The house that Jack built. From English children's poetry The House That Jack Built

You can often hear the following widely circulated statement: it doesn’t matter how they say it, the main thing is that they say it. ABOUT Lars Von Trier , without a doubt, they will talk for a long time and a lot, even if suddenly the house built by Jack turns out to be the last creation erected by the strange Dane. If so, then the completion is quite symbolic. A strange creator on his own with his vision, on the one hand, repulsive to someone, and on the other, bewitching and exciting, completes ( or not) an interesting path with a story about an even stranger ( read: scary) a creator with an even more repulsive and disgustingly fascinating vision. An amazing story that it would be a shame not to watch.

Jack's story, first of all, is not about a maniac as such, but about this maniac's search for himself. Or more precisely, it is a great study of his understanding of the world and eternal questions through terrifying inner desires. U Von Trier What emerges is a full-fledged immersion into the depths of the consciousness of the creator, who chose the most disgusting path to create and diligently proves that even in murder there is a kind of beauty. In structure, Fontrier's story about Jack's misadventures looks quite simple: a story about five of the most frightening incidents, starting from the first accidental murder and ending with a deliberate attempt to repeat something legendary. Of course, with each story the degree of cruelty increases, but it does not go beyond some unimaginable limits unless the viewer at the screen is very sensitive. Von Trier does not seek to make the viewer turn their eyes away from the screen, although maybe somewhere he wanted such an effect. Who knows what's in his head? With each new incident, the audience gradually becomes aware of Jack's personal growth from an insecure, inexperienced killer to a top-class maniac who is no longer afraid to attract attention and is no longer embarrassed by his hobbies, proudly waving a special wallet in confirmation. Undoubtedly, such a transformation is terrifying, and largely thanks to the game Matt Dillon , most surprisingly suitable for the role of a cruel monster. Dillon so organically manages to portray an emotionless person trying to learn emotions in one case, and a frightening but reasonable psychopath without principles in each other, that one can only be amazed at how accurately Von Trier saw in Matte necessary. At the same time, the creepy component of the naturalistic nature of the murders on the screen is combined with Larsa with amazing irony to what is happening. Probably, almost all of the episodes can make you smile, because Von Trier he kills not with a frown, but with a dose of sincere black humor. Uma Thurman will not let you lie that irony is at the forefront here, and Riley Keough will clearly add ease to the viewer's acceptance of her as a victim. Himself Von Trier will laugh at everything, but will never cross the line of absurdity, skillfully balancing both on the everyday gloom of everyday life, where no one wants to help and hear a loud cry for help, and on humor, which allows you to perceive what is happening a little easier, and on deeper reasoning , which are probably the most important detail here.

The latter is the main unifying factor in Jack's stories. Each of the stages of a maniac’s transformation is interconnected by his ( Read: Von Trier) reasoning about the eternal, worldly or the simplest. Jack will have time to talk with the viewer about everything that is gnawing at his insides: conversations about art as such; beauty in death, comparable to grapes, where Von Trier moves on to the educational part, teaching the viewer new facts, perhaps better than many universities; conversations about family using the example of deer and attempts to be human; about heaven and hell, their merger; Well, and, of course, about the characteristics of their victims and the biggest and most significant reasoning about the creator and his material. Throughout the film, Jack, as a creator, is in search of the ideal material to build his house. Jack doesn’t like each of his creations, as a real engineer who wants to be an architect; each one is demolished. Through a series of crimes and thoughts about the great, Jack will try to find the very material that will make it possible to erect the desired strong structure. And, at the time of his terrifying creativity, the material Jack is looking for will be no less unique, since it is the most important element not so much for the house as for himself. And as soon as the building is created, then it is no longer very important whether there are sirens nearby or a freezer, then at least, like Dante, with Virgil together in all the circles of hell. What is there that Jack hasn't seen?

