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The development of the Soviet theater in the 20-30s. 20th century

INTRODUCTION

Chapter 1. The main milestones in the history of the Soviet theater in the post-revolutionary period

1.1 Leading creative trends in the development of the Soviet theater in the 1920s and 30s

1.2 Theatrical innovation and its role in the development of Soviet art

1.3 A new viewer of the Soviet theater: the problems of adapting the old and preparing a new repertoire

Chapter 2

2.1 Soviet theater in the ideological system of the new government: role and tasks

2.2 Lunacharsky as a theorist and ideologist of the Soviet theater

2.3 Political censorship of theatrical repertoire

CONCLUSION

LIST OF USED SOURCES AND LITERATURE

INTRODUCTION

The first post-revolutionary decades became a very important period for the formation of the new Soviet theater. The social and political structure of society has changed radically. Culture and art - theater, literature, painting, architecture - sensitively responded to changes in the social structure. New trends, styles and directions appeared. In the 1920s, the avant-garde flourished. Outstanding directors V. E. Meyerhold, A. Ya. Tairov, E. B. Vakhtangov made their creative discoveries on the new stages of St. Petersburg and Moscow. The Alexandrinsky and Maly theaters continued the traditions of Russian drama. Searches in line with the psychological theater went to the Moscow Art Theater under the direction of K.S. Stanislavsky. By the end of the 1920s and the beginning of the 1930s. this period has come to an end. There was an era of totalitarianism with its ideological press and total censorship. However, in the 1930s theater in the Soviet Union continued active creative life, talented directors and actors appeared, interesting original performances were staged on important, modern and classical subjects.

Relevance. Studying the cultural life of a society, one can get an idea of ​​the general historical background of the period under study, trace the social and political changes that took place in the first decades of the formation of the new Soviet power. Theater under the influence of revolutionary events is undergoing significant changes. Theatrical art begins to serve the interests and needs of the new government, turns into another tool of mass ideological education. In modern society, similar situations can occur when the government subjugates the elements of spiritual culture, through which it propagates the ideology it needs, and tries to create the social views it needs. Consequently, the processes of the relationship between politics and culture have not lost their relevance before the village.

The purpose of the final qualifying work: to consider the first decades of the existence and development of the Soviet theater in a historical perspective.

To achieve this goal, it is necessary to solve the following tasks:

present the development of the Soviet theater in the 1920s-1930s. Within the general historical process and socio-political phenomena that took place in the specified period in our country;

note the features of the 1920s as a period of serious upsurge in theatrical art;

consider and characterize the figure of A. Lunacharsky as a leading figure and theorist of culture of this era;

trace the relationship between art and ideology, as well as find out what trends appeared in the history of the theater in the 1930s in connection with the censorship of the political press.

Object of study: soviet theater as one of the key components of Russian culture of this period.

Subject of study: the development of Soviet theatrical art for the first time in post-revolutionary decades under the conditions of a new political system, under the influence of ideology and censorship.

The methodological basis of the work is the principle of historicism, historical-comparative and historical-systemic approaches, as well as the principle of objectivity, which allow us to analyze and take into account all kinds of factors influencing the development of the Soviet theater in this period, and to consider the situation in a specific historical situation. In this work, we use not only methods characteristic of historical science, but also an interdisciplinary approach that allows us to apply the methods and approaches of studying a number of other humanities, namely cultural studies, art history, theater studies, historical and cultural anthropology, political science, social psychology.

The scientific novelty of the study is determined by the need to analyze and generalize a wide range of publications on the history of the Soviet theater published in recent decades in Russia and abroad.

The chronological framework of the study covers the period from 1917 to 1941. The lower limit is determined by turning, revolutionary events. In November 1917 a decree is issued on the transfer of theaters; the introduction of the arts department of the People's Commissariat for Education, new stage in the development of Soviet theatrical art. We define the upper limit as a turning point for Russian history 1941.

The territorial scope of this work covers the borders of the RSFSR within the 1920-30s.

Source review. The following types of sources were used in the work: legislative (decrees, etc.) acts, journalism, sources of personal origin, periodicals.

The most important historical document of any society is legislation that fully regulates the activities of state and public organizations. Legislative acts require a thorough and objective analysis, their study requires certain techniques in order to most fully reveal the content, meaning and features. The scheme of analysis in general looks like this: firstly, it is necessary to try to reconstruct the process of creating this act; secondly, to analyze the content of the act; third, view practical use, implementation of the act.

During this period, the number of official documentation especially increased. The Bolsheviks, paying tribute to the French Revolution, in their manner began to call documents issued by the supreme power, declarations, decrees. But declarations soon ceased to be issued, and decrees became the main legislative document of the Soviet government. This period also includes the resolutions of the Central Committee of the All-Union Communist Party of Bolsheviks and the Central Committee of the Communist Party of the Soviet Union.

Of paramount importance for us are the published documents under the direction of A. Z. Yufit, which contain the most significant sources on the history of the Soviet theater. A valuable source is also a collection of documents on Soviet political censorship.

Journalism, as we know, expresses the opinion of a certain social group. There is a rather conditional classification of journalistic works: author's journalistic works; journalism of mass popular movements; projects of state reforms and constitutions. We will attribute the works of A. V. Lunacharsky to the author's works, but it must be borne in mind that he, being a representative of the authorities, could not bypass matters relating to state reforms. A. V. Lunacharsky, giving public lectures to the people and publishing numerous articles, explained the cultural policy of Narompros, of which he was a representative.

Note that A. V. Lunacharsky left a very significant literary heritage, writing a large number of articles, essays and books on various issues of the development of Soviet culture and art. We will use some of them in our study. Publications of such articles, memoirs, lectures, theoretical research are an invaluable source that allows you to delve into the essence of the views of Anatoly Vasilyevich and trace the formation of his ideas about the development of the theatrical process in Soviet Russia. In works theater A.V. Lunacharsky appears as a true connoisseur and connoisseur of theatrical art. He did everything to preserve and pass on to his descendants the achievements of world culture.

The works of theater workers of that period constitute an extensive material for study. Sources of personal origin help to establish interpersonal, communicative connections. These include diaries private correspondence(epistolary sources), memoirs-autobiographies, memoirs - " modern stories”, essays, confessions. When studying such sources, one must keep in mind that they are very subjective, focused on the future, so their authors tend to give importance to their figure, embellish their activities, often selecting only profitable information. We will include the memoirs of the Soviet theater critic and theorist P.A. Markov among such works.

The periodical press serves to form public opinion and provide feedback, and the means to achieve the goal is the dissemination of information. There are three varieties of this genre: newspapers, magazines, time-based publications of scientific societies. In this work, we will mainly use logs. In 1921-1927. there has been a dramatic increase in theatrical journalism. Never before in the history of our country have there been so many periodicals dedicated to the performing arts. It should be noted that the theatrical press abandoned the newspaper form of publication. Since 1923 only magazines were published, but they served as newspapers. The published material in one issue of the journal was not inferior in terms of informativeness to the weekly volume of newspaper materials. The magazines were divided into publications of Soviet institutions managing theaters (a group of official periodicals), intra-theater, trade union and private publications.

