Russian poets-futurists. Futurists of the silver century. Young launches (second "generation" of symbolists) Futurist groups
The term "futurism" is formed from Latin Futurum (future).
Futurism declared himself as the art of the future. He united artisticavangandist The flows of 1910-1920 Especially futurism was developed in Italy and Russia.
The emergence of futurism and its essence
Filippo Marinetti (1876-1944)
The founder of directions and the author of the term is the Italian Filippo Marinetti - the poet, the fascist and soldiers.
In 1909, Marinetti publishes his first futuristic manifesto "Le Futurisme", which contained radical slogans directed against the entire old and dogmatatic: "Reload Italy from all the infection - historians, archaeologists, art historians, antiques!", "Take fire to library shelves. ! "," Direct the water from the channels in the museum cleaners! "," Crucify the ancient cities! " etc. He proclaimed a new futuristic aesthetics, in which the risk, audacity, courage, courage, riot was chanting. The war for him was the only cleansing force - "hygiene of the world." Italian futurism has created a holistic, comprehensive worldview. He also proclaimed the "telegraph style", putting the beginning of minimalism.
In August 1914, after the start of World War I, Marinetati leads to promoting Italy's accession to war, organizes manifestations with the public burning of the Austrian flag, for which he was arrested and imprisoned. But in May 1915, Italy enters the war on the side of the Entente countries, and Maripetti volunteer goes to the front.
After the First World War, Marinetti organized a political party of futurists and issued an appropriate manifesto, separated by the functions of the party and the same direction in art: futuristic art was to continue the case of rejuvenation and strengthening Italian genius, and the futuristic party - "reflect the self-awareness of the whole society in his hygienic revolutionary rush" . In 1919, Marinetti joined the fascist party.
The main principle of Marinetty to the end of his life was the desire "from the top of the world to challenge the stars." He always saw the exit of art dead end in Futurism, and from a public dead end - in fascism.
And here are other principles of Marineti:
Suggest the public with all sorts of pleasant blows.
Calling a number of funny ideas and feelings in the public, just as a strong blow on the water causes concentric circles, awakens an echo, which in turn awakens another echo.
To cause words and gestures in the public, not foreseen, strive to ensure that each surprise on the stage spends other surprises in the theater and in the lips, in the whole city, tomorrow, the day after tomorrow, for a very long time ...
Mental hygiene is the development of physical strength, sports, boycott museums and libraries. Any young man who spends the day in the library is lost.
In plastic, we must reject the former frost and strive to pass the movement. In music, look for harmony noise. In poetry to free the word from ultrasound of obsolete syntax.
I love youth hotly, for it is right even in their mistakes, while old people are mistaken even when right.
We stayed in detail on the identity of Marinetti in order for the lard of futurists more understandable to become more understandable - after all, as we said, futurism got widespread in Russia.
The name "Futurism" implies the cult of the future, denial and ridicuing the past along with the present.
In addition to Marinetti, Futurism's founders were Jacomo Ball (artist), Umberto Bocchoni (artist and sculptor), Luigi Russino (artist and composer), Carlo Carrupt (artist and schedule), Gino Severini (artist, schedule and sculptor), Francesco Balill Pratela ( Composer and musicologist). In 1912, the first exhibition of futurist artists took place in Paris.
D. Balla. Sculptural construction (1914-1915)
W. Bocchoni "" Unique forms of continuity in space "(1913). Museum of Contemporary Art Solomon Guggenheim (New York)
D. Severini "Sanitary train racing through the city" (1915). Guggenheim Museum (New York)
The literature for futurism was characterized by refusal of traditional grammar, the poet's right to their spelling, the word ", rhythm. Futurists challenged civilization and technical progress. Motorcycle they declared more perfect creation than Michelangelo sculptures. Marinetti proclaimed: "The heat emanating from a piece of wood or iron, we care more than a smile and tears of women", "New art can only be violence, cruelty."
For futurists, Paphos destruction was characteristic. Wars and revolutions, they considered the rejuvenating force of the dyeing world.
Futurism in Fine Arts
Despite the fact that futurists declared the denial of past art, they were not created their culture from scratch, it is almost impossible. Anyway, there were some source points from which they were repelled. So, art historians see these points in Fovison, from which futurists borrowed color and emotionality, and in the cubism from which the artistic form was adopted.
