The play by V.V. Mayakovsky's "Bath" is dedicated to exposing an ugly social phenomenon - careerism. The writer calls the protagonist of the play, Comrade Pobedonosikov, the main boss. And this title already emphasizes the author's satirical attitude towards his character. At the same time, V.V. Mayakovsky pays tribute to the era: the fashion for strange and sometimes dissonant abbreviations. However, the full title of Pobedonosikov's post, "Chief Chief for Coordination Management," only reflects its bureaucratic uselessness. Speaking surname"Pobedonosikov" with the root "victory" emphasizes that its owner does not like defeats, but he is still not "Pobedonosikov", but "Pobedonosikov". This emphasizes that his victories are shallow and insignificant, they are needed only by himself.
The hero constantly talks about his merits. In the questionnaires he writes that even before 1917 he was a member of the party. Bicyclekin argues about this with irony: “In which one it is unknown, and it is not known that he had “be” or “me” in brackets, or maybe there was neither be nor me.” The letters "b" and "m" denoted different party groups: Bolsheviks and Mensheviks. But for Pobedonosikov, not the essence of the political platform, not convictions, but glory is important. He wants to form public opinion about himself as a significant person. Nochkin speaks even more sharply about this hero. He calls it "a briefcase stuffed", "a stationery clip".
To understand the insignificance of the figure of Pobedonosikov, it is important to speech characteristic. His remarks consist of clichés and grandiloquent words (“workers of the universe”, “the greatest and unforgettable artist of the pen”, “big artistic star”). Delivering grandiloquent speeches about Leo Tolstoy, Pobedonosikov does not even know who Michel Angelo is. He ignorantly calls Ludwig Feuerbach Comrade Feuerbach, claiming that he allegedly read his works.
Optimistenko spews the same empty and useless phrases: “Personality does not play a special role in history. This is not royal time for you. It used to require enthusiasm. And now we have historical materialism, and no enthusiasm is asked of you.
Pobedonosikov is sensitive to criticism. In principle, he is not capable of self-criticism. The fragility of his party convictions is emphasized by a curious artistic detail: Here and there, he proposes to scatter the Soviet coat of arms on the furniture.
Other heroes of the work are also trying to adapt to the new political conditions, to find a warm place for themselves. So, for example, the reporter Momentalnikov worked in the press before and after the revolution. And during the revolution, when he did not know who would win (white or red), he traded in a shop. V.V. Mayakovsky emphasizes that the slogan “It is better to die under a red banner than under a fence” became relevant for many in the revolutionary era.
Able to make a career and "smooth and polished" Optimistenko. “Only his superiors are reflected in his mirror-like purity, and then upside down,” Velosipedkin characterizes him in this way.
In the second act of the play, the reader is immersed in the working environment of a large public institution and understands that specific petitioners, for whom all these institutions are created, leave from there without any help.
The play "Bath" also contains a caustic satire on clumsy attempts to create new theater, where such abstract concepts as freedom, equality and fraternity are trying to be portrayed on stage. Vulgar attempts to create such an action look like this: “You will be - freedom, your appeal is appropriate. You will - equality, so it doesn't matter who plays. And you are a brotherhood - you still won’t cause other feelings. ”
The director's remarks are becoming more and more ridiculous: "Stand here, comrade Capital", "Capital, dance to the left with a view of the Second International", "Capital, fall beautifully!", "Capital, breathe spectacularly!".
This frank mockery of Pobedonosikov calls true art. Such an assessment characterizes him as a close-minded person who does not have artistic taste and aesthetic education.
Pobedonosikov is trying to cover up his egoism with issues of national importance. Even going on vacation, he says to the housekeeper: “Every doctor will say that for a complete rest it is necessary to wrest yourself, namely yourself, and not you, from your usual environment, well, I’m going to restore an organism important to the state, strengthen it in different mountainous areas.”
The play by V.V. Mayakovsky's "Bath" is dedicated to exposing an ugly social phenomenon - careerism. The writer calls the protagonist of the play, Comrade Pobedonosikov, the main boss. And this title already emphasizes the author's satirical attitude towards his character. At the same time, V.V. Mayakovsky pays tribute to the era: the fashion for strange and sometimes dissonant abbreviations. However, the full title of Pobedonosikov's post, "Chief Chief for Coordination Management," only reflects its bureaucratic uselessness. The speaking surname "Pobedonosikov" with the root "victory" emphasizes that its owner does not like defeats, but he is still not "Pobedonosikov", but "Pobedonosikov". This emphasizes that his victories are shallow and insignificant, they are needed only by himself.
