Methodological development in literature (grade 5) on the topic: competition of staged fables (based on the fables of I. A. Krylov). Script for a theatrical miniature for schoolchildren based on Krylov's fables All artists appear on stage

Dramatization by Olesya Emelyanova

Duration of the performance: 4 minutes; number of actors: from 1 to 3.

Characters:

Crow
Fox
Narrator

On the stage on the left is a spruce, on the right is a bush.

Narrator

How many times have they told the world,
That flattery is vile and harmful; but everything is not for the future,
And a flatterer will always find a corner in the heart.
God once sent a piece of cheese to the crow.

A Crow flies out from behind a bush with a huge piece of cheese in its beak and sits on top of the tree.

Narrator

Raven perched on the spruce tree,
I was just about ready to have breakfast,
Then, unfortunately, the Fox ran nearby.

Narrator

Suddenly the cheese spirit stopped the Fox:

He twirls his tail and doesn’t take his eyes off Crow.
And he speaks so sweetly, barely breathing.

My dear, oh, how beautiful you are!

What feathers! What a sock!
And, truly, there must be an angelic voice!
Sing, little light, don’t be ashamed! What if, sister,
With such beauty, you are a master at singing, -
After all, you would be our king bird!

Narrator

And Lisitsyn’s friendly words

Narrator

The crow is complaining.

Oh, if only I knew
Her cunning, I wouldn’t open my mouth.
Neither false speech nor sweet poison flattery
From now on, nothing will harm me.
I despise them! I know the value of them!
I will certainly distinguish it from the truth!
Oh life! You taught me a lesson.

The crow flies away.

Narrator

But the lesson was of no use to Vorona.
For her temptation, for the edification of others
The Lord sent her a test again -
I gave the cheese twice as much.

The Crow appears with a huge piece of cheese and perches heavily on the spruce.

Narrator

This very hour
The crow ascended to the tree with him
Yes, I became thoughtful, but I held the cheese in my mouth.
Again the Fox ran close by.

A Fox appears from behind a bush and begins to sniff.

Narrator

And again the cheese spirit stopped the Fox:
The fox sees the cheese, the fox is captivated by the cheese.
The cheat approaches the tree on tiptoe;
He twirls his tail and doesn’t take his eyes off Crow.
The crow is waiting.

From fluff to feather,
Darling, you are better than yesterday!
What a neck, what eyes!
Tell it, really, in a fairy tale!
What claws! What a sock!
What a wonder this voice is!
Sing, little light, don’t be ashamed! You won't, sister,
You're angry at me for the past.
Having heard you, the nightingale will be embarrassed.
Sing for me! After all, you are a bird to all birds!

Narrator

Veshunin's head was spinning with praise,
The breath stole from my throat with joy, -
And Lisitsyn’s words are kind
The crow croaked at the top of its lungs.

The cheese falls. The fox grabs him and runs away.

Narrator

The cheese fell out, and there was a trick with it.
History repeated itself verbatim
And morality hasn't changed at all.
I will remind you of it innocently:
Alas, flattery is ineradicable,
As long as crows love to listen to foxes,
And the foxes have crow cheese.

Page 3 of 20

Krylov's fables on the school stage

I. A. Krylov

“I love, where there is an opportunity, to pinch vices!”

Dramatizations of fables by A. I. Rozanova

This is the name of the play... The name is loudly announced by the leading girl (or boy) who begins the performance. She goes on stage with a book in her hands and says: “I love, where there is an opportunity, to pinch the vices!” These words belong to Krylov and mean that he is always ready, always happy to expose and ridicule human vices (it is known that under the guise of animals, birds, plants, animals, Krylov brought out people in his fables). The girl reads the inscription on the cover: “Krylov’s Fables.” He steps aside, sits on the edge of the stage, leafs through the book, lingering on the titles of some fables, reading them aloud, but as if for himself: “Swan, Pike and Cancer”, “Demyan’s Ear”, “Two Pigeons”, “A Man and a Snake” ", "The Crow and the Fox"... This last fable interests her more than others. She smiles and decides to read the fable in its entirety, stands up, repeats loudly again, addressing the audience: “The Crow and the Fox,” and the staging of this fable begins. The Crow is already sitting on the tree, and behind the scenes the Fox is waiting to come out.
When this fable ends, the second begins, then the third, and so on until the end. The readers change - the guys reading the text from the author - but all the fables go one after another without any interruption. This, in fact, is what distinguishes this performance from an ordinary concert consisting of separate numbers. And one more thing: in this collection we are giving you a description of only ten fables, but if you want to put more (and we strongly advise you to do so!), then do this: let you have several fables in a row where the Wolf participates. This is like a series of episodes from one play from the life of the Wolf. Each episode reveals new qualities of the Wolf - his greed, deceit, ferocity, ingratitude, hypocrisy (“The Wolf and the Lamb”, “The Wolf and the Crane”, “The Wolf in the Kennel”). Also group together fables about Monkeys (“Mirror and Monkey”, “Monkey and Glasses”, “Quartet”, “Monkeys”), about the Fox, etc.
Such groups of fables with the same characters will help the performance to be integral and unified. Of course, these “groups” can be interspersed with “single” fables.
It is good that fables with a small number of characters - and these are the majority - alternate with fables where there are or where crowd scenes can be introduced.
Try to use the scene in a varied and complete way. The unity of the performance largely depends on the design, on the scenery in which the action takes place. But there are many fables, and their action takes place in different places. Make one set, the same for all the fables, so that the entire performance can be played in it, and immediately install on the stage everything that is needed for each fable. Do not clutter the stage with unnecessary things, select only what is necessary. The forest, which is the setting for many fables, requires trees. Two trees are enough. These two trees are not of any specific species, but trees “in general,” fairy-tale, fable trees, such that our Russian cuckoo can crow on them, and chestnuts can grow, and monkeys can sway. Of course, such universal trees do not occur in nature, but even animals in real life do not speak humanly.
Make the trees so that you can climb them; for example, from stepladders with tied trunks and crowns. The performers climb up the steps into the trees from behind and are visible from above: waist-deep when necessary, neck-deep when necessary. Place two or three stumps and a trunk near the trees. Between the trees on the right and left, there is free space in the middle. It is good that this is not a flat floor of the stage, but a raised small platform, like a stage, made from stands with steps (on which a choir usually performs) or simply from moved stable tables. These are all playgrounds: a tree on the left, a tree on the right, a fallen trunk, a proscenium, a stage - all these are places where, in our “land of fables,” here and there the action of the next fable occurs. Of course, some small details can be introduced and then removed as needed, as the action progresses. But basically everything has to be prepared on stage in advance.
The design of the performance also includes the costumes of the performers. Sometimes the guys play animals in masks. This is not good: masks interfere with speaking, muffle the voice, cover the face and instead of living facial expressions, living eyes, only a motionless mask is visible. It is better to do without masks, and look for the most characteristic details for each character. For the Wolf, for example, the most characteristic thing is paws with long claws, and not ears or, say, a tail. But the tail is important to the Fox - she covers her tracks with it, flaunts it, and fans herself. It is enough for a donkey to have long ears, for a goat to have a beard. If you want, make masks for animals and birds in the form of caps that leave their faces open.
All these tails, ears, paws, beaks are made from the simplest material - scraps of cardboard, old stockings and gloves, colored paper, wire, rope, washcloth. Fur and feathers come out very well from thinly cut strips of paper.
But how will the performers generally be dressed? It’s very good if all the guys - both boys and girls - wear the same black or blue training suits: they’re comfortable for running, jumping, climbing trees, falling on the floor if necessary. The first girl presenter is in a pioneer uniform. In the future, the reading guys can remain in T-shirts, only by tying a pioneer tie around their necks. Some guys will have to put on and take off their tie several times. There is no way to forget about this. Think what will happen if a boy who has just been a reader suddenly comes out in the next fable, say, to play one of the Geese or the Goat in a pioneer tie!
Readers should not “report” the text indifferently: they are not outside observers, but ardent “fans” and do not hide their sympathies. It should be clear which of the characters they sympathize with and which, say, they condemn. Sometimes they even interfere in the action, enter into communication with the characters... But you will read about this in the descriptions of the fables.
When the text is well memorized, proceed to rehearsals on stage (or on any platform that replaces the stage). Look for characteristic movements for each animal you are playing. Observe the gait and habits of pets and birds. A goose walks differently than a rooster. A cat jumps differently than a dog. If possible, visit the zoo. Look at the pictures and illustrations for books about the life of animals, birds, and animals. You can draw illustrations for the fables yourself. Even someone who does not know how to draw well can draw a plan of mise-en-scène - this is the name for the location of the characters on stage.
Try to arrange the performers so that everyone can be clearly seen, so that no one obscures each other, otherwise the audience will stand up to get a better look.
The reader must coordinate the text with the actions of the characters. Sometimes he may slow down his narration in order to allow the performer to slowly complete all the necessary actions. The sage must work hard to open the box before giving up further attempts. Let the reader be silent.
Sometimes the reader makes a similar pause immediately after the announcement of the next fable. For example, in the fable “The Cat and the Cook,” you need to pause so that Vaska the Cat can do the whole pantomime with the little chicken.
Music greatly embellishes and enriches the performance. In some fables, such as “Quartet”, “Donkey and Nightingale”, it is simply impossible to do without music, as with the appearance of the Dragonfly, the appearance of the Geese or in “The Mirror and the Monkey”. Music not only creates the right mood, but also organizes the performance. All transitions from one fable to another are made to music. The last word of the fable is spoken, and the performers run away from the stage to the music, and they are replaced by a new reader and the performers of the next fable; If necessary, individual design details are added and removed. It is best to take the music of composers of the time when Krylov lived and wrote: polkas by Glinka, Balakirev, of course, “The Nightingale” by Alyabyev, Russian folk songs. This music is best played on the piano. If there is no piano, you can provide musical accompaniment on a button accordion, accordion, some stringed folk instrument, or create an ensemble of several instruments.
Individual fables can be shown at any concert, at any holiday - at school, and at camp. By the way, in the camp you can stage fables right in the forest, where everything - trees, bushes, hillocks - everything will be living scenery. Find a suitable lawn for spectators to sit on. If desired, you can stretch a curtain between two trees, but you can do without it. Imagine how cute it will be: Crow, Cuckoo, Nightingale sitting on real trees and talking from above; Wolf, Fox, Donkey come out from behind real bushes; The Monkey, the Donkey, the Goat and the club-footed Bear start their quartet on a real meadow - even if not under the sticky trees, but under the birches and fir trees - it doesn’t matter! The lamb drinks water from a real stream! Of course, such a performance must be carefully prepared: find in advance a suitable lawn, comfortable trees that are safe to climb, and from where the performers will be clearly visible and audible.
And some fables can also be played in puppet performance: the reader stands in front of a screen over which a puppet performance is taking place.

