1956 - 1964 (period of the "classical thaw"); some researchers distinguish early and late "thaw". (She has not yet arrived, but some features have already appeared.) These are, respectively, from 1953 to 1956 and from 1964 to 1968.
In 1954, Ilya Ehrenburg wrote the story "The Thaw", the title of which was later used to denote a new stage in the life of Soviet society that began after the death of Stalin and was characterized by a sharp change in the socio-political and economic course towards its liberalization. The country's leadership, primarily in the person of Khrushchev, proclaims the rejection of political terror and mass repression, for which he lays the blame on Stalin, and begins a kind of restructuring of Soviet society. It was supposed to leave the existing socialist system intact, that is, the type of social system itself should not be changed, but reformed and improved. Restore the rule of law, expand the rights and freedoms of citizens, carry out democratization, use the achievements scientific and technological progress to raise the material standard of living of people and to establish the so-called humane socialism, or socialism with human face. Having carried out this program, it was thought to move on to the full-scale construction of communism. "The current generation of Soviet people will live under communism." Had this Khrushchev promise come true, communism would have arrived in the late 1970s. 20 years seemed long enough to make this dream come true.
A broad propaganda campaign is being carried out in the country to debunk the personality cult of Stalin and to overcome the consequences of Stalinism, rooted in the life of society. First of all, Khrushchev carries out the rehabilitation of the innocently repressed. (“Hey, driver, drive to Butyrsky farm ... - And you, comrade, are late.” - Vysotsky. “So that there are no camps in Russia.”)
The principle of material interest in the results of labor. Medium wage rises under Khrushchev immediately doubled and reaches 50 rubles a month. Peasants receive passports and the right to leave the village without the permission of their superiors (this was previously forbidden), especially since many workers were required at the so-called construction sites of communism (Siberia, Virginia). Extensive housing construction is unfolding in the country. Previously, up to half of the country's population lived in barracks. Two days off a week are introduced while maintaining the same salary. Launched the first satellite. The world's first synchrophasotron and the first nuclear icebreaker were created. And although there were more problems than achievements, during the “thaw” the country made a big leap forward in many respects. These were the results of liberalization and the resulting (relative) freedom.
The USSR during these years resembled Gulliver, whom the Lilliputians tied to the ground during sleep. And then some kind of emancipation gradually begins, the country begins to stir and come out of its stupor. The very atmosphere of life has changed, fear has gone out of life. People began to visit every day, gather in companies and discuss everything that is happening in the country. (Before, “squealing” was very developed.) And in these conversations, the so-called public opinion gradually arose.
Later known Vladimir Bukovsky writes: if it were his will, he would erect a monument to a typewriter in the center of Moscow (“They chirped, printed in all major cities”). Without waiting for official publication, people reprinted for their personal use prohibited Soviet time authors. The second monument, at the suggestion of Bukovsky, is to a man with a guitar, because during the “thaw” art song. The idols of those times were Galich, Vysotsky, Okudzhava, Vizbor and some others. This is a new type of poetry, song poetry. Bards have done a lot to free minds from mossy dogmas.
He played his role in the emancipation of minds that began international festival youth and students (1958) in Moscow. For the first time, Soviet people saw alive, not in the picture, living Latin Americans and Africans. The phenomenon of “staffing” arose - fans of some aspects of US culture: jazz, vinyl records with foreign music american art, architecture, western tailoring. The leadership did not like those who dress fashionably, and waged an active struggle with the "dudes".
A gap opened up to the west. The most popular Western writer was Ernest Hemingway. "Almost every second house has his photograph." Foreign influence on Soviet literature at that time increased significantly.
Unable to bear the pangs of conscience, Fadeev shot himself (1956). The writers' organization behaved shamefully under him. Not a single fact is known when she would stand up in defense of the repressed. On the contrary, the sanction of the leadership of the Union of Writers for arrest was required. Fadeev gave this sanction. The writers who returned from the camps spat in his face. Standing at his coffin, Pasternak said: "He atoned for his guilt." In place of Fadeev comes the more progressive, but also more cautious Fedin.
Literary life is sharply revived. Daniil Andreev, Solzhenitsyn, Shalamov, Smelyakov, Serebryakova, Dombrovsky, Chichibabin returned from the camps. They brought their tragic experience to literature.
Under Stalin, writers' congresses, after the first, were not held for 20 years. They resumed in 1954. Thereafter, once every five years.
During the years of the "thaw" a number of new literary journals and almanacs appeared. The most popular is "Youth" (for youth, published the most talented young authors of that time). New theaters are opening up. The most popular is the Sovremennik Theatre. Basically, this theater also staged young, modern dramaturgy.
Since 1956, annual Days of Poetry have been held in the USSR, and once a year an almanac is published under the same name, where, as far as possible, the relatively best was selected. 1956 - several poems by Tsvetaeva. They also printed Zabolotsky.
Young Moscow poets had a tradition to meet at the monument to Mayakovsky and read their poems. The government didn't like it. These gatherings were closely watched by the police and the so-called vigilantes. They took control of anyone who seemed suspicious to them, and dealt with them rather harshly. (Alena Basilova's acquaintance with her future husband Leonid Gubanov: both were stuffed into a car, brought to the police; young man beat their heads against the wall.) So, freedom came, but it was rather limited. This is evident in many examples.
During the "thaw" a new generation of writers comes to literature: Brodsky, Akhmadulina, Voznesensky, Rubtsov, Solzhenitsyn, Bondarev, Aitmatov, Shukshin, Belov, Bitov, Volodin and a number of others. In the writers' environment there is a split into Stalinists and liberals, since the attitude to the events in the country was far from unambiguous. The Stalinists considered the changes in society to be a betrayal of the cause of communism, and every step towards progress was achieved due to their efforts with tremendous difficulty. The stronghold of Stalinism - "October" ( Chief Editor Vsevolod Kochetov). The mainstay of liberalism during the "thaw" was the journal Novy Mir, headed by Tvardovsky. The reactionaries did not slumber. Under their pressure, Boris Pasternak was expelled from the Writers' Union and subjected to public persecution throughout the country for being awarded the Nobel Prize for 1958. (On the other hand, he did not end up in prison and was not subjected to forcible deportation abroad.)
In 1960, the manuscript of Vasily Grossman "Life and Fate" was seized, which he offered on legal terms to one of the journals. But the editor-in-chief “tipped” the KGB about a harmful anti-Soviet work. Both copies were confiscated, and even the carbon papers made by the typist. (One copy was secretly given to acquaintances in another city.) Since it was far from possible to publish everything, samizdat was born. These are illegal, uncensored works that were often seen as dangerous. The most influential samizdat magazine is Sintaksis (published by Alexander Ginzburg). The 1st issue was published in a circulation of 20 copies. Brodsky, Vsevolod Nekrasov, Sapgir, Kholin, Akhmadulina and others were published there. The publication ceased after the 3rd issue due to Ginzburg's arrest.
For the same reason, Bohemia appeared. Under Khrushchev, they were classified as declassed elements and parasites (like Brodsky). In fact, they sometimes worked three times as much as others, but did not receive money. Bohemia flaunted its asceticism, demanded intellectual and spiritual autonomy and did not betray freedom. The life of representatives of bohemia and unofficial literature was measured by the number of books read (mostly banned) and manuscripts created. I worked hard on myself. Representatives of unofficial literature took a non-conformist position.
Fearing that the process would get out of control of the party, in 1962-63 Khrushchev organized large-scale meetings in the Kremlin with the creative intelligentsia. He sought support from writers who had not completely lost, even during the years of Stalinism, their authority in the eyes of society, since even in the Central Committee he had many opponents; on the other hand, he wanted to show that party control over literature and the arts would be maintained at all costs. In his speech, he stated that the main thing for Soviet literature- high ideological and artistic skill, party spirit and nationality. Khrushchev even had an idea to unite all creative people different professions into a single creative union: it's easier to control. For a number of reasons, this did not happen. During the meetings, some writers correctly and gently dared to challenge individual theses of the head of the country. Ehrenburg, Yevtushenko, Shchipachev defended the idea of creative freedom.
However, there was a moral "beating" of Aksyonov and Voznesensky. The party did not like that it had competitors as the rulers of the minds. A whole public performance was staged to put these idols in a bad light. Khrushchev "clung" to Voznesensky's statement about how he singles out the best writers in literature for himself: a vertical line of high - low. Pasternak was named among the writers of the "high" hierarchy. (Motives of personal acquaintance.) But just shortly before that, Pasternak was expelled from the writers' union. “If you don’t like it in the USSR, we will issue you a passport at any time.” To which Voznesensky began to read the poem Longjumeau about Lenin.
Khrushchev’s final remark on reading (meaning): “Well, we listened to you all here, listened. And who will decide? People. And who is this people? And these are his best sons. And the best sons of the people are our party. And the will of the party embodies it central committee. And the central committee is me. That's what I'll decide." We must give Khrushchev his due: under him, no matter how he offended anyone, not a single Soviet writer went to prison. From later memoirs: “We in the leadership were consciously for the thaw. But we were afraid that a flood would follow the thaw and we would not be able to control it ... Direct the movement of the “thaw” in such a way as to stimulate only creative forces that would help strengthen socialism ”(Khrushchev).
The main creative method continues to be socialist realism. However, in theoretical terms, and in practice, it is gradually beginning to be reassessed. Its unbiased interpretation was given by Andrey Sinyavsky in the article "What is socialist realism", published in 1957 in France in French (illegally retransmitted). The author of the article recalls that already in the first paragraph of the charter of the Union of Soviet Writers, a definition is given: “Socialist realism presupposes a truthful, historically concrete depiction of reality in its revolutionary development with the aim of ideological reworking and communist education of the working people.”
Sinyavsky draws attention to the fact that Balzac and Tolstoy portrayed life as it really is, and shows that the socialist realist recreates everything that he sees around him from the standpoint of the communist ideal. The main principle of assessing a person is the class-ideological principle. Art was supposed to help the cause of building communism in the USSR.
