Lyudmila Petrushevskaya cannot be called an ordinary writer, her works touch the secret strings in both children's and adult souls ... This is a person with amazing fate, all her life she lived in spite of, not giving up and not giving in to the next twist of fate.

Long time Lyudmila Stefanovna wrote her works “on the table”, since they did not pass Soviet censorship, and at the peak of her career, when her plays were already staged in popular theaters throughout the post-Soviet space, a woman discovered in herself the talent of an animator and musician.

Childhood and youth

Lyudmila Stefanovna Petrushevskaya was born on May 26, 1938 in Moscow into a young student family. Stefan Petrushevsky became a Ph.D. and his wife worked as an editor. During the war, Lyudmila spent some time in an orphanage in Ufa, and later was brought up by her grandfather.

Nikolai Feofanovich Yakovlev, a Caucasian linguist, an active participant in the fight against illiteracy, insisted for a long time that his little granddaughter Lyudmila should not be taught to read. An ardent supporter of Marrism was very upset by the defeat of this theory, and, according to unofficial information, in connection with this, the scientist developed a mental illness.

Lyudmila Stefanovna knows the history of her family well. The writer says that Yakovlev came from the Andreevich-Andreevsky family, and his ancestors were Decembrists, one of whom died in exile in a psychiatric hospital.

As early as the beginning of the 20th century, the tradition of domestic theatrical productions. As a child, Lyudmila herself never dreamed of becoming a writer, the girl dreamed of the stage and wanted to perform in the opera. As a child, Petrushevskaya really studied at the opera studio, but to become opera diva she was not meant to be.

In 1941, Lyudmila and her grandparents were urgently evacuated from Moscow to Kuibyshev, the family took only 4 books with them, among which were poems and a textbook on the history of the All-Union Communist Party (Bolsheviks).

The girl, not yet able to read under the strict ban of her grandfather, looked at the newspapers with curiosity, from which she learned the letters, and then secretly read, learned by heart and even quoted books. Grandmother Lyudmila Valentina often told her granddaughter that in her youth Vladimir Mayakovsky himself showed signs of attention to her and wanted to marry her, but she chose the linguist Yakovlev.

When the war ended, Lyudmila returned to Moscow and entered the Moscow State University named after her to study journalism. At the end, the girl got a job as a correspondent in one of the publishing houses of Moscow, and then got a job at the All-Union Radio, where she hosted the program "Latest News".

At 34, Petrushevskaya took up the position of editor at Central television Gosteleradio of the USSR, wrote reviews of serious economic and political programs like "Steps of the Five Year Plan". But soon complaints began to be written against Petrushevskaya, a year later the girl quit and no longer made attempts to get a job.

Literature

While still a student at the Faculty of Journalism at Moscow State University, Petrushevskaya wrote humorous poems and scripts for student creative evenings, but I didn’t think about the career of a writer even then. Only in 1972 in the St. Petersburg literary, artistic and socio-political journal "Aurora" was first published a short lyrical story "Through the Fields". The next publication by Petrushevskaya dates only to the second half of the 1980s.

But the work of Petrushevskaya was appreciated small theaters. In 1979, on the stage of the Moskvorechye House of Culture, he staged the play Music Lessons, written back in 1973. After the premiere, the director praised the work, but noted that this play would never pass Soviet censorship, the thoughts expressed by Petrushevskaya, where she foresaw the agony of the USSR, are so radical and truthful. And Efros was, as always, right. The play was banned and even the theater troupe was dispersed.

Later, in Lviv, a theater created by students of the Lviv Polytechnic University staged the play "Cinzano" on the stage. The works of Petrushevskaya appeared on the professional stage only in the 1980s: first, the Moscow drama theatre"Taganka" staged the play "Love", a little later in the "Sovremennik" they played "Columbine's Apartment".

Petrushevskaya herself continued to write stories, plays and poems, but they were still not published, because they reflected aspects of the life of the people that were undesirable for the government of the country. Soviet Union.

The prose works of Lyudmila Stefanovna became a logical continuation of dramaturgy. All the work of the writer is formed into a single biography of life from the point of view of a woman. On the pages you can see how a young girl turns into a mature woman, and then into a wise lady.

In the 1990s, the writer began writing fairy tales for various age groups. Based on many of them, cartoons were later created. Petrushevskaya continued to write in the 2000s. Now her works were quietly published, and fans enjoyed the work of their beloved writer.

In 2007, the collection "Moscow Choir" was released in St. Petersburg, which included such plays as "Raw Leg, or Meeting of Friends", "Bifem" and others. A year later, the premiere of a cycle of cartoons for children took place, the main character of which was Petya the pig.

A curious fact in the biography of Lyudmila Petrushevskaya was the dispute about whether her profile became the prototype of the famous hedgehog from the cartoon "Hedgehog in the Fog". And indeed, if you look closely at the photo of the writer, you will find common features. Yes, and Lyudmila Stefanovna herself mentioned this in her works, although the animator Yuri Borisovich Norshtein voices a different version of the creation of her hero.

Personal life

Refined, engaged in art all her life, Lyudmila married Boris Pavlov, who ran the Solyanka Gallery.

In 2009, the writer was widowed, but she left three children: Kirill, Fedor and Natalia. The sons of the writer became journalists, and the daughter chose music.