Perhaps look " The house that Jack built“It’s necessary not just for the sake of the desire to test yourself, but for the sake of the film’s amazing ability to combine everything and be itself, thereby continuing to surprise the already captivated viewer. Obviously, fully understand Von Trier It will be difficult: he shocks, stuns, criticizes and laughs, and suddenly shows his own films. The viewer is not as important to him as he wants to bring what he has imagined to life on the screen. From this it conducts Von Trier the audience through hell on earth to the present hell, because in his head it cannot be otherwise. The viewer may remain dissatisfied with such a detail in the end. We move from cruel reality to impressive metaphoricality. Certainly, Von Trier I wouldn’t be myself, leaving the audience with everything easier than planned. This is not for Larsa . However, the epilogue, which continues to drag on for too long, does not seem to fall out of the general spirit of the film at all, because behind the shown inhumanity of consciousness, the search for the darkest fiery depths will not be something abnormal, but will be a completely subsequent consequence. As the author, Von Trier one can admire, if not be frightened, especially when the house he built so amazingly vividly managed to leave the audience not indifferent. In a striking way against the backdrop of inhumanity Von Trier manages to appeal to the humanity of the viewer, who, in theory, through the unpleasant tingling sensations from what he sees, understands the disgustingness of what is happening on the screen, realizing the consequences of inaction at the right time. Although about such an influence on the audience’s minds, again, he himself Lars maybe I didn’t think about it. In an amazing way, repelling with the realism of horrors without rivers of blood, he manages to fascinate, causing a storm of questions in captivated minds. It's amazing how Von Trier managed to create a cinematic creation, making it so naturalistic. And it’s no less amazing how, with all the details that were happening on the screen, I didn’t want to close my eyes at all, and I didn’t want to forget about what I saw, even more so. Undoubtedly, " The house that Jack built» an amazing film that cannot and should not leave you indifferent. Scold Von Trier or praise it’s not very important, because after watching it they will definitely talk about it. And somewhere far, far away in a small house built from amazing materials strange architect will sit and listen, continuing to immerse everyone in a place they never wanted to be, but happily continue to plunge into. And this, probably, only a true creator can do.

Criticism of Lars Von Trier's film "The House That Jack Built"

Never before (and I watched a lot) have I seen so many people leaving the cinema. As a rule, a similar fate befalls dull, low-budget and, therefore, low-rated films. Here it’s completely different - the level of violence is off the charts. Super cruel. So much so that, in the opinion of many, it may go beyond the scope of “normal” perception. Some will even say “ban for mass release.” By the way, in the era of fashion for censorship in the field of art, it is strange that one of the Duma functionaries has not yet come up with such an initiative with a wording like “propaganda of violence.”

Anyone who is more or less familiar with the work of the Danish film director knows that he is outstanding, and his work is a real example of art in cinema. And The House That Jack Built is no exception. But, in order.

The story of serial killer Jack takes center stage. The main character has a whole range of psychopathic disorders. The narration is conducted in dialogue with a certain “Verge”. Given Jack's instability, the viewer believes that Verge is a psychiatrist.

The storyline is built sequentially and is divided into 5 “incidents”. They are called incidents because even well-planned murders are not committed according to a predetermined scenario. Lars demonstrates to the viewer how any phenomenon occurring within the boundaries of our world is subject to an infinite number of uncontrollable derivative accidents: be it an attack of borderline disorder of the killer himself, forcing him to return to the scene of the crime to wash up blood that in reality is not there; or completely spontaneous natural phenomena. From those accidents that bring people together in space and time, to those that create or destroy material traces.

During the course of the story, Jack's personality, his views on life and its structure are revealed. Most of the film is filled with comical and grotesque techniques around situations about the interaction of the main character and other characters, preparations for crimes, their commission and the elimination of evidence. Attention is focused on manic pedantry and this also gives a certain flavor.

Along with the house, the director, with references to the brilliant pianist, makes us understand that Jack treats his work as art.

The “off-screen psychiatrist” listens carefully to his “patient”, sometimes responding with sarcasm with barely traceable notes of condemnation.

Von Trier shows the scenes of murders, including children (!), in detail, colorfully and in as much detail as possible.

After each scene, several spectators leave the hall.

In the final part of the film, the camera work is completely transformed, the style changes. The prevailing mood is in the spirit of Boschian subjects.

What happened to us, to those who stayed until the end. What, as they say, the great and unique artist wanted to show.

Taking a look at the “canvas” as a whole:

The first 1.5 hours are made in a style familiar to the viewer. A movie about a killer, like a movie about a killer. Excessive cruelty and even some senselessness of what is happening. Almost anyone will say that patience for watching it should be rewarded. Trier did not deceive.

From a certain point on, the key theme of the film becomes human cruelty as a phenomenon. Namely, the most terrible crime in world history - the mass genocide of peoples during the Second World War. Subject concentration camp intersects with Goethe’s Faust, and the criminal finds his outcome in Dante’s “circles.”

Literally in the second incident, Jack admits to Verge that he sees a certain Providence accompanying him, allowing him to remain unpunished. The theme of the “divine” runs like a thin thread from the beginning until the end credits. The director, through his techniques, shows the futility of a serial killer’s attempts to succeed, to “outrun” Hitler and his henchmen to succeed in building an ideal “house”. Even mass crimes committed with particularly sophisticated cruelty pale in comparison to the extermination of entire ethnic groups by the Nazis. Not only in the quality and quantity of murders, Von Trier belittles the main character, but also in the nature of their actions - weak-willed, unconscious in essence, based on mental disorders.