The hero constantly talks about his merits. In the questionnaires he writes that even before 1917 he was a member of the party. Bicyclekin argues about this with irony: “In which one it is unknown, and it is not known that he had “be” or “me” in brackets, or maybe there was neither be nor me.” The letters "b" and "m" denoted different party groups: Bolsheviks and Mensheviks. But for Pobedonosikov, not the essence of the political platform, not convictions, but glory is important. He wants to form a public opinion about himself as a significant person. Nochkin speaks even more sharply about this hero. He calls it "a briefcase stuffed", "a stationery clip".
To understand the insignificance of the figure of Pobedonosikov, his speech characteristics are important. His remarks consist of clichés and grandiloquent words (“workers of the universe”, “the greatest and unforgettable artist of the pen”, “big artistic star”). Delivering high-flown speeches about Leo Tolstoy, Pobedonosikov does not even know who Michel Angelo is. He ignorantly calls Ludwig Feuerbach Comrade Feuerbach, claiming that he allegedly read his works.
Optimistenko spews the same empty and useless phrases: “Personality does not play a special role in history. This is not royal time for you. It used to require enthusiasm. And now we have historical materialism, and no enthusiasm is asked of you.
Pobedonosikov is sensitive to criticism. In principle, he is not capable of self-criticism. The fragility of his party convictions is emphasized by a curious artistic detail: here and there he proposes to scatter the Soviet coat of arms on the furniture.
Other heroes of the work are also trying to adapt to the new political conditions, to find a warm place for themselves. So, for example, the reporter Momentalnikov worked in the press before and after the revolution. And during the revolution, when he did not know who would win (white or red), he traded in a shop. V.V. Mayakovsky emphasizes that the slogan “It is better to die under a red banner than under a fence” became relevant for many in the revolutionary era.
Able to make a career and "smooth and polished" Optimistenko. “Only his superiors are reflected in his mirror-like purity, and then upside down,” Velosipedkin characterizes him in this way.
In the second act of the play, the reader is immersed in the working environment of a large state institution and understands that the specific applicants for whom all these institutions are created leave without any help.
The play "The Bathhouse" also contains a biting satire on the clumsy attempts to create a new theater, where such abstract concepts as freedom, equality and fraternity are trying to be portrayed on the stage. Vulgar attempts to create such an action look like this: “You will be - freedom, your appeal is appropriate. You will - equality, so it doesn't matter who plays. And you are a brotherhood - you still won’t cause other feelings. ”
The director's remarks are getting more and more ridiculous: "Stand here, comrade Capital", "Capital, dance to the left with a view of the Second International", "Capital, fall beautifully!", "Capital, breathe spectacularly!".
This blatant mockery Pobedonosikov calls true art. Such an assessment characterizes him as a close-minded person who does not have artistic taste and aesthetic education.
Pobedonosikov is trying to cover up his egoism with issues of national importance. Even going on vacation, he says to the housekeeper: “Every doctor will say that for a complete rest it is necessary to wrest yourself, namely yourself, and not you, from the familiar environment, well, I’m going to restore an organism important to the state, strengthen it in different mountainous areas.”
The unsightly essence of the hero is especially clearly exposed in his attitude towards the Field. This is Pobedonosikov's wife, whom he constantly belittles, forbids her to have children, does not allow her to buy a new dress under the pretext of fighting philistinism.
Image domestic scenes And social conflicts combined in the play with elements of fantasy, which are needed again in order to give an assessment in a key way works. In The Bureau of Selection and Transfer to the Communist Age, a phosphorescent woman decides who will find a place in the society of a bright future, and who will not.
Not only creativity, but also the personality of V. V. Mayakovsky occupy a significant place in the history of Russian literature. The main merit of the poet is that he created works that are original in form and content, very bright, topical, sometimes humorous, but more often full of bitter irony and sharp satire, which determines their relevance to this day.
With the power of his talent, Mayakovsky mercilessly ridiculed all those phenomena that, in his opinion, hindered the development of the young state. He fought furiously against what hindered the prosperity of the country, against the numerous vices inherent in the entire Soviet society, and against the vices characteristic of individual. Mayakovsky gave great importance to the genre of humorous satire and was sure that in future schools "satire would be taught along with arithmetic and with no less success."
As you know, Mayakovsky had a special hatred for such a category of people who are commonly called philistines. In his plays "Bug" and "Bath" he makes fun of the mixed, and one of them magic power art turns into a bug hiding in the rotten mattresses of time.