Lyudmila Petrushevskaya now

At the same time with literary work Lyudmila Stefanovna created the “Manual Labor Studio”, where she herself works as a multiplier. From under the “pen” of Petrushevskaya came out “K. Ivanov’s Conversations”, “Ulysses: We Came, We Arrived” and other works.

In addition, Lyudmila Stefanovna paints paintings and sells them, and transfers the proceeds to orphanages. Exhibition-auction graphic works writers took place in May 2017. The most generous buyers received Petrushevskaya's autographed works.

Bibliography

• 1989 - "Three Girls in Blue"
• 1995 - "The Secret of the House"
• 2001 - Time Night Waterloo Bridge
• 2001 - "Nonsense Suitcase"
• 2002 - "...Like a flower at dawn"
• 2002 - "Where have I been"
• 2002 - "The Case in Sokolniki"
• 2002 - "The Adventures of Piglet Peter the Black Coat"
• 2003 - Innocent Eyes
• 2003 - "Unripe gooseberries"
• 2005 - "City of Light: Magical Stories"
• 2006 - "The Little Girl from the Metropol"
• 2006 - "Puski beaten"
• 2006 - Colombina's Apartment
• 2008 - Black Butterfly
• 2012 - “From the first person. Conversations about the past and the present

The biography of Lyudmila Petrushevskaya is given in this article. This is a famous domestic poetess, writer, screenwriter and playwright.

Childhood and youth

You can find out the biography of Lyudmila Petrushevskaya from this article. The Russian writer was born in Moscow in 1938. Her father was an employee. Grandfather was widely known in scientific circles. Nikolai Feofanovich Yakovlev was a famous Caucasian linguist. At present, he is considered one of the founders of writing for a number of peoples of the USSR.

During the Great Patriotic War Petrushevskaya Lyudmila Stefanovna lived for some time with relatives and even in an orphanage located near Ufa.

When the war ended, she entered the Faculty of Journalism of Moscow State University. In parallel, she began to work as a correspondent in the capital's newspapers, to cooperate with publishing houses. In 1972, she took the post of editor at the Central Television Studio.

creative career

Lyudmila Stefanovna Petrushevskaya early age began writing scripts for student parties, poetry and short stories. But at the same time, at that time, she had not yet thought about the career of a writer.

In 1972, her first work was published in the Aurora magazine. They became a story called "Through the fields." After that, Petrushevskaya continued to write, but her stories were no longer published. I had to work at the table for at least ten years. Her works began to be printed only after perestroika.

In addition to the heroine of our article, she worked as a playwright. Her performances were in amateur theaters. For example, in 1979, Roman Viktyuk staged her play "Music Lessons" in the theater-judge of the Moskvorechye House of Culture. Theater director Vadim Golikov - in the theater-studio of the Leningrad State University. True, almost immediately after the premiere, the production was banned. The play was published only in 1983.

Another famous production based on her text called "Cinzano" was staged in Lviv, at the Gaudeamus Theater. in bulk professional theaters began to stage Petrushevskaya starting from the 80s. So, the audience saw the one-act work "Love" in the Taganka Theater, in "Sovremennik" came out "Columbine's Apartment", and in the Moscow Art Theater - "Moscow Choir".

Dissident writer

The biography of Lyudmila Petrushevskaya contains many sad pages. So, for many years she actually had to write to the table. The editorial offices of thick literary magazines had an unspoken ban on not publishing the writer's works. The reason for this was that most of her novels and stories were devoted to the so-called shady sides of the life of Soviet society.

At the same time, Petrushevskaya did not give up. She continued to work, hoping that someday these texts would see the light of day and find their reader. During that period, she created the joke play "Andante", the dialogue plays "Isolated Boxing" and "Glass of Water", the monologue play "Songs of the 20th Century" (it was she who gave the name to her later collection of dramatic works).

Prose Petrushevskaya

The prose work of Lyudmila Petrushevskaya, in fact, continues her dramaturgy in many thematic plans. It also uses almost the same artistic techniques.

In fact, her works are a real encyclopedia women's life from youth to old age.

This may include following novels and stories - "The Adventures of Vera", "The Story of Clarissa", "Daughter of Xenia", "Country", "Who will answer?", "Mysticism", "Hygiene", and many others.

In 1992, she wrote one of her most famous works- the collection "Time is night", shortly before that another collection "Songs Eastern Slavs".

It is interesting that in her work there are many fairy tales for children and adults. Among them it is worth noting "Once upon a time there was an alarm clock", "Little sorceress", "Puppet novel", the collection "Tales told to children".

Throughout its creative career Petrushevskaya lives and works in the Russian capital.

Personal life of Lyudmila Petrushevskaya

Petrushevskaya was married to Boris Pavlov, the head of the Solyanka gallery. He passed away in 2009.

In total, the heroine of our article has three children. The eldest - Kirill Kharatyan was born in 1964. He is a journalist. At one time he worked as deputy editor-in-chief of the Kommersant publishing house, then he was one of the leaders of the Moscow News newspaper. He currently works as deputy editor-in-chief of the Vedomosti newspaper.

The second son of Petrushevskaya is called He was born in 1976. He is also a journalist, producer, TV presenter and artist. The writer's daughter famous musician, one of the founders of the metropolitan funk band.

