Tendryakov Vladimir the night after graduation. Vladimir Tendryakov - the night after graduation The night after graduation read summary

The story “The Night After Graduation” (V. Tendryakov wrote it in the first half of the 70s) is still being debated. This is understandable, since the author raises the problem of raising teenagers and determines what role the school plays in this complex process. As a result, his heroes undergo a kind of test of humanity. This path is not easy, but it is through such moral purification that the real value of goodness and truth is comprehended.

The beginning

Vladimir Tendryakov “The Night After Graduation” is compositionally divided into two parts. This is a parallel frank conversation between graduates on a river cliff and the search for a difficult solution to get out of the situation by their yesterday's teachers sitting in the teachers' room. The reason for the discussions in both groups was the speech of the pride of the school, Yulechka Studentseva. Having deviated from the rules that had long been established at the graduation party, she did not cry and thank the senior mentors. On the contrary, the girl noticed that she valued school very much, “like a wolf cub its hole,” but it did not teach her to love anything else. Yulia was given knowledge, but not taught the most important thing: how to live in this world. And that's why she's scared. She does not know what awaits her next, how to deal with the problems that will inevitably arise in independent life. Such a speech came as a surprise to everyone and the reason for an unscheduled meeting of teachers.

“The Night After Graduation”: a summary of the conversation in the staff room

The first to take the floor was Olga Olegovna, the head teacher of the school and history teacher. She expressed the idea that some teachers require their students to have thorough knowledge of a subject, which will not be useful to them in the future. In particular, the remark was addressed to the Russian language teacher, Zoya Vladimirovna - she has been working at school for five decades and simply does not know how to live any other way. And in return, no gratitude from either students or colleagues. Her speech caused concern among her colleagues and served as the beginning of a difficult conversation, which is reproduced by the author of the story “The Night After Graduation.”

The teachers' opinions regarding what Yulechka said differed. Some felt resentment and annoyance that teenagers could not appreciate their work. Anger and indignation were added to them, since what was said cannot be undone.

Others agreed that there are indeed many problems at the school that officials are not even trying to solve. Everyone tried to refute the words of the previous speaker and present their own vision of how children should be taught so that the results exceed the costs.

Innovative teacher

In the story “The Night After Graduation,” a summary of which you are reading, Tendryakov introduces the image of Pavel Pavlovich Reshetnikov. This was a physics teacher who was completely absorbed in science. The staff initially did not accept him because of his desire to introduce new teaching methods into an already established system, but the situation soon changed. Pavel Pavlovich continued to teach not strictly according to textbooks and programs, but began to do it more carefully. selflessly believed that everyone “cultivates his garden” the way he wants it, as his soul desires, without forcing others to do so.

In contrast to him was Innokenty Sergeevich, a mathematician. He believed that “school is a large-scale phenomenon,” so one cannot achieve the desired success alone.

Vladimir Tendryakov described the discussion at length. The story "The Night After Graduation" includes many opinions regarding how best to teach children. However, none of the teachers even remembered the more important issue. But what do the kids themselves really want? What are their interests, desires, feelings?

Unexpected insight

And only when saying goodbye to Ivan Ignatievich, Olga Olegovna suddenly realized that today they had missed a significant event: the birth of a person! Yulia Studentseva, in her words, showed not that school did not teach her anything important. On the contrary, she appeared as a person who knows how to think outside the box, who found the courage to express what she feels and thinks, even if it goes against generally accepted standards. And the main problem of those around him is that when a person stands out from others, first of all, everyone tries to identify his shortcomings, put him back, crush him, and prevent his individuality from appearing. This is how Vladimir Tendryakov ends the first part of the story “The Night After Graduation”. The content of the head teacher’s thoughts gives hope that changes in the current system are still possible.

Conversation by the river

Yulia’s performance excited not only the teachers. Six graduates gathered at the cliff to have a frank conversation and finally find out what they think about each other. They were very different, but everyone was worried about one question: what will happen next?

The summary of Tendryakov’s story “The Night After Graduation” continues the description of the conversation that arose. It takes an unexpected turn. Everyone wonders what those with whom he studied side by side for ten years think of him. It would seem that everyone knows each other, no one expects to hear bad things addressed to them. However, it soon becomes clear that everyone has their own “stone in their bosom.”