The use of this material allows you to more fully immerse yourself in the topic and consider it in more detail, because. each article is usually devoted to a narrow aspect of creativity, a particular production or connection creative personality with contemporary trends in art or other cultural figures.

Here it is also necessary to mention the journal "Bulletin of the Theater" (1919-1921, the official organ of the TEO), on the pages of which the issues of the theory of theatrical art, as well as state issues on the management of theaters, were discussed.

Historiographic review. Historiography of works on the formation of the Soviet theater in the 1920-1930s. very extensive. It includes a number of studies by famous historians, theater critics, biographers, as well as a significant amount of memoirs and art history literature. In this work, we will divide historiography into Soviet, modern Russian and foreign.

It must be borne in mind that Soviet historiography, devoted to the cultural aspect of the post-revolutionary period, is partly politicized, which requires the reader to be careful when perceiving the assessments of the facts presented and the significance of the events of theatrical life. But, of course, we will consider and analyze the rich material accumulated by Soviet researchers. Much attention in Soviet historiography was paid to productions, personalities, and the main events of the theatrical world, through which researchers showed the social life of that time. By studying such works, one can get a fairly vivid idea of ​​how people lived in the newly formed state, what worried them, what they were interested in. Gradually in the relationship of ideology and culture. A special place is occupied by works showing how power, with the help of economic and political mechanisms, influenced the way of thinking and views of the most intelligent and educated people, who were always forced to “look back” at the “party line” and take it into account in their writings, here we can name the works of a prominent figure Soviet theater critic A. Z. Yufit and theater critic D. I. Zolotnitsky. As a result, we can say that the works published in Soviet period on the development of the theater and its interaction with the authorities, are very numerous and are of paramount importance for researchers of this issue. They reflect the theatrical realities of the 1920-1930s as accurately and in detail as possible.

In recent decades, there has been a great interest in national history and culture. Modern historical science is distinguished by a variety of approaches and assessments, the use of a pluralistic methodological basis. At this stage, there is a very wide range of research problems. It should be noted that some features of Soviet historiography are preserved, a great emphasis is placed on the political aspect of the problem and economic development. The theatrical process must be analyzed in the context of the development of culture and art in general. When studying the era of the formation of the Soviet theater, one must take into account the significance of the concepts and trends that were fundamental to the era. Therefore, much attention is paid to key historical and cultural events and trends of the period under review. In the post-Soviet era, the study of the influence of politics and ideology on art has become widespread.

In general, the works written by modern Russian researchers are characterized by the use of a wide source base based on official documents, periodicals and memoirs, which made it possible to expand empirical knowledge about early Soviet history. These works are quite objective and consider a broad aspect of the cultural life of Soviet society.

Of course, we cannot ignore foreign historiography. Foreign researchers showed great interest in the development of our country in the post-revolutionary decades. In his work, Professor of the University of Marburg S. Plaggenborg examines not economic and political changes, but the worldview and way of life of people. The German researcher M. Rolfa studies the formation of Soviet cultural standards through mass holidays. He interprets them as channels-conductors of powerful ideas, as a way of manipulating people's minds and at the same time as a form of communication, the development of which was facilitated by the activities of experts, the first of whom was A.V. Lunacharsky. The American historian S. Fitzpatrick reveals the nature of the Soviet system, the problems of public sentiment in various social strata of the population. The cultural and political conditions of the 20s, the attitude of power to cultural figures are analyzed in the works of K. Aimermacher, R. Pipes, N. Tumarkin. Basically, these works are complex; here, in general, it is considered revolutionary history, culture, public moods and outlook of the Soviet society. Foreign historiography had a significant impact on further development domestic science.

Summing up the historiographic review presented in the study, it is worth noting that the problem of the development of the Soviet theater at the moment has been studied in sufficient detail in the works of Soviet, modern Russian and foreign researchers. It is also necessary to pay attention to a wide range of works on various aspects of cultural life. In the works of most authors, the socio-cultural and political interaction of art and power is considered, where culture is a form of agitation and propaganda. In other studies, questions of an art history nature are studied, and there are also a lot of works devoted to individuals whose activities are directly related to the Soviet theater.

This work consists of two chapters, introduction, conclusion, list of references and scientific literature.

In the first chapter in chronological order a general overview of the development of the Soviet theater in this era is given, key names and events are named, innovative theatrical trends are considered and creative directions, which were developed by directors and theater workers, as well as the differences between the new Soviet audience and its requirements for art.

In the second chapter, we pay attention to the historically most important topic of the influence of ideology on Soviet culture in general and on the theater in particular. Here we turn to the iconic figure of A.V. Lunacharsky for the era and consider the issue of political censorship of the theatrical repertoire.

1.1. Leading creative trends in the development of the Soviet theaterin1920?1930?egg.

The revolution of 1917 completely changed the whole way of life in Russia, completely different trends appeared in the development of art in general and, of course, in the theater too. Without exaggeration, this time was the beginning of a new stage in the theatrical life of our country.

The political leaders of the Soviet state realized the importance cultural development in a newly formed country. As for the theatrical sphere, everything here was organized from time to time after the Revolution: on November 9, 1917, a decree was issued by the Council of People's Commissars on the transfer of all Russian theaters to the art department of the State Commission for Education, which soon became the People's Commissariat for Education. The Soviet government chose "the path of organizational, purposeful influence on the art of theater by government agencies public education". The Decree defined the importance of theatrical art as one of the most important factors in the "communist upbringing and enlightenment of the people." Note that after October 1917, V.I. Lenin repeatedly visited the Bolshoi, Maly and Art Theaters.

In January 1918, the Theater Department of the People's Commissariat of Education was established, which was engaged in general guidance theater business in the RSFSR.

Two years later, on August 26, 1919, V.I. Lenin signed another decree - "On the unification of theatrical business", which announced the complete nationalization of theaters. Such actions were in line with global plans to transfer all enterprises in the country, including those involved in the field of culture and leisure, to state ownership. For the first time in the history of our country, private theaters ceased to exist. There were pros and cons to this phenomenon. The main disadvantage was the dependence of the creative thought of the directors and the repertoire on the decision of the leadership and on the ideological attitudes that largely regulated art. True, this trend became apparent a little later, while in the 1920s the theater was still developing quite freely, innovative searches were taking place, completely original productions were being carried out, and various trends in art - realism - found their place on different stages in the work of directors. , constructivism, symbolism, etc.