FROM THE ARTIST

For a generalized stage solution when designing the play “Krylov’s Fables,” you can use the image of a barrel organ, an ancient folk musical instrument.
In the old days, traveling artists walked around fairs and city courtyards with a barrel organ and gave small performances.
Often trained animals also took part in such performances: dogs, bears, etc.
Organ organs were always brightly colored and covered with popular prints. As a rule, the organ grinder took some small animal with him to work: a monkey, a squirrel, a marmot. Accompanied by jokes and songs from the organ grinder, they pulled out tickets “for good luck” from a special box.
Build a large box out of plywood, paint it, attach a handle - and the organ is ready.
It will allow your director to come up with many different placements of actors during the action, enliven the mise-en-scène, make it possible to create a visually fun performance and decorate it.

A Crow and a fox

How many times have they told the world,
That flattery is vile and harmful; but everything is not for the future,
And a flatterer will always find a corner in the heart.
Somewhere God sent a piece of cheese to a crow;
Raven perched on the spruce tree,
I was just about ready to have breakfast,
Yes, I thought about it, but I held the cheese in my mouth.
To that misfortune, the Fox ran quickly;
Suddenly the cheese spirit stopped the Fox:
The fox sees the cheese, - The fox is captivated by the cheese.
The cheat approaches the tree on tiptoe;
He twirls his tail and doesn’t take his eyes off Crow.
And he says so sweetly, barely breathing:
“My dear, how beautiful!
What a neck, what eyes!
Telling fairy tales, really!
What feathers! What a sock!
And, truly, there must be an angelic voice!
Sing, little light, don’t be ashamed! What if, sister,
With such beauty, you are a master at singing,
After all, you would be our king bird!”
Veshunin's head was spinning with praise,
The breath stole from my throat with joy,—
And Lisitsina’s friendly words
The crow croaked at the top of her throat:
The cheese fell out - such was the trick with it.

The reader stands on the left. The crow sits on the tree on the right, visible from the waist up. She doesn't have cheese in her mouth yet. Obviously, she just stole it from somewhere - crows love shiny things - and in her wing-hands she has processed cheese in a silver wrapper (it could be just a piece of cheese). The crow itself has not yet figured out what it is. She unwraps the cheese, closes her eyes with pleasure and, sitting comfortably, half stuffs the cheese into her mouth. The Fox appears on the left. She has a bag on her hand. Having reached the middle of the stage, she stops, opens her bag, takes out a chicken egg, admires it, is about to break it on a tree stump to drink it, and suddenly freezes. He moves his nose and notices Crow and cheese. He quickly puts the egg in the bag, preens himself, and heads to the tree: “My dear, how pretty!..” The Fox pretends that she just noticed the Crow that very minute. And the Crow, although stupid, saw the Fox and realized that she had to be on her guard - she dived back behind the tree, and only looked out from there, watching the Fox. The Fox, in order to lull the Crow’s suspicions, moved back, sat down on a stump and continued to speak, as if to herself, as if not for the Crow: “What a neck, what eyes!” She doesn't even look towards the tree. And the Crow listens, leans out more and more from behind the tree, looks at it, admires its feathers, stretching out one hand-wing, then the other... The Fox gets up and sighs: it’s a pity, they say, to leave such a beauty, well, nothing can be done , business, business!.. - and hurriedly walks, heading to the right wing. Again, as if by accident, he notices Vorona and directly squeals with delight: “What a sock!” And, as if struck by a sudden thought, she prays: “Sing, little light!” She raised her hands, conducted and counted impatiently: “And one, and two, and three...”
Sometimes the Crow holding the cheese in its mouth does not make a loud caw. It is possible that at this moment one of the guys croaked behind the scenes. The Fox picks up the cheese, puts it in her bag and, blowing a kiss to Crow, runs away. The reader shakes his head: “Well, well!..”