"Soviet art is teleological through and through." Inherent in Soviet literature is the affirmation of the goal toward which the world community is moving. That goal is communism. But, asks Sinyavsky, is the world really moving towards communism? No, he says, it's a utopia. When he compares a postulate with reality, he does not see this movement and correspondence. This means that the literature of socialist realism does not reflect the truth of life. Ideology has become new religion in which they believe simply fanatically. A true believer is not able to understand and accept the point of view of another believer. Communist ideology predetermines writer's narrow-mindedness. In order to achieve the goal in reality, says Sinyavsky, the Soviet Union literally stops at nothing. “We sacrificed our snow-white soul to the ideal. To make prisons disappear forever, we built new prisons. ... But when we look around, we do not find what we hoped to find and in the name of which so many sacrifices were made. The means that were used to create an ideal society radically changed its appearance.
Freedom of speech, Sinyavsky emphasizes, is organically alien to communist culture. What freedom can a truly, fanatically believer have? Only the freedom to praise your god even more fiercely. Here, the communist party and its leaders, as well as the communist ideal itself, act as god. And since the party is the conductor of ideology in the USSR, it also exercises the so-called leadership, that is, it stifles literature and does not give it the opportunity to develop normally. Plots are always built in such a way as to create the impression of the next step closer to a brighter future, a communist society. Therefore, they are of the same type, no matter what is written.
But is it really bad, as Sinyavsky asks, what is optimism? It's not bad when optimism is justified. And historical optimism is based on blind faith. An example is a number of titles of works of Western and Soviet literature. "Death of a Hero", "For Whom the Bell Tolls", "A Time to Live and a Time to Die", "Journey to the End of the Night", "Death in the Afternoon", "Everyone Dies Alone" ( Western authors) - “Happiness”, “First joys”, “Good”, “Fulfillment of desires”, “Winners”, “Light above the earth” (Soviet authors).
A significant part of Soviet literature is represented by an educational novel, which, as a rule, shows the communist metamorphosis of an individual and a whole team, the process of "the birth of a new person." In fact, this is the introduction of communist ideology and morality into the mind of a person. Everything that serves the victory of communism is recognized as moral. Foundation stone Soviet literature - Positive hero, thoroughly permeated with communist ideology, which has no other goals and objectives in life, except serving communism. He is usually embellished, he has answers to all questions, he always knows what to do in all lungs and difficult situations. For the old realism, reminds Sinyavsky, a searching hero is characteristic, and for Soviet literature - a finder.
In the 1940s, finally, such texts appeared where all the characters, without exception, are positive, there are simply no negative ones, and the struggle is only between the good and the best, the so-called conflict-free theory triumphed, according to which all conflicts were overcome in Soviet society. Thus, social realism is transformed into pseudo-social realism. This is an industry of myths that has completely abandoned life-like realities. (Myths about Lenin, Stalin, war, collectivization, etc. Bubyonnov's "White Birch" is given as an example.)
From the point of view of Sinyavsky, in terms of the type of hero, content and general pathos, the literature of socialist realism is much closer to classicism, and not genuine realism XIX centuries. A more accurate designation of the method would be, according to Sinyavsky, "socialist classicism." The principle of normativity brings it closer to classicism. The proper is portrayed as real, as really existing. “Perhaps we will come up with something else in the future, it is not unlikely that it will be the literature of socialist realism.”
During the years of the thaw, however, there is an overcoming of the stereotypes of pseudo-socialist realism. Socialist realism itself is somewhat strengthening its position. It provides more opportunities for truthful image realities of life. The renewal of socialist realism most fully demonstrates the work of the sixties. The sixties were those representatives of the creative intelligentsia who advocated socialism with a human face and were uncompromising in their criticism of Stalinism, calling for overcoming its consequences. But Stalinism was criticized in the name of strengthening and improving socialism, its criticism was carried out from the positions of idealized Leninism. Characteristic figures of the sixties literature: Yevtushenko, Rozhdestvensky; Bondarev, Aitmatov; Rozov, Volodin and some others.
Literature of the thaw is a conventional name for the period of literature of the Soviet Union in the 1950s–early 1960s. The death of Stalin in 1953, the 20th (1956) and XXII (1961) congresses of the CPSU, which condemned the “cult of personality”, the softening of censorship and ideological restrictions - these events determined the changes reflected in the work of writers and poets of the thaw.
In the early 1950s, articles and works began to appear on the pages of literary magazines, which played the role of a causative agent public opinion. A sharp controversy among readers and critics was caused by the story of Ilya Ehrenburg Thaw. The images of the heroes were given in an unexpected way. main character, parting with a loved one, the director of the plant, an adherent of the Soviet ideology, in his person breaks with the past of the country. 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 Vladimir Dudintsev's novel Not by Bread Alone and the novels by Pavel Nilin Cruelty and Sergei Antonov were published. It was in Penkovo. Dudintsev's novel traces the tragic path of the inventor in a bureaucratic system. The main characters of the stories Nilin and Antonov were attracted by their lively characters, their sincere attitude to the events around them, the search for their own truth.
The most striking works of this period were focused on participation in solving topical socio-political issues for the country, on revising the role of the individual in the state. The process of mastering the space of the opened freedom was going on in the society. Most of the participants in the disputes did not abandon socialist ideas.
The prerequisites for a thaw were laid in 1945. Many writers were front-line soldiers. The prose about the war of real participants in hostilities, or, as it was called, "officer prose", carried an important understanding of the truth about the past war.
The first to raise this topic, which became central in the military prose of 1950-1960, was Viktor Nekrasov in the story In the trenches of Stalingrad, published in 1946. Konstantin Simonov, who served as a front-line journalist, described his impressions in the trilogy The Living and the Dead (1959-1979). In the stories of front-line writers Grigory Baklanov A span of land (1959) and The dead have no shame (1961), Yuri Bondarev Battalions ask for fire (1957) and The last volleys (1959), Konstantin Vorobyov Killed near Moscow (1963) against the background of a detailed, without embellishment descriptions of military life for the first time sounded the theme of a conscious personal choice in a situation between life and death. Knowledge of front-line life and experience of survival in the camps formed the basis of the work of Alexander Solzhenitsyn, who subjected the Soviet regime to the most consistent criticism.
Issues of literary almanacs and periodicals - various literary magazines - played an important role in the process of "warming". It was they who most vividly reacted to new trends, contributed to the emergence of new names, brought authors of the 1920s-1930s out of oblivion.
From 1950 to 1970, the Novy Mir magazine was headed by A.T. Tvardovsky. As editor-in-chief, he contributed to the appearance of bright and bold publications in the magazine, gathering around him the best writers and publicists. Novomirskaya Prose brought serious social and moral problems to the attention of readers.
In 1952, Novy Mir published a series of essays by Valentin Ovechkin, District Weekdays, where for the first time the topic of optimal management of agriculture began to be discussed. It was debated which is better: volitional pressure or providing agriculture necessary autonomy. This publication marked the beginning of a whole trend in literature - "village prose". Efim Dorosh's unhurried thoughts about the fate of villagers in the Village Diary coexisted with the nervous, electrified prose of Vladimir Tendryakov - the stories of Ukhaba, Podenok - a short century. Rural prose showed the wisdom of the peasants, living with nature in the same rhythm and sensitively reacting to any falsehood. One of the brightest subsequently "villagers", Fyodor Abramov, began to be published in the "New World" as a critic. In 1954, his article People of the collective farm village in post-war prose was published, where he called for writing "only the truth - direct and impartial."
In 1956, two issues of the anthology Literary Moscow were published under the editorship of Emmanuil Kazakevich. I. Ehrenburg, K. Chukovsky, P. Antokolsky, V. Tendryakov, A. Yashin and others, as well as the poets N. Zabolotsky and A. Akhmatova, were published here, for the first time after a 30-year break, the works of M. Tsvetaeva were published. In 1961, the almanac Tarusa Pages was published under the editorship of Nikolai Otten, where M. Tsvetaeva, B. Slutsky, D. Samoilov, M. Kazakov, the story of the war by Bulat Okudzhava Be healthy, schoolboy, chapters from the Golden Rose and essays by K. Paustovsky were published .
Despite the atmosphere of renewal, opposition to new trends was significant. Poets and writers who worked according to the principles of socialist realism consistently defended them in literature. Vsevolod Kochetov, editor-in-chief of the Oktyabr magazine, argued with Novy Mir. The discussions unfolded on the pages of magazines and periodicals supported the atmosphere of dialogue in the society.
In 1955-1956, many new magazines appeared - Youth, Moscow, Young Guard, Friendship of Peoples, Ural, Volga, etc.
"Youth prose" was published mainly in the journal "Youth". Its editor, Valentin Kataev, relied on young and unknown prose writers and poets. The works of the young were characterized by confessional intonation, youth slang, sincere high spirits.
Published on the pages of Yunost, the stories of Anatoly Gladilin Chronicle of the times of Viktor Podgursky (1956) and Anatoly Kuznetsov Continuation of the legend (1957) described the young generation's search for their own path at the "construction sites of the century" and in their personal lives. Heroes were also attracted by sincerity and rejection of falsehood. In Vasily Aksenov's story Star Ticket, published in Yunost, a new type of Soviet youth was described, later called "star boys" by critics. This is a new romantic, longing for maximum freedom, believing that in search of himself he has the right to make mistakes.
During the thaw period, many new bright names appeared in Russian literature. For short stories Yuri Kazakov is characterized by attention to the shades of the psychological state of ordinary people from the people (stories Manka, 1958, Trali-vali, 1959). A postman girl, a drunkard buoy keeper singing old songs on the river - they embody their understanding of life, focusing on their own idea of its values. The ironic story Constellation of Kozlotur (1961) brought popularity to the young author Fazil Iskander. The story ridicules the emasculated bureaucratic functioning, creating fuss around useless "innovative undertakings". Subtle irony has become not only feature author's style of Iskander, but also migrated to oral speech.
The genre continues to evolve science fiction, whose traditions were established in the 1920s–1930s. Significant works were written by Ivan Efremov - Andromeda Nebula (1958), Serpent's Heart (1959). The utopian novel The Andromeda Nebula is reminiscent of a philosophical treatise about the cosmic communist future, to which the development of society will lead.