After the Revolution, the largest, leading theaters received the status of academic theaters (the Bolshoi and Maly Theaters, the Moscow Art Theater, the Alexandrinsky Theater, etc.). Now they were directly subordinate to the people's commissar of education, they enjoyed extensive artistic rights and an advantage in financing, although, according to the people's commissar of education, very little was spent on academic theaters, only 1/5 of what was spent under the tsar. In 1919 became an academic Maly Theater in Moscow, in 1920, the Moscow Art Theater (MKhT) and Alexandrinsky, which was renamed the Petrograd State Academic Drama Theater. In the 1920s, despite the difficult period of the formation of the state, the most difficult economic and political situation in the country, new theaters began to open, which indicates creative activity in the theater world. “The theater turned out to be the most stable element of Russian cultural life. The theaters remained in their premises, and no one robbed or destroyed them. Artists used to get together and work there, and they continued to do so; traditions of state subsidies remained in force. It turned out that over forty performances are given in Petrograd every day, we found about the same thing in Moscow, ”wrote the English science fiction writer G. Wells, who visited our country at that time. So, only in Moscow over the years appeared the 3rd Studio of the Moscow Art Theater (1920), which was later renamed the Theater. Vakhtangov; Theater of the Revolution (1922), which then became the Theater. Mayakovsky; Theatre. MGSPS (1922), now - the Mossovet Theatre. The Bolshoi Drama Theater (1919) and the Theater of Young Spectators (1922), which still exist today, were opened in Petrograd. December 22, 1917 The Belarusian Soviet Theater was opened in Minsk, at the end of 1917. the first Uzbek theater was created in Ferghana, and this happened throughout the country. Theaters were created in autonomous republics and regions. On November 7, 1918, the first children's theater was opened. Its organizer and leader was Natalia Sats, who later received the title of People's Artist of the RSFSR. She was the chief director of a unique children's musical theater that still exists today.

In addition to professional theaters, amateur theaters began to develop actively. So, in 1923, a theater called the Blue Blouse was opened in Moscow, the founder was Boris Yuzhanin, a journalist and cultural figure. This theater was distinguished by the fact that the artists did not change into costumes for each performance, but performed all the time in the same blue blouses. In addition, they themselves wrote the lyrics for the skits and songs they performed. This style has gained immense popularity. By the end of the 1920s, there were about a thousand such groups in Soviet Russia. Many of them employed non-professional actors. Basically, they devoted their activities to the creation of performances and programs dedicated to the theme of building a young Soviet state. Also in the second half of the 1920s, the first theaters of working youth appeared - "trams", on the basis of which the Theaters of the Lenin Komsomol were born.

At the III Congress of the RCP(b) in 1923, it was decided to "raise in practical form the question of using the theater for the systematic mass propaganda of the struggle for communism." Cultural and theatrical figures, fulfilling the "state order" and acting in the spirit of the times, actively developed the direction of the areal mass theater with elements of agitation and mystery style. The theater workers who accepted the revolution were looking for new forms of theatrical spectacle. Thus was born the theater of mass action.

The new theatrical art required a completely different approach to staging a performance, updated imagery and expressive means. At this time, productions began to appear that were shown not on ordinary stages, but on the streets, stadiums, which made it possible to make the audience much more massive. Also, the new style made it possible to involve the audience themselves in action, to captivate them with what is happening, to make them empathize with ideas and events.

A vivid example of such spectacles is "The Capture of the Winter Palace" - a performance that took place on the third anniversary of the Revolution on November 7, 1920 in Petrograd. It was a grandiose large-scale performance that told about very recent revolutionary days, which have already gone down in history (dir. A. Kugel, N. Petrov, N. Evreinov). This spectacle was not just played in a theatrical form historical events, it was intended to evoke a response in the audience and completely certain emotions - an inner upsurge, empathy, a surge of patriotism and faith in the beautiful future of the new Soviet Russia. It is interesting that the performance was shown on Palace Square where the events of 1917 actually took place. An unusual number of artists, extras, musicians took part in the performance - only ten thousand people, and a hundred thousand spectators, a record for that era, saw it. It was the time of the civil war, and “the propaganda and political theater actively participated in the common struggle of the people for a new, happy life.

In addition, in this genre were staged in Petrograd "The Action of the International" (1919), "The Mystery of Emancipated Labor", "Towards the World Commune" (all - 1920); in Moscow - "Pantomime great revolution"(1918); in Voronezh - "Praise of the Revolution" (1918); in Irkutsk - "The Struggle of Labor and Capital" (1921) and others. Even the names of these mass theatrical performances speak of their topical content for the era, innovative content, plot basis and form.

Among the new original spectacular forms it is also necessary to mention "the theaters of the Prolet of the cult, soldiers' theaters, agitation theaters," Live Newspaper "- this is not a complete list of those that arose in those years theater groups».

DI. Zolotnitsky wrote: “... such theaters formed important common features of the mass art of their time. Here, improvisation experiments, self-preparation of plays and entire programs, prompt responses to questions and events of the day, deliberate directness of influence, bordering on primitiveness, a tribute to the street “game”, stage, and circus meant a lot. The theater of the times of "war communism" willingly drew expressive means in the flow of folk art and with a broad hand returned what was created to the people.

It should be noted that not only organizational structure work of theaters and their state subordination. A whole new audience has emerged. Theatrical performances those who had previously seen only street performances and fair booths began to visit. These were ordinary workers, peasants who settled in cities, soldiers and sailors. In addition, even during the Civil War, entire theater groups and some of the largest actors traveled to workers' clubs, to villages, to the fronts, popularizing this art among the common population, which a few years ago was elitist.

In general, this period in art and in the theater in particular was very difficult. Despite the appearance that art has completely embarked on a “new track”, began to actively perform the functions of a political and social mouthpiece, operating with completely new, relevant topics that are interesting to the mass audience, there were also retrograde moods. This view of things was actively supported by theatrical literature of the Soviet era. Unsuitable themes and plots were forgotten, art took a new path. But in fact, both the audience, and the directors, and the ideologists of the theater of those years were the same people who lived in Russian Empire until 1917. And they could not all change their views, interests and beliefs at the same time. Artists (as, indeed, the entire population of the country) took opposite positions of supporters and opponents of the revolution. Not all those who remained in the Soviet Union immediately and unconditionally accepted the changed state structure and an updated concept of cultural development. Many of them aspired to continue on the traditional path. They were not ready to give up their views and concepts. On the other hand, "the excitement of a social experiment aimed at building a new society was accompanied by the artistic excitement of experimental art, the rejection of the cultural experience of the past."

D.I. Zolotnitsky notes: “Not immediately and not suddenly, overcoming the skills of the past and the difficulties of the external conditions of life, on the side Soviet power creative people, old and young, recognized and unrecognized, crossed. They determined their place in the new life not by speeches and declarations, but above all by creativity. Blok's The Twelve, Mayakovsky's and Meyerhold's Mystery Buff, Altman's portrait Leniniana were among the first real values ​​of revolutionary art.

V. E. Meyerhold belonged to the figures of the Soviet theater who enthusiastically accepted the change in the socio-political situation and saw in it ways to renew art. In 1920, the Theater of the RSFSR First opened in Moscow, which was directed by this director. One of the best performances of this theater was "Mystery Buff" based on the play by V. Mayakovsky, which embodied both the current revolutionary theme and the aesthetic search for a new theatrical art. Leading the "left front" of art, V.E. Meyerhold published a whole program called "Theatrical October", in which he proclaimed "the complete destruction of the old art and the creation of a new art on its ruins." Theatrical figure P.A. Markov wrote about this: “The announced “Theatrical October” had an exciting and irresistible effect on us. In it we found an outlet for all our vague searches. For all the inconsistency of this slogan, it contained a lot that corresponded to the time, era, heroism of people who overcame hunger, cold, devastation with their work, and we almost did not notice the simplification of the complexity of tasks contained in this slogan.

