Description of the presentation by individual slides:
1 slide
Slide description:
Prepared by Irina Borisovna Ryashina, teacher of Russian language and literature, Municipal Educational Institution Dolgoderevenskaya Secondary School, Sosnovsky District, Chelyabinsk Region
2 slide
Slide description:
Show the role of poetry of the “thaw” period in the public life of the country; Give a brief overview and characteristics of the poetry of the “sixties”
3 slide
Slide description:
The feeling of respect for literature and especially poetry, attention to it is innate in our country. Surges of interest in poetry coincide with particularly acute historical periods. Lyrics become an expression of time, respond to events and changes, give them an emotional assessment even before the new is comprehended. This was the case at the turn of the 19th and 20th centuries, during the years of the revolution, during the Great Patriotic War. But the first few years of the “thaw” became a real “poetry boom”. The opening of the monument to Mayakovsky in Moscow in the summer of 1958 turned into a literary event - people came out of the crowd and read their poems. Such meetings of those who wanted to read and listen to poetry became regular at this monument. Another poetic center was the hall of the Polytechnic Museum. The hall could not accommodate everyone, and poetry evenings moved to Luzhniki, to stadiums. The circulation of poetry books has increased tens, hundreds of times. All this was an expression of a vibrant, active spiritual life, a desire to hear new things and to be heard, to be spiritually liberated.
4 slide
Slide description:
At the beginning of the Thaw, poems by young poets were especially popular: Evgeny Yevtushenko, Andrei Voznesensky, Robert Rozhdestvensky. They became the leaders of a poetic group that would later be called the “sixties.” The ideals of socialism remained unshakable, they only wanted to wash them, update them, and return to their original purity. Hence the romanticism and journalistic pathos of the “sixties”, their “variety” - aimed at a large audience. Hence the hopes for a quick liberation from the vices of the past, which were understood as a distortion of a beautiful idea. Corresponding to the “thaw” mood of the time was the thirst for freshness, novelty, and hope with which poetry was imbued
5 slide
Slide description:
6 slide
Slide description:
born in 1933 in Moscow, in the family of a scientist. In 1957 he graduated from the Architectural Institute. A year later he published his first poems. In 1960, two collections of Voznesensky’s poems were published: “Parabola” in Moscow and “Mosaic” in Vladimir. Then - about fifteen poetry collections. Voznesensky's addressees are intellectuals, people of creative work, “physicists and lyricists.” He attaches primary importance to artistic means of comprehending and embodying reality. A favorite poetic device is hyperbolic metaphor (related to the metaphors of Mayakovsky and Pasternak). The main genres are lyrical monologue, ballad and dramatic poem. From them he builds large genre structures - books of poems and poems. Beginning with the book “40 Lyrical Digressions from the Poem “Triangular Pear”” (1962), Voznesensky introduced lyrical prose into books of poetry. Voznesensky's poems reflected the socio-political situation of that time. She is expressive in the poems “Farewell to the Polytechnic” and “There are many of us. There may be four of us..."
7 slide
Slide description:
ANDREY ANDREEVICH VOZNESENSKY “FAREWELL TO THE POLYTECHNICAL” I dedicate to the large audience To the Polytechnic! To the Polytechnic! The headlights sizzle like fried eggs in the snow. The police are whistling in panic. Who's whining there?! To the Polytechnic!
8 slide
Slide description:
born in 1933 at Zima station, Irkutsk region. He began publishing in 1949, that is, at the age of 16. In 1951-1954 he studied at the Literary Institute named after. M. Gorky. In 1952, the first collection, “Scouts of the Future,” was published. Since then, more than thirty collections of his poems, two novels, several collections of literary criticism and journalistic articles, and translations of Georgian poets have been published. In 1995, Yevtushenko compiled an anthology of Russian poetry of the 20th century, “Strophes of the Century” (875 personalities with their preliminary characteristics). Yevtushenko became the leader of young poetry during the Thaw. What contributed to this? Passion and high citizenship of the lyrics: the poems “Career”, “Civicism is not an easy talent...”, “In the Church of Coshueta”, “Russian talents”, “Babi Yar”, “Stalin’s Heirs”, “Do the Russians want war?.. ", "Citizens, listen to me..." (aimed at cleansing people's feelings and consciousness from the influence of Stalinism).
Slide 9
Slide description:
EVGENY YEVTUSHENKO “THE HEIRS OF STALIN” Marble was silent. The glass flickered silently. The guard stood silently, turning bronze in the wind, And the coffin was slightly smoking. Breath flowed from the coffin. When they carried him out of the doors of the Mausoleum.
10 slide
Slide description:
Social, moral and psychological issues predominate in Yevtushenko’s work. Yevtushenko's poems were used by D. D. Shostakovich in the 13th symphony. During the years of stagnation, Yevtushenko does not become a dissident, but continues to be in opposition to power, continues to write poetry and prose, tries himself as an actor (the role of Tsiolkovsky in S. Kulish’s film “Take Off”), writes scripts and makes films based on them. At the end of the 80s, Yevtushenko was a deputy Supreme Council THE USSR. In the 90s, he deeply studied the poetry of the 20th century, striving to present it in his coverage (compiling an anthology).
11 slide
Slide description:
A dissident is a person who has broken away from the dominant religion, an apostate. A person who does not agree with the dominant ideology, a dissenter. Opposition - counteraction, resistance (book). To be in opposition to someone (something) (to disagree with someone’s views and actions, to oppose them)
12 slide
Slide description:
born in 1937 in Moscow. From 1955 to 1960 she studied at the M. Gorky Literary Institute. In 1962 she published her first collection of poems, “String”. In total, about ten collections of her poems were published. Akhmadulina is a chamber poet, with a special grazing-cool intonation. Her poems do not contain the open journalisticism of Yevtushenko or the large-scale metaphorical “anti-worlds” of Voznesensky. What allowed her to join the group of “high-profile” poets in the 60s? Internal dynamism, a sense of the movement of time, a keen sense of novelty - this is what united her with the “pop” poets. Like Yevtushenko and Voznesensky, she traveled a lot around the country and the world, reflecting in poems and essays her impressions of meetings with people. Akhmadulina’s work was influenced by the poetry of Pushkin and Lermontov, Akhmatova and Tsvetaeva, Pasternak and Pavel Antokolsky. She was also influenced by Georgian poets, whose poems she translated. Over time, Pushkin comes to the fore as a life and aesthetic reference point for her. His presence is felt in many of Akhmadulina’s poems, especially clearly since the 70s.
Slide 13
Slide description:
Slide 14
Slide description:
THE CENTRAL THEME OF AKHMADULINA’S POETRY BELLA AKHMADULLINA is the theme of creativity, the birth of beauty (“Sleepwalkers”, “Candle”, “Sunday Day”, “Night”, “Word”, “Muteness”, “Other”, “Imitation”, “Once upon a time, swaying on edge...", "Wonderful theater poems...").
15 slide
Slide description:
All you have to do is have a candle, a simple wax candle, and the age-old old-fashionedness will become fresh in your memory. And your pen will rush to that ornate, reasonable and intricate letter, and goodness will fall on your soul. Already you are thinking about friends more and more often, in the old way, and you will take care of the stearic stalactite with tenderness in your eyes. And Pushkin looks tenderly, and the night has passed, and the candles go out, and the tender taste of his native speech cools the teeth so cleanly. 1960
16 slide
Slide description:
A special place is occupied by love lyrics (“Fifteen boys, and maybe more...”, “Don’t give me much time...”, “Tenderness”, “Your home”, “We are parting - and at the same time... "). Poems dedicated to Russian poets: “Music Lessons”, “A Quarter of a Century, Marina, That...”, “Biographical Information”, “I Swear”, “Tarusa” (Marina Tsvetaeva); - “Seducing the soul with immortality...” (A. Blok); In memory of Boris Pasternak", "Blizzard" (B. Pasternak); - “Winter isolation” (B. Okudzhave); - “In that time, where the villain is...” (in memory of O. Mandelstam); - “I envy her - she’s young...”, “Snapshot” (Anna Akhmatova); - “Moscow: house on Begovaya Street”, “This blood is not mine, there is damage and offset...” (to V. Vysotsky); - “Excerpt from a small poem about Pushkin.” In 2005, Bella Akhmadulina became a laureate State Prize Russian Federation
After Stalin's death, Khrushchev comes to power. In 1956, at the Twentieth Party Congress, Khrushchev read a report “on the cult of personality” and its consequences.” The time of “thaw” begins. It was possible to criticize Stalin, but not the party. The processes of rehabilitation of the repressed began. Newspapers began to write about the events of the 30s. It was allowed to publish previously banned foreign authors. The Thaw era will end in 1963 along with the reign of Khrushchev.
But there is a “boom” in literature. Yevtushenko, Voznesensky, Akhmadulina, Rubtsov - the “sixties”. 3 thematic areas dominated - military prose (Bykov, Bondarev); -village prose “morals” (Rasputin, Belov, Shukshin, Abramov, Mamaev). They wrote about the military and post-war crisis of the village-GULAG, Stalin’s repressions (Solzhenitsyn).
“Variety, loud” poetry arose as a reaction to the thaw. Representatives: Akhmadulina, Voznesensky, Yevtushenko. “Sixties” are people born and raised in the USSR, who have not known any other life. They did not feel responsible for the events of the past in Russia. Socialist values. But the Thaw era encouraged them to strive for better. Poetry
Patriotic and civic. Trust in people, closeness to people. The scale of poetic thinking.
Evgeniy Yevtushenko- journalistic nature of poetry, he wrote “on the topic of the day”; content prevailed over form. He wrote about war, the cult of personality, ecology, love; interest in the lives of ordinary people.
Robert Rozhdestvensky– his poems are distinguished by their emotionality, citizenship, patriotism, musicality, and lyricism. He wrote music for many films (17 Moments of Spring, "The Elusive Avengers", "Echoes of Love." "Call Me, Call"). The poems are characterized by the scale of poetic thinking, imagery, philosophy, intimacy, and trust.
Andrey Voznesensky– “spectacular”, theatrical, stage poems; wrote the rock opera “Juno and Avos”. Early poetry is characterized by experimentation in the field of rhythm and imagery. The architect's logical, constructive thinking influenced this. A strange combination of lyricism and anxiety. New metaphors, the scale of the image. A combination of tragedy and life affirmation. The lyrics were philosophical; he discussed how to live. In later works there is more reality and entertainment.
Question 27
"Silent lyrics" - a trend in Russian poetry of the 50s - 70s; one of the most important ways of restoring in literature the most important fundamental principles of existence. At the center of the poets’ works is attention to the village, native land, traditional values. It is interpreted as a manifestation of pochvennicheskie tendencies for the revival of Russian spirituality.
“Silent Lyrics” seems to continue the line of S. A. Yesenin and the “new peasant” poets who were destroyed in the 20s and 30s.
“Quiet lyrics” were interpreted by critics and readers in the 1960s as a counterbalance to the “loud” poetry of the “sixties” (Yevtushenko, Robert Rozhdestvensky, Andrei Voznesensky followed the poetic path of V. Mayakovsky, read their works in stadiums, gathering huge audiences). Implicit in this was the revival of the Russian national line, opposing the fundamental cosmopolitanism of Mayakovsky’s followers. Many felt Orthodox (and even more ancient) roots at the heart of the “quiet lyrics”.
“Silent Lyrics” is represented primarily by such poets as Nikolai Mikhailovich Rubtsov, Vladimir Nikolaevich Sokolov, early Anatoly Vladimirovich Zhigulin, Alexey Timofeevich Prasolov, Stanislav Yuryevich Kunyaev. This literary movement did not acquire any organizational forms.
Features and ratios
The elegance of many of the works of these poets forces the reader to turn to the life of the soul in its universality, outside of the class approach, the usual themes of Lenin, the party, etc. for Soviet times. The lyrical hero of the authors of this movement acquires the integrity of the individual in appealing to deep memory.
Romantic and realistic motifs are combined. Traditional images of “quiet lyrics” - house, road, path, Motherland, mother, memory, stars, loneliness of the soul, etc.
“Quiet lyrics” correlates with such a phenomenon as “village prose”, and also, to a certain extent, with the music of G.V. Sviridov and V.A. Gavrilin.