Genka Golikov was the first to decide on the “trial” - “a city celebrity, open face, light-eyed, fair-haired, height one hundred and ninety, broad-shouldered, muscular...” He was not at all afraid of the verdict, because everyone loves and respects him, “before his friends he is holy and pure, let Natka hear what they think about him.” However, what a surprise it was when, instead of the praises intended in his honor, Genka heard reproaches and accusations! Even Igor did not fail to remember the incident when Golikov spoke out against him. At the same time, no one came to his defense, did not remember how much good and kindness he, Gena, did for each of those present.

There was an impression that the desire to know the truth, even the frightening and cruel one, overshadowed all other feelings. Angry and repaying his friends in the same coin, Golikov ran away. And his classmates for a long time could not come to their senses from the words they heard addressed to them. Although they themselves provoked Gena to such unpleasant frankness - Tendryakov sums up. The night after graduation suddenly turns into an unpleasant revelation for young people entering a new life.

Denouement

And suddenly news appears: their friend, who just offended them, is in danger. At first everyone perked up, but then decided not to interfere, since Gena, in their opinion, no longer deserved even help. And only Yulia Studentseva spoke out against public opinion. She helped the guys realize that Gena is still their friend, that everyone can make a mistake. The main thing is to learn to forgive. This is how the story “The Night After Graduation” ends, the summary of which you have read.

Graduation party at school. After the holiday, six classmates gather by the river to say goodbye to each other. A boy from a wealthy family, athlete Gena Golikov, excellent student Yulia Studentseva, beautiful Natka Bystrova, “their boyfriend” Vera Zherikh, guitarist and merry fellow Socrates Onuchin and artist Igor Proukhov have known each other for a long time. An idea arises: everyone will express their opinion about others, without even hiding bad thoughts. Gena Golikov is the first to find out the truth about himself. He is sure that his school friends will not say anything bad about him.

But suddenly Gena receives reproaches from Vera, Yulia and Igor for callousness, selfless selfishness and meanness. Natka says that Gena is a coward and is unable to express his feelings.

You are a firefly, Gena, you burn beautifully, but you don’t provide any warmth.

Only Socrates refrains from speaking about Gene.

What he hears offends Gena. He begins to respond to his classmates with barbs. He calls Vera an empty, inexpressive and envious person who hides her insignificance behind kindness. Yulia, according to him, is selfish and ready to trample anyone into the dirt. Igor suffers from a sense of inflated self-importance and will die from his own anger. He even humiliates Socrates, comparing him to a “harmless lamb.” He deals the heaviest blow to Natka, with whom he was in love during his school years. Once he was walking by the river, and Natka, who was swimming there, came out of the water and deliberately appeared to him without clothes. Having talked about this, he calls her “a female who is waiting to be attacked.” Natka starts beating him, and Gena runs away.

Suddenly Socrates reports that Gena’s enemy, the bully Yashka Topor, decided to watch Gena while she was walking and kill her. He learned this from one of Yashka’s friends. At first, classmates try to convince themselves that Gena is no longer their friend, and his fate does not concern them, but Yulia claims that it would be wrong not to warn him about such a danger, no matter what kind of person he is. Gradually, friends begin to regret that everything turned out this way and admit that Gena is not such a bad guy. Natka goes to look for Gena.

At the same time, in the staff room, six teachers are arguing about how to “train the best people out of students.” The teachers were offended by the fact that Yulia Studentseva said during her graduation that the school forced her to learn everything except what she liked. The old teacher Zoya Vladimirovna considers such words ingratitude and regrets that Student will no longer be punished. Head teacher Olga Olegovna says that Zoya Vladimirovna herself teaches the subject (literature) so uninterestingly that she turns students away from it.

All literature is a set of dry formulas that can neither be loved nor hated. Not exciting literature!

Zoya Vladimirovna is offended and leaves.

Physics teacher Reshnikov says that Olga Olegovna also sometimes does the wrong thing. He teaches physics in his own way: he singles out students who are more capable of physics, provides them with interesting information, hoping to spark their interest in the subject. Olga Olegovna prevents him from doing this, because she believes that a teacher should not have favorites. Reshnikov asks her “not to interfere with him cultivating his garden.” Mathematician Innokenty Sergeevich offers his own option for improving pedagogy: film the lectures of the best teachers and teach children with the help of these films, which will free up some of the teachers’ time and allow them to take a creative approach to preparing students.

Knowledge has long been obtained with the help of machines, but for some reason it is still transmitted, so to speak, manually.

Director Ivan Ignatievich says that this idea is still far from being realized, but we still need to think about improving the quality of education. The teachers suddenly see that the youngest of them, Nina Semyonovna, is crying, thinking that she is not such a good teacher (Studentseva was in her class). Olga Olegovna says that the main thing is to teach the younger generation not to offend people. To this Nina Semyonovna replies that the students of her class (Igor, Gena, Yulia and the rest) are kind and sympathetic.