It is rather paradoxical that it was Meyerhold who became the ideologist of this direction, because before the Revolution he was focused on studying the traditions of the past and on classical theater in general. In doing so, he became an exemplary figure in terms of how the new historical era“gave birth” to new artists who were ready for all kinds of creative experiments and changes, it was after October revolution he created his best innovative productions.

The director's innovative ideas found stage expression within the framework of the activities of the Theater of the RSFSR1 created by him. On this famous stage, various new plays were staged on topical issues, including in the fashionable and topical genre of the “performance-rally”. Meyerhold was also interested in such classical works of literature, playwrights and such as N. Gogol's "Inspector General" and others. An experimenter by nature, he worked with completely diverse expressive means. In his productions, there was a place for stage conventions, grotesque, eccentricity, biomechanics, and, at the same time, classical theatrical techniques. Destroying the boundaries between the viewer and the stage, the audience and the actors, he often transferred part of the action directly to the auditorium. In addition, Meyerhold belonged to the opponents of the traditional "scene-box". In addition to the means of scenography and costumes, the director used film frames that were completely unusual for those times, which were shown on the "backdrop", as well as unusual constructivist elements.

In the mid-20s, the formation of a new Soviet drama began, which had a very serious impact on the development of all theatrical art as a whole. Among the major events of this period, we can mention the premiere of the play "Storm" based on the play by V. N. Bill-Belotserkovsky at the Theater. MGSPS, production of "Lyubov Yarovaya" by K.A. Trenev at the Maly Theatre, as well as "The Break" by playwright B. A. Lavrenev at the Theater. E. B. Vakhtangov and at the Bolshoi Drama Theater. Also, the play “Armored Train 14-69” by V.V. Ivanov on the stage of the Moscow Art Theater became resonant. At the same time, despite numerous recent trends, an important place in the repertoire of theaters was given to the classics. In academic theaters, leading directors made interesting attempts at a new reading of pre-revolutionary plays (for example, A.N. Ostrovsky’s “Hot Heart” at the Moscow Art Theater). Also contacted classic stories and supporters of "left" art (we note "The Forest" by A. N. Ostrovsky and "The Government Inspector" by N. V. Gogol at the Meyerhold Theater).

One of the most talented directors of the era of A.Ya. Tairov advocated the refraction of topical themes in the production of plays by the great classics of the past centuries. The director was far from politics and alien to the tendency to politicize art. Even during these years of experiments and new trends, he worked with great success in the genre of a tragic performance - he staged a landmark production of Phaedra (1922) based on a play by Racine based on an ancient myth. Tairov was also interested in the genre of harlequinade (“Zhirofle-Zhiroflya” by C. Lecoq, 1922). From a conceptual point of view, the director sought to combine all the elements performing arts(words, music, pantomime, dance, pictorial design), that is, to the so-called "synthetic theater". My art program Tairov contrasted both Meyerhold's "conditional theater" and naturalistic theater.

In February 1922, the theater-studio began its existence under the direction of E. B. Vakhtangov. In the era of the NEP, theaters, seeking to attract a new audience (the so-called "Nepmen"), sought to stage plays of the "light genre" - fairy tales and vaudeville. In this vein, Vakhtangov staged a performance based on Gozzi's fairy tale "Princess Turandot", which has become immortal, where sharp social satire was hidden behind the outward lightness and comedy of situations. Actor and director Yu. A. Zavadsky recalled: “According to Vakhtangov’s plan, the play “Princess Turandot” was first of all addressed to the deep human essence of the viewer. He had great life-affirming power. That is why all those who saw the performances of Turandot for the first time will keep them in their memory as a vital event, as something after which a person looks at himself and others differently, lives differently.

“If an artist wants to create the ‘new’, to create after it, the Revolution, has come, then he must create ‘together’ with the People,” said Vakhtangov.

In 1926, the premiere of Trenev's play Love Yarovaya took place at the Moscow Maly Theater, which became very popular in the following decades. This performance told about one of the episodes of the recently ended civil war, about the courage and heroism of the people.

In October 1926, the premiere of the play by M. A. Bulgakov's "Days of the Turbins", the director of the production was K.S. Stanislavsky, the director - I. Ya. Sudakov. The play aroused the indignation of critics, who saw in it the justification of the Whites. “The sharpness and intransigence of most of the then reviews of the Days of the Turbins is partly due to the fact that the Artistic Theater was generally considered by the critics of the “left front” as a theater “bourgeois”, “alien to revolution”.

In the first post-revolutionary decade, the main rule that determined the success of both the audience and the authorities. At the same time, it was a time (the only decade in the entire existence of the USSR) when completely different styles and directions coexisted on the stages. For example, it was only during this period that one could see on different stages Meyerhold’s “futuristic politicized “performances-rallies”, Tairov’s exquisite, emphatically asocial psychologism, Vakhtangov’s “fantastic realism”, and young N. Sats’ experiments with performances for children, and poetic biblical theater Habima ixcentric FEKS. It was a truly wonderful time for figures of theatrical art.

At the same time, there was traditional direction, which was broadcast by the Moscow Art Theater, the Maly Theater, Alexandrinsky. By the mid-1920s, the Moscow Art Theater became the most influential theater with its psychologism of the stage play (“Hot Heart” by A.N. Ostrovsky, “Days of the Turbins” by M.A. Bulgakov, 1926,

Crazy Day, or The Marriage of Figaro by Beaumarchais, 1927). The second generation of actors of the Moscow Art Theater declared loudly to itself: A.K. Tarasova, O.N. Androvskaya, K.N. Elanskaya, A.P. Zueva, N.P. Batalov, N.P. Khmelev, B.G. Dobronravov, B.N. Livanov, A.N. Gribov, M.M. Yashin and others. Developing on the basis of the method of socialist realism, the Soviet theater continued the best traditions of revolutionary realistic art. But these theaters also developed in the spirit of modernity and staged performances in popular new styles - revolutionary and satirical - into their repertoire, but it was more difficult for these theaters during the period of emphasis on innovation than before the Revolution. Big role in the development of Soviet theatrical art, the Stanislavsky system, created before 1917, continued to play, designed to completely immerse the actor in what was happening, to achieve psychological authenticity.