Piglet Peter

Not everyone knows, but it is Lyudmila Petrushevskaya who is the author of the meme about Peter the pig, who flees the country on a red tractor.

It all started with the fact that in 2002 the writer published three books at once called "Pig Peter and the car", "Pig Peter goes to visit", "Pig Peter and the store". After 6 years, an animated film of the same name was shot. It was after his release that this character turned into a meme.

He became famous all over the country after one of the Internet users, nicknamed Lein, wrote down in 2010 musical composition"Pig Peter eat ...". Shortly thereafter, another user Artem Chizhikov overlaid on the text bright video from the cartoon of the same name.

There is one more interesting fact about the writer. According to some versions, the profile of Lyudmila Petrushevskaya served as a prototype for creating the title character in Yuri Norshtein's cartoon "Hedgehog in the Fog".

This is confirmed by the fact that Petrushevskaya herself in one of her works directly describes this episode in this way. At the same time, he describes the appearance of this character in a different way.

At the same time, it is known for certain that Petrushevskaya became the prototype for the director when creating another cartoon - "The Crane and the Heron".

"Time is night"

The key work in the biography of Lyudmila Petrushevskaya is the collection of short stories "Time is Night". It included her various novels and stories, not only new works, but also well-known ones.

It is noteworthy that the heroes of Petrushevskaya are ordinary average people, most of whom each of us can meet every day. They are our work colleagues, they meet every day in the subway, they live next door in the same entrance.

At the same time, it is necessary to think that each of these people is a separate world, the whole Universe, which the author manages to fit into one small work. The stories of Lyudmila Petrushevskaya have always been distinguished by their dramatic nature, by the fact that they contained a strong emotional charge, which some novels could envy.

Most critics today point out that Petrushevskaya remains one of the most unusual phenomena in modern Russian literature. She skillfully combines the archaic and modern, momentary and eternal.

The story "Chopin and Mendelssohn"

The story "Chopin and Mendelssohn" by Lyudmila Petrushevskaya serves a prime example her bright and unique creativity. According to him, one can judge her as a unique domestic prose writer.

In him miraculously these two composers are compared, and the main character of the story becomes a woman who constantly complains that the same annoying music plays behind her wall every evening.

Modern Russian literature

Lyudmila Stefanovna Petrushevskaya

Biography

PETRUSHEVSKAYA, LYUDMILA STEFANOVNA (b. 1938), Russian writer. She was born on May 26, 1938 in Moscow. Graduated from Moscow State University, worked as an editor on television. In the mid-1960s, she began writing stories, the first of which, The Story of Clarissa, was published in 1972. The play Music Lessons (1973) was first staged by director R. Viktyuk at the Student Theater of Moscow State University. The first production on the professional stage was the play Love (1974) at the Taganka Theater (directed by Y. Lyubimov).

The action of Petrushevskaya's plays takes place in ordinary, easily recognizable circumstances: in a country house (Three Girls in Blue, 1980), on a landing (Staircase, 1974), etc. The personalities of the heroines are revealed in the course of the exhausting struggle for existence that they lead in tough life situations. Petrushevskaya makes visible the absurdity everyday life, and this determines the ambiguity of the characters of her characters. In this sense, the thematically linked plays by Cinzano (1973) and Smirnova's Birthday (1977), as well as the play Music Lessons, are particularly indicative. At the end of the Music Lessons, the characters are completely transformed into their antipodes: the romantically in love Nikolai turns out to be a cynic, the broken Nadia - a woman capable of deep feelings, the good-natured Kozlovs - primitive and cruel people. The dialogues in most of Petrushevskaya's plays are structured in such a way that each next line often changes the meaning of the previous one. According to the critic M. Turovskaya, “modern everyday speech ... is condensed in her to the level of a literary phenomenon. Vocabulary makes it possible to look into the biography of the character, to determine his social affiliation, personality. One of the most famous plays Petrushevskaya - Three girls in blue. The inner wealth of her main characters, relatives who are at war with each other, lies in the fact that they are able to live in spite of circumstances, at the behest of their hearts. Petrushevskaya shows in her works how any life situation can turn into its own opposite. Therefore, surrealistic elements that break through the realistic dramatic fabric look natural. This is what happens in Andante (1975), a one-act play about the painful coexistence of a diplomat's wife and mistress. The names of the heroines - Buldi and Au - are as absurd as their monologues. In the play Colombina's Apartment (1981), surrealism is a plot-forming principle. The literary critic R. Timenchik believes that there is a prosaic beginning in Petrushevskaya's plays, which turns them into a "novel written down by conversations." Petrushevskaya's prose is as phantasmagoric and at the same time realistic as her dramaturgy. The author's language is devoid of metaphors, sometimes dry and confused. Petrushevskaya's stories are characterized by "novelistic surprise" (I.Borisova). Yes, in the story immortal love(1988), the writer describes in detail the story of the difficult life of the heroine, giving the reader the impression that she considers her main task description of everyday situations. But the unexpected and noble act of Albert, the husband of the main character, gives the finale of this "simple worldly story" a parable. The characters of Petrushevskaya behave in accordance with the cruel life circumstances in which they are forced to live. For example, main character short story Your Circle (1988) refuses her only son: she knows about her incurable disease and tries by a heartless act to force ex-husband take care of the child. However, none of the heroes of Petrushevskaya is subjected to complete condemnation by the author. At the heart of this attitude to the characters lies the writer's inherent "democratism ... as ethics, and aesthetics, and a way of thinking, and a type of beauty" (Borisova). In an effort to create a diverse picture modern life, an integral image of Russia, Petrushevskaya refers not only to drama and prose, but also to poetic creativity. The genre of Karamzin's (1994) work written in vers libre, in which classic stories(for example, unlike poor Lisa, the heroine named poor Rufa drowns in a barrel of water, trying to get a hidden bottle of vodka from there), the writer defines it as a “village diary”. Karamzin's style is polyphonic, the author's thoughts merge with the "chants of the meadow" and the conversations of the characters. AT last years Petrushevskaya turned to the genre modern fairy tale. Her Fairy Tales for the Whole Family (1993) and other works of this genre are written in an absurdist manner, which brings to mind the traditions of the Oberiuts and L. Carroll's Alice in Wonderland. Petrushevskaya's stories and plays have been translated into many languages ​​of the world, her dramatic works staged in Russia and abroad.