Mayakovsky defined the play “Banya” as “a drama in six acts with a circus and fireworks”, and the ironic notes of the poet are already heard in this, as if warning the reader that the play is a kind of farce. Main character plays - “Comrade Pobedonosikov, chief of coordination management, Glavnachups”. This is a typical puffed-up official who, between phone calls and thoughtlessly flipping through government papers dictates to the typist “one general guidance article”, as meaningless as the name of the institution.
The drama in the play is built on the conflict between the inventor Chudakov, the light cavalryman Velosipedkin, the workers helping the inventor, on the one hand, and his assistant, Optimistenko, on the other. Mayakovsky draws in the play many funny and stupid situations that his characters find themselves in, but at the same time the play is a drama, and its drama is in the fight against bureaucracy, which, according to the poet, is a huge and ossified force.
In the image of Pobedonosikov, Mayakovsky concentrated many ugly layers of state property: Pobedonosikov occupies an important position, in his waiting room there is “a long, wall-length line of petitioners.” At the door is the faithful guard Optimistenko, who, of course, will not let objectionable, restless people to the boss. As Cyclopkin noted, Optimistenko is “smooth and polished, like a country ball. Only the bosses are reflected on him, and then upside down.
Pobedonosikov sticks his nose everywhere and considers himself competent even in those matters that he knows only by hearsay. For example, he teaches the director: “All this is condensed, it doesn’t happen in life. This needs to be redone, softened... we need to show the bright sides of our reality.” And this is an evil caricature of any pseudo-art characteristic of Soviet era when strict censorship “reworked” works beyond recognition, forcing artists to create something that would meet clearly established requirements. The play clearly shows modern readers command-bureaucratic management of art, and Chudakov, as a creative person, is trying with all his might to resist this force.
But, fortunately, the conflict is resolved when the “Phosphoric Woman”, the “delegate of 2030”, appears, who selects the best (Chudakov and his assistants) to communism, where they depart on an invented time machine, while Pobedonosikov and Optimistenko remain overboard - in contemporary reality.
In his semi-fantastic, sharply satirical play The Bedbug, Mayakovsky not only ridicules philistinism in all its manifestations, but also declares a merciless war on it. The image of the protagonist of the play, Pyotr Prisypkin, who renamed himself Pierre Skripkin, combines many negative traits this social phenomenon, in all the actions and speeches of Prisypkin, his philistine essence is manifested. According to the author's definition, Prysypkin is "a former worker, a former party member, now a fiancé." Taking advantage of your social position in the state of the victorious proletariat, Skripkin intends to marry profitably, but a fight occurs at the wedding, and then a fire, as a result of which the hero dies, but is resurrected in the distant communist future.
The people of the future, the inhabitants of the “young” hostel, consider the hero infected with the microbe of philistinism, therefore they do not even recognize him as a person, considering him to be a representative of an extinct genus, called “philistine vulgarius”. Rude, uncultured, selfish Skripkin looks like a “fossil” among the “ideal” people of communist society, for whom drunkenness, sycophancy and other vices of the philistine world have long been forgotten, unknown phenomena.
The communist society itself is presented by Mayakovsky with the utmost reasonableness. Many human functions here are performed by automata, love has been eradicated as an unreasonable feeling. For the inhabitants of the future, real proletarians, Skripkin poses a serious threat, he is an imaginary proletarian, a petty bourgeois, while real proletarians are people of high moral culture free from all the vices of bourgeois society.
But this true proletarian future is, in fact, impersonal, since mass character and complete automatism rule here. Therefore, Skripkin, despite all his vices, involuntarily looks like the only living person in him. As a result, the ideal society of the future turns out to be extremely unstable in the play, internally susceptible to long-standing, seemingly eradicated vices. Medical laboratory workers gradually begin to drink, under the influence of Skripkin's “heartbreaking” romances, a feeling of love awakens in people, and young girls suddenly begin to dance! Suddenly, the people of the future are attracted to bourgeois pleasures, and they gladly succumb to their pleasant influence, as a result of which most of"unsuccessful" comes to the conclusion that Skripkin must be isolated as soon as possible as a serious enemy.
At the end of the play, the unlucky Pierre Skripkin, equated by the author with a bedbug, shouts: “Brothers! Their! Relatives!.. How many of you?! When were you all frozen? Why am I alone in a cage? ..”. And with this cry, Mayakovsky, who, of course, could not introduce elements of anti-communist satire into his play, involuntarily touched on this topic, very aptly depicting the illusory nature of a bright communist future that is not capable of completely eradicating all human vices.