Lars Von Trier has created a masterpiece of art, while making an elegant nod to the named writers and Dutch genre painters. It will certainly make you think and reason, argue and prove. Emphasizes the undeniability of the existence of evil and the impossibility of the existence of heaven without hell. God without the devil.

Can art be so cruel? If our world is cruel.

Great ones about poetry:

Poetry is like painting: some works will captivate you more if you look at them closely, and others if you move further away.

Small cutesy poems irritate the nerves more than the creaking of unoiled wheels.

The most valuable thing in life and in poetry is what has gone wrong.

Marina Tsvetaeva

Of all the arts, poetry is the most susceptible to the temptation to replace its own peculiar beauty with stolen splendors.

Humboldt V.

Poems are successful if they are created with spiritual clarity.

The writing of poetry is closer to worship than is usually believed.

If only you knew from what rubbish poems grow without shame... Like a dandelion on a fence, like burdocks and quinoa.

A. A. Akhmatova

Poetry is not only in verses: it is poured out everywhere, it is all around us. Look at these trees, at this sky - beauty and life emanate from everywhere, and where there is beauty and life, there is poetry.

I. S. Turgenev

For many people, writing poetry is a growing pain of the mind.

G. Lichtenberg

A beautiful verse is like a bow drawn through the sonorous fibers of our being. The poet makes our thoughts sing within us, not our own. By telling us about the woman he loves, he delightfully awakens in our souls our love and our sorrow. He's a magician. By understanding him, we become poets like him.

Where graceful poetry flows, there is no room for vanity.

Murasaki Shikibu

I turn to Russian versification. I think that over time we will turn to blank verse. There are too few rhymes in the Russian language. One calls the other. The flame inevitably drags the stone behind it. It is through feeling that art certainly emerges. Who is not tired of love and blood, difficult and wonderful, faithful and hypocritical, and so on.

Alexander Sergeevich Pushkin

-...Are your poems good, tell me yourself?
- Monstrous! – Ivan suddenly said boldly and frankly.
- Do not write anymore! – the newcomer asked pleadingly.
- I promise and swear! - Ivan said solemnly...

Mikhail Afanasyevich Bulgakov. "Master and Margarita"

We all write poetry; poets differ from others only in that they write in their words.

John Fowles. "The French Lieutenant's Mistress"

Every poem is a veil stretched over the edges of a few words. These words shine like stars, and because of them the poem exists.

Alexander Alexandrovich Blok

Ancient poets, unlike modern ones, rarely wrote more than a dozen poems during their long lives. This is understandable: they were all excellent magicians and did not like to waste themselves on trifles. Therefore, behind each poetic work of those times, a whole Universe was certainly hidden, filled with miracles - often dangerous for those who carelessly awaken the dozing lines.

Max Fry. "Chatty Dead"

I gave one of my clumsy hippopotamuses this heavenly tail:...

Mayakovsky! Your poems do not warm, do not excite, do not infect!
- My poems are not a stove, not a sea, and not a plague!

Vladimir Vladimirovich Mayakovsky

Poems are our inner music, clothed in words, permeated with thin strings of meanings and dreams, and therefore, drive away the critics. They are just pathetic sippers of poetry. What can a critic say about the depths of your soul? Don't let his vulgar groping hands in there. Let poetry seem to him like an absurd moo, a chaotic pile-up of words. For us, this is a song of freedom from a boring mind, a glorious song sounding on the snow-white slopes of our amazing soul.

Boris Krieger. "A Thousand Lives"

Poems are the thrill of the heart, the excitement of the soul and tears. And tears are nothing more than pure poetry that has rejected the word.

SCENARIO

gaming literary program

“This is the house that Marshak built”

(for the writer’s anniversary)

Developed by: methodologist,

teacher additional education

Eliseeva S.B.

Design and equipment: on the stage there are the necessary decorations, props, in the hall there is an exhibition of children's drawings based on the books of S.Ya. Marshak and the author's books, an interactive board and a computer for demonstrating films, slides, musical equipment, microphones.

The music starts and the presenter comes out

Hello guys, hello adults. We have gathered in this hall not for an occasion, but for a reason. And we have a wonderful occasion, but first...

The phonogram of the beginning of the fairy tale “Cat’s House” sounds

Probably, in our hall today, as in our entire country, there are few people who are unfamiliar with these lines, did you recognize...? That’s right, “The Cat’s House” is a fairy tale. And the name of the author of these lines is Samuil Yakovlevich Marshak. The lines written by this wonderful writer are most often the very first poetic lines in our lives, we have heard them and many others from the very beginning. early childhood. Throughout our childhood and adolescence, Marshak’s works accompany us. This year children's writer- 125 years since birth. This was the reason to gather here and remember his work.