W. Bocchoni "Street is included in the house" (1911)
For the painting of futurists are characterized by energetic compositions, where the figures are fragmented on fragments and intersect with sharp angles, the predominance of flashes forms, zigzags, spirals, beveled cones. Movement in the patterns is transmitted by overlaying sequential phases to one image (the principle of simulation).
Russian futurism
Russian Futurism in Fine Arts
A. Nyurberg "V.Markovsky at work in the windows of growth." State Literary Museum
In Russia, futurism first declared himself in painting, and then - in poetry. As a direction in the visual art and literature, futurism existed before the early 1920s.
D. Burluk "Futuristic Woman"
The most famous Russian futurist artists: D. and N. Burliuki, M. Larionov, N. Goncharov, M. Matyushin, N. Kulbin, A. Exter and others. As already mentioned, Futurist artists borrowed a lot from cubists. We see the elements of cubism, widespread in the visual arts of the 1910s, in the "cleaning of rye" K. Malevich, where the shapes and landscape, the crowd and sheaves, living and non-living bodies are interpreted equally.
K. Malevich "Cleaning of rye"
V. Mayakovsky was the creator of new art - a revolutionary poster.
One of the most famous cubal female works is the picture of K. Malevich "Aviator".
K. Malevich "Aviator" (1914)
It is characterized by the same image geometrization as for cubists. But in futurists (cubobuturists), geometrization plays a smaller role and is not always present. The space of the picture is usually deprived of perspectives and horizon, consists of colored planes and cylindrical volumes.
Poet-futurist Benedict Lifshitz, describing the work on his portrait of the Futurist artist V. Burluk, involuntarily gives the characteristic of the Futurist art method: "Vladimir writes my belt portrait ... I will now decompose me on the main planes, sparkle on small parts and, eliminating this way The deadly danger of external similarity, will discover the thoroughly "character of my face".
Russian futurism in literature
Russian futurism, in contrast to Italian, was a more literary direction, although many of the futurist poets experimented with both visual arts.
An example of the collaboration of poets and artists was the futuristic opera "Victory over the Sun", the libretto of which he wrote Alexey Kratynykh, and the scenery issued Kazimir Malevich.
Differences between Italian and Russian futurism existed in ideology. Italian futurism challenged militarism, later Marinetti became a supporter of Italian fascism. Representatives of Russian futurism were characterized by left and antiburnuisan convictions. Some of them welcomed the October Revolution (Vladimir Mayakovsky, Velimir Khlebnikov, Vasily Kamensky, Osip Bric, Nikolai Aseev, Vasily Kandinsky) and sought to develop art in a revolutionary spirit. But at the same time, they wrote the anti-war works (the poem "War and Peace" of Mayakovsky, "War in Mousetrap" Khlebnikov). Others denied revolutionary shocks.
The main features of Russian futurism were
tanning, anarchicity, expression of crowd mass moods;
denial of cultural traditions, an attempt to create art fixed into the future;
Riot against the usual standards of poetic speech, experimentalism in the field of rhythm, rhymes, orientation on the pronouncing verse, slogan, poster;
The search for a liberated "self-loving" word, experiments on creating a "dusty" language.
History of Russian futurism
The first of the Russian poets used the word "futurism" Igor Northernik, offering the term "egoofuturism" - the collection "Prolog" released in 1911. Ego paturism. "
But in 1910, "Willland" (the first Russian futuristic group) issued the first collection of "Sadok judges", in the same year they began to call themselves a group of "Gile". The members of the "Gileu" were Velimir Khlebnikov, Alexey Kratynykh, Vladimir Mayakovsky, David Burlyuk, Vasily Kamensky and Benedict Livshits. In December 1912, they released the manifesto "Society to public taste", which urged "throw Pushkin, Dostoevsky, Tolstoy, and so on., And so on. With a steamhouse of modernity "and formulated 4 poets rights:
1. For an increase in the poet's dictionary in its volume by arbitrary and derivative words.
2. An insurmountable hatred of the language existing before them.
3. With horror, remove the wreath of pennants from the proud chela from the proud brooms.
4. Stand on the words "We" among the sea whistling and indignation.
"Giley" was the most influential unification of futurists, but not the only one: there were also egohuchurists led by Igor Northerner (St. Petersburg), Centrifuge (Moscow), groups in Kiev, Kharkov, Odessa, Baku. Members of "Gilei" adhered to the doctrines of Cubal fell; In its framework, aqueous poetry appeared, invented by bread and twisted.