Petrushevskaya Lyudmila Stefanovna was born on May 26, 1938 in Moscow. She spent the war years in an orphanage in Ufa and with relatives. After the end of the war, she continued her studies at the Faculty of Journalism in Moscow. AT student years the future writer composed poetry and wrote scripts for student evenings. After graduating from the university, she went to work as a correspondent and, in combination, as an employee of publishing houses. 1972 in the life of the poetess was marked by the post of editor of the Central Television Studio and the first published work.

The first play based on her work was staged by Roman Viktyuk in 1979. Due to the “shady sides of life” raised in subsequent works, the playwright could not publish for her readers for more than ten years, but continued to write joke plays. In the late 80s, there was a decline in censorship requirements and her prose began to be staged in theaters. The main theme of all Petrushevskaya's works was the theme female destiny. Lyudmila Stefanovna became the founder of "truthful prose" in which the horrors of life, the impossibility of being happy, the dirt and anger of people were shown. In 1991, the writer became a laureate Pushkin Prize. Only in recent years her works have become diametrically opposed in plot, in which good began to overcome evil.

Lyudmila Stefanovna Petrushevskaya

1. Life and work of L.S. Petrushevskaya

2. Drama by L. Petrushevskaya

3. Prose by L. Petrushevskaya

Life and work of L.S. Petrushevskaya

Lyudmila Stefanovna Petrushevskaya is a modern prose writer, poet, playwright. She stands in the same honorary rank with such contemporary writers, like Tatyana Tolstaya, Lyudmila Ulitskaya, Victoria Tokareva, Viktor Pelevin, Vladimir Makanin ... It stands in the same row - and at the same time stands out in its own way, as something, of course, out of this range, not fitting into any rigid framework and unclassifiable.

She was born on May 26, 1938 in Moscow, in the family of a professor at Moscow State University. Her childhood fell on the difficult, hungry years of the war, she was remembered for her wanderings among relatives, life in an orphanage near Ufa and evacuation. After the war, she returned to Moscow, graduated from the Faculty of Journalism of Moscow University. She worked as a correspondent for newspapers and radio, in a publishing house, since 1972 - as an editor of the reference department of television.

Petrushevskaya began writing early. Literary creativity began with writing poems, scripts for student evenings, without seriously thinking about writing activity. The first published work was the story "Through the Fields", which appeared in 1972 in the magazine "Aurora". Since that time, Petrushevskaya's prose has not been published for more than a dozen years.

The very first plays were noticed by amateur theaters: the play "Music Lessons" (1973) was staged by R. Viktyuk in 1979 and almost immediately the one-act "Love" (1974) was banned by Y. Lyubimov at the Taganka Theater in the 1980s. The 1985 performance at the Lenin Komsomol Theater based on the play "Three Girls in Blue" turned out to be successful. It was published only 10 years later, in 1983, in the series "To Help amateur performances"(where Vampilov's works began their journey to the viewer and reader). At the center of the action of Petrushevskaya's play were two ordinary families- Gavrilovs and Kozlovs, and the most ordinary events unfolded here, which happen everywhere outside the stage. And how to evaluate these events is also difficult to answer unequivocally: as in life - you can do this and that. Breakfasts, dues for work, dinners, TV in the evenings, family quarrels Nothing else seems to happen in the play. "Peeping through the keyhole", "tape dramaturgy" - this is how the features of the work of Petrushevskaya criticism were defined. It seems that the "reverse side of life" shown by the playwright has long been familiar to everyone, but for some reason these worldly recognizable situations and characters cause acute pity. Maybe because both they themselves and the author talk about them trustingly and ingenuously, without making any final assessments and without calling anyone to account. “Her talent is amazingly human,” director O. Efremov said about Petrushevskaya’s work. “She sees and writes modern man at the very depths. There is a sense of history in her, and in her plays there is a spirit of catharsis, which is often forgotten by our playwrights and theatrical figures."