Nikolay Rubtsov
Rubtsov's lyrics are completely special. People's moods and pictures of everyday life were not widely and deeply reflected in his poems. The poet’s personal “I” was expressed most emotionally in them. The theme of the soul sounded excitingly and piercingly in RUbtsov’s work. The main motive of his poems is the motive of loneliness. Rubtsov was in a hurry to write, to live, as if he felt his imminent end. One of his best poems is called “I will die in the Epiphany frosts...”.
In each line, the poet conveyed his most intimate experiences. The lyrical hero of his works poses eternal philosophical and moral problems: the meaning of life, man and existence, life and death, love and separation.
In many poems, the poet uses folklore traditions and motifs of Russian Christian philosophy, themes of peasant poetry. Rubtsov's works are distinguished by his passion for the details of rural life, a combination of Christian and pagan motifs, and themes of classical Russian literature. The poet affirms the identity of the Russian nation. Rubtsov is convinced that there is an addiction spiritual world man from the land, the traditions of peasant life.
The landscape is built on the principle of contrast. First, the winter beauty of nature is described. Against the backdrop of monumental nature, the light that appears in the snowy desert is perceived as a center of life, hope. The image of the heroine of the poem is typical of those years. The old woman still lives with memories of the terrible war.
In many ways, Rubtsov’s works echo Fet’s lyrics. The poet constantly turns to silent interlocutors, seeking harmony with nature. Connected with this is the psychological subtlety of his landscape: a predilection for depicting borderline states and times of day, a special attitude towards light and shadow. The poet is characterized by the motive of addressing family graves, the theme of memory. He perceives death as humility. This is a kind of entry into the realm of the “fairy-tale world”, “the last housewarming”.
The combination of eternal themes and the Motherland motif is characteristic of the poem “Dedication to a Friend.” Traditional motifs run through the entire work: the image of the night, the star, the lights in the village, the river. All this gives the lyrical hero hope and supports him. The poet's winter is always associated with spiritual cold. “The abandoned meadow is dying from the winter cold,” says someone, but not the lyrical hero. The hero's hopes do not die while the "bright stars are burning." Researchers of Rubtsov’s work rightly noted that the image of the road is associated with the image of Time, history, and the fate of Russia.
All the themes and motives of the poet’s lyrics closely resonate with each other. Together they form a unique unity. Rubtsov's poetry is thoughtful, tender, calling for reflection. The peasant village and the earth are connected with space. It is impossible to definitely call Rubtsov’s lyrics “quiet”. It reflected the broad Russian nature, sincerity and sincerity. No one was able to penetrate into people's life as deeply and soulfully as N.M. Rubtsov. "The Star of His Fields" continues to illuminate our lives.
Question 28
The author's song, or bard music, is a song genre that arose in the middle of the 20th century in different countries. Its distinctive features are the combination of the author of the music, the text and the performer in one person, guitar accompaniment, and the priority of the importance of the text over the music.
Most often (though not always), performers of songs in the “art song” genre are simultaneously the authors of both poetry and music.
In the early 1950s, a powerful layer of original songs appeared among students - in particular, at the Faculty of Biology of Moscow State University (the most famous authors of this galaxy were Gen Shangin-Berezovsky, D. Sukharev, L. Rozanova) and at the Pedagogical Institute. Lenin (Yu. Vizbor, Yuliy Kim, Ada Yakusheva).
However, the state's attitude towards the authors was far from uniform. Thus, the Writers' Union took an extremely hostile position - “what kind of singing poets are these”; at the same time, the Union of Composers did a lot for the authors of amateur songs - believing that their creativity (for all the homemade nature of their melodies) compensates for some neglect of mass song that appeared among professional composers in the 1960s in comparison with the pre-war period.
The genre became more widespread in the 1960s. New names and new talents have appeared, among whom V. Vysotsky stands out. The themes of his work are multifaceted. His lyrics are verbose.
The origins of the poet’s work lie in impressions and memories of the war and post-war years of life in Moscow. As a young man, Vysotsky perceived war as something romantic and heroic.
In songs dedicated to war, the author reveals himself as a person with a keen sense of what can be felt in critical situation. The feeling of struggle and danger is well conveyed in the songs “There are eight of them - there are two of us”, “Sons go into battle”, “Song about the dead pilot” and others.
Vysotsky writes poems about mountains and the sea. He draws here situations in which a person overcomes his fear, weakness and achieves his goal. These works also have a romantic overtones. The theme of friendship also develops here.
One of the features of Vysotsky’s songs is their focus on oral form. The songs are often monologue-like. Heroes can be people from different social strata and professions. Vysotsky uses different vocabulary to convey the character of each person. These can be colloquialisms (“don’t hesitate, dears”), professionalisms (“we are not talking about storms, but storms”), phraseological units (“I don’t say a word in their language, // Neither in the arc nor in the thuya”).
The poet gives his characters individual speech characteristics
Many of Vysotsky’s songs are plot-based, they reproduce some situation: “Conversation at the TV”, “Instructions before traveling abroad”, “Police protocol”.
Vysotsky not only wrote songs, but also performed them himself. His special manner of performance, unlike others, made these works more vivid and memorable. It seems to me that the written edition of Vysotsky’s songs is poorer than the live sound.
To create a comic effect, Vysotsky himself comes up with forms of words: “And our family with a majority of voices” (“A trip out of town”); “The weather conditions are not the same” (“At customs”). Some lines from his songs became catchphrases: “The giraffe is big, he knows best.”
Vysotsky refers with irony to the “politicization” of the philistine consciousness.
Vysotsky treats his characters with humor, taking their origins from the folk. The poet thus highlights some vices, shortcomings and shows ways to get rid of them.
In his work, Vysotsky addressed both the theme of love, and the theme of the “uselessness” of the intelligentsia, and the theme of relations between the individual and the state.
Thus, Vladimir Vysotsky made a great creative contribution to the development of the art song of the 1960s-1970s, to the development of Russian poetry.
Bulat Okudzhava
Bulat Okudzhava has been the ruler of feelings for several generations. His song words give the impression of great confidence and naturalness. But Okudzhav’s naturalness is by no means synonymous with artlessness. Okudzhava is a master of poetic language.
Poet and prose writer, one of the founders of the art song genre, Bulat Shalvovich Okudzhava was born in Moscow.
His childhood was spent in small cozy courtyards on quiet Arbat alleys. It was she, the Arbat children, who came up with the game “Arbatstvo” and the ritual of initiation into her “class”.
In 1942, ninth-grader Okudzhava volunteered to go to the front. Instead of textbooks, he masters the science of infantry combat
Private Bulat Okudzhava fought until the end of 1944. Injuries, hospitals... and we didn’t have to fight anymore. “Take your overcoat and let’s go home”... And then came the long-awaited Victory in a cruel war that cost the lives of millions of people, in a war that took away four whole years of youth from a generation that had just entered adulthood.
From the words of the poet himself, it is reliably known that his first song to his own melody, “We couldn’t sleep in the cold train cars...” appeared at the front in 1943. And if the first, front-line one, which the author himself considers weak, has long been forgotten, then the second has been preserved and is still heard today, although the year of its birth is 1946.
After graduating from university, Okudzhava is assigned to work in one of the rural schools in the Kaluga region. New poems appear, which are published from time to time in Kaluga newspapers. In 1956, the first collection of poems, Lyrics, was published. He returns to Moscow, first works as an editor at the Molodaya Gvardiya publishing house, and later heads the poetry department at Literaturnaya Gazeta.
It was during these years that songs began to appear one after another: “About Lenka the Queen”, “The girl is crying - the ball has flown away”, “The last trolleybus”, “Goodbye, boys”.
In total, Okudzhava has about one and a half hundred songs. They are about love and hope, about the meaninglessness of wars, about faith in the triumph of reason and wisdom.
Alexander Galich
Russian Soviet playwright, poet, bard.
Author of the plays "Street of Boys" (1946), "Taimyr is calling you" (co-authored with K. Isaev, 1948), "The Paths We Choose" (1954; another name "Under a Lucky Star"), Marching March ("For an hour before dawn, 1957), “The steamship is called “Eaglet” (1958), “Sailor’s Silence”, etc.
He also wrote scripts for the films “True Friends” (Together with K. Isaev, director M. Kalatozov), “On the Seven Winds” (director S. Rostotsky), “State Criminal”, “Give me a Book of Complaints”, the joint Soviet-French film “The Third Youth” "about Marius Petipa, "Refugees of the 20th Century" (Norway), etc. Galich is the author of poetry, prose and songs.
Many of Galich's poems arose as songs, and many songs were born from poems. While performing his songs, Galich introduced characteristic intonation changes to the melody. “Look, many of these works contain a precise plot; practically we have short novellas, parables and satires. And each song bears a completely definite character of the main character or, so to speak, lyrical hero.”
At that time, such a phenomenon as the art song was emerging. Along with Galich's songs, the voices of Okudzhava and Vizbor sounded. The difference between Galich and them is in “topicality, modernity, unvarnishedness” (V. Ardov), in the clear political orientation of his songs. But with the end of the Khrushchev thaw, the need for a choice became ripe: whether to remain, despite one’s convictions, in the “cage” of the recognized and popular, or to join the fight, defending one’s position. Galich chooses the latter.
Previously concluded contracts with him are terminated, and seemingly approved applications are returned with a polite refusal. Soon Galich ceases to be a member of the Union of Cinematographers and the Literary Fund.
Due to the prevailing circumstances and under pressure from the “competent authorities,” the poet was forced to leave his homeland forever in 1974.
Galich's death was unexpected and absurd. He died on December 15, 1977, from an electric shock while connecting an antenna to a newly purchased stereo system.
Question 29
The term postmodernism is often used to describe the literature of the late twentieth century. Translated from German, postmodernism means “what comes after modernity.” Postmodernism initially appeared in Western art, arose as a contrast to modernism, which was open to understanding by a select few. In Russian literature, the emergence of postmodernism dates back to the early 1970s. Only at the end of the 1980s did it become possible to talk about postmodernism as an irrevocable literary and cultural reality, and by the beginning of the 21st century it was already possible to state the end of the “postmodern era.” A characteristic feature of Russian literary postmodernism is a frivolous attitude towards its past, history, folklore, and classical literature. The main techniques of postmodernists: paradoxes, wordplay, use of profanity. The main purpose of postmodern texts is to entertain and ridicule.
Russian postmodern literature went through a certain process of “crystallization” before taking shape in accordance with the new canons. At first it was Wen’s “different,” “new,” “hard,” “alternative” prose. Erofeev, A. Bitov, L. Petrushevskaya, S. Kaledin, V. Pelevin, V. Makanin, V. Pietsukha, etc. This prose was polemical, oppositional to tradition, it was sometimes even a “slap in the face of public taste” with its dystopian nature, nihilistic consciousness and hero, harsh, negative, anti-aesthetic style, comprehensive irony, quotation, excessive associativity, intertextuality. Gradually, it was postmodernist literature with its own postmodernist sensitivity and absolutization of wordplay that emerged from the general flow of alternative prose.
Erofeev Venedikt Vasilievich. After graduating from school with honors, in the 17th year of his life, he went to the capital to enter Moscow University. He entered, but after a year and a half he was expelled for not attending military training classes.
According to his mother, he began writing at the age of five. The first noteworthy composition is considered to be “Notes of a Psychopath” (1956-1958), begun at the age of 17. The most voluminous and most ridiculous thing written. In 1962 - "Good News", which experts in the capital regarded as a nonsense attempt to give the "Gospel of Russian existentialism" and "Nietzsche turned inside out." In the fall of 1969, he finally got around to his own style of writing and in the winter of 1970 he unceremoniously created “Moscow-Petushki” (from January 19 to March 6, 1970). In 1972, "Petushki" was followed by "Dmitri Shostakovich", the draft manuscript of which was lost, however, and all attempts to restore it were unsuccessful. In subsequent years, everything written was put on the table, in dozens of notebooks and thick notebooks. Except for the cheeky essay about Vasily Rozanov, written under pressure from the magazine "Veche", and some other trifles. In the spring of 1985, a tragedy in five acts "Walpurgis Night, or the Commander's Steps" appeared. An illness (throat cancer) that began in the summer of the same year delayed the implementation of the plan for the other two tragedies for a long time. For the first time in Russia, “Moscow-Petushki” appeared in an overly abbreviated form in the magazine “Sobriety and Culture”.