By the end of 1914, Futurism began to experience a crisis. "Having achieved noisy success, scandalous fame, by releasing more than a dozen books, having implemented theatrical performances, futurists feel that their historical mission has been implemented" (S. Starkin).
With the establishment of Soviet power in Russia, futurism gradually began to disappear. Former futurists amounted to the kernel of the Lef (the leftmost front of the arts), unpacked by the end of the 1920s.
Many of the futurists emigrated (David Burluk, Igor Severnin, Ilya Zdanevich, Alexander Exter), died (Velimir Khlebnikov, Alexander Bogomazov), committed suicide (in 1930 Vladimir Mayakovsky), some moved away from ideals of futurism and developed their own, individual style (Nikolai Aseev, Boris Pasternak).
In the late 1920s, there was an attempt to revive futurism - the union of Observation was organized.
Oborryu (Association of real art) is a group of writers and cultural figures that existed in the 1927th early 1930s. In Leningrad.
The group included Daniel Harms, Alexander Vvedensky, Nikolai Zabolotsky, Konstantin Vaginov, Yuri Vladimirov, Igor Bakhthershev, Doyvber Levin.
Obeniuta declared a refusal of traditional art forms, the need to update the image methods of reality, cultured grotesque, alogurism, absurd poetics.
The poet Nikolai Oleirikov was close to Obenius, the writer Evgeny Schwartz, artists Casimir Malevich, Pavel Mansurov, Vladimir Sterligov, Pavel Filonov and members of his team MAI, artist Tatiana Glebova and Alice.
P. Filonov "Persons" (1940). Oil on paper. 64 × 56 See State Russian Museum (Petersburg)
Daniel Harms.
I was thrown under the chair,
But I was weak and stupid.
Cold wind in a gap blem
And I got to the tooth.
I was so lying awkwardly
I was and stupid and weak.
But the atmosphere is so cool
When it were not - b,
I on the floor-b lay outlessly,
Drawing to Tulup.
But so lying insanely boring:
I am too weak and stupid.
The fate of all Obaniutov developed tragically. Daniel Harms was arrested in the early 1930s, accused of anti-Soviet views and Soslated to Kursk. The poet was arrested in 1941. Harms died from hunger in a psychiatric hospital blockade in the winter of 1942. Alexander Vvedensky in the early 1930s, together with Hams, was exiled to Kursk, where he soon managed to return. The second time the poet was arrested in 1941. The introduced was stupid in Kazan, but on the road he died from pleurrites. Nikolay Oleinikov was arrested for counter-revolutionary activities and was shot in 1937. Konstantin Vaginov managed to avoid arrest - he died in 1934 from tuberculosis. Nikolay Zabolotsky spent six years in camps - from 1938 to 1944. After liberation, he managed to return to Moscow, recovered in the Writers' Union and issued several books. However, the health of the poet was strongly undermined, he died in 1958 after the second heart attack.
Russian Cubobuturism
Velir Khlebnikov, Elena Guro, David and Nikolai Burliuk, Vasily Kamensky, Vladimir Mayakovsky, Alexey Kratyny, Benedict Livshits, trees to poets-Cubalurists. Many of them performed both artists.
Russian egoofuturism
Developed within futurism. In addition to the common futuristic letter for ego paturism, cultivating the refined sensations, the use of new foreign language words, dismissed self-love. This union was in 1909 around Igor Northergyan.
Igor Northgen
In addition to Northerners, the group included poets Konstantin Olimov, Georgy Ivanov, Stefan Petrov (Grail-Arensky), Pavel Kokorin, Pavel Shirokov, Ivan Lukash, and others. The egohuchurist society issued several leaflets and manifestos formulated in extremely abstract and esoteric expressions (for example, "Style Prism - Restoration of the Thought Spectrum").
Egoofuturism - The phenomenon is short-lived and uneven. Most of the attention of criticism and public was transferred to Igor Northerners, who quickly pulled away from the collective policy of ego paturists, and after the revolution and completely changed the style of his poetry. Most egohuchurists quickly broke the style and moved to other genres or a shortness of the literature completely left.
I, genius Igor-Northerner,
His victory is ski:
I am noticeable!