In the 1950s, the brothers Arkady and Boris Strugatsky came to literature - From the outside (1959), The country of crimson clouds (1959), The path to Amalthea (1960), Noon, XXI century (1962), A distant rainbow (1962), It's hard to be a god ( 1964). Unlike other science fiction writers who solved the themes of cosmic messianism in an abstract heroic way, the problems of cosmic "progressors" were revealed by the Strugatskys at the level of philosophical understanding of the mutual influences of civilizations. different levels. The story It's Hard to Be a God raises the question of what is better: the slow, painful, but natural development of society or the artificial introduction and expansion of the values of a more civilized society into a less developed one in order to direct its movement in a more progressive direction. In subsequent books by the authors, reflection on this issue becomes deeper. There comes an awareness of moral responsibility for considerable sacrifices - the payment of the so-called. "primitive" societies for the progress imposed on them.
It was in the 1960s-1980s that Yuri Trifonov, Alexander Solzhenitsyn, Venedikt Erofeev, Joseph Brodsky came to realize themselves as writers and poets.
So, in 1950, Trifonov's story Students was published. Solzhenitsyn, during the years of exile and teaching in the Ryazan region, worked on the novel The Cancer Ward, a study of the Gulag Archipelago; in 1959 he wrote the novel One Day in the Life of Ivan Denisovich, published in 1962. In the 1950s, Venedikt Erofeev led the life of a student wandering around different universities. He tried his pen in the lyrical diary Notes of a psychopath (1956-1957), where a special Yerofeev style was already felt.
The thaw period is accompanied by the flourishing of poetry. The euphoria from the opened opportunities demanded an emotional outburst. Since 1955, the Poetry Day holiday has been held in the country. On one Sunday in September, poems were read throughout the country in the halls of libraries and theaters. Since 1956, an almanac with the same name began to appear. Poets spoke from the stands, gathered stadiums. Poetry evenings at the Polytechnic Museum attracted thousands of enthusiastic listeners. Since the monument to the poet was solemnly opened on Mayakovsky Square in 1958, this place has become a place of pilgrimage and meetings for poets and poetry lovers. Here poems were read, books and magazines were exchanged, there was a dialogue about what was happening in the country and the world.
The greatest popularity during the period of the poetic boom was won by poets of a bright journalistic temperament - Robert Rozhdestvensky and Yevgeny Yevtushenko. Their civic lyrics were imbued with the pathos of understanding the place of their country on the scale of world achievements. Hence a different approach to understanding civic duty and social romance. The images of the leaders were revised - the image of Lenin was romanticized, Stalin was criticized. Many songs were written to the verses of Rozhdestvensky, which formed the basis of the "grand style" in the genre of Soviet pop songs. Yevgeny Yevtushenko, in addition to civic topics, was known for his deep and fairly frank love lyrics, cycles written on the basis of impressions from trips around the world.
No less popular Andrei Voznesensky was more focused on the aesthetics of the new modernity - airports, neon, new brands of cars, etc. However, he paid his debt to attempts to comprehend the images of Soviet leaders in a new way. Over time, the theme of the search for the true values of being began to sound in Voznesensky's work. Chamber, intimate motives of Bella Akhmadulina, her peculiar, melodious author's manner of performance subtly resembled the poetesses of the Silver Age, attracting many admirers to her.
In the late 1950s and early 1960s, the art song genre became popular. The most prominent representative and initiator of this direction was Bulat Okudzhava. Together with Rozhdestvensky, Yevtushenko, Voznesensky and Akhmadulina, he performed at the Polytechnic Museum on noisy poetry evenings. His work became the starting point, the impetus for the emergence of a galaxy of popular domestic bards - Vizbor, Gorodnitsky, Galich, Vladimir Vysotsky and others. Many bards sang songs not only on their own words, often the lines of the Silver Age poets - Akhmatova, Tsvetaeva, Mandelstam were set to music.
The entire palette of the poetic process of the thaw period was not limited to bright young voices that were well known to the general reader. The collections of poets of the older generation - Nikolai Aseev's Thoughts (1955), Leonid Martynov Poems (1957) - are imbued with a premonition of change. Understanding the lessons of war main topic front-line poets Semyon Gudzenko, Alexander Mezhirov, Olga Berggolts, Yulia Drunina. The motives of courageous asceticism, which helped to survive in the camps, sounded in the work of Yaroslav Smelyakov. " Silent lyrics» Vladimir Sokolov and Nikolai Rubtsov turned to nature in search of the authenticity of being and harmony with the world. David Samoilov and Boris Slutsky proceeded in their work from a broad cultural and historical reflection.
In addition to the generally recognized published authors, there were a significant number of poets and writers who did not publish. They united in groups - poetic circles of like-minded people that existed either as private associations or as literary associations at universities. In Leningrad, the association of poets at the university (V. Uflyand, M. Eremin, L. Vinogradov, and others) was inspired by the poetry of the Oberiuts. In a circle at the Leningrad Technological Institute (E. Rein, D. Bobyshev, A. Naiman), whose common hobby was acmeism, a young poet Joseph Brodsky appeared. He attracted attention by his lack of conformity - unwillingness to play by the accepted rules, for which in 1964 he was brought to trial for "parasitism".
Most of the creative heritage of the Moscow "Lianozovo group", which included G. Sapgir, I. Kholin, Vs. Nekrasov, was published only 30–40 years after it was written. The Lianozians experimented with colloquial, everyday speech, achieving paradoxical connections and consonances at the expense of dissonance. In Moscow in the late 1950s there was also a circle of students of the Institute of Foreign Languages, which included the poet Stanislav Krasovitsky. In 1964, on the initiative of the poet Leonid Gubanov, the student association of poets and artists SMOG (V. Aleinikov, V. Delone, A. Basilova, S. Morozov, V. Batshev, A. Sokolov, Yu. experiments carried out radical actions, which accelerated its collapse.
Painful and acute was the reaction of the authorities to the publications of some authors abroad. This was given the status of almost treason, which was accompanied by forced expulsion, scandals, legal proceedings, etc. The state still considered itself entitled to determine for its citizens the norms and boundaries of thinking and creativity. That is why in 1958 a scandal erupted over the awarding of the Nobel Prize to Boris Pasternak for the novel Doctor Zhivago published abroad. The writer had to refuse the award. In 1965, a scandal followed with the writers Andrei Sinyavsky (the stories The Judgment Is Coming, Lyubimov, the treatise What is Socialist Realism) and Julius Daniel (the stories Moscow Speaks, Atonement), who had published their works in the West since the late 1950s. They were sentenced "for anti-Soviet agitation and propaganda" to five and seven years in the camps. Vladimir Voinovich after the publication in the West of the novel Life and Extraordinary Adventures of a Soldier Ivan Chonkin had to leave the USSR, because. he could no longer hope for the publication of his books in his homeland.
In addition to “tamizdat”, “samizdat” became a characteristic phenomenon of the society of that time. Many works went from hand to hand, reprinted on typewriters or the simplest copying technique. The very fact of prohibition fueled interest in these publications and contributed to their popularity.
After Brezhnev came to power, it is believed that the "thaw" is over. Criticism was allowed within limits that did not undermine the existing system. There was a rethinking of the role of Lenin - Stalin in history - different interpretations were offered. Criticism of Stalin was on the wane.
Essential for understanding the limits of freedom was the attitude to the literary heritage of the beginning of the century. The event was last work Ilya Ehrenburg - memoirs People, years, life (1961-1966). For the first time, many learned about the existence of such historical figures as Mandelstam, Balmont, Tsvetaeva, Falk, Modigliani, Savinkov and others. The names hushed up by the Soviet ideology, described in detail and vividly, became a reality national history, the artificially interrupted connection between the epochs - pre-revolutionary and Soviet - was restored. Some of the authors of the Silver Age, in particular Blok and Yesenin, were already mentioned and published in the 1950s. Other authors were still banned.
Self-censorship developed. The internal censor told the author which topics could be raised and which ones should not. Separate elements of the ideology were perceived as a formality, a convention that must be taken into account.
Dramaturgy of the "thaw"
The “Thaw” not only debunked the myth of the holiness of the “father of all peoples”. For the first time, she made it possible to raise the ideological scenery above the Soviet stage and dramaturgy. 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.
The process of "humanization" manifested itself in the playwrights, both in its own literary basis and in its staging.
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 Alexei Arbuzov's play Irkutsk History (1959–1960). The image of everyday human drama rose in it to the height of poetic reflections on moral principles contemporary, and the features of the new historical era were vividly imprinted in the appearance of the heroes themselves.
At the beginning, the heroine of the play, the young girl Valya, experiences a state of deep mental loneliness. Believing in the existence of true 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 by frequent shifts. love affairs, the illusory romance of thoughtless life. Loving Victor, suffering humiliation from him, she decides to "revenge" him - she marries Sergei.
Another life begins, Sergey 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 is also changing, the death of a friend makes him reconsider a lot in own life. Now, after real trials, the true love of the heroes becomes possible.
It is significant that Arbuzov widely used stage conventions in the play. A sharp mixture of real and conditional plans, a retrospective way of organizing the action, transferring events from the recent past to the present day - all this was necessary for the author in order to activate the reader, the viewer, to make his contact with the characters more lively and direct, as if bringing problems to open space for open discussion.
The choir occupies a prominent place in the artistic structure of the play. He introduces journalistic elements into this drama, unusually popular in the society of that time.
“Even the day before death it is not too late to start life anew” - this is the main thesis of Arbuzov's play My Poor Marat (1064), which the characters come to the conclusion in the finale after many years of spiritual quest. Both in plot and in terms of the dramatic techniques used here, My poor Marat is built like a chronicle. At the same time, the play is subtitled "dialogues in three parts". Each such part has its exact, up to a month, designation of time. 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, as it were, says: 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, the problems of everyday life, family, love are not separated from issues of moral and civic duty. At the same time, of course, the acuteness and relevance of social and moral problems in themselves were not a guarantee of creative success - it was achieved only when the authors found new dramatic ways of considering life's contradictions, sought to enrich and develop the aesthetic system.