Petrushevskaya in "Music Lessons" and subsequent plays ("Three Girls in Blue", 1980; "Kolombina's Apartment", 1981; "Moscow Choir", 1988, etc.) artistically explored an important process in Russian reality - the deformation of the personality under the influence of humiliating for human dignity living conditions of existence. The notorious way of life squeezes everything out of the heroes of Petrushevskaya vitality, and in their souls there is no longer room for a holiday, bright hope, faith in love. "Many artists generally believe that they do not belong here," notes the critic N. Agisheva, "and squeamishly rush from crying children and swearing alcoholics into the open spaces big life. Petrushevskaya remains where people feel bad and ashamed. There is her music. And her secret is that it is bad and ashamed, at least sometimes, - it happens to everyone. Therefore, Petrushevskaya writes about each of us.

Contempt for "philistinism", "everyday life", which has been cultivated for decades in Soviet literature, led to the fact that the key concept for Russian literature of the house was gradually lost. playwrights" new wave"we acutely felt this loss, and in addition to the plays by Petrushevskaya appeared" old house" A. Kazantseva, "Look who has come! .." and "Koleya" by V. Arro, "The Threshold" by A. Dudarev. It is worth referring to some of these plays in more detail.

Professional theaters began to stage Petrushevskaya's plays in the 1980s. For a long time, the writer had to work "on the table" - the editors could not publish stories and plays about the "shadow sides of life."

Petrushevskaya's prose continues her dramaturgy in thematic plan and in use artistic techniques. Her works are a kind of encyclopedia of women's life from youth to old age: "The Adventures of Vera", "The Story of Clarissa", "Daughter of Xenia", "Country", "Who will answer?", "Mysticism", "Hygiene" and many others.

In 1988, the first book of the writer was published - a collection of short stories "Immortal Love"; professional theaters began to stage performances based on her dramaturgic works - "Cinzano", "Columbine's Apartment", "Three Girls in Blue", "Moscow Choir".

Dramaturgy and prose Petrushevskaya give the impression of a realistic, but somehow twilight. Since the late 1990s, the predominance of the unreal beginning has become more and more obvious in her prose. The synthesis of reality and fantasy becomes the main genre, structural and plot-forming principle in the works of this writer. Notable in this sense as the common title of her book “Where have I been. Stories from Another Reality” (2002) and the titles of the short stories included in it: “Labyrinth”, “There is Someone in the House”, “New Soul”, “Two Kingdoms”, “Phantom of the Opera”, “Shadow of Life” , "Miracle", etc. In this collection, reality is pushed far aside " realms of the dead”, thus, the idea of ​​a romantic dual world, the opposition of “here” and “there” of being, is refracted in a peculiar way. Moreover, L. Petrushevskaya does not seek to give the reader a holistic view of either reality or the mysterious other world. The solution of the problem of commensuration of a person with an unknown “kingdom”, their mutual permeability, comes to the fore: it turns out that the beyond and the infernal not only penetrated into our real world- neighborhood with dark people mystical powers, terrifying and at the same time alluring, is quite organic, legitimate and for some reason even unsurprising. Petrushevskaya never makes a distinction between the heavenly world and the earthly world, moreover, between the fabulous, archaic world and the civilized world. In her prose, everything beyond is spelled out on the same street and even in the same apartment in which everyday life lives. But not only the mysterious and otherworldly penetrates into “our” world, on the contrary, even more often the person himself penetrates from “this” world into “that”, infernal, inexplicable, frightening.

In 1990, the cycle "Songs of the Eastern Slavs" was written, in 1992 - the story "Time is Night", which was awarded the Booker Prize. Also, Lyudmila Petrushevskaya writes fairy tales for both adults and children: "Once upon a time there was an alarm clock", "Well, mother, well!" - "Tales told to children", etc. A number of cartoons were staged according to Lyudmila Petrushevskaya's scripts.

She wrote scripts animated films"Hedgehog in the Fog", "Tale of Tales", cycles "Tales for the whole family", "Wild Animal Tales", plays "Two Windows", "A Suitcase of Nonsense", the famous "Tale of Tales" by Yuri Norshtein, as well as "The Stolen Sun" , "Hare Tail", "The Cat Who Could Sing". and etc.

Books by this author are not stale on the shelves, whether fairy tales or realistic prose. After all, they are created by the Master's pen. Lyudmila Petrushevskaya is recognized as a classic of modern Russian literature, although her first book was published only in the late 1980s. She is one of the best playwrights of the past century.

Lyudmila Petrushevskaya - "drawing writer". Her personal exhibitions passed in Literary Museum, joint exhibition with Yuri Norstein and Francesca Yarbusova - in Tretyakov Gallery, at the Art Gallery.

Lyudmila Stefanovna Petrushevskaya - Academician of the Bavarian Academy of Arts, winner of the Poushkin-prize (Topfer Foundation, Hamburg), the Dovlatov Prize and other awards.

Currently Lyudmila Petrushevskaya lives and works in Moscow.

2. Drama by L. Petrushevskaya

The action of Petrushevskaya's plays takes place in ordinary, easily recognizable circumstances: in a country house (“Three Girls in Blue”, 1980), on a landing (“Staircase”, 1974), etc. The personalities of the heroines are revealed during the exhausting struggle for existence, which they lead in cruel life situations. Petrushevskaya makes visible the absurdity of everyday life, and this determines the ambiguity of the characters of her characters. In this sense, the thematically related plays "Cinzano" (1973) and "Smirnova's Birthday" (1977), as well as the play "Music lessons".