I have a reasonable approved! ..
I, - a year ago, - said: "I will!"
The year sampled, and here - I am!
Among friends, I matured Jude,
But not his rejection, but revenge ...
We were four, but power
My, one, grew.
She did not ask support
And not tortured from the number ...
1912
"Mezzanine Poetry"
The poetic association "Mezonin of Poetry" was created in early 1913 and was considered in literary circles temperate wing of futurism. It was included in Wadim Shershevich, Rurik Ivnev (M. Kovalev), Lev Zack (pseudonyms - Chrysanphi Mikhail Russian), Sergey Tretyakov, Konstantin Bolshakov, Boris Lavrenev, and others. Young poets.
Vadim Sherenevich
The ideological inspiration of the group, as well as its most energetic participant, was Vadim Schenevich.
The union broke up at the end of 1913, having released three almanacs and several collections.
"Centrifuge"
The Moscow futuristic group formed in January 1914. The main members of the group: Sergey Bobrov, Nikolay Aseev, Boris Pasternak.
Nikolai Aseev
I can not live without you!
I'm in the rain without you - we are lying
I and in the heat without you - to go.
I am without you and Moscow - wilderness.
I do without you every hour - from year;
If it were time to smack, fraction!
I even blue heavenly arch
It seems stone without you.
I do not want to know anything -
Weakness of friends, strength of enemies,
I don't want to wait anything
In addition to your precious steps.
The main feature in the theory and artistic practice of the group participants was that when building a lyrical work, the focus on the word as such was moved to intonational-rhythmic and syntactic structures. In their work, a futuristic experimentation and supports on tradition were organically combined.
Books under the brand name "Centrifuge" continued to go to 1922
Boris Pasternak
Oh, I would know that it happens
When it was laughed at the debut,
That lines with blood are killed
Flame throat and kill!
From jokes with this background
I would refused flat.
The beginning was so far away
So timers are first interest.
But old age is Rome, which
Instead of tours and wheels
Not chitka requires from the actor,
And the full death seriously.
When the string dictates the feeling,
It is on the scene of the slave scene,
And here the art ends,
And the soil and fate breathe.
Ego paturism. I.Severianin
Lecture 9. Russian futurism.
V.Makovsky (until 1917). - V.Hlebnikov. -
The word "futurism" came from France, but it has Italian origin, from the words of the Italian poet Marinetti, who spoke in 1909 with the manifesto: "We are wearing the crowd movable work, we destroy museums, libraries." In 1910, the Almanac "Sadok judges" came out in Russia, among the authors - Kamensky, brown brothers, Elena Guro, V.Hlebnikov - they began to call themselves "will be" will be the inhabitants of the future, the combination of artists and poets was called "Gile" ( Forest), according to the ancient Greek name of the region in the Tauride province, where he served as the manager of the father of Burlukov. In the fall of 1911, V. Markovsky joined the "Gileitsa", with whom Burluk met in the Moscow School of Painting. In December 1912, Almanac was released - "Social taste" with the manifesto signed by David Burluk, V.Hlebnikov, V.Makovsky, A.Koucheny, with this manifesta, hesitates Cubobuturism - it is here that the phrase is written: "Reset Pushkin, Dostoevsky and Other with "steamot of modernity."
1913 - the most important in the history of Russian futurism, comes out the second collection of "Sadok judges", theses are supplemented with the theses from the "slap." In 1914, a generalized collection was published - "Letters and Declaration of Russian Futurists". They did not have one leader, but all members of the group had their own "functions": Burluk - organized and issued the speeches, twisted was the theorist, Mayakovsky did not have equal in speeches before the public. 1913 was the year of birth and other groups, of which they are interesting: "Mezzanine Poetry" (V.Sherchenevich, R. Envnev), a family collection is known during the plague. N.Aseyev, S. Bobrov, B. Pasternak entered "Kramatatorium". It is difficult to carry out the border between groups in Russia, to determine their composition, writers often moved from one group to another. They performed a lot, drove in Russia, the first speech was in the Crimea, in Simferopol, Sevastopol, Kerch. In St. Petersburg, the Almanac "Flying Parnas" came out (I.Severyanin participated). But 1914 is considered already the beginning of the crisis, played the role of the changed attitude towards the Italian Marinetti, who in 1914 came to St. Petersburg and Moscow, and the beginning of the First World War did not adversely. Many were called to the service. Futurists were a lot in the province, two branches were formed: "political" and "aesthetic", during this period the tasks of art changed. Later, in 1923, led by V.Makovsky was formed by "Lef" - the left front of art, which is considered the successor of Russian futurism.