Text "Moscow - Petushkov" It is distinguished by a high degree of lyricism, the rhythmic structure prevails in the poem, in it the attentive reader discovers semantic and rhythmic layers. In works on the study of its poetic organization, the features of the rhythmic structure are revealed. The poem was divided into small semantic fragments, in which the presence of rhythm, hidden rhyme and other attributes of verse organization were checked. Examples from the text that included direct speech, as a rule, turned out to be rhythmic, which indicates its lyrical nature.
The hero of Erofeev’s poem is dejected, wounded by the “suffering of mankind,” however, his tears are partly caused by excessive drinking. The textual organization of “Moscow - Petushkov” is not a formal connection of individual details, but a complex semantic picture of human life. The poem is a confession of the hero/author, where all events take place in the space of his inner world. The structure, plot, and conflict of “Moscow - Petushkov” lead the reader to a meeting with current, and most importantly, eternal problems.
Question 30
Tatyana Nikitina Tolstaya was born into a family with rich literary traditions. Relatives on the paternal and maternal lines were closely associated with literature. After university, Tatyana moves to Moscow. In the capital, a writer from St. Petersburg gets a job as a proofreader in the editorial office of the Nauka publishing house. It was here that the literary biography of Tatyana Tolstoy began. Her debut is the critical article “Glue and Scissors...”, published in the journal Voprosy Literatury in 1983. As Tatyana Nikitichna later shared, a banal circumstance forced her to take up the pen herself, and not just read and review other people’s works. After the operation on her eyes, she had to lie with a bandage for about a month. Out of idleness, in order to pass the time, Tatyana Nikitichna began to compose texts herself. This is how the first plots of the future works of the writer Tolstoy were born.
Soon her debut story was born, published in the popular magazine “Aurora” under the title “They were sitting on the golden porch...”. The story was immediately recognized as the best literary debut of the 1980s. Inspired by success, Tolstaya wrote two dozen more stories, which were published from 1984 to 1988. These works were readily accepted by fashionable “thick” magazines such as “New World”, “Znamya” and “October”.
The first collection of stories by the St. Petersburg writer received the same name as the first story. Admirers of Tatyana Nikitichna's talent were able to purchase the book in 1987.
In 2000, Tatyana Tolstaya’s first novel, entitled “Kys,” appeared. It was met with mixed reactions, but gained many fans. The novel brought its creator the Triumph Award and soon became a bestseller. And the following year, three more books by Tolstoy were published: collections of stories “Day”, “Night” and “Two”.
In the collection of stories “They Sat on the Golden Porch...” almost all the main themes and motifs of T. Tolstoy’s work are developed: childhood and old age, illusions and reality, man and the world around him, the connection of the past with the present and the future.
the main problem The work “Kys” is about the search for lost spirituality and inner harmony. Tolstaya shows us a world in which complete chaos and confusion reigns. In this world, spiritual values have no meaning, culture is dying, and people do not understand basic things. The only source of knowledge is books, but they are also prohibited. And those who decide to keep old printed books will be punished.
Another distinctive feature of the novel is intertextuality. Throughout the work there are excerpts from poems by Pushkin, Blok, Tsvetaeva, Lermontov, which the main character Benedict reads. The novel also contains arias from the opera “Carmen” and Grebenshchikov’s songs, excerpts of which are performed by blind people. All this is directly related to the problems of the novel.
31) ARTISTIC INDIVIDUAL “OMON RA”
The main character of the novel is Omon Ra. This unusual name was given to the boy by his father, who wanted his son to become a policeman.
The novel does not present a single dialogue where the boys would discuss earthly problems. The boys talked about heaven, lived in heaven.
By the way, “soup with pasta stars, chicken and compote” appears 4 times in the novel. This element connects the different periods of Omon's life. This technique creates a feeling of unity of everything in our lives.
The person who was on the plane was Omon himself. Their fates are very similar. Omon in the future will become a toy man from childhood.
Conclusion: Space in the novel is used in two senses. In the first meaning, it is used as an astronomical concept. Omon still became an astronaut, but he became part of a system, a mechanism. The amputation was not only of the legs, but also of the dream. From something bright, a dream became a duty to the Motherland. In the second sense, space is used as an inner world. Omon comprehended this inner cosmos and remained in it. IN real life, external space exploration – amputation. Space exploration inside is a real fulfillment of a childhood dream.
Terminological minimum: “thaw”, “sixties”, poetry schools, “loud” lyrics, “quiet” lyrics, “village” prose, “urban” prose, industrial drama, conflict-free theory, industrial prose.
Plan
1. “Thaw” as a special period of Russian culture.
2. Poetry of the “sixties” in the context of the evolution of the personal beginnings of the authors:
a) the convention of dividing into “loud” and “quiet” lyrics;
b) representatives of “loud” lyrics;
c) representatives of “quiet” lyrics;
d) two poetic schools.
3. Main trends in the development of dramatic art in the 1960s.
4. Prose of the “thaw”:
a) from industrial prose to essayistic authenticity (official literature);
c) the origins of the formation of dissident literature.
Literature
Texts to study
1. Arbuzov, A. Irkutsk history.
2. Brodsky, I. Poems.
3. Vampilov, A. Eldest son. Farewell in July. Duck hunting. Last summer in Chulimsk.
4. Voznesensky, A. Poems.
5. Volodin, A. Elder sister.
6. Dorosh, E. Village diary.
7. Evtushenko, E. Bratsk hydroelectric station. Poetry.
8. Leonov, L. Russian forest. Pyramid.
9. Ovechkin, V. Regional everyday life.
10. Pasternak, B. Doctor Zhivago.
11. Pomerantsev, V. On sincerity in literature.
12. Radzinsky, E. 104 pages about love. A movie is being made.
13. Rozhdestvensky, R. Poems.
14. Rozov, V. Traditional collection.
15. Rubtsov, N. Poems.
16. Sapgir, G. Poems.
17. Sokolov, B. Poems.
18. Tvardovsky, A. T. Beyond the distance - the distance. Terkin in the next world. By right of memory.
19. Tendryakov, V. Potholes. The mayfly has a short lifespan.
20. Kholin, I. Poems.
21. Shatrov, M. Bolsheviks. Sixth of July.
Main
1. History of Russian literature of the twentieth century: textbook. manual: in 2 volumes / ed.
V.V. Agenosova. – M.: Yurayt, 2013.
2. Leiderman, N. L. Russian literature of the twentieth century (1950–1990s): textbook. aid for students higher textbook institutions: in 2 vols. T. 1: 1953–1968 / N. L. Leiderman,
M. N. Lipovetsky. – M.: Academy, 2010. – 416 p.
3. Rogover, E. S. Russian literature of the twentieth century: textbook. allowance / E. S. Rogover. – St. Petersburg. – M.: Saga-Forum, 2011. – 496 p.
Additional
1. Gromova, M. I. Russian modern dramaturgy / M. I. Gromova. – M.: Flinta: Nauka, 2002. – 368 p.
2. Kanunnikova, I. A. Russian drama of the twentieth century / I. A. Kanunnikova. – M.: Flinta: Nauka, 2003. – 207 p.
3. Russian literature of the twentieth century: textbook. aid for students universities: in 2 volumes. T. 2: 1940–1990. / ed. L. P. Krementsova. – M.: Academy, 2005. – 458 p.
4. Russian prose of the twentieth century / ed. T. M. Kolyadich. – St. Petersburg. : Philological Faculty of St. Petersburg State University - M. : Academy, 2005. - 255 p.
1. Literature of the “Thaw” –
conventional name for the period of literature of the Soviet Union of the 1950s - early 1960s. Death of Stalin in 1953
The XX (1956) and XXII (1961) congresses of the CPSU, which condemned the “cult of personality”, the easing of censorship and ideological restrictions - these events determined the changes reflected in the work of writers and poets of the “Thaw”.
“Thaw” is not a term, but a metaphor, entrenched in specialized literature with the light hand of Ehrenburg (who called his story that way
1954, published in Znamya) to designate a certain period of development Soviet history, and with it literature.
This period to this day has no clear boundaries, there are different opinions: the beginning is 1953 (in political history - the death of Stalin; in the literary process - Pomerantsev’s article “On Sincerity in Literature”, published in the magazine “New World”, which symbolizes new trends). According to other sources, the beginning of the “thaw” was 1956 (Khrushchev’s report at the 20th Party Congress).
The end of the period also has different interpretations: 1) 1962–1963. – a return to previous positions in relation to samples of fiction on the part of a number of party leaders is stated by the Strugatsky brothers in “Comments on the Past”, Solzhenitsyn in “The Calf Butted an Oak Tree”; 2) 1964–1965 – trials of Brodsky and Sinyavsky with Daniel); 3) 1968 – commissioning Soviet troops to Prague, tightening of party policy regarding dissent, partial return of party censorship. Such difficulties with dating are due to the fact that this period is extremely internally contradictory: there was the magazine “New World”, but in contrast it was supported by “October”, led by the ardent Stalinist Kochetov. Pasternak was hounded for the Nobel Prize for Doctor Zhivago, but they published One Day in the Life of Ivan Denisovich by A. Solzhenitsyn and Terkin in the Next World by A. Tvardovsky, etc.
The concept of “thaw” is not so much literary as it is socio-political. However, a new meaning of the word was born precisely in literature.
In 1948, N. Zabolotsky’s poem “The Thaw” was published in the “New World” magazine, and in 1954, the story “The Thaw” was published from the pen of I. G. Erenburg, which caused heated discussions. It was written on the topic of the day and is now almost forgotten, but its title reflected the essence of the changes. The author's name became associated with anti-Stalinist sentiments in society.
The most important internal political events of this period were the XX and XXII Congresses of the CPSU, which gave a new vector in the development of both the country as a whole and in relation to the ruling elite with culture and literature.
The 20th Congress of the CPSU took place in February 1956. The results of the fifth five-year plan were summed up, directives for the sixth five-year plan (1956–1960) were adopted, and the task was set to catch up and overtake the developed capitalist countries “in a short historical period.” The plans were thwarted, the task was forgotten, and the congress went down in the history of Soviet society thanks to the report made by N.S. Khrushchev at the last closed night meeting, which was not on the agenda. The report cited numerous facts of brutal reprisals against high-ranking party, state and military leaders during the time of Stalin. This report was kept secret from the people for 33 years (in the USSR it was published only in 1989). It began the gradual liberation of society from the ideology and practice of state terror.
The 20th Congress of the CPSU marked the beginning of a broad process of rehabilitation of those repressed in the 30s - early 50s. In the spring of 1953, rehabilitation affected only a narrow circle of the nomenklatura elite; in 1957, national statehood was restored in relation to the Kalmyks and North Caucasian peoples repressed during the war. They were allowed to return to their historical place of residence. In 1964, the Decree of the Presidium of the USSR Armed Forces dated August 28, 1941 regarding Soviet Germans, who were accused of aiding the occupiers. In 1968, a similar charge was dropped against the Crimean Tatars. At the end of the 60s, the rehabilitation process was curtailed, thereby drawing the line of a “thaw” in the relationship between power and the individual.
The meetings of party and state leaders with cultural figures in 1957, 1962, 1963 received great resonance in the life of Soviet society. They took place at the state dacha near Moscow, at the Reception House on the Lenin Hills and in the Kremlin. The meetings were of a “fatherly” nature: the leading elite praised, scolded, scolded, in their opinion, capable, talented, but careless representatives of culture, who sometimes forget that they live in a socialist state, where literature and art belong to the people and should not only be understandable him, but also ideologically consistent.
The nature of the instructions in form differed in many ways from the harsh ideological pressure on the creative intelligentsia during the Stalinist period. In essence, they pursued the same goal: to completely subordinate the creative intelligentsia to party influence.
The suicide of the writer A. A. Fadeev in May 1956 sounded a sharp dissonance with the hopes for change that arose during the “thaw”. In his suicide letter to the Central Committee of the CPSU it was said: “I see no way to continue living, since the art to which I gave my life was ruined by the self-confident and ignorant leaders of the party and now can no longer be corrected. The best cadres of literature, in numbers undreamed of by the royal satraps, were physically exterminated or died thanks to the criminal connivance of those in power; the best people in literature died at a premature age; everything else that was more or less capable of creating true values died before reaching 40–50 years of age.” The suicide letter was not published in those years, but Fadeev’s act became a tragic act of disobedience to authority.