Ivanov, a cohabitant of the thirty-eight-year-old Granya, returns from prison to the poorly furnished Gavrilovs' apartment. He says he wants to see his newly born daughter Galya and live in peace. family life. The Gavrilovs do not believe him. Especially uncompromisingly opposed to the drunkard Ivanov eldest daughter Grani, eighteen-year-old Nina. She was forced to leave school, now she works in a grocery store and nurses little Galya. Despite Nina's dissatisfaction and the exhortations of the curious neighbor Anna Stepanovna, Granya decides to let Ivanov go.

The only son Nikolai returns from the army to the apartment of the wealthy neighbors of the Kozlovs. Parents are happy about the return of their son. The father demands that his son play something on the piano, and complains that he never finished music school, despite all the efforts of his parents, who spared nothing for him. Joy is overshadowed by the fact that Nikolai brought Nadya with him, which causes open hostility from his father Fyodor Ivanovich and his grandmother. Mother, Taisiya Petrovna, behaves with accentuated courtesy. Nadia works as a house painter and lives in a hostel. She smokes, drinks wine, stays overnight in Nikolai's room, keeps herself independent and does not try to please the groom's parents. The Kozlovs are sure that Nadya is claiming their living space. The next day, Nadia leaves without saying goodbye. Nikolai rushes to the hostel after her, but she declares that he is not suitable for her.

Nina does not want to live in the same apartment with the drunkard Ivanov. All day she stands on the street at the entrance. Here she is seen by Nikolai, who was once teased by her fiancé. Nikolai is indifferent to Nina. Hoping to keep her son away from Nadia, Taisiya Petrovna invites Nina to visit and offers to stay. Nina is glad to not have to come home. Grana Kozlova, who came to pick up her daughter, explains that the girl will be better with them, and asks not to come again.

Three months later, Granya reappears in the Kozlovs' apartment: she needs to go to the hospital for an abortion, but there is no one to leave little Galya with. Ivanov drinks. Granya leaves the baby to Nina. By this time, the Kozlovs had already realized that Nikolai was living with Nina out of boredom. They want to get rid of Nina, reproach her with their good deeds. Seeing Galya, the Kozlovs finally decide to send Nina home. But at that moment Nadia appears. You can hardly recognize her: she is pregnant and looks very bad. Instantly orienting herself, Taisiya Petrovna announces to Nadia that Nikolai has already married, and presents Galya as his child. Nadia leaves. Nina hears this conversation.

Frightened unexpected appearance Nadia, the Kozlovs demand that Nikolai urgently marry Nina. It turns out that he knows about Nadia's pregnancy and that she tried to poison herself. Nikolai refuses to marry Nina, but his parents are not far behind. They persuade Nina too, explain to her: it is important to take a man on a leash, give birth to a child for him, and then he will get used to the place and will not go anywhere - he will watch football on TV, occasionally drink beer or play dominoes. After listening to all this, Nina goes home, leaving the things given to her by the Kozlovs. Parents are afraid that now Nikolai will marry Nadia. But the son brings clarity: earlier, perhaps, he would have married Nadia, but now the relationship with her turned out to be too serious and he does not want to "get involved with this matter." Having calmed down, the Kozlovs sit down to watch hockey. The grandmother goes to live with another daughter.

A swing swings over the darkened stage, on which Nina and Nadia are sitting. “If you do not pay attention to them, they will fall behind,” Taisiya Petrovna advises animatedly. Nikolai pushes away the incoming swing with his feet.

At the end of “Music Lessons”, the characters are completely transformed into their antipodes: the romantically in love Nikolai turns out to be a cynic, the broken Nadia is a woman capable of deep feelings, the good-natured Kozlovs are primitive and cruel people.

The dialogues in most of Petrushevskaya's plays are structured in such a way that each next line often changes the meaning of the previous one. According to critic M. Turovskaya, “modern everyday speech ... is condensed in her to the level of a literary phenomenon. Vocabulary makes it possible to look into the biography of the character, to determine his social affiliation, personality..

One of Petrushevskaya's most famous plays is "Three Girls in Blue"

Three women "over thirty" live in the summer with their little sons in the country. Svetlana, Tatyana and Ira are second cousins, they raise their children alone (although Tatyana, the only one of them, has a husband). Women quarrel, figuring out who owns half of the dacha, whose son is the offender, and whose son is offended ... Svetlana and Tatyana live in the dacha for free, but the ceiling is leaking in their half. Ira rents a room from Feodorovna, the mistress of the second half of the dacha. But she is forbidden to use the toilet belonging to the sisters.

Ira meets her neighbor Nikolai Ivanovich. He cares for her, admires her, calling her a beauty queen. As a sign of the seriousness of his feelings, he organizes the construction of a toilet for Ira.

Ira lives in Moscow with her mother, who constantly listens to her own illnesses and reproaches her daughter for leading the wrong way of life. When Ira was fifteen years old, she ran away to spend the night at the stations, and even now, having arrived home with a sick five-year-old Pavlik, she leaves the child with her mother and quietly goes to Nikolai Ivanovich. Nikolai Ivanovich is touched by Ira's story about her youth: he also has a fifteen-year-old daughter, whom he adores.