"Bath"
The play by V.V. Mayakovsky's "Bath" is dedicated to exposing an ugly social phenomenon - careerism. The writer calls the protagonist of the play, Comrade Pobedonosikov, the main boss. And this title already emphasizes the author's satirical attitude towards his character. Simultaneously
V.V. Mayakovsky pays tribute to the era: the fashion for strange and sometimes dissonant abbreviations. However, the full title of Pobedonosikov's post, "Chief Chief for Coordination Management," only reflects its bureaucratic uselessness. The speaking surname "Pobedonosikov" with the root "victory" emphasizes that its owner does not like defeats, but he is still not "Pobedonosikov", but "Pobedonosikov". This emphasizes that his victories are shallow and insignificant, they are needed only by himself.
The hero constantly talks about his merits. In the questionnaires he writes that even before 1917 he was a member of the party. Bicyclekin argues about this with irony: “In which one it is unknown, and it is not known that he had “be” or “me” in brackets, or maybe there was neither be nor me.” The letters "b" and "m" denoted different party groups: Bolsheviks and Mensheviks. But for Pobedonosikov, not the essence of the political platform, not convictions, but glory is important. He wants to form a public opinion about himself as a significant person. Nochkin speaks even more sharply about this hero. He calls it "a briefcase stuffed", "a stationery clip".
To understand the insignificance of the figure of Pobedonosikov, his speech characteristics are important. His remarks consist of clichés and grandiloquent words (“workers of the universe”, “the greatest and unforgettable artist of the pen”, “big artistic star”). Delivering high-flown speeches about Leo Tolstoy, Pobedonosikov does not even know who Michel Angelo is. He ignorantly calls Ludwig Feuerbach Comrade Feuerbach, claiming that he allegedly read his works.
Opti-mistenko pours out the same empty and worthless phrases: “Personality in history does not play a special role. This is not royal time for you. It used to require enthusiasm. And now we have historical materialism, and no enthusiasm is asked of you.
Pobedonosikov is sensitive to criticism. In principle, he is not capable of self-criticism. The fragility of his party convictions is emphasized by a curious artistic detail: here and there he proposes to scatter the Soviet coat of arms on the furniture.
Other heroes of the work are also trying to adapt to the new political conditions, to find a warm place for themselves. So, for example, the reporter Momentalnikov worked in the press before and after the revolution. And during the revolution, when he did not know who would win (white or red), he traded in a shop. V.V. Mayakovsky emphasizes that the slogan “It is better to die under a red banner than under a fence” became relevant for many in the revolutionary era.
Knows how to make a career and "smooth and polished" Opti-mistenko. “On his mirror-like purity, only the bosses are reflected, and then upside down,” Velosipedkin characterizes him in this way.
In the second act of the play, the reader is immersed in working environment a large state institution and understands that the specific applicants for whom all these institutions are created leave from there without any help.
The play "The Bathhouse" also contains a biting satire on the clumsy attempts to create a new theater, where such abstract concepts as freedom, equality and fraternity are trying to be portrayed on the stage. Vulgar attempts to create such an action look like this: “You will be - freedom, your appeal is appropriate. You will - equality, so it doesn't matter who plays. And you are a brotherhood - you still won’t cause other feelings. ”
The director's remarks are getting more and more ridiculous: "Stand here, comrade Capital", "Capital, dance to the left with a view of the Second International", "Capital, fall beautifully!", "Capital, breathe spectacularly!".
This blatant mockery Pobedonosikov calls true art. Such an assessment characterizes him as a close-minded person who does not have artistic taste and aesthetic education.
Pobedonosikov is trying to cover up his egoism with issues of national importance. Even going on vacation, he says to the housekeeper: “Every doctor will say that for a complete rest it is necessary to wrest yourself, namely yourself, and not you, from the familiar environment, well, I’m going to restore an organism important to the state, strengthen it in different mountainous areas.”
The unsightly essence of the hero is especially clearly exposed in his attitude towards the Field. This is Pobedonosikov's wife, whom he constantly belittles, forbids her to have children, does not allow her to buy a new dress under the pretext of fighting philistinism.
The depiction of everyday scenes and social conflicts is combined in the play with elements of fantasy, which are again needed in order to assess the key image of the work. In The Bureau of Selection and Transfer to the Communist Age, a phosphorescent woman decides who will find a place in the society of a bright future, and who will not.