The next period in the history of the Russian Soviet theater began in 1932. It was opened by the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks "On the restructuring of literary and artistic organizations." The time of creative searches and artistic experiments seemed to be in the past. But at the same time, talented directors and artists continued to work in Soviet theaters, who, despite censorship and political control over art, continued to create interesting productions and develop theatrical art. The problem now was that the ideology had significantly narrowed the boundaries of what was "permissible" - topics, images, works that could be used, and options for interpreting them. The approval of the artistic councils and authorities received mainly performances realistic direction. What a few years ago was perceived with a bang by both critics and spectators - symbolism, constructivism, minimalism - was now condemned for tendentiousness, formalism. Nevertheless, the theater of the first half of the 30s impresses with its artistic diversity, the courage of director's decisions, the true flowering of acting, in which famous masters and young, very diverse artists competed.

In the 1930s, the Soviet theater significantly enriched its repertoire by including dramatic works Russian and Western European classics. It was then that performances were created that brought the glory of the Soviet theater as the deepest interpreter of the work of the great English writer Shakespeare: Romeo and Juliet at the Revolution Theater (1934), Othello at the Maly Theatre, King Lear at GOSET (1935), Macbeth. Also, this period was marked by a mass appeal of theaters to the figure of M. Gorky, who was not so interesting to directors before the Revolution. The combination of socio - political and personally - emotional themes was simply doomed to success. At the same time, they possessed, in addition to the qualities necessary from the point of view of ideology, remarkable artistic merits. Such plays are "Egor Bulychov and Others", "Vassa Zheleznova", "Enemies".

It is important to understand that during this period, a criterion that did not exist before for evaluating any work of art appeared: ideological-thematic. In this regard, we can recall such a phenomenon in the Soviet theater of the 1930s as the performances of the “Leninians”, in which V. Lenin appeared not as real person but as some kind of epic historical character. Such productions performed rather social and political functions, although they could be interesting, filled with creative plan. These include “A Man with a Gun” (Vakhtangov Theatre), where the wonderful actor B. Shchukin played the role of Lenin, as well as “Pravda” in the Theater of the Revolution, M. Strauch played the role of Lenin.

Still the 1930s. somewhat tragically reflected in Russian culture. Many talented people, including the figures of the Russian theater, were repressed. But the development of the theater did not stop, new talents appeared who, unlike the representatives of the older generation, knew how to live in new political conditions and managed to “manoeuvre”, embodying their own creative ideas while acting within the framework of censorship. In the 1930s, new directorial names appeared on the leading theater stages in Leningrad and Moscow: A. Popov, Yu. Zavadsky, R. Simonov, B. Zakhava, A. Dikiy, N. Okhlopkov, L. Vivien, N. Akimov, N. Gerchakov, M. Knebel, and others.

In addition, talented, educated, original directors worked in other cities of the Soviet Union. The level of education grew everywhere, public libraries, schools, and, of course, theaters began to appear.

The 1920s and 1930s gave the country a new generation of actors. These were artists of the “new formation” who were educated in the Soviet era. They had no need to relearn from the old stereotypes, they organically felt themselves in the performances of the new, modern repertoire. In the Moscow Art Theater, along with such luminaries as O. Knipper-Chekhova, V. Kachalov, L. Leonidov, I. Moskvin, M. Tarkhanov, N. Khmelev, B. Dobronravov, O. Androvskaya, A. Tarasova announced themselves , K. Elanskaya, M. Prudkinidr. Actors and directors of the Moscow Art Theater School - I. Bersenev, S. Birman, S. Giatsintova - worked with great success in the Moscow Theater of the Lenin Komsomol (former TRAM). Artists of the older generation A. Yablochkina, V. Massalitinova, V. Ryzhova, A. Ostuzhev, P. Sadovsky continued their creative activity in the Maly Theater; next to them, a prominent place was occupied by young actors: V. Pashennaya, E. Gogoleva, M. Zharov, N. Annenkov, M. Tsarev, I. Ilyinsky (one of the most popular actors of this period, who began with Meyerhold).

In the former Alexandrinsky theater, which received the name of A. Pushkin in 1937, the highest creative level was still maintained thanks to such famous old masters as E. Korchagina-Aleksandrovskaya, B. Gorin-Goryainov, Yu. Yuriev, I. Pevtsov. Together with them, new talents appeared on the stage - N. Rashevskaya, E. Karyakina, E. Wolf-Israel, N. Cherkasov. On the stage of the Vakhtangov Theater one could see such talented actors as B. Shchukin, A. Orochko, Ts. Mansurova. They were not inferior to them in terms of the creative level of the theater troupes. Moscow City Council (former MGSPS and MOSPS), where V. Maretskaya, N. Mordvinov, O. Abdulov played, Theater of the Revolution, Theater. Meyerhold (M. Babanova, M. Astangov, D. Orlov, Yu. Glizer, S. Martinson, E. Garin worked here). Most of these names are inscribed in the history of the theater today and are included in encyclopedias.

Let us note one quantitative indicator: by the mid-1930s, the number of actors in the USSR had increased fivefold compared to 1918. This fact suggests that the number of theaters (and vocational schools) was steadily growing, new drama and musical theaters were opened in all cities of the country, which were very popular among all segments of the country's population. The theater developed, enriched with new forms and ideas. Outstanding directors staged grandiose performances, talented actors of the era appeared on the stage.

1.2 Theatrical innovation and its role in the development of Soviet art

The October Revolution evoked inspiration and faith in a real future, removing social barriers to education, culture, and creative self-expression. Art was filled with new ideals and new subjects. Revolutionary struggle, civil war, change social structure, public life, the beginning of a completely different historical stage, the formation of the "Soviet" type of personality became the main themes in art.

The creative intelligentsia of Russia, for the most part, perceived the events of 1917 as the beginning new era not only in the history of the country, but also in art: "Lenin turned the whole country upside down - just like I do in my paintings,"45 wrote Marc Chagall, then Commissar for Art at Lunacharsky's People's Commissariat of Education.

How did those who created it see the path of the new theatrical art? For example, so enthusiastically, but quite in the spirit of the times - the director and theorist Zavadsky spoke about this: “We look around us - life is rapidly developing, beautiful features of a new, Soviet person are emerging. But next to this beauty lives the ugly: rudeness, arrogance, bribery, dudes, speculators, thieves, townsfolk and vulgar people who insult our lives. And we do not want to put up with their existence! Our devotion to the great super-task obliges us to be irreconcilable. Raise and praise the light, castigate the dark, fall upon it with Gogol's passion. Remember his words about our great satirists?

"The merciless power of their mockery was lit with the fire of lyrical indignation." Yes, rage, fire, inspiration - all these manifestations of classical Russian creativity - should be our strength today, our military weapon. "Today these words seem to us pretentious, too agitational, exaggeratedly fiery. But in reality, the art of theater in the 1920s and early 1930s was truly imbued with this ardor, the desire to create new ideals, to demonstrate how life in the country is changing for the better, to show on stage a renewed, more morally perfect person.

From a conceptual point of view, this was undoubtedly an innovation, because. pre-revolutionary theater (as well as literature, by the way) was much more focused on the inner world of a person, the sphere of personal relationships and gravitated towards everyday and family topics. At the same time, and within the framework of such topics, it was possible to touch upon the highest and global life issues, but the Soviet theater needed a slightly different selection of plots and approaches to implementation.