Believing in the love of Nikolai Ivanovich, about which he speaks so beautifully, Ira follows him to Koktebel, where her lover is resting with his family. In Koktebel, Nikolai Ivanovich's attitude towards Ira changes: she annoys him with her devotion, from time to time he demands the keys to her room in order to retire with his wife. Soon the daughter of Nikolai Ivanovich learns about Ira. Unable to withstand his daughter's tantrum, Nikolai Ivanovich drives away his annoying mistress. He offers her money, but Ira refuses.

On the phone, Ira tells her mother that she lives in a dacha, but cannot come for Pavlik, because the road has been washed out. During one of the calls, the mother reports that she urgently goes to the hospital and leaves Pavlik at home alone. Calling back in a few minutes, Ira realizes that her mother did not deceive her: the child is alone at home, he has no food. At the Simferopol airport, Ira sells her raincoat and on her knees begs the airport attendant to help her fly to Moscow.

Svetlana and Tatyana, in the absence of Ira, occupy her country room. They are determined, because during the rain half of them was completely flooded and it became impossible to live there. The sisters fight again over the upbringing of their sons. Svetlana does not want her Maxim to grow up squishy and die as early as his father. Ira suddenly appears with Pavlik. She says that her mother was admitted to the hospital with a strangulated hernia, that Pavlik was left alone at home, and she miraculously managed to fly out of Simferopol. Svetlana and Tatyana announce to Ira that they will now live in her room. To their surprise, Ira doesn't mind. She hopes for the help of her sisters: she has no one else to count on. Tatyana declares that now they will take turns buying food and cooking, and Maxim will have to stop fighting. "There are two of us now!" she says to Svetlana.

The inner wealth of her main characters, relatives who are at war with each other, lies in the fact that they are able to live in spite of circumstances, at the behest of their hearts.

Petrushevskaya shows in her works how any life situation can turn into its own opposite. Therefore, surrealistic elements that break through the realistic dramatic fabric look natural. This is what happens in a one-act play. "Andante" (1975), which tells about the painful coexistence of the diplomat's wife and mistress. The names of the heroines - Buldi and Au - are as absurd as their monologues. In the play "Columbine's Apartment" (1981), surrealism is a plot-forming principle.

Lyudmila Petrushevskaya was born on May 26, 1938 in Moscow. The girl grew up in a family of students of the Institute of Philosophy, Literature, History. Granddaughter of a linguist, orientalist professor Nikolai Yakovlev. Mom, Valentina Nikolaevna Yakovleva, later worked as an editor. She practically did not remember her father, Stefan Antonovich.

After school, which the girl graduated with a silver medal, Lyudmila entered the Faculty of Journalism of the Moscow State University named after Lomonosov.

After receiving her diploma, Petrushevskaya worked as a correspondent for " Latest news» All-Union Radio in Moscow. Then she got a job in the magazine with records "Krugozor", after which she switched to television in the review department. Later, Lyudmila Stefanovna got into the department advanced planning, the only futuristic institution in the USSR, where it was necessary from 1972 to predict Soviet television for the year 2000. After working for one year, the woman quit and since that time has not worked anywhere else.

Petrushevskaya began writing early. She published notes in the newspapers "Moskovsky Komsomolets", "Moskovskaya Pravda", the magazine "Crocodile", the newspaper "Nedelya". The first published works were the stories "The Story of Clarissa" and "The Narrator", which appeared in the magazine "Aurora" and caused sharp criticism in the "Literary Gazette". In 1974, the story “Nets and Traps” was also published there, then “Through the Fields”.

The play “Music Lessons” was staged by Roman Viktyuk in 1979 at the Student Theater of Moscow State University. However, after six performances, it was banned, then the theater moved to the Moskvorechye Palace of Culture, and Lessons was banned again in the spring of 1980. The play was published in 1983 in the brochure "To Help Amateur Art".

Lyudmila Stefanovna is a generally recognized literary classic, the author of many prose works, plays and books for children, among which are the famous "linguistic fairy tales" "Byatye Puski", written in a non-existent language. Petrushevskaya's stories and plays have been translated into many languages ​​of the world, her dramatic works are staged in Russia and abroad. Part of the Bavarian Academy of Arts

In 1996, the publishing house "AST" published her first collected works. She also wrote scripts for animated films "Lyamzi-Tyri-Bondi, evil wizard"," All the slow-witted", "The Stolen Sun", "Tale of Tales", "The Cat Who Could Sing", "Hare's Tail", "There Are Only Tears From You", "Peter Pig" and the first part of the film "Overcoat" in co-authorship with Yuri Norstein.

Not limited to literature plays own theater, draws cartoons, makes cardboard dolls and raps. Participant of the project "Snob", a unique discussion, information and public space for people living in different countries, since December 2008.

In total, more than ten children's books by Petrushevskaya were printed. Performances are staged: "He is in Argentina" at the Chekhov Moscow Art Theater, the plays "Love", "Cinzano" and "Smirnova's Birthday" in Moscow and in different cities Russia, graphics exhibitions are held in State Museum Fine Arts named after Pushkin, in the Literary Museum, in the Akhmatova Museum in St. Petersburg, in private galleries in Moscow and Yekaterinburg.

Lyudmila Petrushevskaya performing with concert programs under the name "Cabaret of Lyudmila Petrushevskaya" in Moscow, in Russia, abroad: in London, Paris, New York, Budapest, in Pula, Rio de Janeiro, where he performs hits of the twentieth century in his translation, as well as songs of his own composition .