If they begin to offend each other, then... there is only one thing left - to hang themselves on the first nail out of despair.

Reshnikov and Innokenty go home and decide to have a drink - 31 years ago, in 1941, the war began. Innocent says about his students: “Let’s drink so that they don’t freeze in the trenches.”

And the classmates (except for Gena and Natka) go to school again. Igor says: “We will still learn to live.”

Summary of Tendryakov’s story “The Night After Graduation”

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The Soviet writer Vladimir Tendryakov may not be as well known as other writers, but in his work there is a lot that is relevant for today.

One of our eternal problems - education, the relationship between teenagers and teachers, the choice of profession, was vividly embodied in the story “The Night After Graduation”.

The plot tells about the school and graduation at a Soviet school, introduces the reader to several classmates, each of whom is very individual. Here is the typical excellent student Yulechka, and the creative person, philosopher Igor Proukhov, and Nata - the most beautiful girl, the object of attention of the guys, and Spartak - a cheerful guitarist. After the official part, the guys gather in their group. Further, in the dialogues of the heroes, the incredible inner world of experiences of each of the children unfolds before us: what path to choose after school, what is valuable in life, who is a true friend...

Against the background of the internal conflict of the heroes, the external conflict also unfolds: unexpectedly for each other, each of the company sees his comrade in a new light, thanks to someone’s jokingly proposed idea on their last evening before the “big life” to tell everyone everything they think about each other .. As a result, a rather large conflict flares up. But still, in the end, the guys understand that they shouldn’t have offended each other like that, because every person has shortcomings. By the way, Bank Rost offers bank deposits up to 12.5%.

As if having come to their senses, the guys notice that they are all friends, remember how they helped each other out, and that each of them has more good than bad, and they need to appreciate this good!

Another topic or problem revealed in the story is the image of a teacher: what qualities a good teacher should have and how, according to what system, in what ways, he should teach. To do this, the author draws different types of teachers, showing how children relate to them. This is how the image of “the oldest teacher in the school,” literature teacher Zoya Vladimirovna, “sitting alone at the table” during the graduation party is described in great detail. What's the matter? Why do the students themselves “forget about the teacher, who, as it seems to Zoya Vladimirovna herself, “give all her strength for the students”, before they even cross the threshold of the school? Most likely, the answer to this question lies in Zoya Vladimirovna herself, in the way she teaches. Perhaps teachers who cannot find an approach to their students should reconsider some methods of education

In general, the story is wonderful. It is not large in volume, so don’t be lazy and read it. Especially if you are a schoolboy, student, or... teacher!

As expected, the graduation ceremony was opened with solemn speeches.

In the gym, one floor below, you could hear tables being moved and final preparations for the banquet being made.

And the former tenth-graders now looked out of school: girls in fashionable dresses that emphasized mature figures, boys indecently ironed, in dazzling shirts and ties, constrained by their sudden maturity. They all seemed to be ashamed of themselves - birthday people are always more guests than other guests at their name days.

The school director, Ivan Ignatievich, a majestic man with wrestler’s shoulders, made a heartfelt speech: “There are thousands of roads before you. “There are thousands of roads, and all are open, but it must not be the same for everyone. Ivan Ignatievich habitually lined up the graduates according to their previous successes at school. The first to go was the one who was incomparable to anyone, the one who had been leaving others behind her for all ten years - Yulechka Studentseva. “It will decorate any institute in the country. “Following her was a close cohort of “undoubtedly capable”, each member was named, each was given what he deserved. Genka Golikov was named among them. Then, “peculiar natures” - a characteristic in itself fraught with uncertainty - were noted by attention, but not extolled, by Igor Proukhov and others. Who exactly the “others” are, the director did not consider it necessary to go deeper. And the last - all firmly, nameless, "to whom the school wishes every success." And Natka Bystrova, and Vera Zherich, and Socrates Onuchin were among them.

Yulechka Studentseva, who headed the queue to the treasured roads, was supposed to give a response speech. Who, if not she, should thank her school - for the knowledge acquired (starting with the ABCs), for ten years of guardianship, for the acquired kinship that everyone involuntarily takes away.

And she came out to the presidium table - short, in a white dress with muslin shoulders, with white bows in her pretzel braids, a teenage girl, by no means a graduate, on her chiseled face the usual expression of stern concern, too stern even for an adult. And cocked-straight, decisive, and restrained pride in the carriage of the head.