What was it about? Ideology broadcast new values ​​that were actively (including through theatrical performances) introduced into society and "inoculated" Soviet people. The personal began to be considered secondary and insignificant in comparison with the collective. A person had to give all his strength to the construction of a new state. And the theatre, first based on the sincere belief in this idea of ​​cultural figures, and then on a strict political setting, offered the viewer this idea in different styles and productions. Without a doubt, “the workers' and peasants' state considered the theater an important area for the education of the people. The Bolshevik Party saw the theater as a conductor of its influence on the masses. The construction of a new culture became a matter of national concern.”

In addition, the changing life of the state and society, all political and social realities also required a new approach to staging classical works, which was enthusiastically received by modern directors.

It is obvious that after the Revolution, the theater went in many ways along a different path than its previous development suggested. However, it is important to understand that the transition “to the new rails” took place gradually, although there were such irreconcilable experimenters and innovators among the directors who perceived this period as a real breath of fresh air, which allowed them to create performances in hitherto unseen styles and forms.

But this was not always the case. Many figures did not immediately, but gradually came to the understanding that new themes, plots should be embodied in the theater, new genres should appear. Examining the early history of the Soviet theater, Zolotnitsky wrote: “It would be a departure from historical truth to present the matter as if every single theater, every single theatrical figure accepted the revolution enthusiastically, instantly understood and realized that the auditorium had become different and already different requirements for he brings art with him. The path of the old theaters in the revolution was tortuous, these theaters were imbued with the ideas of socialism only under the influence of the difficult experience of life, only in the final analysis, and not immediately and not suddenly.

At the same time, it is important to understand (which did not always resonate with the “builders” of the revolutionary theater) that traditionalism should not be opposed to innovation, as something outdated, alien to the new. Soviet art and not having the right to stage life. In fact, the traditions of the past, created over more than two centuries of the existence of a professional Russian theater, had to be preserved, acquiring some other features and style. This was understood by such leading figures of the era as K. Stanislavsky and A. Lunacharsky and their most perspicacious contemporaries. The total destruction of the old was unacceptable for art, in which all innovations always grow on the foundation of experience and traditions. “We are working systematically, we are working in such a way that the proletariat will not throw us a reproach later that we have ruined and destroyed enormous values ​​without asking it at a moment when, under all the conditions of its life, it could not pronounce its own judgment about them. We are working in such a way as not to compromise the coming proletarian art, uplifting it through official patronage.

In the first post-revolutionary years, A. Lunacharsky did a lot to preserve the imperial theaters - the Moscow Art Theater, Alexandrinsky, Bolshoi, Mariinsky, although many believed that everything old should be destroyed, because. "salon" art, which was shown on these stages, will not be able to find a place for itself in new reality. The extraordinary intellect, education and authority of A. Lunacharsky helped to avoid this irreversible development of events. He quite convincingly and, as the history of the next century showed, absolutely correctly explained why in the beautiful new world it is necessary to find a place for theaters that existed before 1917. “Representatives of workers with various theatrical requirements. Tov. Bukharin would probably have been surprised by the fact that not once did the workers demand from me to increase access to them for the revolutionary theater, but on the other hand, endlessly often they demand opera and ... ballet. Maybe Comrade Bukharin would be upset by this? This upsets me a little. I know that propaganda and agitation go on as usual, but if you take your whole life with propaganda and agitation, then it will get boring. I know that then the ominous cries that can be heard sometimes will become more frequent: "heard, tired, talk."

Also in his thoughts, which relate directly to the period of interest to us, A. Lunacharsky wrote: theaters with their old craftsmanship; untimely, firstly, because the position on the need to build a further proletarian culture on the basis of the assimilation of the cultural achievements of the past has now been accepted by everyone; secondly, because, as will be seen from what follows, theaters in general are beginning to turn aside social realism, which makes many recognize how important it was to preserve the best centers of theatrical realism until our time; and thirdly, and finally, because I myself, who fought a lot for the preservation of these theaters, find that now there is already too little preservation, and that the time has come when these academic theaters must move forward.

Zavadsky thought in the same vein: “Guided by the tasks of the future, we must overcome the imaginary, false opposition of genuine traditions and innovation. There are traditions and traditions. There are traditions that have become handicraft borrowing from year to year, repeating stereotyped, stage decisions, techniques, clichés that have lost touch with life, and there are traditions that we protect and honor as a sacred relay race. Tradition is, as it were, yesterday of our art, innovation is a movement into its tomorrow. The yesterday of the Soviet theater is not only Stanislavsky, it is Pushkin and Gogol, it is Shchepkin and Ostrovsky, it is Tolstoy, Chekhov and Gorky. This is everything advanced, the best in our literature, music, theater, this is great Russian art.

Eventually, traditional theater retained its position (although it suffered a lot of attacks from adherents of the "breaking the old world"). At the same time, innovative ideas in the 1920s were more actively developed than ever. As a result, if we talk about the theatrical art of the 1920s-1930s, and, more globally, about the artistic culture of that era, two leading trends can be distinguished: traditionalism and avant-garde.

In the history of culture, this time (not only in our country) is perceived precisely as an era of various creative searches, the embodiment in painting, music, theater of the most unexpected and seemingly absurd ideas and an extraordinary flowering of original ideas and fantasy. In addition, the 1920s were marked by a real struggle of various theatrical styles and trends, each of which achieved serious artistic achievements and presented a number of talented productions.

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Dramaturgy is a special kind of art. It exists "at the confluence" of literature and theater, that is, in it the laws of literature and theater are manifested in their interaction.

The history of modern Russian literature begins its countdown from the second half of the 18th century, with the appearance of the Ancient Russian Bibliophilia, which marked a fundamentally new attitude of the reader to domestic literature and literature to itself as an independent and self-sufficient phenomenon. This conclusion was made by D. S. Likhachev in the work “The Poetics of Old Russian Literature”: “ Old Russian literature exists for the reader as a whole, not divided by historical periods.<...>When, in the mind of the reader, authors and their works are arranged in chronological order, this means that a consciousness of the historical changeability of literature has appeared, and this means that the process of development of literature has begun to take place on a united front. Since when can we observe the emergence of this literary memory, this awareness of the changeability of literature?<...>It begins with Novikov's grandiose activity in collecting ancient monuments in a publication that emphasizes this historical consciousness in its very title: "Ancient Russian bibliophilia." But the consciousness of the historical changeability of style and language appears only at the beginning of the 19th century. Pushkin was the first to fully feel the difference in styles of literature by era, country and writer. He was passionate about his discovery and tried his hand at various styles - different eras, peoples and writers. This meant that the leap was over and the normal development of literature began, conscious of its development, of its historical change. A historical-literary self-awareness of literature appeared. “So, with the work of A. F. Novikov, the appearance of which proved that Russian literature, in order to develop freely, needs to look into its history, realize the entire length of the path it has traveled, from the second half of the 18th century, a new Russian literature begins. Around the same time, the Russian theater began: its origin is associated with the name of Fyodor Volkov. Thus, only by the middle of the 19th century did Russian literature become an absolutely independent factor in world culture, and Russian stage literature reached serious heights, formed the most important principles and postulates of dramatic art. But what was the repertoire of Russian theaters like? Original, bright plays domestic authors were an extremely episodic phenomenon on their stages. "Woe from Wit" only in 1862 was first seen by the viewer; of all the plays by N.V. Gogol, only The Inspector General was shown in theaters; the dramaturgy of Pushkin and Lermontov was generally unknown to the Russian theater. The bulk of the productions were based on translated French plays and imitative Russian ones; vaudeville became a favorite genre, and the value of the theater was perceived as entertaining, entertaining.