The Wolf and the Lamb

The powerful are always to blame for the powerless:
We hear countless examples of this in History.
But we don't write history,
But this is what they say in fables.
On a hot day, a lamb went to a stream to drink;
And something must happen,
That a hungry Wolf was prowling around those places.
He sees a lamb and strives for the prey;
But, to give the matter at least a legal look and feel,
Shouts: “How dare you, insolent, with an unclean snout
Here's a clean drink
My
With sand and silt?
For such insolence
I'll rip your head off,"
“When the brightest Wolf allows,
I dare say that down the stream
From the lordship of his steps I drink a hundred;
And he deigns to be angry in vain:
There’s no way I can make him drink worse.”—
“That's why I'm lying!
Waste! Such insolence has never been heard of in the world!
Yes, I remember that you were still last summer
Somehow he was rude to me here;
I haven’t forgotten this, buddy!” —
“For mercy, I’m not even a year old yet,”—
The lamb speaks. “So it was your brother.”—
“I have no brothers.”— “So this is godfather or matchmaker,
And, in a word, someone from your own family.
You yourself, your dogs and your shepherds,
You all want me harm
And if you can, then you always harm me;
But I will clear up their sins with you.”—
“Oh, what is my fault?” - “Be quiet! I'm tired of listening.
It’s time for me to sort through your faults, puppy!
It’s your fault that I want to eat.”
He said - and dragged the Lamb into the dark forest.

The reader stands in the foreground on the right. The lamb, squatting on the edge of the stage, facing the left wing, “drinks” from the stream, scooping up water with his palm. The wolf does not appear immediately. First you can hear his howl, then he himself comes out from the right. He does not walk in a straight line, but turns first to the right, then to the left (“the Wolf prowled”). He stumbles upon the reader, who fearfully shys away from him and presses himself against the wall. The Wolf climbs onto the stage and notices the Lamb. The Lamb turns around at the Wolf's voice and jumps up. The Wolf's task is to eat the Lamb, and the Lamb's task is to escape. But it will be boring and uninteresting if the Wolf from beginning to end will only be angry and growl, and the Lamb will only shake and stutter with fear. It is more interesting if everyone acts differently. The wolf at first feigns insult and is “nobly” indignant; he is allegedly defending his legal rights. Only at the end does he cynically admit: “I have leisure to sort out your faults, puppy!” And, howling: “...I want to eat!” — throws himself on top of the Lamb. And the Lamb, although timid at first, behaves with dignity. He feels so right that he calmly and politely explains to the Wolf his mistake, and after explaining, he turns to the stream and continues to drink. Only gradually does he begin to understand that it is better to run away before it is too late, but he can no longer do this - the Wolf seems to have pinned him to the spot with his terrible eyes. When talking, the Wolf howls on vowels, especially in words where the letters “u” and “s” occur. And at the end: “ku-u-ush!”
The main detail of the Wolf costume is its huge paws with long claws. The Lamb is wearing a white baby bib with frills and a hat with a pompom.

Wolf at the kennel

The wolf at night, thinking of getting into the sheepfold,
I ended up at the kennel.
Suddenly the entire kennel yard rose up.
Smelling gray so close to the bully,
The dogs are flooded in the barns and are eager to fight;
The hounds shout: “Wow, guys, thief!”
And instantly the gates are locked;
In a minute the kennel became hell.
They run: another with a club,
Another with a gun.
“Fire! - they shout: - fire! They came with fire.
My Wolf sits with his backside pressed into the corner.
Teeth snapping and fur bristling
With his eyes, it seems he would like to eat everyone;
But, seeing what is not here in front of the herd
And what finally comes
He must pay for the sheep,—
My cunning man set off
In negotiations
And he began like this: “Friends, what is all this for?
I, your old matchmaker and godfather,
I came to make peace with you, not at all for the sake of a quarrel;
Let's forget the past, let's establish a common harmony!
And not only will I not touch the local herds in the future,
But I’m happy to fight for them with others
And I affirm with the Wolf's oath,
What am I..." - "Listen, neighbor, -
Here the Hunter interrupted in response: -
You are gray, and I, buddy, are gray,
And I have known your wolf nature for a long time;
Therefore, my custom is:
There is no other way to make peace with wolves,
Like skinning them off.”
And then he released a pack of hounds at the Wolf.

This fable is one of Krylov's most famous fables. Historical, patriotic fable. Under the guise of the wise old Hunter, Krylov brought out the great Russian commander Kutuzov, the hero of the Patriotic War of 1812. And under the guise of the hypocritical Wolf - Napoleon, who, sitting in burning Moscow, began to ask for peace, realizing that he was in danger of death.
Turn off all the lights on the stage except the blue ones at night. Behind the scenes you can hear desperate dogs barking. The hounds come running with electric flashlights. They highlight the Wolf clinging to the stage. The wolf raises a dirty white flag on a stick and begins his hypocritical speech. After the final words of the fable, the lights on the stage turn off completely for a few seconds, and the deafening barking of dogs resumes in the darkness. When the stage is illuminated again, there is no one on it, there is complete silence.

Two dogs

The faithful yard dog Barbos,
Who diligently carried out his lordly service,
I saw an old friend of mine,
I'm buzzing, curly lap dog,
On a soft down pillow, on the window.
Affectionately towards her, as if towards relatives,
He almost cries with emotion
And under the window
Squeals, wags its tail
And he jumps.
“Well, Zhuzhutka, how are you doing?
Since the gentlemen took you into the mansion?
After all, remember: in the yard we often went hungry.
What service do you perform? —
“For luck, it’s a sin to grumble,” Zhuzhutka replies: “
My master dotes on me;
I live in contentment and goodness,
And I eat and drink on silver;
I'm frolicking with the master; and if I get tired,
I'm lying on the carpets and the soft sofa.
How are you living? “I,” answered Barbos,
Letting down your tail with a whip and hanging your nose: -
I still live: I endure the cold
And hunger
And, saving the master's house,
Here I sleep under the fence and get wet in the rain;
And if I bark at the wrong time,
I also accept beatings.
Why did you, Zhuzhu, get into trouble?
I was powerless and small,
Meanwhile, I’m trying to get out of bed in vain?
What do you serve?” - “What do you serve! That's great! —
Zhuzhu answered with mockery: -
I walk on my hind legs.”

How many people find happiness
Only because they walk well on their hind legs!

During the musical introduction, two stools covered with a rug are placed on the stage. Zhuzhutka is reclining on them. She has a lush bow on her neck and fashionable transparent gloves on her paws. You don’t have to put gloves on Zhuzhutka, but it’s better to let her do a manicure. He will admire his claws and clean them with a nail file.
The reader stands at the forefront on the left.
Barbos is on the right, below the stage. He has a chain around his neck, the end of which goes behind the scenes. Make a chain from scraps of tin, so that it rattles with every movement of Barbos.
Zhuzhutka looks down at Barbos, he looks up at her. He is sincerely glad that she managed to settle down so well. He doesn't envy her at all. He just wants to know what her job is. And only when Zhuzhutka stands on her hind legs and squeals obsequiously, demonstrating her “work”, Barbos spits: “Ugh!” - and moves away from her.

Dragonfly and ant

Jumping Dragonfly
The red summer sang;
I didn’t have time to look back,
How winter rolls into your eyes
The pure field has died;
There are no more bright days,
Like under every leaf
Both the table and the house were ready.
Everything has passed: with the cold winter
Need, hunger comes;
The dragonfly no longer sings:
And who cares?
Sing on a hungry stomach!
Angry melancholy,
She crawls towards the Ant:
“Don’t leave me, dear godfather!
Let me gather my strength
And only until spring days
Feed and warm! —
“Gossip, this is strange to me:
Did you work during the summer?” —
Ant tells her.
“Was it before that, my dear?
In our soft ants
Songs, playfulness every hour,
So much so that my head was turned.”—
“Oh, so you...” - “I’m without a soul
I sang all summer.”—
“Have you been singing everything? This business:
So come and dance!”