— I was asked to speak on behalf of the whole class, I want to speak on my own behalf. Only from myself!

This statement, uttered with the peremptory nature of the first student who never made mistakes, did not raise any objections and did not alarm anyone. The director smiled, nodded and shifted in his chair, making himself more comfortable. What could she say other than gratitude, who heard only praise at school, only enthusiastic interjections addressed to her. Therefore, the faces of her classmates expressed patient attention on duty.

And a rustling sound ran through the assembly hall.

- Which way should I go? I’ve been asking myself this question for a long time, but I brushed it aside and hid from it. Now that's it - you can't hide. I have to... go, but I can’t, I don’t know. School made me know everything except one thing - what I like, what I love. I liked some things and didn’t like some things. And if you don’t like it, it’s more difficult, which means you have to give more effort to the person you don’t like, otherwise you won’t get an A. The school demanded straight A's, and I obeyed. and did not dare to love much. Now I look back, and it turns out that I don’t love anything. Nothing but mom, dad and... schools. And thousands of roads - and all are the same, all are indifferent. Don't think that I'm happy. I'm scared. Very!

Yulechka stood, looking with anxious bird eyes into the silent hall. You could hear banquet tables being moved downstairs.

“I have everything,” she announced and with small twitching steps moved towards her place.

About two years ago, a ban was lifted - in high schools, wine cannot be placed on tables at proms.

This ban outraged the head teacher of the school, Olga Olegovna: “We repeat: graduation party is the threshold to maturity, the first hours of independence. And at the same time, we look after the children like little ones. Surely they will take this as an insult, they will probably bring wine with them secretly or openly, and, as a sign of protest, it is possible, something stronger.”

At school, Olga Olegovna was called Prophetic Oleg behind her back: “Prophetic Oleg said. Prophetic Oleg demanded. " - always in the masculine gender. And the director, Ivan Ignatievich, always gave in to her assertiveness. Olga Olegovna has now managed to convince the members of the parent committee - bottles of dry wine and sweet Cahors stood on the banquet tables, causing sad sighs from the director, who anticipated unpleasant conversations in the town hall.

But there were still more bouquets of flowers than bottles: the farewell evening should be beautiful and decent, inspiring fun, but within the boundaries of what is permitted.

It was as if Yulechka Studentseva’s strange performance never happened. There were toasts to the school, to the health of the teachers, the clinking of glasses, laughter, rolling conversations, happy, flushed faces - festively. Not the first prom at school, and this one started as always.

And only, like a draft in a warm room, amidst the flared up fun - a cooling alertness. Director Ivan Ignatievich is somewhat absent-minded, Olga Olegovna is withdrawn and silent, and the rest of the teachers cast inquisitive glances at them. And Yulechka Studenteva sat at the table, looking down, tied up. From time to time one of the guys would run up to her, clink glasses, exchange a few words - expressing their solidarity - and run away.

As always, the decorous feast quickly broke down. Former tenth-graders, some leaving their chair, some along with the chair, moved towards the teachers.

The largest, noisiest and closest company formed around Inna Semyonovna, an elementary school teacher, who ten years ago met all these children on the threshold of the school, seated them in their desks, and forced them to open their ABC books.

The text of the stories “The Night After Graduation”, “Sixty Candles”, “Reckoning” is published according to the publication: Tendryakov V. Reckoning: Stories. M.: Sov. writer, 1982.

Portrait of V. F. Tendryakov by O. Vereisky.

All rights reserved. No part of the electronic version of this book may be reproduced in any form or by any means, including posting on the Internet or corporate networks, for private or public use without the written permission of the copyright owner.

About the prose of Vladimir Tendryakov

Vladimir Fedorovich Tendryakov was a personality of enormous public temperament. He worked in literature for thirty-five years, and each new work of his aroused the interest of readers and critics, met with recognition and disagreement, and aroused thought and conscience. Few modern prose writers can be named who with such constancy, with such stubborn passion defended the right to stage the most acute social and moral problems of our society, who would day after day directly ask the question about the meaning of human existence to himself and his reader. In the work of V. Tendryakov, a taut string of civic concern rang incessantly. In this sense, he was very integral and consistent. His books are brought to life by the thirst for artistic knowledge of reality, the desire of the writer to make his judgment about it, to appeal to our consciousness, to educate or awaken social indifference in the reader.