An example of intimidation of representatives of culture was the campaign against the poet B. L. Pasternak, who was awarded the Nobel Prize in Literature in October 1958 for the novel “Doctor Zhivago” published in Italy. The novel was called a “political libel”, and its author was called an “internal emigrant” and a “traitor.” The discussion of Pasternak's action, initiated by the party leadership, resulted in a powerful campaign of condemnation. It was at this time that one of the formulas of Soviet literary life was born: “I haven’t read the novel, but I think...”. In factories and on collective farms, in universities and writers' organizations, people who had not read the novel supported methods of persecution, which ultimately led to Pasternak's serious illness and death in 1960. In 1959, at the Third Congress of Writers of the USSR, Khrushchev also condemned the “denigrators” Soviet reality, and at the same time the “varnishers”. Nevertheless, a few years later, in 1962, at the insistence of N. S. Khrushchev, the Presidium of the CPSU Central Committee allowed the publication of A. I. Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich,” which contained information about the regime and order in Soviet concentration camps, which were then considered secret.
The main qualities of literary politics were inconsistency and unpredictability. This was largely due to the controversial figure of N. S. Khrushchev. He either helped writers feel the air of freedom, or sternly pulled them back. Khrushchev was convinced that the party and the state have the right to interfere in cultural issues and therefore very often and for a long time spoke to the creative intelligentsia and writers. On his initiative, a series of reader discussions took place regarding V. Dudintsev’s novel “Not by Bread Alone.” The Writers' Union harshly condemned the novel. However, in the wake of the “thaw”, many readers allowed themselves to speak openly about it with impunity, finding in it features of innovation and artistic courage.
The name of Khrushchev is associated with the “arrest” in February 1961 of the manuscript of V. Grossman’s novel “Life and Fate”, the statement “in art I am a Stalinist”, the defeat of abstract artists at an exhibition in the Manege. The entire period of literary life associated with the name of Khrushchev turned out to be woven from contradictions. Since 1964, when L. I. Brezhnev became the General Secretary of the Central Committee, the literary situation turned out to be more predictable. At all party congresses, starting from the twentieth, special paragraphs devoted to literature always appeared in the reports. The sixth article of the Soviet Constitution (repealed only in 1990) spoke about the leading role of the Communist Party of the Soviet Union in all spheres of social and political life. In fact, party leadership of literature was constitutionally enshrined.
Thus, the literary process of the Thaw can be divided into three interconnected and interdependent periods.
The first segment of the “thaw”(1953–1954) is associated with liberation from the prescriptions of normative (canonical) aesthetics, the rules of approach to reality, the selection of “truth” and “untruth” that arose in the pre- and post-war years and reflected their harsh nature and lack of freedom. In 1953, in No. 12 of the New World magazine, an article by V. Pomerantsev “On Sincerity in Literature” appeared, in which the author pointed out the very frequent discrepancy between what the writer personally saw and knew and what he was ordered to depict, what was officially considered true. Thus, the truth in the war was not considered the retreat, not the disaster of 1941, but only the notorious victorious blows. And even writers who knew about the feat and tragedy of the defenders Brest Fortress in 1941 (for example, K. M. Simonov), until 1956 they did not write about her, crossing her out of their memory and biography.
The second stage of the “thaw”(1955–1960) is no longer the sphere of theory, but a series of artistic works that affirm new type the relationship between the writer and society, the writer’s right to see the world as it is. This is the novel by V. Dudintsev “Not by Bread Alone” (1956), and the peasant story “Levers” by the Vologda poet A. Yashin, and his poems from the collection with the characteristic name “Barefoot on the Ground” (1965), essays and stories by V. F. Tendryakova “The Fall of Ivan Chuprov” (1954), “Bad Weather” (1954), “Tight Knot” (1956). They became, along with the previously published essays “District Everyday Life” and “Difficult Spring” (1956) by V.V. Ovechkin, the origins of the journalistic branch of “village” prose.
The third segment of the “thaw”(1961–1963) is rightfully associated with the novel by front-line writer Yu. V. Bondarev (born in 1924) “Silence” (1961), the plays of V. S. Rozov (born in 1913) - especially with the play “Forever Alive” (1956) (“The Cranes Are Flying” is the name of its film version), the novel in defense of captured Soviet soldiers “Missing in Action” (1962) by S. P. Zlobin (1903–1965), early stories and novels
V. Aksenov, the poetry of E. Yevtushenko and others in the magazine “Yunost” and, of course, with the first reliable description of the camp - the story “One Day in the Life of Ivan Denisovich” (1962) by A. I. Solzhenitsyn.
The “Thaw” period entered the history of Russian literature as a special stage of development thanks to a number of other achievements:
1) new literary trends were born in the literary process, entire movements of “village” prose, “military” prose, prose, relatively speaking, “urban” or “intellectual”, the author’s song flourished (V. Vysotsky, A. Galich, etc. ) and studio theater;
2) these trends turned out to be united not only thematically and problematically, but also in a completely different qualitative sense;
3) the historical novelism of V. S. Pikul (1928–1989) was created, in particular, his novel about G. Rasputin “At the Last Line” (1979), the novel-essay by V. Chivilikhin “Memory” (1982) about the search for “ a genius without a name,” the hitherto unknown creator of “The Lay of Igor’s Campaign”; finally, D. Balashov’s novels about free Novgorod, about the “junior sovereigns” of the Russians;
4) specific works about the Russian religious and moral idea in art appeared - “Letters from the Russian Museum” (1966), “Black Boards” (1969) by Vl. Soloukhina;
5) the historical-revolutionary novelism of A. I. Solzhenitsyn (“The Red Wheel”) arose;
6) there was a rise in science fiction, the flourishing of the social dystopia of I. A. Efremov: “The Andromeda Nebula” (1958), “The Razor Edge” (1963), “The Hour of the Bull” (1970) and the Strugatsky brothers: “Snail on the Slope” (1966) ), “Ugly Swans” (1972), “Roadside Picnic” (1972), “A Beetle in the Anthill” (1979).
The largest and most unexpected phenomenon in the literature of the 60s was its division into “urban” and “rural”, contrary to all the traditions of Russian literature. Although this terminology was condemned by writers and critics, it remained, expressing the essence of literary processes. “City” prose, which began as young and confessional, mastered the layers of city life with its conflicts and everyday life, the search for a place in life and the self-determination of heroes (A. Gladilin, A. Kuznetsov, V. Aksenov, V. Maksimov, G. Vladimov). “Village” prose explored the national principles of people’s life, primarily the peasantry, its foundations and moral values. She relied on Russian classical literature. The problem of traditions and the history of folk life was characteristic of that time. In 1952–1954 Novy Mir published essays by V. Ovechkin “District Everyday Life” and an article by V. Pomerantsev “On Sincerity in Literature,” which contributed to the development of a broad discussion.
Many acute social and psychological conflicts of the time converge in the focus of “urban prose.” Moreover, if we can talk about “village prose” as a complete phenomenon, then “urban prose” in the conditions of our rapid “urbanization” and the dramas and problems it causes is still far from leaving the stage. Here we can name books by V. Tendryakov, Yu. Trifonov, A. Bitov, V. Dudintsev, D. Granin, S. Kaledin, A. Kim, V. Makanin, L. Petrushevskaya, G. Semenov and others.
The most prominent representative of the so-called “urban prose” (this term is even more conventional than the term “village prose”) -
Yu. V. Trifonov, although historical novels occupy a significant place in the work of this writer. He develops the traditions of psychological realism in prose, and is especially close to A.P. Chekhov. One of the cross-cutting themes of the writer’s “city stories” is the theme of “great trifles in life”, the theme of “little things” that suck a person in and lead to self-destruction of the individual (the stories “Exchange”, “Another Life”, “House on the Embankment”, “Preliminary results", "Late farewell").
2. a) The concept of “sixties” in the history of literature goes back to the populist movement, known in the 19th century. as champions of the unification of the intelligentsia with folk wisdom, ideas, and aspirations. In relation to the twentieth century. the term originally came to be used to refer to a poetic community whose members grew out of the realities of war and Stalinist politics. Most of them suffered in one way or another from the Stalinist regime. The parents of many future representatives of the poetic intelligentsia were “enemies of the people.” Thus, the “sixties”, raised under conditions of strict control and censorship, became the first on the path to democratic manifestations of literature of the Soviet period. Their poetic views were seriously influenced by the Great Patriotic War. The Khrushchev Thaw gave poets the opportunity to more freely express their feelings and moods. Significant names of that time: A. Voznesensky, B. Akhmadullina, R. Rozhdestvensky, E. Evtushenko, Y. Moritz
and etc.
The liberalization of public life that followed the 20th Congress, known as the era of the “thaw,” became the context for vigorous activity. During this period, a “return to Leninist norms” was supported in art, hence the rise of V. Lenin’s apologetics (verses by A. Voznesensky,
E. Yevtushenko, plays by M. Shatrov, prose by E. Yakovlev), the other side of the issue is the romanticization of the Civil War and the oppositional attitude towards the activities of V. Stalin (B. Okudzhava, Y. Trifanov, etc.).
The “Sixties” are convinced internationalists and supporters of a world without borders. It is no coincidence that revolutionaries in politics and art became cult figures for them - V. Mayakovsky, Vs. Meyerhold,
B. Brecht, E. Che Guevara, F. Castro, E. Hemingway, E. M. Remarque. The term “sixties” itself took root in the literature after the publication in 1960 of an article of the same name by S. Rassadin in the magazine “Yunost”.
The performances of young poets: B. Akhmadulina, A. Voznesensky, E. Yevtushenko, R. Rozhdestvensky became a symbol of the connection between literature and life. It is with these names that the understanding of “loud” lyrics is connected. Their spontaneous performances before a mass audience (mostly youth) at the Mayakovsky monument in Moscow, which had become traditional, had great educational significance for young poets. Creative meetings organized by the public were also popular: at the Polytechnic Museum in Moscow, in parks and palaces of culture, and trips of poets reading poetry throughout the country.
During these years, poets published a number of original collections of poems: B. Akhmadulina released the collection “String” (1962), A. Voznesensky - the collection “Antiworlds” (1964), R. Rozhdestvensky - the collection “To the Same Age” (1962). A. Tvardovsky in 1953–1960 created the poem “Beyond the Distance - Distance” with a sharp anti-Stalinist orientation; E. Yevtushenko spoke with the poem “Bratsk Hydroelectric Power Station” (1965); Tvardovsky in his poem “Terkin in the Other World” (1963) gave a satirical image of the bureaucratic deadening of existence.
The poetic word sounded at crowded evenings. Poetry Days have become a tradition, gathering audiences of thousands in concert halls, sports palaces, and stadiums. A kind of pop poetic boom occurred, in which, undoubtedly, there was a touch of sensationalism, but the main thing in this craving for poetry was determined by the ability of poets to respond to the most important spiritual needs of people experiencing a time of renewal, liberation from fear, emancipation, overcoming dogmatism and endless “taboos” .
However, public speeches, the pathos of the spoken verse, and the bright civic position characteristic of representatives of the “loud” lyricists did not exclude the presence of intimate confessional models in the poetry of that time. This opposition was especially evident in the 1960s. The term “silent poetry” appeared. He was born in opposition to loud, pop poetry and the poetic boom associated with it, and at the same time in opposition to bookishness.
Even then, this term was perceived as a critical stretch, since there was no real group of poets ready to accept it as a program slogan. But critics in their articles persistently tried to create such a group. Various names were proposed for the role of its leaders: perhaps, more often than others, V. Sokolov, a fundamentally non-group poet who always kept himself apart in poetry. “Silent poetry” was also associated with the names of those who tragically passed away in the very early 1970s. poets: N. Rubtsova (1936–1971) and A. Prasolov (1930–1972). This is, in our opinion, a rather narrow understanding of one of the fundamental trends in Russian poetry of the second half of the 20th century.