Russian futurism is one of the first avant-garde directions to it apply to the term "Avangandism". The very concept of avant-garde (advanced detachment) came from France, penetrated into art from the military sphere, this art of combat, declared war on the art of traditional, unable, in their opinion, to adequately express and reflect those changes that arose at the turn of 19-20 centuries. For avant-garde is important installation on noveltyWhat can explain the strengths and weaknesses of futurism, they not only did not turn back, but they did not want to linger in the present, the main thing is the rapid evolution, not everyone withstood the rapid pace of chase for novelty. Installation on a gap with tradition was not justified, most often they denied the legacy of symbolists, although they took a lot from them. Futuurists had an aspiration towards Archaic, futurists broke out from their urbanism.
Art was thinking by futurists as a confrontation of life, futurists considered it necessary to imitate nature, but they did not reproduce reality in the form of the actual attitude, it was necessary to create a new reality, new, not yet experienced "things being". God has Futurists Telecein and Mute, so in the idea of \u200b\u200bGod as a "demiurge" futurists did not need, they have a different God, "Man - Ecobal": this is a "beautiful 22-year-old man" Mayakovsky, "wonderful" V.Hlebnikov, "Curchoman" , "Bayach Future" V.Hlebnikov. The hero of futuristic manifestos and works is primarily a fighter, rebar, although the forms of its rebellion are very different. At the hero-rebellion of the Mayakovsky mask of the Grubian, Scandalist. Like symbolists, futurists sought to theatricalization of domestic behavior.
Eupaz - One of the leading methods for approving its positions for futurists, designed for the scandal of domestic behavior. Manifesto, declaration, articles, public lectures, where they allowed the public to enter into direct dialogue with the authors. They paid a lot of attention to other art types - almost all artists, musicians, they created new, synthetic forms of art of the beginning of the twentieth century. These are peculiar theatrical productions; Books written by the "samopecis" - the alloy of the typographic and hand letter, they themselves illustrated their publications, they believed that destruction was a genuine creative act.
Their role in the updating of verbal art, they not only updated the verbal margin of the language, and changed the rules of word formation and phrases, changed the role of prefixes and suffixes, "arbitrary words", i.e. Words formed not according to the rules. They argued the concept of "Zauri": the idea of \u200b\u200b"word-things", the word as such as a thing among other things; The priority of the form above the content, introduced the term "shift" - Deformation, destruction of speech by moving one part of the word to another part of another word.
Futurists have a new type of lyrical hero, he expresses not a person's personal psychology, but the mass psychology, the mood of a man of the street. A person from the street - uses new genres, new vocabulary, a new shaped row, emphasis on text, pronounced and audible, so new rhythm, rhymes, provocation of their own rejection of the public. At first, they were perceived as destroyers as anarchic forces, although they attached personalities with global-cosmic character. But in the future, the influence of futurists was tangible differently, art began to be understood as a creation, it changed its status. As an example, you can bring a poem D.Bullyuk:
Young young young young
In the belly fucking hunger
So go for me ...
Behind my back
I throw a proud cry
This brief speech!
We will eat grass stones
Sweet bitterness and poison
We will burst emptiness
Depth and height
Birds, animals, monsters, fish
Wind, clay, salt and sibling!
In this poem, D. Berlryuk has no punctuation marks; Futurists did not put them, believed that signs limit the freedom of personality. In their verses, tangle rhythm, drum clarity, sharpness. If the symbol of poetry "Lira", then Futurists have a drum and a pipe, which is intended for the vast mass of people. Futurists stated: "We scream poems, and poets are words." Their poems are distinguished by a telegraph style. Creation of neologisms, wordness, distinctive features of their poetics. The emphasis of their poetry is not readable, but on the pronounced text, they use elements of the rigging poetry, a chastushka, an artistic primitive. The initial time of futurism is a riot against existing orders, the birth of superstructures capable of transforming the world, creating poems from unknown words.
