phantasmagoria of reality (tales of E. T. A. Hoffmann)", magazine "Time Z" No. 1/2007
16. Lukov Vl. A. Hoffmann Ernst Theodor Amadeus // Electronic Encyclopedia "The World of Shakespeare".
17. AV catalog of musical works by E. T. A. Hoffmann