The work of Alexander Vampilov is very interesting. His main achievement is the complex polyphony of living human characters, in many respects dialectically continuing each other and at the same time endowed with pronounced individual features.
Already in the first lyrical comedy Farewell in June (1965) clearly marked the signs of a hero who, in various guises, then went through other plays by Vampilov.
Busygin, the protagonist of Vampilov's play The Elder Son (1967), goes through complex psychological paths to gaining spiritual integrity. The plot of the play is very unusual. Busygin and his casual companion Sevostyanov, nicknamed Silva, find themselves in the Sarafanov family, unknown to them, who are going through difficult times for themselves. Busygin unwittingly becomes responsible for what is happening with the "relatives". As he ceases to be a stranger in the Sarafanovs' house, the former connection with Silva, who turned out to be an ordinary vulgar, gradually disappears. On the other hand, Busygin himself is becoming more and more weary of the game he has started, 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 protagonist is a blood relative of him. Therefore, the long-awaited exposure leads to a happy ending to the whole play. Busygin makes a difficult and therefore conscious, purposeful step forward in his spiritual development.
The problem of moral choice is solved even more complicated and dramatic in the play Duck Hunt (1967). The comic element, so natural in Vampilov's earlier plays, is here reduced to a minimum. The author examines in detail the character of a person who has drowned in the bustle of life, and shows how, by making immorality the norm of behavior, without thinking about the good for others, a person kills the human in himself.
Duck hunting, which the hero of the drama Viktor Zilov is going to during the whole action, is not at all an expression of his spiritual essence. He is a poor shooter because he admits that he is sorry to kill ducks. As it turns out, he feels sorry for himself, although once reaching a dead end in his senseless circling among the women he seems to love and the men who seem to be friendly with him, he tries to stop everything with one shot. Forces for this, of course, was not enough.
On the one hand, the comic, clearly invented, and on the other hand, petty everyday situations in which Vampilov places his heroes, with a more serious acquaintance with them, every time they turn out to be serious exams for a contemporary trying to answer the question: “Who are you, man?”
Ethical problems were revealed with great certainty in Viktor Rozov's drama On the Wedding Day (1964). Here, quite young people are still being tested for moral maturity. On the day of the wedding, the bride suddenly declares that there will be no wedding and that she is forever parting with the groom, although she loves him endlessly. Despite the surprise of such a decisive act, the behavior of the heroine - Nyura Salova, the daughter of a night watchman in a small town on the Volga - has its own inexorable internal logic, which brings her close to the need to give up happiness. In the course of the action, Nyura becomes convinced of the bitter but indisputable truth: the man she marries has long loved another woman.
The peculiarity of the conflict situation that arises in the play lies in the fact that the struggle does not flare up between the characters within the closed and rather traditional love triangle. Rozov, having retrospectively outlined the real sources of the acute conflict that has been created, follows, first of all, the tense confrontation that takes place in the soul of the heroine, because in the end 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 the 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 classmates who have gathered at school for their evening after for long years separation. Sergei Usov, the protagonist of the play Traditional Gathering (1967), speaks directly about the value of the individual, independent of professional achievements, positions, social roles - the fundamental principles of human spirituality are important for him. Therefore, he becomes a kind of arbiter in the dispute of grown-up graduates, who are trying to separate the wheat from the chaff in assessing the viability of a particular fate. The gathering of graduates becomes a review of their moral achievements.
In the same way, they separate, turn off their characters from numerous social connections. Alexander Volodin - Elder Sister (1961), Appointment (1963); Edward Radzinsky - 104 pages about love (1964), Filming a movie (1965).
This is especially true for female images to whom the author's sympathies are undividedly given. The heroines are touchingly romantic and, despite the very difficult relationship 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 the strength for themselves to live with faith and love. A stewardess girl (104 pages about love), a chance meeting with which did not foreshadow the hero, the young and talented physicist Electron, it would seem, no changes in his rationally correct life, in fact showed that a person without love, without affection, without feeling his daily need for another person is not a person at all. In the finale, the hero receives unexpected news of the death of his girlfriend and realizes that he will never again be able to feel life the way it once was - that is, only three and a half months ago ...
Interestingly, in the 1960s, much has changed even for the so-called revolutionary drama. On the one hand, she began to resort to the possibilities of documentary, which is largely due to the desire of the authors to be reliable to the smallest detail. On the other hand, the images of historical figures took on the features of completely “alive”, that is, contradictory, doubting, people going through an internal spiritual struggle.
In Mikhail Shatrov's play The Sixth of July (1964), subtitled "the experience of a documentary drama", the very history of the revolution was recreated directly 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 follow the path of simply reproducing the chronicle of events, he tried to reveal their inner logic, exposing the socio-psychological motives of the behavior of their participants.
The historical facts underlying the play - the Left SR rebellion in Moscow on July 6, 1918 - gave the author ample opportunities to search for exciting scenic situations, free flight creative fantasy. However, following the principle chosen by him, Shatrov sought to discover the power of drama in the very real history. The intensity of the dramatic action intensifies as the political and moral duel between the two political figures, Lenin and the leader of the Left Social Revolutionaries, Maria Spiridonova, intensifies.
But in another play, The Bolsheviks (1967), Shatrov already, by his own admission, departs from the document in many respects, from the exact chronology "in order to create a more integral artistic image of the era." The action unfolds in just a few hours on the evening of August 30, 1918 (with stage time more or less exactly the same). Uritsky was killed in Petrograd, and an attempt was made on Lenin's life in Moscow. If on the Sixth of July the mainspring stage action there was a rapid, condensed movement of events, the development historical fact, then in the Bolsheviks the emphasis was shifted to the artistic understanding of the fact, to the penetration into its deep philosophical essence. Not the tragic events themselves (they take place behind the scenes), but their reflection in the spiritual life of people, the moral problems put forward by them, form the basis of the ideological and artistic concept of the play.
The clash of different views on the moral duties of the individual in society, the processes of internal, spiritual development the hero, the formation of his ethical principles, which takes place in intense and acute spiritual struggles, in difficult searches, in conflicts with others - these contradictions form the driving principle of most of the plays of the 1960s. Turning the content of the works primarily to issues of morality, personal behavior, playwrights significantly expanded the range artistic solutions and genres. At the heart of such searches and experiments lay the desire to strengthen intellectual beginning drama, and most importantly - to find new opportunities to identify spiritual, moral potentialities in a person's character.
POETRY OF THE THAW PERIOD
Thaw (1953-1964) - the beginning of the self-restoration of literature and a new type literary development.
Periodization:
First segment(1953-1954) - theoretical: 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-war and post-war years under the influence of Stalinism.
1953 - V. Pomerantsev's article "From sincerity in literature" (New World magazine): an indication of the discrepancy between personal and official truth, especially in the depiction of the war.
Second segment(1955-1960) - approval of a new type of relationship between the writer and society directly in works of art, the assertion of the right of a writer and a person to see the world not as it should be, but as a particular person sees it.
Third segment(1961-1963) - the development of previously approved trends and the beginning of the reaction.
The first years of the “thaw” became a real “poetic boom”. Opening of the monument to V.V. Mayakovsky in Moscow in the summer of 1958. turned into a literary event - people came out of the crowd and read their poems. Another poetic center was the hall of the Polytechnic Museum. The hall did not accommodate everyone, and the poetry evenings moved to Luzhniki, to the stadiums.
There were many poets throughout the country, but the main troublemakers of poetic tranquility were four: B. Akhmadulina, E. Yevtushenko, R. Rozhdestvensky, A. Voznesensky.
The fate of art after the Second World War is often assessed in the light of the phrase German philosopher Adorno: "How to compose music after Auschwitz?"
Is it possible to write poetry after gas ovens and the death of millions in concentration camps?
Poets formulated new moral principles and convinced that they live in harmony with them.
It seems that poetry has never been so popular, because it was tuned to today's speech and urgent needs: it taught not to adapt, but to be yourself.
BELLA AHMADULINA
Stylistic features of Akhmadulina's poetry: intimacy, subtle poetic observation.
For Akhmadulina, friendship is more important than love. In her world, a man and a woman are connected primarily by simple friendly feelings as the most mysterious and strong, as the highest and most disinterested of all manifestations of the human spirit.
The researchers note that Akhmadulina “does not have love lyrics in the generally accepted sense of the word. Most often, she conveys a feeling of love not to specific person but to people in general, to humanity, to nature.
The heroine of Akhmadulina is sensitive to friendship, seeing it as one of the most important aspects of human communication. In the poem “Along my street that year ...” (1959), Akhmadulina is sad about her friends who are leaving her.
M. Tariverdiev's romance sounds to the words of B. Akhmadulina.
Let us analyze this one of the poignant poems of the poetess.
The lyrical heroine sincerely wishes well for the people she loves, although she sees that they have been misled by "a mysterious passion for betrayal." But there are no complaints, no condemnation. The heroine is not to blame for the fact that this is happening, she does not oppose the departure of her comrades, she is only trying to understand his reasons.
First, the exclamation sounds: “Oh, loneliness, how cool your character is!” But the world of loneliness also brings spiritual benefits (“the silence of libraries,” the “strict motives” of concerts). In seclusion, the heroine comprehends the "secret meaning" of objects, the "children's secrets" of nature ... Having learned "wisdom and sadness", the lyrical heroine again - already with a deeper feeling - sees her friends "beautiful features" ...
EVGENY YEVTUSHENKO
Yevtushenko became the leader of the young poetry of the thaw. What contributed to this?
Features of Yevtushenko's poetry:
Withtrustworthiness and high citizenship of the lyrics
"Babi Yar"
At the request of Viktor Nekrasov, Anatoly Kuznetsov brought the young poet Yevgeny Yevtushenko to Babi Yar. It was already August 1961. 16 years have passed since the end of the war.