So, by the middle of the 19th century, the Russian stage experienced an urgent need for a fundamental renewal of the repertoire; she wanted to contact national images and domestic issues. The craving for drama is evident in all the outstanding Russian writers of the beginning of the last century. But the plays of Pushkin, Lermontov, Gogol do not form interconnected phenomena. They are perceived organically only taken in the context of their author's work; combining them into a certain independent series looks mechanical. However, these brilliant plays in themselves, if they did not make the "Russian theater", were necessary for the formation of Russian drama. And by the middle of the century, Russian literature was already ready to meet with the theater. It should be especially noted that not only the cultural, but also the social life of the country demanded a new theater and a new dramaturgy. The end of the 50s - the beginning of the 60s is the expectation, preparation and implementation of the most important reforms. In the renewed post-reform Russia, the public opinion: the majority for the first time in many years found its voice and actively sought to make this voice sound and be heard. A. Anikst comments on the features of this period of our history: “The boundary date, marking the end of one period and the beginning of another, is 1855, the year of the death of Nicholas 1, whose thirty-year reign was marked by the most gloomy reaction in the social and spiritual life of the country.

The abolition of serfdom in 1861 and the reforms that accompanied it were half-hearted measures that did not resolve all contradictions. Nevertheless, the atmosphere in the country, compared with the times of Nicholas 1, has changed somewhat. It became possible to portray the evil of the previous period more sharply. In accordance with the changed conditions, new trends appeared in the literature. The end of this period coincides with the assassination of Alexander II by the Narodnaya Volya in 1881. The time to be considered covers a quarter of a century; these were very fruitful years for Russian literature and, in particular, for drama. It was during these years that Russian drama reaches its full maturity and becomes the main force in the theater. Now, not single masterpieces ... but dozens of plays testify to the fact that a kind of Russian national drama has appeared, which has a great wealth of ideas and is distinguished by its original artistic form. him, under his direction. Ostrovsky alone did what generations of playwrights did in other countries. Purposefully and consistently he created the Russian national theater. The uniqueness of his talent is in the amazing harmonious combination of the talent of a writer and a theater figure. He not only created theatrical repertoire. He formed a school of acting. He developed a system of roles that is stable and necessary for classical theater. And most importantly - he formed a new actor and a new audience. Ostrovsky's theater is a holistic phenomenon. It is characterized special treatment to the text, the cult of the text. In the play itself, according to the playwright's intention, everything is already laid down: the interpretation of each role, the necessary directorial techniques, and even the design of the stage. The director in this theater is a third-rate person; all that is required from the actors and the artist is maximum attention to the author's text. After all, the basis of any classical play is dialogue. All the action is based on the conversations of the characters, on monologues, exchange of remarks. Heroes are ideal companions. The word is an action in itself. Life is speech. Most of Ostrovsky's plays are distinguished by their complete forethought: the author allows each character to fully express himself in order to characterize him exhaustively.

The creativity of the spectator in such a theater lies mainly in empathy with what is happening on the stage. Deep contemplation is not yet required from him. But by the 70s, the desire of Ostrovsky's characters for complete frankness with the audience was replaced by restraint and isolation. Candid confessions give way to allusions, allegories, defaults. Subtext begins to play its role in Ostrovsky's theater. In the plays of the 1970s and 1980s, themes and images appear that anticipate a fundamentally new phenomenon in Russian dramaturgy - Chekhov's theater. L. M. Lotman rightly notes: “The understanding of the drama of life, which Ostrovsky expressed, his idea of ​​a dramatic conflict, as a form of struggle of the individual with the enslavement of man” general order being ", about the speech of the character as the most important element of dramatic action, the complex relationship between the elements of the comic and the tragic - all these features of his works prepared the possibility of a revolutionary rethinking of the laws of drama and theater that took place by the end of the 19th - beginning of the 20th century.

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Question 1. What topics have become leading in Russian musical art?

Answer. Realism also comes to music. In creativity " mighty handful"(Milia Alekseevich Balakirev, Modest Petrovich Mussorgsky, Caesar Antonovich Cui, Alexander Porfiryevich Borodin and Nikolai Andreevich Rimsky-Korsakov) shows how much they wanted to convey the truth of life in their works. In particular, they wrote extensively on topics taken from folk art. Also, themes are taken from history, most often the history of Russia. Often these two sources are intertwined there, creating something unified that inspires the composer.

Question 2. What is typical for the Russian theater of the second half of XIX in.?

Answer. The theater is also imbued with the spirit of realism. A set of conventional gestures that the actors used before leave the stage. Now they strive to play the role, as if to live it. The viewer, as it were, sees what is happening through a transparent wall, life, which goes on as usual, as if not for the viewer, but for itself. This phenomenon was called the “fourth wall” (the wall between the audience and the actors, which does not exist for the audience, but must necessarily exist for the actors, hide the hall for them so that they play without focusing on it). The theme of the plays was appropriate. Mostly they staged stories from modern life, revealing the problems of society, the problems that broke the fate of people. Such are the plays of A.N. Ostrovsky, A.P. Chekhov.

Question 3. Prepare a message about one composer or actor of the second half of the 19th century.

Answer. Konstantin Sergeevich Stanislavsky, message plan:

1) the first years of life - the son of a major industrialist, who became an actor;

2) on the amateur stage in the house of A. A. Karzinkin on Pokrovsky Boulevard;

3) member of the directorate and treasurer of the Moscow branch of the Russian musical society and the conservatory attached to him;

4) the birth of a stage name;

5) creation and creativity of the Moscow Society of Art and Literature;

6) acting work - an experience that formed the basis of Stanislavsky's famous system of training actors;

7) meeting with Nemirovich-Danchenko and the creation of the Moscow Art Theater.

Question 4. Why in the second half of the XIX century. Is there a revival of folk crafts?

Answer. Folk crafts lose their utilitarian significance during this period. Industrial products are much cheaper. But industrial products are standard, faceless. At the same time, folk motifs become popular in various types of art, and fashion begins on them. This is how certain folk crafts are revived in certain areas, the masters of which worked in a certain area. characteristic style. Now handicrafts become, first of all, works of art.

Question 5. What general ideas can be traced among the authors of works of various types of art?

Answer. For different types art is characterized by realism, showing life as it is, with all its problems, with its inconsistency. Such are painting, music, and theater of those years. Everywhere one can see the idea of ​​the disorder of life and the complexity of the human personality, which, due to the disorder of life, only becomes more complicated.