Petrushevskaya also created the "Manual Studio", in which she draws cartoons on her own with the help of a mouse. The films "K. Ivanov's Conversations" together with Anastasia Golovan, "Pins-nez", "Horror", "Ulysses: we drove, we arrived", "Where are you" and "Mumu" were made.

In parallel, Lyudmila Stefanovna founded small theater"Cabaret of one author", where he performs with his orchestra the best songs 20th century in own translations: Lily Marlene, Fallen Leaves, Chattanooga.

In 2008, the "Northern Palmyra" Foundation, together with the international association " Live classic” organized the International Petrushevskaya Festival, dedicated to the 70th anniversary of the birth and the 20th anniversary of the publication of the first book of Lyudmila Petrushevskaya.

AT free time Lyudmila Stefanovna is fond of reading books by philosopher Merab Mamardashvili and writer Marcel Proust.

In November 2015, Petrushevskaya became a guest of the III Far Eastern Theater Forum. On the stage of the Chekhov Center staged the play "Smirnova's Birthday" based on her play. Participated directly in children's concert"Pig Peter invites." To the accompaniment of the Jazz Time group, she sang children's songs and read fairy tales.

On February 4, 2019, Moscow hosted the final debates and awarding of the winners for the tenth time. literary prize"Nose". The “Critical Community Prize” was won by Lyudmila Petrushevskaya for her work “We were stolen. History of crimes.

Awards and Prizes of Lyudmila Petrushevskaya

Laureate of the Pushkin Prize of the Toepfer Foundation (1991)

Magazine Award Winner:

"New World" (1995)
"October" (1993, 1996, 2000)
"Banner" (1996)
"Star" (1999)

Winner of the Triumph Award (2002)
Laureate state prize Russia (2002)
Laureate Bunin Prize (2008)
Literary Prize named after N.V. Gogol in the "Overcoat" nomination for the best prose work: "The Little Girl from the Metropol", (2008)
Ludmila Petrushevskaya received the World Fantasy Award (WFA) for best compilation stories published in 2009. Petrushevskaya's collection “Once upon a time there was a woman who wanted to kill a neighbor's child: scary stories» (There Once Lived a Woman Who Tried To Kill Her Neighbor’s Baby) shared the award with a book of selected novels American writer Gene Wolfe).

Creativity of Lyudmila Petrushevskaya

Bibliography

Collected works in five volumes. - M.: AST; Kharkov: Folio. 1996.

Novels and short stories

1992 - Night time.
2004 - Number One, or In the gardens of other possibilities. - M.: Eksmo. - 335 p. - ISBN 5-699-05993-8.
2017 - We were stolen. History of crimes. - M.: Eksmo. - ISBN 978-5-04-090046-6

Plays

1973 - Music lessons.
1973 - Love.
1973 - Colombina's apartment.
2007 - Columbine's Apartment: A Collection of Plays. - St. Petersburg: Amphora. - 415 p.
2007 - Moscow Choir: a collection of plays. - St. Petersburg: Amphora. - 448 p.

Fairy tales

Wild Animals Tales.
Sea slop stories.
1984 - Puski Byatye.
2008 - The Book of Princesses. - M.: Rosmen-Press. - 208 p.
A story with a sad ending.

Collections of short stories and novellas

Immortal love. - M .: Moscow worker, 1988, shooting range. 30,000, cover.
Ball last man. - M.: Lokid, 1996. 26,000 copies.
2008 - Border tales about kittens. - St. Petersburg: Amphora. - 296 p.
2008 - Black butterfly. - St. Petersburg: Amphora. - 304 p.
2009 - Two kingdoms. - St. Petersburg: Amphora. - 400 s.
2009 - Stories from mine own life. - St. Petersburg: Amphora. - 568 p.

Discography

2010 - solo album "Don't Get Used to the Rain" (as an attachment to the magazine "Snob")
2012 - solo album "Dreams of Love" (as an appendix to the magazine "Snob")

Filmography

Scenarios

1974 "Treatment of Vasily" Merry Carousel No. 6
1976 Lyamzi-tyri-bondi, the evil wizard, dir. M. Novogrudskaya.
1976 "There are only tears from you" dir. Vladimir Samsonov
1978 The Stolen Sun, dir. Nathan Lerner
1979 "Tale of Tales", dir. Yuri Norstein.
1981 "Overcoat", dir. Yuri Norstein.
1984 "Hare Tail", dir. V. Kurchevsky.
1987 "All the dumb" dir. Nathan Lerner
1988 The Cat Who Could Sing, dir. Nathan Lerner.
1997 "Puski beaten" release of the animated series "Tales new Russia"- dir. Robert Saakyants?
1997 Love, dir. Vladimir Mirzoev
2000 "Date"
2008 "Pig Peter"

Family of Lyudmila Petrushevskaya

Widow, late husband - Boris Pavlov, director of the Solyanka Gallery

Three kids:

Kirill Kharatyan (born August 29, 1964) is a journalist. He worked as deputy editor-in-chief at the Kommersant publishing house, deputy editor-in-chief of the Moskovskiye Novosti newspaper. Since 2005 - Deputy Editor-in-Chief of the Vedomosti newspaper.

Natalya Pavlova (born 1982) is a musician, founder of the Moscow funk band C.L.O.N.E.