- When we [with Anatoly Kuznetsov. MK] came to Babi Yar, I was completely shocked by what I saw. I knew that there was no monument there, but I expected to see some kind of memorial sign or some well maintained place. And suddenly I saw the most ordinary landfill, which was turned into such a sandwich of foul-smelling garbage. And this is in the place where tens of thousands of innocent people lay in the ground: children, old people, women. Before our eyes, trucks drove up and dumped more and more piles of garbage on the place where these victims lay:
There are no monuments above Babi Yar.
A steep cliff, like a rough tombstone.
"Do the Russians want wars?"
Every nation has its distinctive features and national traits that distinguish him from representatives of other nations. For Russian people, such a feature is natural peacefulness, the desire to live calmly and without conflict. This is confirmed by many historical facts, because from the moment of the foundation of Rus', the tribes inhabiting it did nothing but defend themselves from external enemies.
The idea to create a work imbued with the spirit of pacifism was born by the poet during a business trip abroad, when Yevtushenko was able to make sure from personal experience that Russian people abroad are considered aggressors and instigators of armed conflicts. Therefore, the author suggests that for an answer to the question of whether the Russian wars want to turn to them themselves. “Ask those soldiers that lie under the birches. And their sons will answer you whether the Russians want wars,” the poet notes. He emphasizes that the Russians really know how to fight and are ready to defend their homeland, but they do not need foreign land, which to this day is the subject of division. "We don't want soldiers to fall in battle again," the author says.
2) b great attention to human destinies, especially women's
Summarizing, we can say that Yevtushenko's work is dominated by social and moral-psychological problems.
CHRISTMAS
A characteristic property of Rozhdestvensky's poetry is modernity, the relevance of the questions that he poses to himself and to us.
great place in the work of Robert Rozhdestvensky takes love lyrics.
"Monologue of a Woman"
That's how ... she was the first! Should have been late
Somewhere off to the side...
What to do - lost my nerves ...
I went as if I was going to an exam, counting the days from Friday ...
How about: a meeting under the clock ...
Under the clock... here they are...
And he's not there! (How inopportunely the nerves passed!)
Well, still, on a date, I have not been for so many years!
What am I: happy or not happy? We'll see...
I just had to be late...
Stupid! Got my hair done, got into a new coat
« sun bunny» from the film «Once again about love»
"Please, be weaker!"
Song about pilots: "Great sky"
The song "Great Sky", written by Robert Rozhdestvensky and Oscar Feltsman, is known all over the world. At the international competition in Sofia in 1968, she won three medals at once: two gold - for poetry and performance, silver - for music. But this song gained popularity not only because its text is simple and understandable, and the melody remains in the memory from the first time, but also because it says about the closest thing for every person: about peace and friendship, about heroism and humanity, about military duty and readiness for a feat in the name of saving the lives of other people. The plot of the song "Great Sky" is not invented by the poet. This is like a short poetic report about the last 30 seconds of the life of two Russian guys, military pilots, who sacrificed themselves to save a German city. And residents of the Kuban, Smolensk region and the city of Rostov-on-Don can proudly say that this is also a song about their fellow countrymen - Boris Vladislavovich Kapustin and Yuri Nikolaevich Yanov. The song, with almost verbatim accuracy, recounts a feat they accomplished on an overcast day on April 6, 1966, in the skies over Berlin. They served in the same squadron, both were in love with the sky and their silver winged machines. Both flew a lot and with rapture, loved great heights and breathtaking speeds, from which it suddenly became inexplicably joyful and I wanted to rise higher and higher in order to look even further beyond the horizon. Both were first-class military specialists. The party organizer of the squadron, captain Kapustin, was known in the unit as an excellent pilot. This was even reflected in his certifications: "He has a number of command commendations for his excellent piloting technique." And senior lieutenant Yanov was considered by his comrades to be a "professor" in navigation. His job description said: “In achieving the goal, he is bold and resolute. Seriously prepares for each flight, regardless of its nature and importance. In the air, calm, initiative. He actively shares his experience in performing flight tasks with his comrades. And they also loved life very much, and they were going to live happily ever after. Yanov and Kapustin lived side by side, and it was somehow customary that before going to the airfield, Yanov would visit Kapustin, and then they would go to their “work” along a narrow path through a birch forest. So it was on this day. But in the morning gloomy clouds hung over the city, the flight was postponed several times, and only after lunch did they finally call from the airfield, warning that in an hour and a half they should be ready for departure. And about ten minutes later, Yanov came to Kapustin. Boris Vladislavovich, who was making something for his first-grader son Valerka, immediately put everything aside and quickly got ready. Putting on his cap, out of habit, he once again looked at himself in the mirror and saw his son behind him. Valerka stood with his cheek pressed against the doorknob and looked sadly at his father: - Dad, don't fly today, huh? Let's go to the forest, I saw flowers there. We'll get mom. Boris Vladislavovich raised his son in his arms, looked into his eyes: - No, son. I cannot fly. Such a service, order. That's when you grow up and be a military man, you'll understand. - Come on, son, let's agree this way: you do your homework now, and Uncle Yura and I will quickly complete our important combat mission, and then we'll go for a walk with you. Honestly. Agree? - I agree, - Valerka cheered up. "Just don't be long, I'll be waiting!" The winged car easily ran along the concrete strip of the runway and, gently taking off from the ground, quickly gaining altitude, rushed up. Another plane took off after her. The task of the pilots that day was simple and ordinary - to overtake two aircraft from one airfield to another. Having pierced the gray veil of fog, the swift machines soon rose above the swirling foam of clouds, and immediately the bright spring sun hit the pilots' eyes. The flight went well. Gaining altitude, the planes leveled off, took a given course. The flight to the landing site was no more than half an hour. Captain Kapustin's hands lay relaxed on the steering wheel, and he occasionally glanced at the instruments, noting how many minutes remained before landing. And suddenly a sharp push threw the bodies of the pilots forward, the parachute straps cut into their shoulders, their heads became heavy. The plane of the leading pair suddenly pecked nose down, and the huge speed instantly broke the line of machines. Flying, making friends
In the heavenly distance
Hand to the stars
Could reach.
Trouble has come
Like tears to the eyes
Once Upon a Flight
The motor failed. The pilots already knew that something had happened to the engines, but they were flying above the clouds and could not yet see what was down there, under them. Failing with the left wing, the plane descended lower and lower to the torn gray clouds that covered the ground. But then the winged machine finally surfaced over the densely populated part of the big city. It was Berlin. Kapustin stared intently ahead, to where the even squares of city blocks, straight as arrows, the streets merged with the misty horizon. It was now perfectly clear to the pilot that it would not be possible to keep the car in the air for a long time, and Captain Kapustin was feverishly looking for a way out of dangerous situation, trying to determine which part of the city they are flying over and how far it is from here to its outskirts. But the city was huge, it floated beneath them, beautiful, crowded, with wide squares and streets, high white stone buildings, and even from this height, no matter how Kapustin peered into the distance, he did not see its end. The pilot imagined what might happen if the plane crashed into the city. And by themselves, completely different pictures suddenly surfaced in his mind ... And it would be necessary to jump -
The flight didn't come out
But will collapse on the city
empty plane,
Pass without leaving
living trail,
And thousands of lives
Break then. The plane, skirting the residential quarters of the city, went farther and farther away from houses, from people. But the car quickly lost altitude and speed and almost did not obey the rudders. One West German worker W. Schrader later recalled: “I was working on a 25-story building, when a plane flew out of a gloomy sky, I saw it at an altitude of about one and a half thousand meters. The car began to fall, then rose again, fell again and rose again. This happened three times. Apparently the pilot was trying to level the plane." Quarters are fading
But you can't jump.
"Let's reach the forest, -
Friends decided -
Away from the city
We'll take death.
Let us die
But we will save the city. They still managed to keep the car in the air. The plane in distress roared over the Berlin suburbs and disappeared behind the trees of a large forest. Kapustin calmed down a little, the main danger was over, the city was left behind. But now it was necessary to land the car. Where? How? Suddenly, Boris Vladislavovich saw a large field straight ahead, and a little to the side, in the middle of the forest, a lake. “It’s unlikely that it will be possible to reach the lake,” he thought, “we must try to sit on the field.” He was already preparing for landing, as always he concentrated, he grabbed the steering wheel more comfortably, but then, to his horror, he noticed that some points, many points, were moving on this field. “People,” a hunch dawned, and the captain immediately remembered a map of this area of Berlin. “Yes, this is a cemetery, and it is full of people!” Kapustin, with his hands numb from tension, again pulled the steering wheel towards himself with all his strength. Now there was only one chance - to land the plane on the lake. But you still need to fly to it, you still need to taxi to it. Kapustin began to carefully turn the steering wheel, and the car began to slowly deviate towards the rapidly approaching water surface. Finally, swaying, she rushed to the lake. Even on this low altitude Senior Lieutenant Yanov could still eject without risk to his life. Left on the tape of an airplane tape recorder last phrases pilots. "Yura, jump," Kapustin ordered calmly. - I'm staying, Commander. No, the navigator could not carry out this order. Perhaps, for the first time, he did not obey the will of the commander, he simply could not leave him alone in a disobedient car. airplane boom
Rushed from heaven
And flinched by the explosion
Birch forest...
Not soon glades
Grass will grow...
And the city thought
Teachings are coming. The divers who participated in the search operations told the press that when they got to the pilot's cabin through the thickness of the silt, they saw the pilots there as well. The commander and navigator, as during the flight, sat in their places, in oxygen masks, with their hands frozen on the aircraft control rudders. Hands that saved thousands human lives who saved the city.
The song "Great Sky" sounds
Philosophical verse: "Man needs little"
Why does a person come into this world and what does he expect from life? Trying to find answers to these questions, the author comes to the conclusion that, in fact, a person needs very little in order to feel happy. This is not about recognition, fame, material well-being and satisfaction of one's own ambitions, but about simple human values that sooner or later outweigh the scales. The author is convinced that to begin with, each of us needs to have one true friend and one enemy. The first is needed in order to support Hard time and stand by when it is necessary to repulse ill-wishers. Well, the enemy, according to the poet, makes a person develop his mental and physical abilities, move forward and achieve his goals. It is also important for any person that he has a mother who will love her child, no matter what. And this love is a kind of guiding star in the life of each of us, it helps not to get lost in the wilds of feelings and emotions, showing the shortest path to peace of mind.