IN In the works of representatives of quiet lyricism (A. Peredreev, A. Prasolov, N. Rubtsov, St. Kunyaev, etc.), motives predicted and developed by “loud” ones find their expression - motives of citizenship and moral elevation of the individual, Memory and Fate, etc. But they were embodied with a large share of in-depth, concentrated lyricism, characteristic only of this “wave”. Their work reflected the sign of the times - maturity, stability, which required rooting the search in the depths of tradition, providing activity and initiative with the “golden reserve of spirituality.”
The “quiet” poets, or “soil workers,” also reflected the pressing problems of their time in an extremely generalized form. Turning to individuality, a specific personality, in their individual experience they tried to find a universal connection with the environment, to reach the universal foundations of nature, homeland, and family.
The presence of two directions in Russian lyrics of the 1960s. does not exclude the existence of other poetry. And indeed, at this time, “old” poets (B. Pasternak, N. Zabolotsky, A. Yashin, Y. Smelyakov) find a second wind, new young talents appear (A. Voznesensky,
A. Nikulkov, E. Yevtushenko), an author’s song arises (creativity
Yu. Vizbor, A. Galich, A. Gorodnitsky, B. Okudzhava, V. Vysotsky), posthumous rehabilitation of A. Blok, S. Yesenin is taking place. On the pages of newspapers and magazines, a discussion is unfolding about the relationship between science and art, and there is a debate related to the image of the lyrical hero in poetry.
Another classification of poetry of the 1960s can be given:
1. Civil (lyric-journalistic) poetry – addressed to current events of its time, the interpretation of which is given through the personal perception of the poet. Journalism and an open appeal to the reader are some of its most striking features. Representatives: A. T. Tvardovsky, Y. V. Smelyakov, E. A. Evtushenko and others.
2. Romantic poetry. It does not at all glorify the ideals of the revolution, the heroism of labor. During the “thaw” period, romantic poetry poeticizes the beauty in life itself and man. Her characteristic figures are
B. Sh. Okudzhava, Yu. P. Moritz, N. N. Matveeva.
3. Philosophical lyrics, which is addressed to the so-called eternal problems existence: what the world, life, death is, what is the problem of the meaning of life, how death and immortality relate. These are the late texts of B. L. Pasternak, A. A. Tarkovsky, N. A. Zabolotsky.
All this, in general, remains not fully studied in Russian literary criticism.
b) E. Yevtushenko was perceived as a true leader of the entire sixties movement. He revived in his work the tradition of late
V. Mayakovsky, which he crossed with the tradition of the late S. Yesenin (the utmost sincerity and openness of lyrical feeling, which permeates the poet’s political works). He sets the task of reviving true citizenship, and contrasts it with official citizenship. According to him, citizenship is morality in action. It’s not for nothing that Yevtushenko has several poems called “Citizenship.” Yevtushenko's poetry is addressed to current socio-political problems of the era. Modernity is the nerve of his creativity. As soon as the event had time to take place, Yevtushenko was already reacting to it.
The young poet’s initial fame came from the poem “Stalin’s Heirs” (published in Pravda in 1956), published during the 20th Congress of the CPSU, when a report on the cult of personality was first made. The poem seemed to sound in unison with the events that followed in society. Before this, Stalin was in the Mausoleum together with Lenin, and after the 20th Congress, a decision was made to remove the body from the Mausoleum. Yevtushenko describes this specific fact, and then translates everything into a metaphorical plane. Stalin's body was taken out of the Mausoleum, and now it is necessary for Stalin to be taken out of our souls.
Yevtushenko’s largest work in terms of volume, on which he worked throughout the “thaw” years, was the poem “Bratsk Hydroelectric Power Station”. Here ideas and motifs scattered across a large number of his poems and poems crossed. The history of Russia is revealed in this poem as the history of the struggle of the people and their best representatives for freedom and a better future for the country. The main stages of the revolutionary movement in Russia, starting with Stepan Razin, are captured. The narrative has been brought up to date. In the "Introduction" the poet contrasts the points of view of historical pessimism and optimism. The symbol of the first glance becomes the Egyptian pyramid - a symbol of slavery and suppression, disbelief in the possibility of changing the world. She considers human oppression to be a norm that has existed in all countries in all centuries, and believes that today's civilization is the same ancient Egypt, only in a new package. “Song of the Taskmasters”: what makes Ancient Egypt civilization is the suppression of the individual. The rhythm has a distinctly militarized character. The newly built Bratsk hydroelectric power station is entering into a dispute with the Egyptian pyramid. Without denying that in the modern world there is still a lot of ancient egypt, The Bratsk Hydroelectric Power Station at the same time claims that there are forces in humanity that will make it possible to rebuild the world on the basis of humanism. The history of Russia (the main text of the poem) is given in the persons of: Razin, Pushkin (Decembrists), Chernyshevsky (revolutionary democrats and populists). Typically, each person in the poem is shown at a particularly difficult and sad moment for him. Basic concept: the spark of freedom passes from generation to generation. In the chapter “Fair in Simbirsk” the image of young Lenin appears, which is no coincidence, since the sixties, who condemned Stalin, had Lenin as their ideal. This is a high school student, a boy who, during a holiday in Simbirsk, sees a drunk woman fallen in the mud, helps her get up and takes her home. This episode is also translated into a metaphorical plane: the Bolsheviks wanted to bring a poor and unhappy Russia wallowing in the mud to a normal life. The motive of faith in a better future for Russia sounds. This is followed by chapters on the era of revolution and the main stages of Soviet times. The chapter “Walkers Are Coming to Lenin” shows the leader in his adulthood. The “sixties” always emphasized Lenin’s democracy and humanism as opposed to Stalin’s despotism and anti-humanism. Walkers come to Lenin for the truth, and he listens carefully to every popular voice in order to put into practice what the people demand.
Yevtushenko turned out to be the first exponent in Soviet literature of the negative changes that the cult of personality brought with it. The poem says that during Stalin’s time there were, as it were, two lives of the USSR. In the chapter “Bolshevik” the floor is given to the Bolshevik Kartsev. It also talks about the beginning big changes happenings in Soviet society. The chapter "Echelon" tells how trains of former prisoners return back to European Russia, and in opposite direction Volunteers are sent to build hydroelectric power stations. Due to the fact that there is nowhere to sleep, former camps are used as shelters, where the barbed wire has been removed, bouquets of flowers are on the tables, and laughter and songs can be heard.
The most famous among the stories about the builders of the Bratsk hydroelectric power station was the chapter “Nyushka” - the confession of a girl who, on a Komsomol ticket, came to work at a construction site, but her life did not turn out in the best way: she was deceived, the child was born without a father. An entire Komsomol brigade meets her and her child from the maternity hospital. The heroine most of all wants purity in human relationships, and also “so that we can achieve communism.” The author expresses the hope that all the terrible things are behind us, and ahead Soviet man A wonderful and bright life awaits you. The main problem of the poem is freedom, political and mental, liberation from totalitarian stereotypes.
As a passionate defender of communist ideals, freed from the layers of Stalinism, he speaks R. Rozhdestvensky– a direct successor of V. Mayakovsky’s propaganda poetry. The characteristic features of his work are open journalisticism, posterity, and oratorical style. In the poem “Letter to the Thirtieth Century,” addressing his descendants, Rozhdestvensky talks about how the negative phenomena of the Stalin era hindered progress. The poet has no doubt that the goal will be achieved if the Soviet people follow the path not of Stalin, but of Lenin. All distortions do not cancel, according to Rozhdestvensky, the heroic path of the Soviet people to the future. The motives of Soviet patriotism are very strong in his poems. The poem "Requiem" glorifies the feat of those who defended their homeland from fascism. The poet calls for the labor feats of Soviet people to be carried out at the same height. At the same time, Rozhdestvensky opposes depersonalization (“Cogs”: stop treating a person like a cog).
Time has refuted many of the forecasts of Yevtushenko and Rozhdestvensky, especially those concerning political and historical prospects. But even today Rozhdestvensky’s “Poem about Different Points of View” retains its significance. Poetically mastering the world, the poet strives to understand what the meaning of life is. The author brings together different views on this issue and at the same time angrily attacks modern philistinism, ordinary people for whom there are no universal ideals and the norm is a plant existence. What Yevtushenko presents metaphorically and symbolically, Rozhdestvensky usually presents in propaganda, poster form, which forces us to classify his work as a type of propaganda poetry of the 1960s.
Not so clear A. Voznesensky, reviving the tradition of early Mayakovsky and acting as a representative of socialist avant-gardeism. He absorbed the rebellious spirit of his predecessor. Voznesensky considers life at the limit of its possibilities to be the norm of existence, acts as a moral maximalist, and defends the priority of the spiritual principle. The critic defines his style as expressive and metaphorical. The poet is actively following the path of renewal: he uses non-traditional poetic meters, introduces new vocabulary, including scientific, technical, political, and relies on a living spoken language.
Voznesensky’s work is ambiguous because he has a secondary political line - these works are outdated today, have lost their living meaning, only the historical and literary remains. But at the same time, Voznesensky created a significant layer of works of a universal human nature, in which the theme of humanism comes first. Best implementation Voznesensky’s themes of love and devotion are “Juno and Avos,” a musical performed together with A. Rybnikov.
c) High notes of civil, social sound are characteristic of the work of all “quiet” poets. Their attention to the natural world was not confined to the framework of poetic depiction, but was permeated with an intense spiritual and philosophical principle.
Once A. Prasolov noticed that none of the other poets on Earth have such closeness to the deepest in man as the Russians. The poet presents all moments of rapprochement with nature in dynamics - a “living” flow of life on the one hand and a “tense stem” on the other. But the contact with the world itself is not fixed for him by the framework of the end and the beginning; it existed long before it was described by the poet. A. Prasolov thus creates a picture of the unity of the world and the hero, which confirms his ideas about the timelessness of the existence of the unity of man and nature. As a rule, this happens during the zenith, when the “waiting soul” easily and joyfully “senses” the “huge”, “darling”. It is not difficult to notice that the dissolution of the personality in the world among the “quiet” creates its own moral and philosophical equivalent - the soul.
They declared their adherence to the classical tradition in their poems
A. Zhigulin and V. Kazantsev. Their poetry is full of socio-historical and civic journalistic pathos. Their knowledge of the world occurs on the basis of a detailed study of the environment. A. Zhigulin found it difficult to comprehend the changes in himself and the world around him, and only love for his homeland helped him find his creative “I” and heal his wounded soul. V. Kazantsev begins with something unknown to him, with the desire to “live with anxiety,” “live with depth.”
The poetry of V. Sokolov at that time seemed out of date. But he did not abandon his chosen path, did not deviate from his principles of creativity, on the contrary, he always strived for the strict classical form of poetry, clarity of expression. V. Sokolov knows how to create in poetry an atmosphere of continuous action, movement of thought, which indicates his creative mastery and development of one of the main themes of Russian classical poetry - the theme of the path, the road. His lyrical hero feels constant anxiety and concern for the future. This anxiety leads him to the “true word,” to what is “kept in his soul.” The motive of the soul in his lyrics is outlined only dottedly, and he will find his full disclosure in the work of younger poets, representatives of the “new wave” of the so-called “quiet lyricism”. The artist’s desire to develop various themes of modernity and history, and an appeal to the traditions of Russian classical verse, led the poet to a synthesis of the biographical, natural and socio-historical.
The work of N. Rubtsov occupies a special niche in “quiet” lyrics. All the numerous researchers of his poetry come to the same conclusions. The work of this poet is characterized by:
– the idea of the dependence of man’s spiritual world on the land, nature and traditions of peasant life and, in connection with this, an appeal to historical memory;
- memory of the war;
– poeticization of the small homeland;
– contextually expressed social protest;
– a peasant understanding of labor and nature as a spiritual dominant;
– the desire for uncompromising truth.
At such philosophical and historical moments it becomes possible appearance significant works that grow into a semantic picture of what is essential that can be expressed. One of them is the mood of N. Rubtsov. It is difficult to find another poet who, with the same strength and brightness, would show us his external and internal appearance in his work. It seems that all his poetry is a long conversation about his life: about dreams and love, friendship and loneliness, close people and losses, that is, a lyrical autobiographical novel in verse.
d) By the middle of this turbulent decade, the general tendency towards strengthening the philosophical and analytical principle in the works of Y. Smelyakov, V. Fedorov, L. Martynov, E. Vinokurov, A. Mezhirov and other poets began to increase. Their desire to record a new level of generalization of thought is quite obvious.