The reader stands on the left. On the left, a cowered Dragonfly, trembling from the cold, emerges from the depths onto the front stage. In her hand she holds an umbrella made in the shape of a large yellowed maple leaf on a long stem - a handle. After the words “winter is rolling in,” the reader throws up a handful of finely chopped white pieces of paper, showering the Dragonfly with snow. The dragonfly removes a leaf from the stem and wraps itself in it like a scarf. The words “in cold winter there is need, hunger comes; The dragonfly no longer sings,” the reader pronounces it as a question; turning to Dragonfly, he approaches her and sympathetically puts his hand on her shoulder. The dragonfly pushes him away and unexpectedly rudely answers: “And who would think of singing on his stomach when he’s hungry!” Still, the reader feels sorry for her. He shows the Dragonfly the Ant's house and with signs advises her to knock there. He explains the way with signs.
The dragonfly trudged along the proscenium. So she fell into a snowdrift and obviously got her shoes full of snow, because she stops and, standing first on one leg, then on the other, takes off her shoes, shakes them out and puts them on again. So she got to Ant's house. You can use the door that leads from the auditorium to the stage. Many stages have doors like this. But if not, the Dragonfly knocks right on the wall, and the Ant comes out or looks out from behind the edge of the curtain.
Ant is wearing a work apron (a nice black oilcloth one), and is holding a hammer, saw or ax in his hands—apparently, the arrival of Dragonfly found him at work. Guys sometimes blame Ant for refusing Dragonfly shelter and driving her out into the streets in winter. But that’s how Krylov wrote - obviously, the Dragonfly he had in mind deserved it.
We tried to make the Dragonfly so that you wouldn’t feel sorry for it: our Dragonfly, despite its pitiful appearance, is a rather impudent creature. She answered the reader rudely, and spoke to the Ant in a demanding, capricious tone; she literally banged on the door; without waiting for Ant's permission, she climbs into his house, so that Ant is forced to lightly take her by the shoulders and lead her away from the door. No, the audience will not feel sorry for such a Dragonfly!

The cat and the cook

Some Cook, literate,
He ran from the kitchen
To the tavern (he ruled the pious
And on this day the godfather held a funeral feast
And at home, keep food away from mice
I left the cat.
But what, come back, does he see? On the floor
Pie scraps; and Vaska the Cat is in the corner,
Crouching for a barrel of vinegar,
Purring and grumbling, he works on the little chicken.
“Oh, you glutton! ah, villain! —
Here the Cook reproaches Vaska: -
Aren't you ashamed of the walls, not just the people?
(But Vaska still cleans up the little chicken.)
How! Having been an honest Cat until now,
Sometimes people say that you are an example of humility,
And you... wow, what a shame!
Now all the neighbors will say:
“Vaska the cat is a cheat! Vaska the cat is a thief!
And Vaska didn’t just go to the cookhouse,
There is no need to let him into the yard,
Like a greedy wolf into a sheepfold:
He is corruption, he is a plague, he is a plague of these places!
(And Vaska listens and eats.)
Here is my rhetorician, giving free rein to his words,
There was no end to the moralizing.
But what? While he was singing it,
Vaska the cat ate all the roast.

And I would like a different cook
He ordered to write on the wall:
So as not to waste speeches there,
Where should power be used?

On the stage, where the cook is supposed to be, there is a stool, and on it is a large frying pan covered with a lid. Vaska the cat climbs onto the stage and walks around the frying pan. He lifts the lid and inhales the steam from the roast. Covers the frying pan, moves away, meows pitifully. He can’t stand it, rushes to the frying pan, grabs it and settles down in a secluded corner “behind the vinegar barrel” (instead, you can put one of the suitable stumps on the stage before the start of the fable). It’s good to make two “chickens”: one whole and the other already eaten by Vaska, just the bones. The Cook is wearing a white chef's suit, a cap, and has a ladle in his hand. Running in, he wipes his mouth as he goes. Under no circumstances should you portray the cook as drunk, with a stumbling gait, or with incoherent speech. It’s very ugly when guys pretend to be drunk. By the way, in this fable, the point is not at all that the Cook “ruled a funeral feast for his godfather,” but in his addiction to empty, aimless conversations and his own eloquence. Having first attacked Vaska with reproaches, he later becomes so carried away by his oratory that he almost forgets about the culprit himself and turns directly to the audience. He imitates a bad speaker, raises his hands to the sky, waves a ladle. The timid Vaska gradually becomes bolder: he calmly, no longer hiding, continues to eat and with an innocent look even assents to the Cook. At the end, he places the frying pan on a stool, carefully puts the bones in it, covers it with a lid and “washes it” with his paw.

Mirror and monkey

Monkey, seeing his image in the Mirror,
Quietly push Bear with his foot:
“Look,” he says, “my dear godfather!”
What kind of face is that there?
What antics and jumps she has!
I would hang myself from boredom
If only she was even a little like her.
But, admit it, there is
Of my gossips, there are five or six such crooks:
I can even count them on my fingers.”—
“Why should a gossip consider working,
Isn’t it better to turn on yourself, godfather?” —
Mishka answered her.
But Mishenka’s advice was wasted.

There are many such examples in the world:
No one likes to recognize themselves in satire.
I even saw this yesterday:
Everyone knows that Klimych is dishonest;
They read about bribes to Klimych,
And he furtively nods at Peter.

This fable involves not three performers - a reader, a Monkey and a Bear - but five: two Monkeys, two Bears and a reader. Can you guess why? Because, thinking about how to show a mirror in the fable, we decided to make it alive: there will be no mirror, real or fake, on the stage, but there will be “reflections”, doubles of the Monkey and the Bear. It is necessary to select two girls for the roles of the Monkey and her double, but the possibility of the same height, with the same hair; the faces may not be very similar. To increase their similarity, use costume details: the Monkeys can have exactly the same ruffled bright skirts, the same large bows in their hair. The boys—Bear and his reflection—are wearing the same vests, the same combs and canes in their hands. And the rest of the similarity depends on the execution. The fable begins even before the text begins, and this first scene is accompanied by music, like. The Monkey and her double jump out onto the stage from behind and stand opposite each other, sideways to the viewer. Between them, in the middle of the stage, there seems to be a large mirror, the size of a Monkey. The monkey jumps up to the mirror, sees his reflection there and is indignant at the intrusion of some foreign “face”. She tries to drive her away, but they want to do the same to her. She runs away from the mirror - and the “stranger” runs away. This one is hiding, watching from afar - and that one too. The monkey carefully approaches the mirror in order to waylay and punish the offender - and she is right there. He imitates her, threatens her... During the rehearsal, you will find a whole series of funny actions for the Monkey: how he wipes the mirror with his paw, and how, swinging to strike, he accidentally hurts his finger and then sucks it, and much more. The performers must train so that the movements of both are absolutely identical. Please note that if the first Monkey moves his right arm or leg, then his reflection moves with his left, that is, the way it appears in a real mirror. The bear goes to the mirror to comb his hair and straighten his tie, and his double takes out exactly the same comb. The conversation between the Monkey and the Bear takes place without music. This is the only way the audience can guess who is the real Monkey and the real Bear, and who are their reflections: the real ones speak out loud, and their doubles only move their lips.

Geese

Long twig
The man drove Geese into the city to sell;
And to tell the truth,
The goose scratched his flock of goose not very politely:
He was in a hurry to make money on market day
(And where it touches profit,
It’s not just the geese who get it, people too).
I don’t blame the man;
But Geese interpreted it differently
And, meeting a passerby on the way,
Here's how they blamed the man:
“Where can we, Geese, be more unhappy to be found?
The guy is pushing us around like that
And he chases us, as if he were ordinary Geese;
And this ignoramus doesn’t understand this,
That he owes us respect;
That we descend our noble family from those Geese,
To whom Rome once owed salvation.
There are even holidays established in their honor!” —
“What do you want to be distinguished for?” —
A passerby asked them. “Yes, our ancestors...” - “I know
And I read everything; but I want to know
How much benefit have you brought?” —
“Yes, our ancestors saved Rome!” —
“That’s it, why did you do that?” —
"We? Nothing!" - “So what good is there in you?
Leave your ancestors alone:
The honor was right for them;
And you, friends, are only good for roasting.”