Marshak lived a long and interesting life, and everyone who knew Marshak said that this very name is the personification of kindness, warmth, and sincerity. All his works are confirmation of these reviews.

The main readers of S.Ya. Marshak is children, he loved children very much, Marshak himself was proud that his reader was a growing person:

My special kind of reader:
He can walk under the table.
But I'm glad to know that I know you
With the reader of the year two thousand. (From the memoirs of S.Ya. Marshak)

(On interactive whiteboard portrait, then slide photographs from Marshak’s life.)

Where does the writer have such a desire to write for children? Writing is fun, interesting, perky. Maybe because the author himself comes from a large family, his parents were often busy at work. So little Samuel had to entertain his brothers and sisters with fairy tales and poems of his own composition. Moreover, Samuil Yakovlevich began writing poetry at the age of four. By the age of eleven he had already written several long poems. Were long years studying at gymnasiums in Ostrogozhsk, St. Petersburg, Yalta and even abroad - in England at the university.

He began his work in children's literature with picture books for young children.

You are, of course, familiar with such books, which have received the general name “Children in a Cage.” Let's remember them together.

Exercise. Completing the task and checking.

Children are offered cards with poems from this book printed on the right, and pictures of the animals the poems are about on the left. Assignment: connect pictures and text with arrows.

(Properly completed work on the interactive whiteboard.)

Leading: In order to write so funny for children, the writer must have a wonderful talent - the talent of love for children, the talent of understanding the child's soul.

(Marshak’s words are on the interactive board. The presenter reads them.)

“My interest in children arose long before I began to write books for them; without any practical purpose I visited St. Petersburg primary schools and shelters, he loved to come up with fantastic and funny stories for the children, and enthusiastically took part in their games.”

Well, what is a game without counters, etc. S.Ya. Marshak was a very cheerful person and loved children very much, so he tried to create funny works. He came up with funny and funny rhymes for children:

You know one of them for sure. Let's remember her.

(On the interactive board there are illustrations for Marshak’s counting rhymes.)

Exercise. Execution and verification.

Children are offered text rhymes with missing words. Task: insert words.

And now who can tell the writer’s other rhymes.

Children tell

(On the interactive board are photographs of Marshak’s children and family, photographs of his meetings with children and performances in front of children’s audiences.)

S.Ya. Marshak was very concerned about the problems of children; during his years of life, he was in charge of the section of orphanages and colonies in the department of public education, of which a large number were being organized, because the country was dominated by devastation, hunger and homelessness among children. Ragged, hungry orphans spent the night at the stations, and little thieves scurried around the bazaars. It was the 20s of the 20th century, the time Civil War. For such disadvantaged children, orphanages, colonies and shelters are organized throughout the country. But the children not only had to be washed, clothed and fed, they had to be educated and raised so that they would not grow up to be criminals and lazy people, but normal people. But first they need to be interested, and so that the children would not be bored in learning, Marshak composed a funny alphabet and counting.

(Illustrations on the interactive whiteboard.)

Dramatization of poems: “Punctuation Marks”, “Merry Counting”

Leading: Yes, such literacy and numeracy lessons are a pleasure! But Samuil Yakovlevich wanted the children to be not only literate, but also smart, attentive, and observant. I thought that good helper This is the mystery. Let us guess the riddles created by the writer.

He makes noise in the field and in the garden,
But it doesn’t get into the house.
And I'm not going anywhere
As long as he goes. (Rain)

What is before us:
Two shafts behind the ears,
Before our eyes on the wheel
And the nurse on the nose? (Glasses)

We always walk together,
Similar as brothers.
We are at dinner - under the table,
And at night - under the bed. (Slippers)

They beat him with a hand and a stick.
Nobody feels sorry for him.
Why are they beating the poor guy?
And for the fact that he is inflated! (Ball)

Ask me
How I work
Around the axis
I'm spinning on my own. (Wheel)

Its spring and summer
We saw him dressed.
And in the fall from the poor thing
All the shirts were torn off.
But winter snowstorms
They dressed him in furs. (Tree)

Behind the glass door
Someone's heart is beating -
So quiet
So quiet. (Watch)

Blue house at the gate.
Guess who lives in it.
The door is narrow under the roof -
Not for a squirrel, not for a mouse,
Not for the outsider,
A talkative starling.
News is flying through this door,
They spend half an hour together.
News does not stay for a long time -
They fly in all directions (Mailbox)