Vladimir Vladimirovich Mayakovsky (1893-1930)
Poet, publicist, the leader of the Cubefuturists, the first poems are dating 1912, from 1913 to 1917 Mayakovsky wrote four poems, one tragedy - "Vladimir Mayakovsky" (1914), many poems. Initially, the poem "Cloud in the pants" was called the "thirteenth apostle", the name had to be replaced at the request of censorship. The poem has a subtitle - "Tetraptich" is a fold, consisting of four paintings, in icon stock icons, each of which has its meaning, fully the poem was printed only in 1918. Mayakovsky himself deciphered the meaning of each of the four parts - the proportion of your love, the proportion of your art, the proportion of your row, a share of your religion, but the poem should be perceived not as a goggle, this is the denial of the former world, the conflict of the poet and a vulgar world, he denies love in those The forms they have purchased at the time. Maria, the heroine of the poem, left the beloved, because her ideas about love were formed under the influence of false, boulevard novelism - Jack London, money, love, passion. Hero, hero curses and such an understanding of love and the art that creates such love. According to the poet, modern art is not able to talk about genuine feelings.
While pushing, the rhymes are sawy,
from Lway and Solovyov some kind of brew
street draws junk-free -
she has nothing to scream and talk.
The poem has a lot of reminiscence from the Holy Scriptures, he challenges and God, Father, Savaof, the Creator. However, Jesus Christ, the Godchor, who came to the ground to help "humiliated and offended", does not deny the poet - he feels his relationship with the suffering God:
Maybe Jesus Christ sniffs
my soul is forget-me-not.
The poet considers himself to be the thirteenth apostle, although he is very cut with God: "You thought - you are the All-Playman, and you are a fearful, tiny God. Sky! Remove the hat! I go! " However, the poem is not completed by this warning and threat; The world is in harmony, the universe is responsible friendly:
The universe is sleeping by putting on the paw
with the stars ticks a huge ear.
Lyric Lyrics Mayakovsky is almost always tragic, the perception of the world as an unfair, inhuman one attaches the tragic color. In the lyrics of Mayakovsky - the synthesis of lyrical and civil and journalistic began. The plot of many poems is designated by several features, a love affair, as in the "cloud", is described at the end point. The main topic of pre-revolutionary poems is the poet himself and its difficult relationship with the "city and the world". he has many city landscapes, they are not lyric, but expressive - Signs, "Adash City", Poet and Crowd ("NATE", "You!"), Wimpberry of the soul and gross reality. Mayakovsky uses literature, hyperbolic metaphor. Mayakovsky with futurists traveled in Russia with speeches, reports. Futuristic shocking - the shocking of the public was also manifested in clothes - a yellow jacket painted with paints. The love lyrics are all built on the antithesis of tenderness and rudeness, weaknesses and strength, to herself, loved by the author of many lines. Roughness is a protective reaction of the poet on the attitude of the crowd to his talent and the art as a whole. The poet calls himself "Rough Gunno" - a hidden controversy with Bryusov ("Coming Huns").
In the poem "War and the World" - not only protest against the imperialist war, but also showing the degradation of the human person in the bourgeois world, which is depicted as a terrible spiritual epidemic, the poem permeates the anti-war pathos, in it and anthem a new person. The text is interrupted by music all the time (graphically notes), refrain - the question of how to carry love for living and confident: "Believe me, believe it, man will come." The poem "Man" was built as a biblical description of the life of the saint, although the hero - personally, Mayakovsky himself, presents the birth of the poet, his passion, ascension, return to Earth, the poem is not optimistic - everything will die: "Everyone will die with the saints."
The entire Poetry of Mayakovsky is to install on sound, on speech, it is a master of rhymes, rhyme truncated, inaccurate.
Velikimir (Victor) Khlebnikov (1885-1922)
Until recent days, there are a variety of estimates of his creativity, not calculated on the mass reader. Khlebnikov was born near Astrakhan, the father of the ornithologist, the young man studied at Kazan University, then in St. Petersburg. It was often printed in collective compilations of futurists, "Willly" - the word Khlebnikov. He served in the army in 1916, in April 1921, as part of the Red Army was in Iran. In 1921, he returned to Moscow, sick, died in the village near Novgorod. The name of Khlebnikov is connected with the group of Cubefuturists, but his creativity is much wider, more diverse, he is also known as the prophet, he predicted the collapse of the Russian state in 1917. The author of the "Board of Fate", in it he proved that historical events are repeated at certain intervals (365, 317, 48). His philosophical dialogue - "Teacher and Student" - explains the entire history of mankind in accordance with the "basic law of time open by it, by mathematical computing. The works of Khlebnikov are usually divided into poems, poems, prose, drama and so-called "supercons", but the genre definition of many texts is controversial, he has many such works, which critics are called "mixed genre formations."