This fable could be explained more -
Yes, so as not to irritate the Geese.

There is a legend that once upon a time ancient Rome was attacked by enemies. At night they secretly surrounded the city. The geese heard the approach of the enemy and with their cry woke up the guards guarding the city, thus warning of the danger.

Have you heard the expression “walking single file”? It came “from geese”. So, one after another, in single file, all the participants enter the stage with an important “goose” step. They walk around the stage like a snake, unfurling in a long ribbon, stretching their necks, hissing angrily at the “man” who, shouting, chases them with a long twig; they are trying to grab his hand. The owner anxiously counts them, then sits down on a tree stump to rest. The geese also sit on the ground, occupying the entire stage. The passer-by is walking on the right. Geese text is divided among several Geese according to the number of phrases. The rest chime in at the end of each phrase: “ha-ha-ha!” The last lines (“Yes, our ancestors...”, “Yes, our ancestors saved Rome!” and “We? Nothing!”) The geese speak in unison. At the end of the fable, the owner gets up, takes a twig, makes the geese stand up, and they, just like at the beginning, go behind the scenes, opposite to the one from which they came. You can make the geese the same high standing collars made of thick paper, propping up their chins.

Quartet

Naughty Monkey,
Donkey,
Goat
Yes, clubfooted Mishka
We decided to play a Quartet.
We got sheet music, bass, viola, two violins
And they sat down on the meadow under the sticky trees -
Captivate the world with your art.
They hit the bows, they fight, but there’s no point.
“Stop, brothers, stop! - Monkey shouts: - wait!
How should the music go? That's not how you sit.
You and the bass, Mishenka, sit opposite the viola,
I, the prima, will sit opposite the second;
Then the music will be different:
Our forest and mountains will dance!”
We settled down and began the Quartet;
He still isn't getting along.
“Wait, I found a secret,”
The Donkey shouts: “We’ll probably get along,”
If we sit next to each other."
They listened to the Donkey: they sat down decorously in a row,
And yet the Quartet is not going well.
Now they're getting even more intense than ever
And disputes
Who should sit and how?
The Nightingale happened to fly to their noise.
Here everyone asks him to resolve their doubts:
“Perhaps,” they say: “take patience for an hour,
To put our Quartet in order:
And we have notes, and we have instruments;
Just tell us how to sit down!” —
“To be a musician, you need skill
And your ears are gentler,—
The Nightingale answers them.—-
And you, friends, no matter how you sit down,
You’re still not fit to be musicians.”

It is not so easy to obtain for this fable the very instruments they speak of. Make them out of plywood? The result will not be instruments, but models that cannot be played. It would not be surprising that the Quartet does not work out! It’s better to collect what you can: a guitar, a balalaika, two domras. Not the reader, but the Monkey, boasting, will say: “We got music, bass, viola, two violins.” Well, Monkey and her friends could have made a mistake - how could they understand musical instruments, they even made their own bows from twigs! Monkey is the first to run onto the stage with a bundle of sheet music in her hands. She looks for a suitable clearing, counts the stumps - just four, great! - and calls the others. The reader introduces them to the audience, calling them by name. Having boasted of notes and instruments, Monkey seats the musicians on tree stumps, distributes notes to them, and suddenly realizes that there is nothing to play with. Here everyone gets a twig for themselves. “E-and-and - one!” - Monkey commanded, waving her twig, and everyone “struck their bows.” At first, the musicians are delighted with their music, but, looking at the reader, who covered his ears and ran away from the Quartet, they realized that something was wrong.
During the course of the action, the Quartet is moved several times, and for each new mise-en-scène, use all the possibilities: the proscenium, the stage, and the rearrangement of stumps.
Of course, it is not so easy to move real stumps in a real forest, but in the “land of fables” everything is possible. The Monkey and the Bear even climb trees to play.
Tools must be handled with care. Even in the midst of arguments, do not think of throwing them to the ground out of frustration, or roughly pulling the strings, or fighting with them.
And the Monkey, and the Bear, and the Donkey, and the Goat are essentially good-natured creatures. They are not so much angry about their failure as they are sad. And the Nightingale (he answers them from the tree) speaks to them not disdainfully, but quite politely and even sympathetically.

Donkey and nightingale

The donkey saw the nightingale
And he says to him: “Listen, buddy!
You, they say, are a great master of singing:
I would really like
Judge for yourself, having heard your singing,
How great is your skill?
Here Nightingale began to show his art:
Clicked and whistled
On a thousand frets, pulled, shimmered;
Then gently he weakened
And the languid sound of the pipe echoed in the distance,
Then it suddenly scattered in small fractions throughout the grove.
Everything then listened to Aurora’s favorite and singer;
The winds have died down, the choirs of birds have fallen silent
And the herds lay down.
Breathing a little, the shepherd admired him
And only sometimes
Listening to the Nightingale, he smiled at the shepherdess.
The singer has died. The donkey, staring at the ground with his forehead,
“Pretty much,” he says: “it’s not false to say,
I can listen to you without getting bored;
It's a pity that I don't know
You and our rooster:
If only you had become more alert,
If only I could learn a little from him.”
Hearing this judgment, my poor Nightingale
He took off and flew to distant fields.

God save us from such judges.

The most difficult thing in this fable is playing the role of the Nightingale. But it’s as if the Nightingale wasn’t given any words, and he has nothing special to do - sit on a tree and sing. It’s not difficult to guess what to sing: of course, everyone’s favorite “Nightingale” by composer Alyabyev. But how can you sing if you can’t find a girl or boy for the role of the Nightingale who could sing or whistle this melody artistically? Is it possible for Nightingale to open his mouth to this music, performed by a pianist behind the stage, pretending that he is singing? Of course not. It’s better to do this: let the Nightingale sing, but not out loud, but to himself. To do this, he does not need to “open his mouth”, but only needs to listen to the music very carefully and feel it. He can even conduct himself a little, with light movements, “sing with his hands.” He conducts and looks around and with his “singing” hands, as if he points the audience to everything he sings about: the sky, the earth, the herbs and flowers, all the nature that he loves. But this is the Nightingale’s song. Appropriate lighting will also help create the mood: it’s a summer night on the stage, the moon has risen over the tree. The fable begins like this. When it got dark on the stage and the Nightingale’s singing was heard (he himself is not visible at first), the reader carefully comes out and listens with bated breath. Heavy footsteps are heard, the music stops, the reader turns around. “Donkey...” he announces with annoyance and then adds with tenderness: “... and the Nightingale.” After the Donkey's demand, the Nightingale is up in the tree and performs the difficult part we were talking about. In the middle of his singing, three girls quietly enter the stage, hugging each other, on one side, and two boys on the other: they also came to listen to the Nightingale. After the Nightingale “flew up and flew far away,” they all turn to the audience and say with a sigh: “God deliver us from such judges.”