"Bath"
The play by V.V. Mayakovsky's "Bath" is dedicated to exposing an ugly social phenomenon - careerism. The writer calls the protagonist of the play, Comrade Pobedonosikov, the main boss. And this title already emphasizes the author's satirical attitude towards his character. Simultaneously
V.V. Mayakovsky pays tribute to the era: the fashion for strange and sometimes dissonant abbreviations. However, the full title of Pobedonosikov's post, "Chief Chief for Coordination Management," only reflects its bureaucratic uselessness. The speaking surname "Pobedonosikov" with the root "victory" emphasizes that its owner does not like defeats, but he is still not "Pobedonosikov", but "Pobedonosikov". This emphasizes that his victories are shallow and insignificant, they are needed only by himself.
The hero constantly talks about his merits. In the questionnaires he writes that even before 1917 he was a member of the party. Bicyclekin argues about this with irony: “In which one it is unknown, and it is not known that he had “be” or “me” in brackets, or maybe there was neither be nor me.” The letters "b" and "m" denoted different party groups: Bolsheviks and Mensheviks. But for Pobedonosikov, not the essence of the political platform, not convictions, but glory is important. He wants to form a public opinion about himself as a significant person. Nochkin speaks even more sharply about this hero. He calls it "a briefcase stuffed", "a stationery clip".
To understand the insignificance of the figure of Pobedonosikov, his speech characteristics are important. His remarks consist of clichés and grandiloquent words (“workers of the universe”, “the greatest and unforgettable artist of the pen”, “big artistic star”). Delivering high-flown speeches about Leo Tolstoy, Pobedonosikov does not even know who Michel Angelo is. He ignorantly calls Ludwig Feuerbach Comrade Feuerbach, claiming that he allegedly read his works.
Opti-mistenko pours out the same empty and worthless phrases: “Personality in history does not play a special role. This is not royal time for you. It used to require enthusiasm. And now we have historical materialism, and no enthusiasm is asked of you.
Pobedonosikov is sensitive to criticism. In principle, he is not capable of self-criticism. The fragility of his party convictions is emphasized by a curious artistic detail: here and there he proposes to scatter the Soviet coat of arms on the furniture.
Other heroes of the work are also trying to adapt to the new political conditions, to find a warm place for themselves. So, for example, the reporter Momentalnikov worked in the press before and after the revolution. And during the revolution, when he did not know who would win (white or red), he traded in a shop. V.V. Mayakovsky emphasizes that the slogan “It is better to die under a red banner than under a fence” became relevant for many in the revolutionary era.
Knows how to make a career and "smooth and polished" Opti-mistenko. “On his mirror-like purity, only the bosses are reflected, and then upside down,” Velosipedkin characterizes him in this way.
In the second act of the play, the reader is immersed in the working environment of a large state institution and understands that the specific applicants for whom all these institutions are created leave without any help.
The play "The Bathhouse" also contains a biting satire on the clumsy attempts to create a new theater, where such abstract concepts as freedom, equality and fraternity are trying to be portrayed on the stage. Vulgar attempts to create such an action look like this: “You will be - freedom, your appeal is appropriate. You will - equality, so it doesn't matter who plays. And you are a brotherhood - you still won’t cause other feelings. ”
The director's remarks are getting more and more ridiculous: "Stand here, comrade Capital", "Capital, dance to the left with a view of the Second International", "Capital, fall beautifully!", "Capital, breathe spectacularly!".
This blatant mockery Pobedonosikov calls true art. Such an assessment characterizes him as a close-minded person who does not have artistic taste and aesthetic education.
Pobedonosikov is trying to cover up his egoism with issues of national importance. Even going on vacation, he says to the housekeeper: “Every doctor will say that for a complete rest it is necessary to wrest yourself, namely yourself, and not you, from the familiar environment, well, I’m going to restore an organism important to the state, strengthen it in different mountainous areas.”
The unsightly essence of the hero is especially clearly exposed in his attitude towards the Field. This is Pobedonosikov's wife, whom he constantly belittles, forbids her to have children, does not allow her to buy a new dress under the pretext of fighting philistinism.
The depiction of everyday scenes and social conflicts is combined in the play with elements of fantasy, which are again needed in order to assess the key image of the work. In The Bureau of Selection and Transfer to the Communist Age, a phosphorescent woman decides who will find a place in the society of a bright future, and who will not.