A person, according to the poet, is so unpretentious that he only needs to hear "after the thunder - silence" and see "a blue patch of fog." One life and one death - this is what each of us is content with and at the same time does not lose hope of becoming happy.
About the war: "Where is he, this day"
Voznesensky
In the work of Voznesensky, moral and ethical quests are noticeably intensified. The poet himself feels the urgent need to update, above all, the spiritual content of poetry. Voznesensky's poems are filled with sound energy.
"Wake me up at dawn"
"Start from the beginning"
"Do you remember me?"
"Promise Me Love"
"First Ice" ("The girl in the machine is crying")
A poem by A.A. Voznesensky's "First Ice" is a small elegiac sketch from the life of an ordinary young girl. A girl in love freezes in the machine. The theme of cold runs throughout the work. It is emphasized by a number of artistic details: “a chilly coat”, “fingers are ice”, “a frozen mark on the cheeks” and, finally, placed in the title and repeated three times in the text of the poem key image works - "first ice". Throughout the development of the plot, this image is rethought. At first, it is perceived as an ordinary weather phenomenon. But then the metaphor “the first ice of telephone phrases” suggests that what is important in the poem is not the cold of the approaching winter, but the ice that seeped into the soul of the lyrical heroine through the icy notes in the voice of her beloved, which the girl heard on the phone. The final lines of the poem complete the image created by the author on a logical note: "A frozen trace on the cheeks shines - The first ice from human insults." The girl is just entering adult life. Earrings and lipstick are symbols of the awakening of the feminine in her, the need to love and be loved.
The clash of childish naivety with deceit hurts not only the soul of the lyrical heroine, but also the heart of the author, who, on the one hand, sympathizes with his heroine, and on the other hand, cannot change the plot and make her happy, because then he will sin against the truth - the harsh truth life. The image of the first ice is correlated in the poem with the theme of grief and loneliness. Between the lines in the poem, the author's annoyance is visible that, faced with resentment, a touching and naive creature will harden his soul. The epithet "first" constantly reminds us that there can be many such love disappointments along the path of life. The poem makes us remember the value of trusting human relationships, that it is easy to destroy them, but sometimes impossible to restore.
40. Literary thaw: general characteristics(s)
1. “Thaw” is not a term, but a metaphor that has been fixed in special literature with the light hand of Ehrenburg (who named his story of 1954, published in Znamya) to designate a certain period in the development of Soviet history, and along with it, literature.
2. Dating this period is extremely difficult, there are different opinions: the beginning - 1953 (in political history - the death of Stalin; in literary process- Pomerantsev's article in the NM "On Sincerity in Literature", symbolizing new trends) / 1956 (Khrushchev's report at the 20th Party Congress); the end - (the return to the previous positions is stated by the Strugatskys in “Comments on what has been passed”, Solzhenitsyn in “The calf butted with the oak” / (trials of Brodsky and Sinyavsky with Daniel) / 1968 (the entry of Soviet troops into Prague, tightening the screws in all directions).
3. Such difficulties with dating are due to the fact that the period is extremely internally contradictory: there was a magazine "New World", but in contrast, "October" was supported, headed by the ardent Stalinist Kochetov. They poisoned Pasternak for the Nobel Prize for Doctor Zhivago, but published One Day in the Life of Ivan Denisovich and Terkin in the Other World.
4. But in any case, this period (conditionally - the middle of the 50s - the end of the 60s) is, according to H. Günther, the phase of the decanonization of socialist realism, characterized by an irreversible tendency to open the canon and pluralization.
5. Pluralization begins with the “mastering of the lost”: the works of Babel, Platonov, Bulgakov, Mandelstam began to return to the cultural consciousness very in portions, but nevertheless they began to return. Opened up " iron curtain”, in the “Foreigner” works by Hemingway, Faulkner, Camus, Sartre, Beckett, Ionesco, Belle began to appear.
6. In the current literary process, the expansion of the plot sphere begins. This is how military prose arises (Bondarev "Battalions ask for fire", 1957, "Last volleys", 1959; Baklanov "A span of the earth", 1959, The dead have no shame, 1961, "July 41", 1965; Bulls "Sotnikov", 1970 ). War is an area of admitted truth.
a) It is important that during the war and immediately after, only "Terkin" (1942-45) and "Stalingrad" (the title "In the trenches of Stalingrad" was not passed for censorship reasons) by Nekrasov (1946) were published, and then a period of silence stretches, since the war was an experience that required a latent period for reflection. And by the thaw, this period ends.
b) Bondarev and Baklanov were accused of "remarqueism" - the image of the so-called. "trench truth".
7. But Belaya characterizes the thaw, first of all, as a renewal of the stylistic process.
8. Here in the forefront of the so-called. village prose (Shukshin "Two on a Cart", 1958; Abramov "Brothers and Sisters", 1958, and only then all sorts of Rasputins with the Astafievs).
a) Villagers contrasted their principles of depicting the village with those that were entrenched in the social. so-called literature "Gloomy Seven Years" () and are briefly described in F. Abramov's article "People of the collective farm village in post-war literature" ("varnishing of reality", all as one ruddy and curly).
b) And with Shukshin, not only not everyone is curly, but also everyone gets their own voice (Belaya: “Shukshin spoke to voices”), and it turns out that for this it is not even necessary to resort to a special style register, but you just need to abandon the stamps and it is more difficult to organize the system t. - a lot of improperly direct speech.
c) In addition, the villagers were the first to show that the village is not a special topic, but a foreign culture (according to Lotman’s definition) with a special attitude to creativity, to death (Shukshin “How the old man died”, 1967; Rasputin “ Deadline", 1970).
9. Following the villagers, the stylistic process is updated by young (confessional) prose. (Gladilin, Pristavkin, Aksenov "Colleagues", 1960, " star ticket", 1961). Their works are published in "Youth" (chief editor - Kataev), which in itself is symptomatic.
a) Aksenov's stories are everywhere we are talking about young university graduates who are on the verge of choosing a life path. And it is important that these are not “iron felixes” (which the canon has demanded since the time of Pavel Vlasov - “Mother”), but people who doubt, reflect, have the right to make a mistake.
b) And the speech of these young people is sprinkled with modern youth jargon.
10. The stylistic process is being updated in poetry as well. In the mid-1950s, the star of the pop poets Yevtushenko, Voznesensky, Akhmadulina, Rozhdestvensky rises with their poetics complicated in the spirit of Mayakovsky, setting on the ultimate subjectivity, humanistic pathos and moderately liberal.
11. In addition, on the thaw wave, such a phenomenon as a bard song arises. In the mid-50s, Okudzhava made his debut in this genre (by that time he had already published as a poet and had several songs written), and Vysotsky was impressed by him. This is a synthetic genre, which in many respects makes up for not only the stamping of poetry, but also the wretchedness of the theater.
12. Thaw in criticism and journalism - the journal Novy Mir, which was headed by Tvardovsky, where Solzhenitsyn was published and where there was decent criticism (Pomertsev "On sincerity in literature", 1953; Abramov "People of the collective farm village in post-war literature", 1954 ; Shcheglov "Russian Forest" by Leonid Leonov", 1954; Lakshin "Ivan Denisovich, his friends and foes", 1964). Critical articles were written in human language and opposed the canons of the so-called. normative criticism. For the reader, this was a huge relief.
13. Finally, in 1968, every thaw is curtailed, but, as we know from old Gunther, decanonization is an irreversible process. Therefore, in literary terms, the era of early stagnation inherits the thaw. For example, urban literature that appeared in the late 60s (Trifonov's autoname - as opposed to village literature) is completely updated in terms of style, and quite fresh in subject matter - the life of the city (Trifonov "Exchange", 1969 - a psychological conflict is built around the exchange of two rooms for a two-room apartment, House on the Embankment, 1976).
The content of the article
THE LITERATURE OF THE THAW, conditional name for the period of literature of the Soviet Union in the 1950s-early 1960s. The death of Stalin in 1953, the 20th (1956) and XXII (1961) congresses of the CPSU, which condemned the “cult of personality”, the softening of censorship and ideological restrictions - these events determined the changes reflected in the work of writers and poets of the thaw.
In the early 1950s, articles and works began to appear on the pages of literary magazines, which played the role of stimulating public opinion. A sharp controversy among readers and critics was caused by the story of Ilya Ehrenburg Thaw. 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 the Soviet ideology, in his person breaks with the past of the country. 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 a novel by Vladimir Dudintsev was published Not by bread alone and stories by Pavel Nilin Cruelty, Sergey Antonov It was in Penkovo. Dudintsev's novel traces the tragic path of the inventor in a bureaucratic system. The main characters of the stories of Nilin and Antonov were attracted by their lively characters, their sincere attitude to the events around him, the search for his own truth.
The most striking works of this period were focused on participation in solving topical socio-political issues for the country, on revising the role of the individual in the state. The process of mastering the space of the opened freedom was going on in the society. Most of the participants in the disputes did not abandon socialist ideas.
The prerequisites for a thaw were laid in 1945. Many writers were front-line soldiers. The prose about the war of real participants in hostilities, or, as it was called, "officer prose", carried an important understanding of the truth about the past war.
The first to raise this topic, which became central in the military prose of 1950–1960, was Viktor Nekrasov in the story In the trenches of Stalingrad, published in 1946. Konstantin Simonov, who served as a front-line journalist, described his impressions in the trilogy Living and dead(1959–1979). In the stories of front-line writers Grigory Baklanov span of land(1959) and The dead have no shame(1961), Yuri Bondarev Battalions ask for fire(1957) and Last salvos(1959), Konstantin Vorobyov Killed near Moscow(1963), against the background of a detailed, unvarnished description of military life, the theme of a conscious personal choice in a situation between life and death was first heard. Knowledge of front-line life and experience of survival in the camps formed the basis of the work of Alexander Solzhenitsyn, who subjected the Soviet regime to the most consistent criticism.