Flowers

In the open window of rich peace,
In porcelain, painted pots,
Fake flowers, standing together with living ones,
On wire stems
Swung arrogantly
And we displayed our beauty astonishingly.
Now the rain started to fall.
Here they ask for taffeta flowers from Jupiter:
Is it possible to stop the rain?
They scold and vilify the rain in every possible way.
"Jupiter! - they pray: - stop the rain;
What are the ways in it,
And what's worse than that?
Look, you can't walk down the street:
There’s only dirt and puddles everywhere.”
However, Zeus did not heed the empty plea,
And the rain passed in its own way.
Having driven away the heat,
It cooled the air; nature has come to life,
And all the greenery seemed to be renewed.
Then on the window
All flowers are fresh
Spread out in all its glory
And the rain became fragrant,
Fresher and fluffier.
And the poor Flowers have been fake ever since
Stripped of all their beauty and thrown into the yard,
Like rubbish.

True talents do not get angry for criticism:
She cannot damage their beauty;
Some fake flowers
They are afraid of rain.

The end of the previous fable seemed to be not entirely polite towards the audience: with the words “God deliver us from such judges” as. a hint would be given... To dispel this impression, we show “Flowers” ​​as the last fable in the play. Three girls stand on the stage with large, roughly and clumsily painted paper flowers in their hands. The girls pretend to be artificial flowers, they feel very beautiful and look around proudly. In front of them, on the bottom step of the stage, with their arms crossed and their heads bowed, sit three other girls, modest and inconspicuous. These are fresh flowers that have not yet bloomed. Rain is depicted in music, on high notes. Complaining phrases must be divided between three fake flowers. During the rain, a transformation occurs with all the flowers: the fake flowers wilt and in the end fall from the girls’ hands, and the girls themselves quietly move away from the stage. Living flowers, on the contrary, gradually “bloom”: each one raised her head, straightened her back, one hand opened, the other extended, and each girl found herself holding a real flower in her hands. If it is impossible to get real flowers, you will have to take artificial ones, but made They are gracefully, tastefully. The reader approaches the girls, they offer him their flowers, he takes them, makes a bouquet and smells them.
Before the final quatrain, all participants in the performance come on stage wearing pioneer ties. They line up to the right and left of the reader with flowers, who is in the center. “True talents don’t get angry because of criticism,” say those on the left. “She cannot damage their beauty,” say those standing on the right. And they all finish together:
“Only fake flowers are afraid of the rain.”
With these words, everyone seems to be saying goodbye to the public, as if they are telling it: “We are not offended when we are criticized; fair criticism will only help us, and we will be grateful to you for it.”

Viktor Vladimirovich Lysenko
Script of the play based on Krylov's fables

V. Lysenko

But this is what they say in fables.

/According to the fables of I.A. Krylova/

Characters:

Dragonfly

A CROW AND A FOX

playing:

1st Soroka

2nd Soroka

Forest edge of a sparse forest. Three crows fly in.

1st Soroka. How many times have they told the world,

2nd Magpie. That flattery is vile

1st Soroka. Vile!

2nd Magpie. Harmful.

1st Soroka. Harmful!

2nd Magpie. But everything is not for the future.

Crow (Through closed beak)

Crows (together). I'm sorry, what?

Crow (Through closed beak). And a flatterer will always find a corner in the heart.

The crow carefully removes the cheese from its mouth

Crow. I speak. And a flatterer will always find a corner in the heart!

2nd. Magpie. Did God send a piece of cheese to the crow?

Crow. The girlfriends perched on the spruce tree,

I was going to have cheese for breakfast,

Crows (Together). Yes?

1st Soroka. What are you thinking, huh?

Crow. So I kept the cheese in my mouth.

Crows (Seeing a fox). That's the problem! The fox ran nearby.

Fox. Cheese spirit

The crow runs around dancing.

2nd Magpie. Stopped the fox:

Fox. Oh my god, I see cheese

1st Soroka. The fox was captivated by the cheese,

2nd Magpie. The cheat approaches the tree on tiptoe;

(together) He twirls his tail and doesn’t take his eyes off Crow.

1st Soroka. And he speaks so sweetly, barely breathing...

Fox. My dear, how beautiful!

Crows (surprised). Good?.

Fox. Well, what a neck, what eyes!

1st Soroka. He says so...

2nd Magpie. Well, straight up, fairy tales!

Fox. What feathers, what a sock!

Crows (together). Nose like a nose...

Sing, little light, don’t be ashamed!

What if, sister,

With such beauty, you are a master at singing,

After all, you would be our king bird!

Crows (together). King Bird?.

1st Soroka. Did Prophet's head turn with praise?

2nd Magpie. Has your breath taken away your breath from joy?

And Lisitsyn’s words are welcoming

The crow opens his mouth and the cheese falls out

1st Soroka. The crow cawed...

2nd Magpie. All the crows throat:

Crow. The cheese fell out - such is the trick with it.

Magpies are quarreling

THE WOLF AND THE LAMB

playing:

1st Soroka

2nd Soroka

Somewhere on the edge of the forest, a stream gurgles. Two chatty Crows are sitting on a stump, languishing in the heat.

1st Soroka. The strong always have the powerless guilty:

2nd Magpie. In history we hear countless examples

1st Soroka. But we don't write history.

2nd Magpie. But this is what they say in fables.

Crows (together). We see it all the time.

Enter the lamb

Lamb. What a hot day I'll go to the stream get drunk:

1st Soroka. No need for trouble to happen!

2nd Magpie. After all, a hungry Wolf is prowling around those places.

The Wolf Appears

Wolf. I see the lamb, you are my prey!

I will give the matter a legal look and feel,

(Screams) How dare you, insolent, with an unclean snout

Here's a clean drink

With sand and silt?

For such insolence,

I'll rip your head off.

Lamb. When the brightest Wolf allows,

Dare I say that down the creek

From the Lordship of his steps I drink a hundred;

And you will be angry in vain,

I can’t make you drink worse.

Wolf. You think I'm lying!

Waste! Never heard of such insolence in the world!

Yes, I remember that you were still last summer,

Somehow he was rude to me here;

I haven't forgotten this, buddy!

Lamb. For pity’s sake, I’m not even a year old yet.

Wolf. The lamb speaks! So it was your brother.

Lamb. I have no brothers.

Wolf. So this is godfather or matchmaker.

And, in a word, someone from the prophetic generation.

You yourself, your dogs and your shepherds,

You all want me harm

And if you can, then you always harm me;

But I will tell you about their sins!

Lamb. Oh, what am I to blame?

Wolf. Shut up! I'm tired of listening.

I have no time to sort out your guilt, puppy!

It's your fault that I want to eat.

I said everything!

Lamb. Will you drag me into the dark forest?

Wolf. How I want to eat...

He takes the lamb by the scruff of the neck and leads him away

Magpies (Sobbing). And into the dark forest, I dragged the Lamb.

Wolf and Fox

/based on the fable of the same name by A. Krylova/

Heroes:

An angry wolf enters

Wolf. We gladly give

What we don’t need ourselves.

We'll figure this out here with the fox,

The cheating redhead lied to me today

And so she sweetly and cunningly lied to me

After all, the hunger is here, not in the forest.

Now I’ll ask the fox about this.

The wolf howls away. The fox enters.

Fox. The owner does not enter the chicken coop door closed,

Probably, I stupidly forgot.

I'm there, since the door is open,

I've eaten enough chicken, and now I'm full.

I also hid it in reserve,

I'm the best at this!

What time is it now? It's time to sleep.

After all, foxes need to rest.

The fox settles down under a bush. The wolf enters.

Wolf. Look, she fell asleep, sleeps sweetly,

Fox wakes up

Fox. My gray friend, what happened?

Has the pain stuck?

You howl like you've broken a tooth,

What, were you running away from the hunters?

Wolf. I'm howling here from hunger, and I can't sleep!

I couldn’t profit from a bone anywhere;

My stomach is howling and itching.