Khlebnikov lyrics feature - its ability to combine real, material, with abstract, with higher categories of being:
Zhiltsu - everyday not in this world
I could learn eternity.
She lives with friends in the world
She will hear the madness mother.
The most famous Khlebnikov poem "Sold Loham" (1908), which the poet himself considered the most important:
Oh, reimburse, Monkhai!
Oh, whine, Monkhai!
That laugh laughs that they mix
dyingly
Oh, whine smiling!
After 1909, the word permentary plays a less important role in his works, the length of the text increases, the set of poetic forms is expanded. Later verses, especially written in the period of civil war, are easier for perception than early - "refusal" (1922).
I am much more pleasant
To look at the stars,
Than sign
Death sentence
Whispering: "This is he" -
Sloping head
When I pass in the garden,
What to see dark rifles
Guardians killing
Those who want
I kill me.
That's why I never
No, I will never
The ruler!
In verses Khlebnikov, the theme of nature, his lyrical hero is a careful observer of the surrounding world, - the frequent start of the poem - "I saw", there are many names of plants, animals, especially birds, he has a combination of accuracy in the image of nature and freedom of the image:
Spring proverbs and patter
On the books of winter wasp
Eyes in blue saw dormant
Notes of the shy land.
Through the flight of the Golden Boy
Directly into the network of topoled ash (shadow)
These days golden machech
Golden turtle crawling.
The imagery, methods of artistic senior, usually do not contradict the laws of the Russian language, but they were not prepared by Russian poetic traditions, were unusual:
Where there were waxiels,
Where they swing quietly ate
Flew, flew away
A flock of light time.
Where noise was quietly
Where wanders are sinking,
Flew, flew away
A flock of light time.
Slays - those who sings, time - bullfinches and time - a flock of light time is associated with the free world of birds.
Khlebnikov notes that "this verse reflects my understanding of the world. I believe that stars are "boards of future laws", allowing the time to comprehend the time of the earth, the path of mankind. "
Years, people and peoples
Run away forever
How fluid water
In a flexible mirror of nature
Stars - Native, Fish - We
Ghosts - Ghosts in Darkness.
Khlebnikov wrote about fifty poems, they are diverse in shape and content. In general, the poems are most accessible to the reader, the world of its fantasies is displayed in them, many people feel influenced by Russian poetry of the 18th and 19th centuries. Sources of the poem "Granddaughter Manushi" - "Ruslan and Lyudmila" Pushkin, "Night before Christmas" Gogol, etc. The content can be transferred: the heroine of the poem - Lyudmila, the daughter of Kiev Prince Vladimir, crosses the time and space, it turns out in St. Petersburg the beginning of the twentieth century, falls On female Bestuzhevsky courses, comes to the horror of the class "Schools", she organizes a riot, girls burn textbooks.
The poem "Zhuravl" - uses the plot, often illuminated by futurists - "rebellion of things." The action takes place in St. Petersburg, where inanimate items (bridges, buildings, rails, cars) suddenly come into motion and combine around the crane - this is a construction crane, they worship him as a deity, people also pray to the monster and bring sacrifices. The poem ends unexpectedly:
But one day he rose and flew away
No longer saw him.
Some poems are focused on "primitivism", the desire to see the world through the eyes of a primitive man, the heroes - the forest Virgo, Vila and the Les, Shaman and Venus, "the story of the Stone Age. And and e ". A special place is occupied by the poem "Haji-Tarkhan" (1913), dedicated to Astrakhan, this is a combination of different images: both individuals of the city, and its surroundings, and a description of historical events - a rain uprising. Khlebnikov builds its concept of historical uniqueness of Russia as the meeting place of the West and the East (Eurasianism). The poet will respond to the events of the Civil War and Revolution. In poem "Nightscreen" The action takes place after October. The squad of sailors searches the apartment, find a young officer Vladimir, shoot him in the presence of a mother. Then the sailors arrange a break in the apartment, it ends fat alto: Vladimir's mother fits the apartment, pre-locked the iron door.