Therefore, the conversation about Tendryakov’s stories and novels immediately enters the zone of reality itself; we begin to argue about the life around us, about the complex spiritual, economic, and moral processes touched upon by the prose writer. But at the same time, criticism, while supporting the writer for his pathos, fearlessness and directness in posing questions, sometimes notes with regret the discrepancy between “problems” and “prose” in some of Tendryakov’s works: “Of course, there is a logic for solving problems. But there is also a logic to the construction of artistic prose. A problem introduced into prose must contain the artistic construction of the thing, and not fall on it all at once, otherwise it is bad for both the problem and the prose.” And those critics for whom the “predominance” of problematic issues does not seem to be a weakness of the prose writer, but only a clearly expressed property of his writer’s nature, certainly consider it their duty to remember the artistic “trails and losses”, which, however, pay off a hundredfold, however, “by the significance, seriousness and modernity of his words , social significance and severity of social conflicts and moral problems of his work."

Here, in essence, are two wings of critical awareness of Vladimir Tendryakov’s prose:

a civically responsive sociologist and moralist, but sometimes an “insufficient” artist, which diminishes the depth of his very problems;

“not enough” artist? May be. But everything is paid off handsomely by the severity and social significance of the conflicts and problems of his work.

Both judgments, although to different degrees, recognize the artistic incompleteness of Tendryakov’s world. I can't agree with this. It is worth re-reading today, one after another, all the writer’s books, which at one time aroused abundant criticism, including deliberately unfair criticism, which directly denies the legitimacy of the problematics and conflicts of some of the prose writer’s works, in order to be convinced of the integrity of the problematic-artistic world of this writer. One can argue and disagree with his actively preaching manner, with the desire to express painful things not so much in an objectively plastic figurative form, but in the direct pressure of the characters’ reasoning, where the author’s voice is always clearly heard. One can deny the effectiveness and universality of parable-like situations, which are very characteristic of Tendryakov’s stories. But at the same time, in my opinion, it is impossible not to see the sharply defined artistic originality of this pen. For Tendryakov, the logic of solving vital problems and artistic logic are fused, inseparable, and feed each other. For him, art begins with an idea and lives by ideology. The thought unfolds in images, tests itself in artistic arguments on the site of a story or novel and, as a rule, is resolved in the finale, posing new questions and new problems for us and the characters.

We must also not forget that V. Tendryakov formed as a writer in active polemics against the so-called conflict-free theory, which was quite widespread in our post-war fiction. Acute conflict, extreme drama of situations, especially moral conflicts, are the most characteristic feature of Tendryak’s style. He feels the truth as a search for caring, active thought and openly, without beating around the bush, strives to tell this truth to people, without at all claiming all its objective completeness, or his own omniscience. Courage and frankness of truth are the moral foundation on which Tendryakov’s artistic world rests, and it stands firmly and will last for a long time, until the life contradictions that feed it are exhausted by reality itself.

Vladimir Fedorovich Tendryakov was born in 1923 in the village of Makarovskaya, Vologda Region, in the family of a rural employee. After graduating from high school, he went to the front and served as a radio operator in a rifle regiment. In the battles for Kharkov he was seriously wounded, demobilized, taught at a rural school, and was elected secretary of the district Komsomol committee. In the first peaceful autumn, he entered the art department of VGIK, and then moved to the Literary Institute, from which he graduated in 1951. He worked as a correspondent for the magazine "Ogonyok", wrote rural essays, and in 1948 published his first story in the anthology "Young Guard".

But in our reader’s consciousness, Tendryakov announced himself immediately, large and noticeably, in the early 1950s, as if having passed the time of literary apprenticeship. Time and the social situation contributed to the emergence of a whole galaxy of writers, through whose mouths the hitherto almost silent post-war village spoke truthfully. Following the essays and stories of Valentin Ovechkin and Gavriil Troepolsky, the early works of V. Tendryakov publicly exposed serious contradictions in the collective farm life of those years, which later became the subject of close public attention.

All his life, Tendryakov was worried about the problems of choice and duty, faith and skepticism. And until his last days, he anxiously pondered the question: “Where is human history heading?” Evidence of this is the novel “Attempt on Mirages” (1978–1980) - Tendryakov’s most profound and powerful work, his spiritual testament to us and the future.

But no matter what Tendryakov writes about, no matter what life situation he chooses, his consideration and artistic analysis of reality always takes place in the light of the moral demands of conscience.

Conscience in the ethical code of Vladimir Tendryakov is a fundamental concept; only it can illuminate a person with the deep truth about himself and the world around him.