I'm so hungry and starving;

The dogs are angry, the shepherd is not sleeping,

And how can the redhead not get angry?

It was so twisted that you could hang yourself!

Fox. And is it really hot?

Wolf. It spins like it's glass,

Fox. Poor thing, what's going on?

It won't work that way.

Maybe you can try some leaves?

Wolf. Offer some more mushrooms.

Fox. I'm ready to serve a friend.

Wolf. Leaves - yes, I would like meat!

Fox. I don't have it, but I'm ready

How can I find...

Wolf. You're lying to me again!

Fox. My gray friend I swear to you

Help in your big trouble.

I'll go solve your problem

Maybe I'll find it.

Lisa leaves.

Wolf. Eh, red...

The fox is back.

Fox. What is my gray knight?

Wolf. Caressed head over heels by you,

I'll go home without dinner.

DRAGONFLY AND ANANT

Valid:

1st Soroka

2nd Soroka

Dragonfly

Magpies fly in

1st Soroka. Jumping Dragonfly

The red summer sang;

2nd Magpie. I didn’t have time to look back,

How winter rolls into your eyes.

Dragonfly. The pure field has died;

There are no more bright days,

Like under every leaf for me

Both the table and the house were ready.

1st Soroka. It's all gone: with cold winter

Dragonfly. Need, hunger comes;

2nd Magpie. Why don't you eat dragonfly?

Dragonfly. And who cares?

Sing on a hungry stomach!

1st Soroka. Angry melancholy,

Then go to Ant.

The ant is all at work

Dragonfly. Don't leave me, dear godfather!

Let me gather my strength

And only until spring days

Feed and warm!

Ant. Gossip, it’s strange to me This:

Did you work during the summer?

2nd Magpie. So much for Ant.

Dragonfly. Was it before that, my dear?

In our soft ants

Songs, playfulness every hour,

Ant. So what turned your head?

Dragonfly. So it made my head spin. (crying)

Ant. Oh, so you.

Dragonfly. I'm without a soul

I sang all summer long.

Ant. Did you sing everything? This case:

So come and dance!

Alexander Izmailov

Council of mice

Valid:

Cat. All are masters at teaching others,

And if it suddenly comes to us,

It's always so difficult to do.

A cat appears, mice have come out of their holes and are scurrying around chaotically, the cat tries to catch them but to no avail. Having stumbled upon a crow, he dismissed it as inedible.

Cat (Bragging to the crow).

In the flour barn

I was so daring...

Mice (Curves of the cat) I was so daring.

Cat (Growing fierce). What! Less than a week

I've crushed up to a hundred mice!

Mice (Sad). Crushed...

Cat. A dozen or two somehow survived...

Misha. Survived!

Cat. Well, they ran away into holes!

He stretches and yawns.

I'll go to the roof and sleep

I’ll take a break from the worthless mice.

Mice quietly approach the cat

1st Mouse. What to do? going out is fear!

2nd Mouse. If you don't go out, you'll die hungry.

They approach the cat, the cat turns around, yawning loudly. The mice run away.

Resting on his laurels

The cat is well-fed and portly.

Friends, the cat went to the roof,

There's always a free flow of cats there.

It's good that he didn't find us!

3rd Mouse. Did you all get out of the holes? Let's open the meeting!

And we will talk!

Misha (in unison). And we will talk!

What measures should we take against the Cat?

1st Mouse (Looking towards the cat).

I! The mouse is smart, which used to be

In basements and attics

I chewed up a lot of smart books,

I will give advice in these words!

Sisters! avert the disaster that threatens us

I find only one remedy!

All Mice. The simplest thing?

1st Mouse. It consists in this

So that our villain

When he sleeps

Tie a rattle around your neck!

3rd Mouse. Whether the Cat is far or close, we will always know

And he won’t be able to catch us by surprise.

Wonderful?

All Mice. Oh, great!

3rd Mouse. Did everyone shout unanimously?

2nd Mouse. Why put it off? As soon as possible

We'll tie a rattle to the cat,

Then we will show ourselves!

They go to the cat to check whether he is sleeping or not.

1st Mouse. Ay, nice! He won't see Mice now

Just like your ears!

Everything is very good; who will tie it?

3rd Mouse (Cowardly). Thank you

1st Mouse. So you.

2nd Mouse (Incredulous) I'll see,

How much spirit do you have!

1st Mouse. However...

Misha (together). Necessary.

2nd Mouse. Why take so long to interpret?

Who proposed

That's what to do.

2nd Mouse. Well, smart girl, show us your skills?

The first mouse sneaks up to the cat and immediately gets scared and hides

Why didn’t the smart girl take on this too?

Why is that so?

3rd Mouse. Yes, my paw was shaking!

Cat. Misha, oh worthless ones, won’t let you sleep. Here I am...

Finale all characters Basen on stage

Author details

Kopylova S.A.

Place of work, position:

Municipal educational institution secondary school No. 73, deputy director for educational resources, teacher of Russian language and literature

Samara Region

Resource characteristics

Education levels:

Basic general education

Class(es):

Class(es):

Item(s):

Literature

The target audience:

Teacher (teacher)

Resource type:

Event scenario

Brief description of the resource:

The literary and musical composition is based on the fables of I.A. Krylov. Can be used as the basis for an extracurricular reading lesson or a school-wide celebration after studying fables.

“...You should think about every step like this...”

(based on the fables of I.A. Krylov)

Decor: the scene is conventionally divided into four parts; each of them is illuminated and decorated accordingly at the right moment; on the left in the wings is a portrait of I.A. Krylov, a statement about the significance of his work (for example: “... In his fables, like in a clean, polished mirror, the Russian practical mind is reflected, with its seeming clumsiness, but also with sharp teeth that bite painfully ; with his sharpness, wit and good-natured sarcastic mockery; with his natural faithfulness of view of objects and the ability to express himself briefly, clearly and at the same time curly” (V.G. Belinsky), etc.); on the right side of the stage there is an antique chair and table; an artist in the guise of the fabulist Krylov will sit on a chair with a pen in hand and a sheet of paper, and there will be a candle on the table; The window of the manor's house, the chicken coop, and the couch in the manor's house occupy their part of the scene.

Musical arrangement: musical fragment from a work of the late 18th and early 19th centuries. as a screensaver between production scenes

SCENE 1

A piece of music plays. The curtain opens. The entire stage is illuminated. All the performers are dressed as their characters on their respective parts of the stage. The artist in the guise of the fabulist Krylov sits on a chair and “writes.” The music is slightly muffled.

Presenter 1: How intelligently the world works! Each person chooses for himself: what he should be - good or evil, truthful or deceitful, selfless or cowardly. Each of us decides for himself which path to follow, what actions to take, what deeds to do - good or bad, useful or harmful, good or evil.

Presenter 2: But it’s worth recognizing: we are all responsible for each other and for everything that happens around us. We are all responsible... And not only for ourselves, but also for everyone with whom we are connected, who lives among us... Popular wisdom says:

Artist 1: Take care of your dress again, and take care of your honor from a young age.

Artist 2: Benefit for a moment, good name forever.

Artist 3: The dress is black, but the conscience is white.

Artist 4: Work harder, you will be remembered longer.

Artist 5: According to merit and honor.

Artist 6: The eyes are the measure, the soul is the faith, and the conscience is the guarantee.

Artist 1: Live by your wits, and grow your honor through hard work.

Artist 2: Good fame lasts, but bad fame flies far.

Artist 3: Such is the honor.

Artist 4: Life is given for good deeds.

Artist 5: Good fame is more valuable than wealth.