The deepening of historicism in poetry was felt everywhere. This is confirmed both by the experience of the poets of the “war” generation, and by the work of young poets, poets of the “post-war conscription”. The artists tested the lives of their contemporaries by the experience of history - one of the most faithful and convincing principles of recreating the truth of life. This circumstance also had an impact on the style of poetry in the second half of the 60s. It also seems logical that the establishment of philosophical analytics entailed a deepening of realistic tendencies in the artistic systems of poets.
The desire for philosophical generalization as a manifestation of the general trend of the second half of the 1960s. traced in the works of poets of different generations and movements: V. Lugovsky, A. Tvardovsky, M. Lukonin, V. Bokov, N. Rubtsov, A. Zhigulin and others.
The artistic generalization, to which poets everywhere turned, most definitely highlighted the affirmation of the historical-analytical trend in the worldview and poetry of that period.
At the same time, it was during this period that the development of two poetic schools was recorded, the echoes of which are noticeable in Russian lyrics at the turn of the 21st century.
St. Petersburg Poetry School formed under the Acmeist wing of A. Akhmatova. A group of young poets had the lucky fate of meeting her. Communication with Akhmatova established a living connection between Russian culture Silver Age and domestic literature of the 1960s. Certain aspects of the aesthetics of Acmeism were developed in the works of poets of the St. Petersburg school. The artistic image of culture becomes such a “single core of meaning,” simultaneously correlated with history and personal destiny. It is he who becomes the focus of the mythological model of the world, in which, as in the poetry of Mandelstam and Akhmatova, the “drama” of time and space, nature and culture, existence and history “plays out.” However, neo-Acmeism in the postmodern situation acquires new features. The private, internal, subjective is no longer perceived as an artistic absolute. From the lyrical freedom of emotional-suggestive verse (from the word “suggestion” - suggestion), a movement begins in the opposite direction, in search of some kind of extra-personal artistic arguments.
The status of the poetic word has changed. It no longer has that sacred sound, uniqueness, as in modernist verse, because there is no pathos of uniqueness itself. Similarity to everyone becomes a new pathos. Therefore, irony appears, a penchant for puns and games.
The St. Petersburg school included poets of the older generation, the so-called “sixties” (E. Rein, A. Naiman, A. Kushner) and poets of the younger generation – “seventies” (V. Krivulin, E. Schwartz), who generally continued the traditions of their predecessors . The St. Petersburg school is not distinguished by unity of direction. It includes, in addition to neo-Acmeism, neo-baroque traditions, clearly expressed, for example, in poetry
E. Schwartz. V. Krivulin, in a conversation given by V. Kulakov, speaking about the St. Petersburg school, named one of its distinctive features - spirituality, explaining that “special spiritual alertness” is present precisely in relation to the word.
Spiritualism is a philosophical and mystical doctrine that recognizes the spiritual origin as the essence of the world and considers the material as a creation of the spirit. Constant alertness to the word is manifested primarily through the poet’s wary listening to himself. Thus, the poet acts as a mediator between the fundamental principle, God and the world of Nature. This, of course, gives rise to the principle of dialogicity between different linguistic cultures.
The most famous representative of the school united by the theme of St. Petersburg was Joseph Brodsky. He attracted attention for his lack of conformity and unwillingness to play by the accepted rules, for which in 1964 he was put on trial for “parasitism.” This was the reason for the writer’s departure from the Soviet Union. Winner of the Nobel Prize in Literature for his ability and desire to experiment in lyrical art, the poet subsequently considered the topic of Russia undesirable for himself.
For Dostoevsky’s heroes, the concepts of “leaving” (to America) and “perishing” were synonymous. I. Brodsky, having left Russia, broke not only with national tradition. The break with his homeland was more significant, his further attitude towards it (a demonstrative refusal to meet with Russian democratic writers, deliberately ignoring all invitations to visit St. Petersburg) acquired a painful character. Maybe behind this “hatred” there was hidden an unconquerable love and a fear of admitting it to oneself? Moreover, abroad I. Brodsky constantly turned to works written in Russia as sources of new content. And even despite the partial transition to English in his work, the poet did not abandon the theme of St. Petersburg until the end of his life.
Another notable poetic “acquisition” of the 1960s. became the “Lianozov school”. This friendly circle of poets and artists received its name from the name of a village in the Moscow region, which was later absorbed by Moscow and became one of its districts. The circle formed spontaneously around E. Kropavnitsky, who was born at the end of the 19th century. and was the oldest. Members of the circle were poets G. Sapgir, I. Kholin, V. Nekrasov, Y. Satunovsky, artists O. Rabin, N. Vechtomov,
L. Masterkova, V. Nemukhin. And although all members of the “Lianozov school” felt a certain commonality of creative aspirations, a unifying desire to express themselves freely and fully, for them purely human relationships, attention to the creative searches of all members of the circle and support for each other were much more important. It is characteristic that, having played a decisive role in the formation of the school, E. L. Kropivnitsky did not give it his name and it was preserved in the history of Russian culture with a “geographical” name.
A decisive role in the development of the school, at least for initial stage, played by E. L. Kropivnitsky. He became a spiritual teacher for I. Kholin and G. Sapgir. A man generously gifted by nature, an artist (he graduated from the Stroganov School in 1911), a musician (his opera “Kiribeevich” was highly appreciated by the composer A.K. Glazunov), a poet (before the revolution he was published in periodicals), he was also a major, a unique personality, a nature that limitedly combined lyricism and skepticism, a born mentor who did not teach anything, but gradually, in conversation, or through a passing assessment, shared knowledge with the student, awakening a dormant talent, helping him understand his own nature. Ultimately, the impact was also exerted by the life of the teacher, who, in the words of G. Sapgir, existed like an ancient or ancient Chinese philosopher, extremely modestly, even ascetically, but at the same time lived an intense spiritual life. E. L. Kropivnitsky was directly connected with the culture of the Silver Age. Among his friends and close acquaintances are the poet and translator A. Alving (1885–1942), who actively promoted the poetry of I. F. Annensky and sorted through his archive after the master’s death; poet and translator Yu. Verkhovsky (1885–1956), who, in addition, dealt with the 19th century as a source of literature; poet
F. Chernov (1877–1940). Close comrades or associates in painting were the artists P. Kuznetsov (1878–1968), R. Falk (1886–1958), A. Tyshler (1898–1980).
All this, undoubtedly, was reflected in the pictorial aesthetics
E. L. Kropivnitsky, and on his poetics. Refusing in the 1930s. from his previous literary style, he destroyed most of the poems written up to that point (in the collection he compiled, which was published abroad in 1977, E. L. Kropivnetsky included only poems written after 1937).
He pointedly called himself “a poet of the outskirts and bourgeois houses.” His poems, extremely specific, saturated with precise, seemingly redundant details, captured the life of this very outskirts, where nothing can be hidden from the neighbors' eyes, and no one hides anything, where everyone knows everything about each other, just look behind the fence or in any of the windows.
It should be emphasized that the “Lianozovites” (except for Y. Solnovsky) were never interested in social problems. It would be wrong to correlate the searches of the “Lianozovites” artists with the “severe realism” of Soviet artists of the 1960s, and the searches of poets with the updated post-war realism in literature. Living in a single space and time, although they did not run away from modernity, they had no interest in it. Since the first publication in a samizdat magazine
A. Ginsburg “Syntax”, where the poem by G. Sapgir was published,
I. Kholin and not yet a member of the “Lianozov” circle of Vs. Nekrasov, they were interested exclusively in questions of poetics. How others perceived their works is another matter. The very appearance in 1959 of an independent magazine, such as Syntax, whose author and editor agreed not to touch politics, was elevated to the rank of a political action, because their actions were interpreted as a desire to escape from state supervision.
Nevertheless, social criticism is not characteristic of the “Lianozovites” at all. The main and only thing that was of interest to them was aesthetics, at the initial stage, perhaps “anti-aesthetics.” But the objects they chose were outside the boundaries of official culture.
The “Lianozovites” poets and artists are characterized by an increased interest in the quests of their comrades and mutual support.
3. The general rise of theatrical art in the late 1950s. led to the rise of drama. Works by new talented authors appeared, many of whom determined the main paths for the development of drama in the coming decades. Around this period, the personalities of three playwrights were formed, whose plays were often staged throughout the Soviet period - V. Rozov, A. Volodin,
A. Arbuzova. Arbuzov made his debut back in 1939 with the play “Tanya” and remained in tune with his audience and reader for many decades. Of course, the repertoire of the 1950s and 1960s. was not limited to these names, A. Salynsky, L. Zorin, S. Aleshin, actively worked in dramaturgy,
I. Shtok, A. Stein, K. Finn, S. Mikhalkov, Y. Miroshnichenko, A. Sofronov and others. Largest quantity productions in the country's theaters for two or three decades consisted of unpretentious comedies
V. Konstantinov and B. Ratzer, who worked in collaboration. However, the vast majority of plays by all these authors are known today only to theater historians. The works of Rozov, Arbuzov and Volodin were included in the golden fund of Russian and Soviet classics.
During the “thaw” period, theatrical art developed rapidly, which led to the expansion and renewal of the theater repertoire, the appearance of many bright dramatic works by talented authors. Conflict-free plays, in which the class-ideological principle of character assessment was in effect, were replaced by serious dramas devoted to moral issues. Depending on the leading principle of creating images, “thaw” and “post-thaw” plays can be divided into three types:
· artistic and journalistic drama;
· socio-psychological drama;
· comedy.
Among all the variety of genres and styles that have overwhelmed the theater since the late 50s. XX century up to the present day, in modern dramaturgy one can note the clear predominance of the socio-psychological play, traditional for the Russian theater. Despite the frankly everyday, even everyday background of the action itself, most of these works had a very deep, multi-layered philosophical and ethical subtext. In a sense, the authors of these plays became successors of Chekhov's traditions in drama, when the ordinary plot reflected “eternal,” universal questions and problems. Here writers actively used such techniques as:
Creation of an “undercurrent”;
Built-in plot;
Expanding the stage space by introducing poetic or object symbols.
For example, a small flower garden with daisies in A. Vampilov’s play “Last Summer in Chulimsk”, like the old one The Cherry Orchard from the famous drama by A. Chekhov, becomes for Vampilov’s heroes a kind of test for the ability to love, humanity, and love of life.
Very effective, enhancing the psycho-emotional impact on the viewer, were such techniques as off-stage “voices”, sometimes constituting, in fact, a separate plan of action, or fantastic visions of heroes.
“The Thaw” made it possible for the first time to raise the ideological scenery above the Soviet stage and drama. Of course, not all, but a very significant part of them. Before talking about the happiness of all mankind, it would be nice to think about the happiness and unhappiness of an individual person.
The process of “humanization” made itself known in dramaturgy, both in its literary basis and in its production.
The search for artistic means capable of conveying the leading trends of the time within the framework of everyday, chamber drama led to the creation of such a significant work as the play A. Arbuzova"Irkutsk history" (1959–1960). The depiction of everyday human drama rose in it to the height of poetic reflections on the moral principles of a contemporary, and the features of the new historical era were vividly imprinted in the appearance of the heroes themselves.
At the beginning of the play, the heroine, a young girl Valya, experiences a state of deep mental loneliness. Disappointed in love, she lost faith in people, in the possibility of happiness for herself. She tries to make up for the painful spiritual emptiness, boredom and prose of everyday work with frequent love affairs, the illusory romance of a thoughtless life. Loving Victor, suffering humiliation from him, she decides to take revenge on him - she marries Sergei.
Another life begins. Sergei helps the heroine find herself again. He has a strong-willed, strong, persistent and at the same time humanly charming character, full of warmth. It is this character that makes him, without hesitation, rush to the aid of a drowning boy. The boy is saved, but Sergei dies. The tragic shock experienced by the heroine completes the turning point in her soul. Victor also changes; the death of his friend forces him to reconsider a lot in his own life. Now, after real trials, true love of the heroes becomes possible.
It is significant that Arbuzov widely used stage convention techniques in the play. A sharp mixture of real and conventional plans, a retrospective way of organizing action, transferring events from the recent past to the present day - all this was necessary for the author in order to activate the reader, viewer, make his contact with the characters more lively and direct, as if bringing problems to the surface. space for broad, open discussion.