Issues of literary almanacs and periodicals - various literary magazines - played an important role in the process of "warming". It was they who most vividly reacted to new trends, contributed to the emergence of new names, brought authors of the 1920s-1930s out of oblivion.
From 1950 to 1970, the Novy Mir magazine was headed by A.T. Tvardovsky. As editor-in-chief, he contributed to the appearance of bright and bold publications in the magazine, gathering around him the best writers and publicists. Novomirskaya Prose brought serious social and moral problems to the attention of readers.
In 1952, a series of essays by Valentin Ovechkin was published in Novy Mir. District weekdays, where for the first time the topic of optimal management of agriculture began to be discussed. It was discussed what is better: strong-willed pressure or granting the necessary independence to agriculture. This publication marked the beginning of a whole trend in literature - "village prose". leisurely reflections village diary Yefim Dorosh about the fate of rural residents side by side with the nervous, electrified prose of Vladimir Tendryakov - stories potholes, Mayfly - a short age. Rural prose showed the wisdom of the peasants, living with nature in the same rhythm and sensitively reacting to any falsehood. One of the brightest subsequently "villagers", Fyodor Abramov, began to be published in the "New World" as a critic. In 1954 his article was published People of the collective farm village in post-war prose, where he urged to write "only the truth - direct and impartial."
In 1956, two issues of the anthology "Literary Moscow" were published under the editorship of Emmanuil Kazakevich. I. Erenburg, K. Chukovsky, P. Antokolsky, V. Tendryakov, A. Yashin and others, as well as poets N. Zabolotsky and A. Akhmatova, were published here, for the first time after a 30-year break, the works of M. Tsvetaeva were published. In 1961, the almanac Tarusa Pages was published under the editorship of Nikolai Otten, where M. Tsvetaeva, B. Slutsky, D. Samoilov, M. Kazakov, the story of the war by Bulat Okudzhava were published Be healthy, schoolboy, chapters from golden rose and essays by K. Paustovsky.
Despite the atmosphere of renewal, opposition to new trends was significant. Poets and writers who worked according to the principles of socialist realism consistently defended them in literature. Vsevolod Kochetov, editor-in-chief of the Oktyabr magazine, argued with Novy Mir. The discussions unfolded on the pages of magazines and periodicals supported the atmosphere of dialogue in the society.
In 1955-1956, many new magazines appeared - Youth, Moscow, Young Guard, Friendship of Peoples, Ural, Volga, etc.
"Youth prose" was published mainly in the journal "Youth". Its editor, Valentin Kataev, relied on young and unknown prose writers and poets. The works of the young were characterized by confessional intonation, youth slang, sincere high spirits.
In the stories of Anatoly Gladilin published on the pages of "Youth" Chronicle of the times of Viktor Podgursky(1956) and Anatoly Kuznetsov Continuation of the legend(1957) described the young generation's search for their own path at the "construction sites of the century" and in their personal lives. Heroes were also attracted by sincerity and rejection of falsehood. In the story of Vasily Aksenov star ticket, published in "Youth", a new type of Soviet youth was described, later called by critics "star boys". This is a new romantic, longing for maximum freedom, believing that in search of himself he has the right to make mistakes.
During the thaw in domestic literature a lot of new bright names appeared. Yuri Kazakov's short stories are characterized by attention to the nuances of the psychological state ordinary people of the people (stories Manka, 1958, tralee wali, 1959). A postman girl, a drunkard buoy keeper singing old songs on the river - they embody their understanding of life, focusing on their own idea of its values. ironic tale Constellation Kozlotur(1961) brought popularity to the young author Fazil Iskander. The story ridicules the emasculated bureaucratic functioning, creating fuss around useless "innovative undertakings". Subtle irony has become not only a characteristic feature of the author's style of Iskander, but also migrated to oral speech.
The genre of science fiction continues to develop, the traditions of which were laid down in the 1920s and 1930s. Significant works were written by Ivan Efremov - Andromeda's nebula (1958), Serpent's Heart(1959). Utopian novel Andromeda's nebula reminiscent of a philosophical treatise on the cosmic communist future, to which the development of society will lead.
In the 1950s, the brothers Arkady and Boris Strugatsky came to literature - From outside (1959), Country of Crimson Clouds (1959), Path to Amalthea (1960), Noon, 21st century (1962), distant rainbow (1962), It's hard to be a god(1964). Unlike other science fiction writers who solved the themes of cosmic messianism in an abstract heroic way, the problems of cosmic "progressors" were revealed by the Strugatskys at the level of philosophical understanding of the mutual influences of civilizations of different levels. In the story It's hard to be a god the question is raised which is better: the slow, painful, but natural development of society or the artificial introduction and expansion of the values of a more civilized society into a less developed one in order to direct its movement in a more progressive direction. In subsequent books by the authors, reflection on this issue becomes deeper. There comes an awareness of moral responsibility for considerable sacrifices - the payment of the so-called. "primitive" societies for the progress imposed on them.
It was in the 1960s-1980s that Yuri Trifonov, Alexander Solzhenitsyn, Venedikt Erofeev, Joseph Brodsky came to realize themselves as writers and poets.
So, in 1950, Trifonov's story students. Solzhenitsyn, during the years of exile and teaching in the Ryazan region, worked on the novel cancer corps, research Gulag Archipelago; in 1959 he wrote a story One day Ivan Denisovich, published in 1962. Venedikt Erofeev in the 1950s led the life of a student wandering around different universities. He tried his pen in a lyrical diary Psychopath Notes(1956-1957), where a special Erofeev style was already felt.
The thaw period is accompanied by the flourishing of poetry. The euphoria from the opened opportunities demanded an emotional outburst. Since 1955, the Poetry Day holiday has been held in the country. On one Sunday in September, poems were read throughout the country in the halls of libraries and theaters. Since 1956, an almanac with the same name began to appear. Poets spoke from the stands, gathered stadiums. Poetry evenings at the Polytechnic Museum attracted thousands of enthusiastic listeners. Since the monument to the poet was solemnly opened on Mayakovsky Square in 1958, this place has become a place of pilgrimage and meetings for poets and poetry lovers. Here poems were read, books and magazines were exchanged, there was a dialogue about what was happening in the country and the world.
The greatest popularity during the period of the poetic boom was won by poets of a bright journalistic temperament - Robert Rozhdestvensky and Yevgeny Yevtushenko. Their civic lyrics were imbued with the pathos of understanding the place of their country on the scale of world achievements. Hence a different approach to understanding civic duty and social romance. The images of the leaders were revised - the image of Lenin was romanticized, Stalin was criticized. Many songs were written to the verses of Rozhdestvensky, which formed the basis of the "grand style" in the genre of Soviet pop songs. Yevgeny Yevtushenko, in addition to civic themes, was known for deep and fairly frank love lyrics, cycles written based on impressions from trips around the world.
No less popular Andrei Voznesensky was more focused on the aesthetics of the new modernity - airports, neon, new brands of cars, etc. However, he paid his debt to attempts to comprehend the images of Soviet leaders in a new way. Over time, the theme of the search for the true values of being began to sound in Voznesensky's work. The chamber, intimate motifs of Bella Akhmadulina, her peculiar, melodious author's manner of performance subtly resembled the poetesses of the Silver Age, attracting many admirers to her.
In the late 1950s and early 1960s, the art song genre became popular. Most prominent representative and the initiator of this direction was Bulat Okudzhava. Together with Rozhdestvensky, Yevtushenko, Voznesensky and Akhmadulina, he performed at the Polytechnic Museum at noisy poetry evenings. His work became the starting point, the impetus for the emergence of a galaxy of popular domestic bards - Vizbor, Gorodnitsky, Galich, Vladimir Vysotsky and others. Many bards sang songs not only on their own words, often the lines of the Silver Age poets - Akhmatova, Tsvetaeva, Mandelstam were set to music.
The entire palette of the poetic process of the thaw period was not limited to bright young voices that were well known to the general reader. The collections of poets of the older generation - Nikolai Aseev - are imbued with a premonition of change reflections(1955), Leonida Martynova Poetry(1957). Comprehension of the lessons of war is the main theme of front-line poets Semyon Gudzenko, Alexander Mezhirov, Olga Berggolts, Yulia Drunina. The motives of courageous asceticism, which helped to survive in the camps, sounded in the work of Yaroslav Smelyakov. "Quiet Lyricists" Vladimir Sokolov and Nikolai Rubtsov turned to nature in search of the authenticity of being and harmony with the world. David Samoilov and Boris Slutsky proceeded in their work from a broad cultural and historical reflection.
In addition to the generally recognized published authors, there were a significant number of poets and writers who did not publish. They united in groups - poetic circles of like-minded people that existed either as private associations or as literary associations at universities. In Leningrad, the association of poets at the university (V. Uflyand, M. Eremin, L. Vinogradov, etc.) was inspired by the poetry of the Oberiuts. In a circle at the Leningrad Technological Institute (E. Rein, D. Bobyshev, A. Naiman), whose common hobby was acmeism, a young poet Joseph Brodsky appeared. He attracted attention by his lack of conformity - unwillingness to play by the accepted rules, for which in 1964 he was brought to trial for "parasitism".
Most creative heritage Moscow "Lianozovo group", which included G. Sapgir, I. Kholin, Vs. Nekrasov, was published only 30-40 years after it was written. The Lianozians experimented with colloquial, everyday speech, achieving paradoxical connections and consonances at the expense of dissonance. In Moscow in the late 1950s there was also a circle of students of the Institute of Foreign Languages, which included the poet Stanislav Krasovitsky. In 1964, on the initiative of the poet Leonid Gubanov, the student association of poets and artists SMOG (V. Aleinikov, V. Delone, A. Basilova, S. Morozov, V. Batshev, A. Sokolov, Yu. Kublanovsky, etc.) was born, which, in addition to literary experiments carried out radical actions, which accelerated its collapse.