Presenter 1: The wise fables of Ivan Andreevich Krylov teach us to be truthful, kind, selfless, noble, conscientious, and fair. They urge us not to put ourselves above others, to do good deeds, useful deeds, and to love our Motherland.

Presenter 2: Let's turn the pages of the fables and draw conclusions for ourselves for life...

A piece of music plays. The lights are dimmed on all parts of the stage, except for the one where the artist in the image of the fabulist Krylov sits on a chair. The actors in the images of fable heroes freeze.

SCENE 2

Fabulist (looking up from the sheet of paper, in thought):

How often have I heard this line of reasoning:

“For me, let them say what they want,

If only I were not to blame in my soul!”

No; you still need skill,

...You need to know most of all,

That good glory is best embellished for you

And that you have it

A spring flower is more tender.

How often is your soul and conscience clear,

But an extra glance, a word, one carelessness

It gives you the opportunity to slander you -

And your glory is not what it used to be.

Shouldn't I look? Why not smile?

That's not what I'm saying; but only every step

You should think about yours like this,

A piece of music plays. The part of the stage where the scenery is a chicken coop is also illuminated. The artists participating in the mise-en-scène “come to life.” The music is muted.

SCENE 3

Dramatization of the fable “The Peasant and the Fox”

Characters: Peasant, Fox

Peasant: “Tell me, gossip, what is your passion?

Steal chickens?..

I really feel sorry for you!

Listen, it's just the two of us now,

I’ll tell you the whole truth: after all, in your craft

There is not a hair of good in sight.

Not to mention that stealing is both a sin and a shame

And that the whole world scolds you,

Yes, there is no such day

So that you are not afraid for dinner or lunch

Leave the skins in the chicken coop!

Well, are all the chickens worth it?”

Fox: “Who can bear such a life?

Everything about her upsets me so much,

That even the food doesn’t taste good to me.

If only you knew how honest I am at heart!

So what should we do? Need, children;

Moreover, sometimes, my dear godfather,

And that comes to mind

Am I the only one in the world who lives by stealing?

Although this trade is like a sharp knife to me.”

Peasant: "Well?

... If you really are not lying,

I will save you from sin

And I will bring you honest bread;

Hire my chicken coop to protect it from foxes:

Who, if not the Fox, knows all the fox's tricks?

But you won't need anything

And you’ll start rolling around like cheese with me.”

Peasant: Bargaining is smooth...

Fox: ... And from that very hour

The Fox joined the guard.

The man's life went well for the Fox;

The man is rich, Fox has enough of everything...

Peasant: ...The fox became full,

The fox has become fatter,

But still she didn’t become more honest:

She soon became tired of the unstolen piece...

(The fox climbs into the chicken coop, the voices of alarmed chickens are heard)

And the gossip did her service,

That, having chosen a darker night,

Kumanka strangled all his chickens.

Fabulist (addressing the audience, edifyingly):

Who has both conscience and law,

He will not steal, he will not deceive,

Whatever need he may be in;

And give the thief at least a million -

He won't stop stealing.

A piece of music plays. The lights on the chicken coop set are dimmed. The part of the stage where the scenery represents the window of a manor house is illuminated. The artists participating in the mise-en-scène “come to life.” The music is muted.

SCENE 4

Dramatization of the fable “Two Dogs”

Characters: Zhuzhutka, Barbos

Fabulist ("writing a fable") :

Yard, faithful dog

Who diligently carried out his lordly service,

I saw an old friend of mine

I'm buzzing, curly lap dog,

On a soft down pillow, on the window.

Affectionately towards her, as if towards relatives,

He almost cries with emotion,

And under the window

Squeals, wags its tail

And he jumps.

Barbos: “Well, Zhuzhutka, how are you living?

Since the gentlemen took you into the mansion?

After all, remember: in the yard we often went hungry.

What service do you perform?

Jujutka: “For happiness, it’s a sin to grumble...

My master dotes on me;

I live in contentment and goodness,

And I eat and drink on silver;

I'm frolicking with the master; and if I get tired,

I'm lying on the carpets and the soft sofa.

How are you living?

Barbos (hanging his nose) : "I…

I still live: I endure the cold

And, saving the master's house,

Here I sleep under the fence and get wet in the rain;

And if I bark at the wrong time,

I also accept beatings.

Why did you, Zhuzhu, get into trouble?

I was powerless and small,

Meanwhile, I'm tearing myself apart in vain?

What do you serve?”

Jujutka: “What do you serve? That's great!

I walk on my hind legs.”

Fabulist (addressing the audience, edifyingly) :

How many people find happiness

Only because they walk well on their hind legs!

A piece of music plays. The light on the window decorations of the manor house is dimmed. The part of the stage where the scenery represents a room in a manor's house is illuminated. The artists participating in the mise-en-scène “come to life.” The music is muted.

SCENE 5

Dramatization of the fable “The Comb”

Characters: Nanny, Boy

Nanny: Baby mummy combing her head

I bought a frequent comb.

Boy: The child does not let go of the new thing:

Plays or repeats the ABC lesson;

All your curls are golden,

Wavy, lamb curled

And soft, like fine linen,

Admiring, he combs it with a comb.

Nanny: And what kind of Scallop? Not only does it not tug at you,

It won't even catch anywhere:

So smooth, smooth in the hair.

Boy: There is no Comb and no price in the boy’s eyes.

Nanny: Should it happen, however, that the Crest is lost,

My boy frolicked, started playing,

He tousled his hair in a shock.

As soon as the nanny touches her hair, the child will howl:

Boy: “Where is my Crest?”

Nanny: And the Comb was found,

Yes, he’s just crazy back and forth:

It just tears my hair out.

Boy: “How evil you are, Comb!”

Fabulist (“writing a fable”):

And Greben says: “My friend, I’m still the same;

Yes, your head is tousled.”

Boy: However, the boy... out of anger and frustration

He threw his Comb into the river:

Now the Naiads are itching for them.

Fabulist (addressing the audience, edifyingly) :

I have seen in my lifetime

That they do the same with the truth.

As long as our conscience is clear,

The truth is dear to us and the truth is holy to us,

They listen to her and accept her:

But he just started to cheat,

The truth is far from your ears.

A piece of music plays. The entire stage is illuminated. All the artists come to life.

SCENE 6

The music is muffled, but still sounds. All the artists take turns pronouncing the beginning of quotes from Krylov’s fables, the conclusion and ending sounds from the lips of the “fabulist.”

Artist 1: In nature and in rank, highness is good...

Fabulist: But what is gained in it when the soul is low?

Artist 2: Work as you want

But don’t be flattered to buy

No gratitude, no glory...

Fabulist: If there is no benefit or fun in your labors.

Artist 3: Who shouts about his affairs to everyone incessantly,

There's really no point in that...

Fabulist: Those who are truly active are often quiet in words,

A great man is only loud in his deeds,

And he thinks his deepest thoughts

No noise.

Artist 4: ...True goodness

He does good without any compensation...

Fabulist: He who is good finds excess a burden,

As long as he doesn’t share them with his neighbor.

Artist 5: Who is truly kind...

In silence he does good...

Artist 6: And who only buzzes about kindness in everyone’s ears,

That is often only kind at the expense of another,

Because there is no loss in this.

Fabulist: Yes, you still need skill,

If you want to not destroy yourself in people

...Every step

You should think about yours like this,

So that there is nothing to slander or find fault with.

All artists (in chorus, addressing the audience): Let us remember: we “must think about our every step in such a way, / So that there is nothing to slander or find fault with”!

A piece of music plays. A curtain.

Literature:

Fables of Ivan Andreevich Krylov: in nine books. M.: Soviet Russia, 1988.