The chorus occupies a prominent place in the artistic structure of the play. He introduces into this drama journalistic elements that were extremely popular in the society of that time.
“Even the day before death is not too late to start life over again” - this is the main thesis of Arbuzov’s play “My Poor Marat” (1964), the approval of which the heroes come to in the finale, after many years of spiritual quest. Both plot-wise and from the point of view of the dramatic techniques used here, “My Poor Marat” constructed as a chronicle. At the same time, the play is subtitled “dialogues in three parts.” Each part has its own exact time designation, up to a month. With these constant dates, the author seeks to emphasize the connection of the heroes with the world around them, evaluating them throughout the entire historical period.
The main characters are tested for mental strength. Despite the happy ending, the author seems to be saying: everyday life, simple human relationships require great spiritual strength if you want your dreams of success and happiness not to collapse.
In the most famous dramatic works of those years, problems of everyday life, family, and love are not separated from issues of moral and civic duty. At the same time, of course, the severity and relevance of social and moral issues in themselves were not a guarantor creative success– it was achieved only when the authors found new dramatic ways of considering life’s contradictions and sought to enrich and develop the aesthetic system.
Very interesting creativity A. Vampilova. His main achievement is a complex polyphony of living human characters, in many ways dialectically continuing each other and at the same time endowed with pronounced individual traits.
Already in the first lyrical comedy “Farewell in June” (1965) The signs of a hero were clearly identified, who then passed through Vampilov’s other plays in different guises.
Busygin, the main character of Vampilov’s play, takes complex psychological paths to achieve spiritual integrity. "Eldest Son" (1967). The plot of the play is constructed in a very unusual way. Busygin and his random travel companion Sevostyanov, nicknamed Silva, find themselves in the Sarafanov family, unknown to them, who are going through difficult times. Busygin unwittingly becomes responsible for what is happening to his “relatives.” As he ceases to be a stranger in the Sarafanovs’ house, the previous connection with Silva, who turns out to be an ordinary vulgar, gradually disappears. But Busygin himself is increasingly burdened by the game he has started, by his frivolous but cruel act. He discovers a spiritual kinship with Sarafanov, for whom, by the way, it doesn’t matter at all whether the main character is a blood relative or not. Therefore, the long-awaited revelation leads to a happy ending to the entire play. Busygin takes a difficult and therefore conscious, purposeful step forward in his spiritual development.
The problem of moral choice is solved even more complexly and dramatically in the play “Duck Hunt” (1967). The comic element, so natural in Vampilov’s previous plays, is here reduced to a minimum. The author examines in detail the character of a person drowned in the vanity of life, and shows how, by making immorality the norm of behavior, without thinking about the good for others, a person kills the humanity in himself.
The duck hunt, which the hero of the drama Viktor Zilov is going on throughout the entire action, is not at all an expression of his spiritual essence. He is a bad shot because he admits that he feels bad about killing ducks. As it turns out, he feels sorry for himself, too, although one day, having reached a dead end in his senseless whirling among seemingly beloved women and seemingly friendly men, he tries to stop everything with one shot. Of course, there was not enough strength for this.
Ethical problems were clearly revealed in V. Rozov’s drama “On the Wedding Day” (1964). Here, quite young people are tested for moral maturity. On the wedding day, the bride suddenly declares that the wedding will not happen and that she is parting with the groom forever, although she loves him endlessly. Despite all the unexpectedness of such a decisive act, the behavior of the heroine - Nyura Salova, the daughter of a night watchman in a small Volga town - has its own inexorable internal logic, leading her close to the need to renounce happiness. As the story progresses, Nyura becomes convinced of a bitter but immutable truth: the man she is marrying has long loved another woman.
The uniqueness of the conflict situation that arises in the play lies in the fact that the struggle does not flare up between the characters within a closed and fairly traditional love “triangle”. Rozov, having retrospectively outlined the real origins of the acute conflict that has arisen, follows, first of all, the intense confrontation that takes place in the soul of the heroine, because ultimately she herself must make a conscious choice, utter the decisive word.
Rozov opposed the dogmatic concept of the “ideal hero”, who certainly manifests himself against a historical and social background. The action of his plays always takes place in a narrow circle of characters. If this is not a family, then a group of graduates and classmates who have gathered at school for their evening after many years of separation. Sergei Usov, the main character of the play “Traditional Gathering” (1967), directly speaks about the value of the individual, which does not depend on professional achievements, positions, social roles– the fundamental principles of human spirituality are important to him. Therefore, he becomes a kind of arbiter in the dispute between matured graduates trying to separate the wheat from the chaff in assessing the viability of this or that fate. The gathering of graduates becomes a review of their moral achievements.
In the same way, A. Volodin separates and disconnects his characters from numerous social connections - “The Big Sister” (1961), “The Appointment” (1963); E. Radzinsky - “104 pages about love” (1964), “A movie is being made” (1965).
This is especially typical for female images, to whom the author's undivided sympathy is given. The heroines are touchingly romantic and, despite very difficult relationships with others, as if pushing them to give up any dreams, they always remain true to their ideals. They are quiet, not very noticeable, but, warming the souls of loved ones, they find strength for themselves to live with faith and love. Girl-stewardess (“104 pages about love”), chance meeting which did not foreshadow for the hero, the young and talented physicist Electron, seemingly any changes in his rationally correct life, in fact showed that a person without love, affection, a sense of his daily need for another person is not a person at all. In the finale, the hero receives unexpected news about the death of his girlfriend and realizes that he will never again be able to feel life the way he once did, that is, just three and a half months ago.
Interestingly, in the 1960s. much has changed even for so-called revolutionary drama. On the one hand, she began to resort to the possibilities of documentary filmmaking, which is largely explained by the desire of the authors to be reliable down to the smallest detail. On the other hand, the images of historical figures acquired the features of completely “living” people, that is, contradictory, doubting people going through an internal spiritual struggle.
In the play M. Shatrova"Sixth of July" (1964), called in the subtitle “an experience in documentary drama,” the history of the revolution itself was directly recreated in a dramatic combination of circumstances and characters. The author set himself the task of discovering this drama and introducing it into the framework of theatrical action. However, Shatrov did not take the path of simply reproducing the chronicle of events; he tried to reveal their internal logic, revealing the socio-psychological motives for the behavior of their participants.
The historical facts underlying the play - the Left Socialist Revolutionary rebellion in Moscow on July 6, 1918 - gave the author ample opportunity to search for exciting stage situations and free flight of creative imagination. However, following the principle he had chosen, Shatrov sought to discover the power of drama in the very real story. The intensity of the dramatic action intensifies as the political and moral combat between the two politicians– Lenin and the leader of the Left Socialist Revolutionaries Maria Spiridonova.
But in another play, “The Bolsheviks” (1967), Shatrov, by his own admission, largely departs from the document, the exact chronology, in order to create a more integral artistic image of the era. The action takes place over the course of just a few hours on the evening of August 30, 1918 (with the stage time more or less exactly corresponding to the real one). Uritsky was killed in Petrograd, and an attempt was made on Lenin's life in Moscow. Not the tragic events themselves (they happen behind the scenes), but their refraction in the spiritual life of people, the moral problems they put forward form the basis of the ideological and artistic concept of the play.
The clash of different views on the moral responsibilities of the individual in society, the processes of the internal, spiritual development of the hero, the formation of his ethical principles, which takes place in intense and acute mental struggles, difficult searches, conflicts with others - these contradictions constitute the driving principle of most plays of the 1960s. By turning the content of their works primarily to issues of morality and personal behavior, playwrights significantly expanded the range of artistic solutions and genres. The basis of such searches and experiments was the desire to strengthen the intellectual element of the drama, and most importantly, to find new opportunities for identifying the spiritual and moral potential in a person’s character.
4.In Russian prose of the 1960s. a change of vector is planned: N. Lyashko “Blast Furnace”, F. Gladkov “Cement” open the list of industrial prose, which, continuing the state “service” of revolutionary romantic prose, turns to those more relevant in the mid-1920s. issues of restoration of industry, construction and education of a new type of personality, a new family. As often happens, the first works of this type are not the most successful. In addition, it is unlikely that it will be possible to judge, say, F. Gladkov’s “Cement” from the texts available to us, since they represent later editions of the work, very different from the text of the 1920s.
Among the most significant phenomena of industrial prose and works marked by signs of similarity with it, one should name “Sot” by L. Leonov, “The Second Day” by I. Ehrenburg, “Hydrocentral” by M. Shaginyan, “Man Changes Skin” by B. Yasensky, “Volga flows into the Caspian Sea" B. Pilnyak, "Journey to a country that does not yet exist" Sun. Ivanova, “Courage” by V. Ketlinskaya, “Time, Forward” by V. Kataev, etc.
The influence of revolutionary romantic works on industrial prose is quite obvious: the system of characters is built on the same principle, it is no coincidence that the main characters continue biographically life path yesterday's commissars, commanders, soldiers returning from the battlefields, and among the characters there is always a hidden implacable enemy.
However, during the “thaw” period in official prose there was a significant shift in favor of the psychologization of characters.
Literature of the 1960s continued the artistic study of the life of a rural worker, which began in the first decades after 1917 (“Virgin Soil Upturned” by M. Sholokhov, “Whetstones” by F. Panferov, etc.). The works about the village by these authors were imbued with the pathos of overcoming the dark, inert, backward, individualistic, possessive, which conflicted with the tasks of building a new life. The focus of the writers of the 60s was on the issues of preserving everything valuable in the traditions of rural life, the uniqueness of the national way of life, and folk morality. By “village prose” we mean a special creative community, that is, it is, first of all, works united by a common theme, the formulation of moral, philosophical and social problems. They are characterized by the image of an inconspicuous hero-worker, endowed with life wisdom and great moral content. Writers of this direction strive for deep psychologism in depicting characters, for the use of local sayings, dialects, and regional words. On this basis, their interest in the historical and cultural traditions of the Russian people and the topic of continuity of generations grows.
In the early 1950s. articles and works began to appear on the pages of literary magazines that played the role of a pathogen public opinion. I. Ehrenburg’s story “The Thaw” caused heated controversy among readers and critics. The images of the heroes were given in an unexpected way. The main character, parting with a loved one, the director of the plant, an adherent of Soviet ideology, in his person breaks with the country's past. In addition to the main storyline, describing the fate of two painters, the writer raises the question of the artist’s right to be independent of any attitudes.
In 1956, V. Dudintsev’s novel “Not by Bread Alone” and the stories by P. Nilin “Cruelty” and S. Antonov “It Was in Penkov” were published. Dudintsev's novel traces the tragic path of an inventor in a bureaucratic system. The main characters of the stories of Nilin and Antonov attracted people with their lively characters, sincere attitude to the events around them, and searches for their own truth.
The most striking works of this period were focused on participation in solving pressing socio-political issues for the country regarding the revision of the role of the individual in the state. Society was in the process of mastering the space of newly opened freedom. Most of the participants in the debate did not abandon socialist ideas.
The Second All-Union Congress of Writers (December 15–26, 1954; the first congress, as is known, took place back in 1934) was held in fairly frank discussions. One of the patriarchs of Soviet literature, M. A. Sholokhov, speaking in the debate, expressed regret about the “dirty stream of faceless and mediocre literature” that overwhelmed the pages of publications and generated by official orders. The congress did not make any serious accusations against dissenting writers. On the contrary, it brought several rehabilitations in the literary world: restrictions on the publishing activities of such writers as M. A. Bulgakov and
Yu. N. Tynyanov.
The intelligentsia split into two camps: conservatives and liberals. The head of the conservatives turned out to be the writer V. A. Kochetov, the recognized leader of the liberals was A. T. Tvardovsky. The magazines “October”, “Neva”, “Literature and Life” became the mouthpiece of conservatives; The ideas of the liberals were embodied in the magazines “New World” and “Youth”. N.S. Khrushchev balanced between these two camps, pursuing a dual and self-defeating policy.
In the initial post-Stalin period (1953–1964), several literary works that were fundamentally new in form and essence appeared. The desire to reveal the real contradictions of Soviet society is marked by such talented works as the novels by D. Granin “The Seekers” (1954) and “I’m Going into the Storm” (1962), and G. Nikolaeva’s “The Battle on the Way” (1957). V. Dudintsev’s book “Not by Bread Alone” (1956) about the conflict between an inventor and the bureaucratic machine (an action-packed story about the selfless struggle of scientists to save genetics in the late 1940s) sharply revealed the vices of our reality.