Painful and acute was the reaction of the authorities to the publications of some authors abroad. This was given the status of almost treason, which was accompanied by forced expulsion, scandals, legal proceedings, etc. The state still considered itself entitled to determine for its citizens the norms and boundaries of thinking and creativity. That is why in 1958 a scandal erupted over the award of the Nobel Prize to Boris Pasternak for a novel published abroad. Doctor Zhivago. The writer had to refuse the award. In 1965, a scandal followed with the writers Andrei Sinyavsky (novels Judgment is coming, Lyubimov, treatise What is socialist realism) and Julius Daniel (novels Moscow speaking, Redemption), who published their works in the West since the late 1950s. They were sentenced "for anti-Soviet agitation and propaganda" to five and seven years in the camps. Vladimir Voinovich after the publication of the novel in the West The Life and Extraordinary Adventures of Soldier Ivan Chonkin had to leave the USSR, because. he could no longer hope for the publication of his books in his homeland.
In addition to "tamizdat", "samizdat" became a characteristic phenomenon of the society of that time. Many works went from hand to hand, reprinted on typewriters or the simplest copying technique. The very fact of prohibition fueled interest in these publications and contributed to their popularity.
After Brezhnev came to power, it is believed that the "thaw" is over. Criticism was allowed within limits that did not undermine the existing system. There was a rethinking of the role of Lenin - Stalin in history - different interpretations were offered. Criticism of Stalin was on the wane.
Essential for understanding the limits of freedom was the attitude to the literary heritage of the beginning of the century. The event was the last work of Ilya Ehrenburg - memoirs People, years, life(1961–1966). For the first time, many learned about the existence of such historical figures as Mandelstam, Balmont, Tsvetaeva, Falk, Modigliani, Savinkov and others. The names hushed up by the Soviet ideology, described in detail and vividly, became the reality of national history, the artificially interrupted connection between the epochs - pre-revolutionary and Soviet - was restored. Some of the authors of the Silver Age, in particular Blok and Yesenin, were already mentioned and published in the 1950s. Other authors were still banned.
Self-censorship developed. The internal censor told the author which topics could be raised and which ones should not. Separate elements of the ideology were perceived as a formality, a convention that must be taken into account.
Olga Loshchilina
DRAMATURGY "THAW"
The “Thaw” not only debunked the myth of the holiness of the “father of all peoples”. For the first time, she made it possible to raise the ideological scenery above the Soviet stage and dramaturgy. 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.
The process of "humanization" manifested itself in the playwrights, both in its own literary basis and in its staging.
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 by Alexei Arbuzov Irkutsk history(1959–1960). The image 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, the heroine of the play, the young girl Valya, experiences a state of deep mental loneliness. Believing in the existence of true 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 a frequent change of love affairs, the illusory romance of a thoughtless life. Loving Victor, suffering humiliation from him, she decides to "revenge" him - she marries Sergei.
Another life begins, Sergey 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 is also changing, the death of a friend makes him reconsider a lot in his own life. Now, after real trials, the true love of the heroes becomes possible.
It is significant that Arbuzov widely used stage conventions in the play. A sharp mixture of real and conditional plans, a retrospective way of organizing the action, transferring events from the recent past to the present day - all this was necessary for the author in order to activate the reader, the viewer, to make his contact with the characters more lively and direct, as if bringing problems to open space for open discussion.
prominent place in artistic structure the play is occupied by the Chorus. He introduces journalistic elements into this drama, unusually popular in the society of that time.
“Even the day before death, it’s not too late to start life anew” - this is the main thesis of Arbuzov’s play My poor Marat(1064), which the heroes come to the conclusion in the finale after many years of spiritual quest. Both in plot and in terms of the dramatic techniques used here My poor Marat built like a chronicle. At the same time, the play is subtitled "dialogues in three parts". Each such part has its exact, up to a month, designation of time. 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, as it were, says: 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, the problems of everyday life, family, love are not separated from issues of moral and civic duty. At the same time, of course, the acuteness and relevance of social and moral problems in themselves were not a guarantee of creative success - it was achieved only when the authors found new dramatic ways of considering life's contradictions, sought to enrich and develop the aesthetic system.
The work of Alexander Vampilov is very interesting. His main achievement is the complex polyphony of living human characters, in many respects dialectically continuing each other and at the same time endowed with pronounced individual features.
Already in the first lyrical comedy Goodbye in June(1965) the signs of the hero were clearly identified, who later went through other plays by Vampilov in various guises.
Busygin, the protagonist of Vampilov's play, goes through complex psychological paths to gaining spiritual integrity. eldest son(1967). The plot of the play is very unusual. Busygin and his casual companion Sevostyanov, nicknamed Silva, find themselves in the Sarafanov family, unknown to them, who are going through difficult times for themselves. Busygin unwittingly becomes responsible for what is happening with the "relatives". As he ceases to be a stranger in the Sarafanovs' house, the former connection with Silva, who turned out to be an ordinary vulgar, gradually disappears. On the other hand, Busygin himself is becoming more and more weary of the game he has started, 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 protagonist is a blood relative of him. Therefore, the long-awaited exposure leads to a happy ending to the whole play. Busygin makes a difficult and therefore conscious, purposeful step forward in his spiritual development.
The problem of moral choice in the play is solved even more complicated and dramatic. duck hunting(1967). The comic element, so natural in Vampilov's earlier plays, is here reduced to a minimum. The author examines in detail the character of a person who has drowned in the bustle of life, and shows how, by making immorality the norm of behavior, without thinking about the good for others, a person kills the human in himself.
Duck hunting, which the hero of the drama Viktor Zilov is going to during the whole action, is not at all an expression of his spiritual essence. He is a poor shooter because he admits that he is sorry to kill ducks. As it turns out, he feels sorry for himself, although once reaching a dead end in his senseless circling among the women he seems to love and the men who seem to be friendly with him, he tries to stop everything with one shot. Forces for this, of course, was not enough.
On the one hand, the comic, clearly invented, and on the other hand, petty everyday situations in which Vampilov places his heroes, with a more serious acquaintance with them, every time they turn out to be serious exams for a contemporary trying to answer the question: “Who are you, man?”
Ethical problems with great certainty were revealed in the drama of Viktor Rozov On the wedding day(1964). Here, quite young people are still being tested for moral maturity. On the day of the wedding, the bride suddenly declares that there will be no wedding and that she is forever parting with the groom, although she loves him endlessly. For 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 city - has its own inexorable internal logic, which brings her to the point of giving up happiness. In the course of the action, Nyura becomes convinced of the bitter but indisputable truth: the man she marries has long loved another woman.
The peculiarity of the conflict situation that arises in the play lies in the fact that the struggle does not flare up between the characters within the closed and rather traditional love triangle. Rozov, having retrospectively outlined the real sources of the acute conflict that has been created, follows, first of all, the tense confrontation that takes place in the soul of the heroine, because in the end 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 the 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 classmates who have gathered at school for their evening after many years of separation. Sergei Usov, the protagonist of the play Traditional collection(1967), speaks directly 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 of grown-up graduates, who are trying to separate the wheat from the chaff in assessing the viability of a particular fate. The gathering of graduates becomes a review of their moral achievements.
In the same way, they separate, turn off their characters from numerous public relations Alexander Volodin - Elder sister(1961),Purpose(1963); Edward Radzinsky - 104 pages about love(1964),Filming a movie (1965).
This is especially characteristic of female images, to which the author's sympathies are undividedly given. The heroines are touchingly romantic and, despite the very difficult relationship 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 the strength for themselves to live with faith and love. flight attendant girl 104 pages about love), a chance meeting with which did not foreshadow the hero, the young and talented physicist Electron, it would seem, no changes in his rationally correct life, in fact showed that a person without love, without affection, without feeling his everyday need for another person is not at all Human. In the finale, the hero receives unexpected news of the death of his girlfriend and realizes that he will never again be able to feel life the way it once was - that is, only three and a half months ago ...
Interestingly, in the 1960s, much has changed even for the so-called revolutionary drama. On the one hand, she began to resort to the possibilities of documentary, which is largely due to the desire of the authors to be reliable to the smallest detail. On the other hand, the images of historical figures took on the features of completely “alive”, that is, contradictory, doubting, people going through an internal spiritual struggle.
In the play by Mikhail Shatrov sixth of july(1964), called in the subtitle "documentary drama experience", the very history of the revolution was recreated directly in a dramatic interplay 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 follow the path of simply reproducing the chronicle of events, he tried to reveal their inner logic, exposing the socio-psychological motives of the behavior of their participants.
The historical facts underlying the play - the Left SR rebellion in Moscow on July 6, 1918 - gave the author ample opportunity to search for exciting stage situations, free flight of creative imagination. However, following the principle chosen by him, Shatrov sought to discover the power of drama in the real story itself. The intensity of the dramatic action intensifies as the political and moral duel between the two political figures, Lenin and the leader of the Left Social Revolutionaries, Maria Spiridonova, intensifies.
But in another play Bolsheviks(1967), Shatrov already in many ways, by his own admission, departs from the document, from the exact chronology "in order to create a more integral artistic image of the era." The action takes place over just a few hours on the evening of August 30, 1918 (the stage time more or less exactly corresponds to the real time). Uritsky was killed in Petrograd, and an attempt was made on Lenin's life in Moscow. If in sixth of july the main spring of the stage action was the rapid, condensed movement of events, the development of a historical fact, then in Bolsheviks the emphasis is shifted to the artistic comprehension of the fact, to the penetration into its deep philosophical essence. Not the tragic events themselves (they take place behind the scenes), but their reflection in the spiritual life of people, the moral problems put forward by them, form the basis of the ideological and artistic concept of the play.
The clash of different views on the moral obligations 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, in difficult searches, in conflicts with others - these contradictions form the driving principle of most of the plays of the 1960s. . Turning the content of the works primarily to questions of morality, personal behavior, playwrights significantly expanded the range of artistic solutions and genres. At the heart of such searches and experiments was the desire to strengthen the intellectual beginning of the drama, and most importantly, to find new opportunities for revealing spiritual, moral potentialities in a person’s character.
Elena Sirotkina
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