She got down to business
She squealed and sang.
I ate, I ate Oak, oak,
Broke a tooth. tooth (saw)

She was green, small,
Then I became scarlet.
I turned black in the sun,
And now I'm ripe.
Holding the cane with your hand,
I've been waiting for you for a long time.
You will eat me and the bone
Burrow in your garden. (Cherry)

Under New Year he came to the house
Such a ruddy fat man.
But every day he lost weight
And finally he disappeared completely. (Calendar)

In the Linen Country
Along the Prostynya River
The steamer is sailing
Back and forth.
And behind him there is such a smooth surface -
Not a wrinkle in sight! (Iron)

In a snowy field along the road
My one-legged horse is rushing
And for many, many years
Leaves a black mark. (Feather)

I just keep going,
And if I do, I’ll fall. (Bike)

Even though he didn't leave for a moment
Since your birthday,
You haven't seen his face
But only reflections. (You yourself)

Standing in the garden among the pond
A column of silver water. (Fountain)

In the hut - Izba,
On the hut there is a pipe.
I lit a torch
Placed it on the threshold
There was a noise in the hut,
There was a buzz in the pipe.
The people see the flame,

But it doesn’t simmer. (Bake)

Here is the green mountain
There is a deep hole in it.
What a miracle! What a miracle!
Someone ran out of there
On wheels and with a pipe,
The tail drags behind it. (Locomotive)

From prison one hundred sisters
Released into the open
They take them carefully
Rubbing my head against the wall,
They strike deftly once and twice -
Your head will light up. (Matches)

But of course, the main thing in the writer’s work is poetry and fairy tales: funny, touching, cheerful, instructive, simple, but with great meaning, serious, but filled with humor - the kind that can appeal to everyone, both children and adults.

Children are asked to guess which works the lines are from.

(illustrations on interactive whiteboard )

“A mouse sang in its hole at night:
- Sleep, little mouse, shut up!
I'll give you a crust of bread
And a candle stub.”

(“The Tale of a Stupid Mouse.” Children explain the meaning of the tale in the form of an interview.)

“Instead of a hat, he put on a frying pan as he walked.
Instead of felt boots, I pulled gloves onto my heels...”

(“He’s so absent-minded”)

“Firemen are looking for
The police are looking for
We are looking for photographers in our capital,
They've been looking for a long time, but can't find it
Some guy about twenty years old.”

(“The Tale of an Unknown Hero”)

“This is the house that Jack built.
And this is wheat, which is stored in a dark closet...”

("The house that Jack built"

“The lady was checking in luggage
Sofa,
Suitcase,
Travel bag,
picture,
Kozin,
Cardboard
And a little dog"

("Baggage")(illustrations on the interactive whiteboard)

Dramatization of the poem "Baggage"

Presenter 1. Samuil Yakovlevich Marshak was an unusually educated man . He translated into Russian, knowing perfectly foreign languages, works by R. Burns, and W. Shakespeare, and children's books by D. Rodari, and L. Carroll, and R. Kipling, and for the little ones he translated funny poems of English folk poetry.

(Illustrations of books on the interactive board.)

Presenter's assistants:

"Humpty Dumpty
Sat on the wall
Humpty Dumpty
Fell in his sleep.
All the royal cavalry
All the king's army
Humpty can't, Humpty can't,
Humpty-humpty,
Collect Humpty Dumpty!”

Any of his works can be turned into a real performance, even if it is a large work. Or a short poem.

Dramatization of poetry

- Lisaveta, hello!
- How are you, toothy?
- Things are going well.
The head is still intact.
- Where have you been?
- On the market.
- What did you buy?
- Pork.
- How much did you take?
- A tuft of wool,
The right side was torn off
The tail was chewed off in a fight!
- Who bit it off?
- Dogs!
“Are you full, dear kumanek?”
- I barely dragged my legs!

(“About one student and six units”, excerpt, illustration on the interactive board.)

Leading: Yes, S.Ya. Marshak was and is an excellent children's playwright. He believed that the theater is an excellent educator of young spectators and therefore wrote more than one play, which was successfully staged, is staged and will be staged in children's theaters

“Teremok”, “Cat’s House”, “Smart Things”, “To be afraid of grief is not to see happiness”, “Twelve months”.

Both cartoons and feature films were made based on these plays.

(An excerpt from the film - the fairy tale “Twelve Months” is shown on the interactive board.)

Leading: And Marshak’s plays never become outdated. They live on the school stage to this day.

(Mini-play based on Marshak’s play “Cat’s House” or “The Goat and the Seven Wolves”)