The center of the ideological struggle was the magazine “New World,” which was edited in 1950–1954 and 1958–1970. poet A.T. Tvardovsky. With the support of N. S. Khrushchev, he managed to publish the story
A. I. Solzhenitsyn’s “One Day in the Life of Ivan Denisovich” (1962), where the topic of the Gulag was first raised.
A fierce struggle in the field of literary creativity unfolded around the just completed (in 1955) novel by B. L. Pasternak “Doctor Zhivago”. New edition magazine "New World" (after Tvardovsky's next resignation), B. L. Pasternak's novel, accepted for publication under Tvardovsky, was rejected. Soon after, it was published abroad (in Italian in 1957, then translated into other languages), and was awarded the Nobel Prize in 1958. The instant success of the novel and the award of such a high international award worsened the already strained relations between the writer and the authorities. Under the threat of expulsion from the USSR in 1958, Pasternak was forced to refuse the prize, although several years later, in 1965, the award of the same prize to M. A. Sholokhov was regarded as an outstanding success of Soviet literature.
Soviet criticism declared the novel “Doctor Zhivago” a non-Marxist work, although Pasternak gained official recognition for his work (the poem “Nine Hundred and Five”). The author was accused of joining the anti-Soviet campaign launched in the West. He was accused of being anti-Soviet, contempt for the Russian people, and admiration for the West.
On October 27, 1958, at the request of party bodies (the department of ideology of the CPSU Central Committee), a plenum of the Writers' Union was convened to discuss Pasternak's work. When the clash between Pasternak and the authorities reached its climax, the intelligentsia surrendered. The majority of the plenum participants supported the expulsion of Pasternak from the Writers' Union. The novel “Doctor Zhivago” was banned from publication in the USSR (for the first time in our country it was published only under M. S. Gorbachev).
To avoid deportation from the USSR, Pasternak had to send a statement to the organ of the CPSU Central Committee, the newspaper Pravda (November 5, 1958), in which he explained that he refused the prize on his own initiative and accused the West of using his work for political purposes .
The “Pasternak Affair” most clearly showed the limits of de-Stalinization in relations between the authorities and the intelligentsia. At the same time, this so-called “case” gave rise to a serious crisis in the consciousness of the Russian intelligentsia, which showed itself unable to openly resist the pressure of the authorities. For many, this crisis grew into a feeling of constant deep guilt and at the same time became the beginning of a moral revival.
Satisfied with the outcome of the “Pasternak case,” Khrushchev, for his part, stopped further attacks on the liberals. Moreover, he undertook in 1958–1960. a number of steps indicated a tendency towards a certain liberalization: Tvardovsky was returned to the leadership of the New World; The III Congress of the Writers' Union, held in May 1959, ended with the resignation of A. A. Surkov (who showed particular zeal in the campaign against Pasternak) from the post of first secretary of the board of the USSR Writers' Union, whose place in the leadership of the Union was taken by K. A. Fedin, a representative of a more moderate trend . Finally, the appointment in 1960 of E. A. Furtseva (1910–1974) as Minister of Culture at first also seemed to be a concession to new trends. Nevertheless, these measures turned out to be insufficient to smooth out the depressing impression caused by the “Pasternak affair” in the memory of intellectuals. During this period, censorship was tightened again, resulting in the proliferation of typewritten copies of unpublished works.
At the end of the 1950s. samizdat arose. This word was used to name typewritten journals that were born among young poets, writers, philosophers, and historians who met on Mayakovsky Square in Moscow on Saturdays.
One of the first manuscripts to circulate from hand to hand (often without the knowledge of the authors) was Tvardovsky’s poem “Terkin in the Next World,” written back in 1954. It sharply satirically depicts the Stalinist camp system.
Books by emigrants and some domestic authors (the so-called “tamizdat”), illegally exported from abroad, began to be secretly distributed.
Thus, for official literature of the 1960s. characterized by interest in the historical and cultural traditions of the Russian people, in the theme of continuity of generations.
All types of prose works were involved in the development of these problems - from journalistic essays to epic novels, all genres - historical, social, psychological, philosophical, everyday life, satirical, lyrical, etc.
The ancestor of the new village sketch can be considered V. V. Ovechkina(1904–1968). All-Union fame came to him after the publication of essays “District Weekdays” in the magazines “Pravda” and “New World”. Ovechkin creates a new type of essays at the intersection of journalism and fiction. The writer uses an artistic technique - stylization as an essay. This allows him to analyze the character of people, important economic problems, and leadership problems. “District Everyday Life” is an innovative work, “business truth”, based on fact, real events (from journalism) and with fictional characters, artistic generalizations(from literature). For the first time in Soviet literature, Ovechkin made economic, social and political problems the subject of deep aesthetic experience. The merit of the writer lies in the fact that he tries to ensure that journalism is artistic and literature is effective. This largely determined the features of his essays. They are associated with the traditions of Russian village prose, which had a direction associated with the formulation of pressing problems.
The theme touched upon by Ovechkin was continued by E. Ya. Dorosh (1908–1972) in “Village Diary”, V. F. Tendryakov (1923–1984) in the stories “Potholes”, “Mayfly - a short century”.
Essays about the village prepared the appearance of “village prose” in Russian literature, the most notable representatives of which are S. Zalygin, F. Abramov, V. Belov, V. Astafiev, V. Rasputin and others.
In the 1960s "village prose" comes out on new level. Writers are beginning to address topics that were previously taboo:
1. The tragic consequences of collectivization (“On the Irtysh” by S. Zalygin, “Death” by V. Tendryakov, “Men and Women” by B. Mozhaev, “Eves” by V. Belov, “Brawlers” by M. Alekseev, etc.).
2. Depiction of the near and distant past of the village, its current concerns in the light of universal human problems, the destructive influence of civilization (“Last Bow”, “Tsar Fish” by V. Astafiev, “Farewell to Matera”, “ Deadline"V. Rasputin, "Bitter Herbs" by P. Proskurin).
3. In the “village prose” of this period, there is a desire to introduce readers to folk traditions, to express a natural understanding of the world (“Commission” by S. Zalygin, “Lad” by V. Belov).
Thus, the depiction of a person from the people, his philosophy, the spiritual world of the village, focus on the people's word - all this unites such different writers as F. Abramov, V. Belov, M. Alekseev,
B. Mozhaev, V. Shukshin, V. Rasputin, V. Likhonosov, E. Nosov, V. Krupin and others.
Questions and tasks for self-control
1. Define the concept of “industrial novel.” Were similar plots reproduced in dramatic works of the designated period?
2. What place does the “Lianozov school” occupy in the history of Russian culture?
3. What is the fate of B. Pasternak’s novel “Doctor Zhivago”?
4. List the representatives of the “St. Petersburg school” in poetry, indicating the main features of their works.
5. What is the “A. Vampilov Theater”? What is the phenomenon of his plays?
Quote by: Ostanina, E. A. Tragic suicides [Electronic resource] /
E. A. Ostanina. – Access mode: http://www.TheLib.ru›books/leksandrovna/
The years of the “thaw” became for Russian poetry not only a time of revival, but also a time of flourishing. With the advent of brilliant poetic talents, interest in poetry has increased many times over. The huge halls of the Luzhniki Stadium, the concert hall named after. P.I. Tchaikovsky, the Polytechnic Museum in Moscow, theater and concert halls in Leningrad and other cities of the country were filled to capacity when a poetry evening was announced. For long hours, grateful listeners listened to the voices of their favorite poets. Poetry collections were literally swept off bookstore shelves. The area devoted to poetry by “thick” magazines and almanacs has increased noticeably. The enormously popular almanac “Poetry Day” was founded and published for a number of years.
The pathos of the poetry of those years was the affirmation of the value of the unique human personality, human dignity:
People are leaving... They cannot be brought back.
Their secret worlds cannot be revived.
And every time I want again
Scream from this irrevocability.
(Evg. Yevtushenko)
One poet was indignant at a society where a person is treated like a cog, another was convinced: “There are no uninteresting people in the world,” a third proclaimed: “All progress is reactionary if a person collapses.”
The poetry of the 1960s decisively moved away from ideological cliches, became polemical, and made artistic discoveries.
Outstanding achievements in science and technology: the launch of the first satellites, man's entry into outer space, etc. - had an impact on public consciousness:
Something physics
In high esteem
Something lyrical
In the paddock
Wrote B. Slutsky.
If we talk about the poetic technique of the masters of that time, then basically they remained in line with the traditions of classical Russian poetry. From this point of view, the “Prayer before the Poem”, the introduction to the “Bratsk Hydroelectric Power Station” by Evg. Yevtushenko, where he turns to the great Russian poets from Pushkin to Pasternak for inspiration. But in the 1960s, avant-garde poetry was also revived (I. Brodsky, A. Voznesensky, G. Sapgir, etc.), although, with a few exceptions, it did not manage to break into print.
The leading genre in poetry of the 1960s was lyricism - civil, philosophical, love, landscape, etc.
The relevance of the content, the diversity of creative individuals, the high level of poetic skill are the distinctive features of Russian poetry of the “Thaw” period.
The purpose of the lesson:
Problem:– Why did the first years of the “thaw” become a real “poetry boom”?
Technology “Discussions using the hierarchy of values” (D. Ondroshek “Education in the spirit of human rights” (translation made by V. Lukhovitsky in 1996), with preliminary work in small groups.
The topic is too complex and broad for a free discussion; it is better to use the possibilities inherent in arranging the provisions in accordance with the hierarchy of values.
Organizing time:
Dividing into groups of 4 people and defining roles (historians - those who received homework to prepare material about the historical period - the 50s–60s; poet, citizen, viewer).
Each group has collections of poems by the selected poet, sheets of paper (A4), markers and evaluation sheets for each participant (Annex 1).
Establishing the laws of discussion and speech etiquette.
A whole set of signal cards is prepared for each participant in the discussion.
The teacher suggests writing down on blank sheets of paper a problematic issue that should be discussed. The teacher makes a short speech and distributes theses to each group, from which students must choose several provisions that are in first place for them and several provisions that, in their opinion, are in last place.
During the classes
Teacher: Today in class we will talk about the unusual surge of poetry that occurred in the 60s of the 20th century, when Yevtushenko, Rozhdestvensky, Voznesensky, Akhmadulina sold out stadiums, their books were published in hundreds of thousands and even millions of copies. I don’t think it was a passion for poetry specifically: time simply breathed freedom, and poets transferred this breath into their poems (presentation).
After all, art is especially sensitive to turning points in the evolution of society. In the mid-50s of the 20th century, a new stage in the life of our country began, associated with important historical and social changes. This stage did not last very long - about 10 years, but it brought significant, fundamental changes in the consciousness of the people. This period received the name “thaw” from the light hand of I. Ehrenburg, who published a story of the same name in 1954.
And what events in the country influenced the development of the literary process, and which of them became significant for this era, you have to find out.
It should be noted that the time amazed us with its naive openness and humanity. People were allowed to be just people. The “sixties” believed that “the regime can be humanized, that it itself wants to become human.” The Soviet system seemed unshakable; it was only necessary to remove the scab of Stalinism from it. Thus, the spiritual emancipation of the Soviet people during the “thaw” years, liberal sentiments - all this prepared the way for the coming perestroika. The spirit of the times itself was “thaw”. Oleg Efremov, a famous actor and director, recalled this: “Creating Sovremennik, we felt together– not only within the team, but also outside it. This means that a certain social atmosphere helped my generation find its voice. They expected something from us, now I understand - they really pushed us forward and demanded that we stay together. And everyone felt – with their soul, body, elbow, nerves: I’m not alone!”
Stage 1. Students begin to work with theses (see Appendix 2). At the teacher’s signal, students begin a discussion among themselves and choose 2-3 positions that are important from their point of view.
Stage 2. Each group speaks in turn: a historian and defends the point of view of his group; poet (optional); citizen; spectators, using evaluation sheets, give points to the speakers.
Stage 3. Each group writes a letter to a poet (of their choice) of that time - this will be the answer to the problematic question).
Stage 4. Each group chooses a representative to read the letter.
Stage 5. Summarizing.
List of used literature.