Decisive changes in the first revolutionary decade took place in the Russian theater. The revolution contributed to the creation of the Soviet director's theater. During these years, many new theater groups appeared in the country, among them the Bolshoi Drama in Leningrad, the first artistic director which was A.A. Blok, Theater named after V.E. Meyerhold, Theatre. E.B. Vakhtangov, Moscow Theatre. Moscow City Council. The first Soviet theatrical performance was "Mystery - Buff" staged by V.E. Meyerhold, (1921). V.E. Meyerhold substantiated the principles of a journalistic, passionate, agitational theater-rally, he introduced elements of the circus and cinema, grotesque and eccentricity into theatrical action.

The innovator of theatrical art was E.B. Vakhtangov. In his work, the aesthetic principles of K.S. Stanislavsky and V.E. Meyerhold: the deep truthfulness of revealing the inner world of a person was organically combined with the desire to give the performance a hyperbolic, bizarrely grotesque form. By introducing music and dance into the performance, using conditionally generalized scenery, varying lighting effects, Vakhtangov enriched the modern stage language. The production of "Princess Turandot" by K. Gozzi, carried out by him in 1922, marked the establishment of the principle of "festive theatricality". According to Vakhtangov's plan, throughout the performance, the performers maintained a jokingly ironic attitude to the plot of the fairy tale play they were playing and to their characters: either they "entered the character", completely immersing themselves in the experiences of the characters, then they "came out of the character", communicating naturally and cheerfully. with the public. Live contact between the actors and the audience, a light, elegant form ensured a long stage life for the performance.

By this time, the beginning of a professional theater for children, at the origins of which stood N.I. Sats. By the end of the 1930s, there were already more than 70 children's theaters in the country.

Talented youth who went through the fronts of the civil war came to literature. Only from 1920 to 1926. for the first time more than 150 writers appeared in print, among them. V.A. Kaverin, N.S. Tikhonov, L.M. Leonov, M.A. Sholokhov, N.N. Aseev, A.A. Fadeev. Famous figures in the cultural life of the republic in the first Soviet decade were those writers whose creative activity began and was recognized even before the revolution: A.S. Serafimovich, V.V. Mayakovsky, S.A. Yesenin, D. Poor, M. Gorky. These names personified continuity in the development of Russian artistic culture. M. Gorky occupied a special place in this galaxy. In the 1920s, his works "My Universities", "The Artamonov Case" were published. On the initiative of Gorky, the publishing house "World Literature" was organized.

In the 1920s and 1930s, the leading theme in literature was the theme of revolution and socialist construction. The first attempts at artistic comprehension of the revolution date back to its first months and years. These are poems by V.V. Mayakovsky, a poem by A.A. Block "Twelve". The inevitable collapse of the old world, the approach of the revolution - main idea M. Gorky's novel "The Life of Klim Samgin" (1925 - 1936). The problem of man in the revolution, his fate is reflected in the epic M.A. Sholokhov "Quiet Don" (1928-1940). The symbol of heroism and moral purity was the image of Pavel Korchagin - the hero of the novel by N.A. Ostrovsky "How the steel was tempered" (1934). The theme of the industrial development of the country was revealed in the works of L.M. Leonov "Sot", M.S. Shaginyan "Hydrocentral", F.V. Gladkov "Cement", V.P. Kataev "Time - forward!".

In the 1930s, the role of the historical novel noticeably increased, and a deep interest in the history of the fatherland and in the most striking historical characters was manifested. Hence the whole series of the most serious historical works: "Kyukhlya" by Yu.N. Tynyanov, "Radishchev" O.D. Forsh, "Emelyan Pugachev" V.Ya. Shishkov. In the same years, brilliant samples of poetry were given in their work by A.A. Akhmatova, O.E. Mandelstam, B.L. Parsnip. M.M. successfully worked in the genre of satire. Zoshchenko, I.A. Ilf and E.P. Petrov. The works of S.Ya. Marshak, A.P. Gaidar, K.Ya. Chukovsky.

Despite the totalitarian state control over all spheres of the cultural development of society, the art of the USSR in the 30s of the 20th century did not lag behind the world trends of that time. The introduction of technological progress, as well as new trends from the West, contributed to the flourishing of literature, music, theater and cinema.

A distinctive feature of the Soviet literary process of this period was the confrontation of writers into two opposite groups: some writers supported Stalin's policy and glorified the world socialist revolution, while others opposed the authoritarian regime in every possible way and condemned the leader's inhumane policy.

Russian literature of the 30s experienced its second heyday, and entered the history of world literature as the period of the Silver Age. At that time, unsurpassed masters of the word worked: A. Akhmatova, K. Balmont, V. Bryusov, M. Tsvetaeva, V. Mayakovsky.

Russian prose also showed its literary power: the work of I. Bunin, V. Nabokov, M. Bulgakov, A. Kuprin, I. Ilf and E. Petrov firmly entered the guild of world literary treasures. Literature during this period reflected the fullness of the realities of state and public life.

The works covered those issues that worried the public at that unpredictable time. Many Russian writers were forced to flee from the totalitarian persecution of the authorities to other states, however, they did not interrupt their writing activities abroad either.

In the 1930s, the Soviet theater experienced a period of decline. First of all, the theater was considered as the main instrument of ideological propaganda. Chekhov's immortal productions were eventually replaced by pseudo-realistic performances glorifying the leader and the communist party.

Outstanding actors who tried in every possible way to preserve the originality of the Russian theater were subjected to severe repressions by the father of the Soviet people, among them V. Kachalov, N. Cherkasov, I. Moskvin, M. Yermolova. The same fate befell the most talented director V. Meyerhold, who created his own theatrical school, which was a worthy competitor to the progressive West.

With the development of radio, the age of the birth of pop music began in the USSR. The songs that were broadcast on the radio and recorded on records became available to a wide audience of listeners. Mass song in the Soviet Union was represented by the works of D. Shostakovich, I. Dunaevsky, I. Yuriev, V. Kozin.

The Soviet government completely denied the jazz direction, which was popular in Europe and the USA (this is how the work of L. Utesov, the first Russian jazz artist). Instead, musical works were welcomed that glorified the socialist system and inspired the nation to labor and exploits in the name of the great revolution.

Cinematography in the USSR

The masters of Soviet cinema of this period were able to achieve significant heights in the development of this art form. A huge contribution to the development of cinema was made by D. Vetrov, G. Alexandrov, A. Dovzhenko. Unsurpassed actresses - Lyubov Orlova, Rina Zelenaya, Faina Ranevskaya - became the symbol of Soviet cinema.

Many films, as well as other works of art, served the propaganda purposes of the Bolsheviks. But still, thanks to the skill of acting, the introduction of sound, high-quality scenery Soviet movies and in our time cause genuine admiration of contemporaries. Such tapes as "Merry Fellows", "Spring", "Foundling" and "Earth" - have become a real asset of Soviet cinema.