The most unusual poem is called "Ladomir" (1920, 1922), the name - neologism with an approximate value is the future world harmony. The author describes the future of humanity as it seems to poet: a lot of scenes depicting the suffering of the people in the past, the scenes of revolutionary violence in the 20s. The initial name "uprising", a lot of reministences from the "copper rider" Pushkin. "The capital silenced ones, restroing the hooves of dolas / living march ..." The poet believes that after the revolution, the mass of fraternal unity of peoples comes: "Language of love over the world is worn / war made a man blind -" I saw the Sleptsy trains. " Philosophy and grotesqueness, hyperbolicity of conditional characters, collective images (lady, old woman) - distinctive features of this poem.
Prose. Among them are the story "Ka" (1915). According to critics, "the strange, fantastic and mysterious phenomenon in the whole Russian prose." The story depicts the adventures of the hero having the autobiographical features of Khlebnikov and the "shadow of his soul" - ka. This twin can freely move in time, from Russia the times of the First World War in the deep past (Ancient Egypt) and the future (2222), visits various states, etc. The text is saturated with the names of the deities, historical figures, there is even Pharaoh Amenhotep, there is a love line - this is an eastern legend of Lyly's unfortunate love and Medezhnun (Nizami).
"Superchanged" - The experiment of Khlebnikov in the region of the genre - the creation of a new type of works of Khlebnikov explains their necessity: "The story is architecture from words. Architecture from the stories is superflore. The artist is not a word, but the story of the first order. " "Children of Otters" - text of several works, 6 parts, 6 sails are prose passages, an epic poem, philosophical reasoning. Heroes - brother and sister, children of mythological otter, they are freely moving in space, in different epochs, meet with different characters, can change the appearance. In the fifth sail of Khlebnikov describes the death of the ocean steamer ("Titanic") ridicules the theory of K. Marx, Ch. D Darvina, apparently, the text reached us in part. Khlebnikov glorifies the heroism of the son of the otter. "Zangezi" (1920, 1922) is the largest supercopement, it consists of 21 "planes" - the hero of the poet-prophet named Zangezi, who reads sermons every morning or among people or in the forest. Zangezi - expresses the thoughts of Khlebnikov himself, when talking about the time, about the language. His name represents the contamination of the names of two great rivers - Zambezi in Africa and Ganges in Asia. Pupils call teachers Changara. Zangezi can be considered a preacher in the spirit of the Indian Guru, he wants to rip off the eyes of the listeners covered Maya (deception of dreams). Zangezi feels her loneliness, the indifference of people to his sermon.
Khlebnikov believes that: "The word" is the enemy of a book petrol language. The wordness does not violate the laws of the language. " The writer has a combination of archaic and general Slavic vocabulary with folk speech, vulgarisms with poeticism. Khlebnikov changed the idea of \u200b\u200bthe semantic patterns of the tongue, showed hidden opportunities in Russian.
Northerner Igor Vasilyevich (Lotarev)
(1887 - 1941)
Poetic Glory and Renome I.Severyanin are very peculiar: always remember his very noisy entry into literature in the 10th years, about his short "Star Hour", when he was recognized as the "king of poets" (in 1918 at the evening in Polytechnic Where V.Mamikovsky, K. Balmont and other poets) and very rapid cooling to him readers and almost complete forgetting for many decades.
Fame came to Nikhranina due to the fact that one of his poems came to the eyes of L. Tolstoy, and he crossed him, which caused interest in the poetry of a young author. Northerner with his own peculiar manner, with its very modern language, a lot of neologisms - came to time. And the time, before the start of the imperialist war, was very difficult; He expressed a desire that tweed in various layers of society - to get away from the pre-war sentiment, to escape from reality not in the dream, as the symbolists called on at one time, but to go to another, passionate and stormy life.
This atmosphere of decline, a stormy era with its masquerading, the game, the participation of poets in all sorts of "cafes", the disputes were reflected in its pre-revolutionary verses, the "emblem" of which serves the poem "ice cream from lilac":
Lilac - the swelling emblem.
In a lilac-raised roll
Fall, a waterfall heart,
in fragrant and sweet gun ...
Lilac ice cream, ice cream from lilac!
Hey, a boy with a shot, try!
She god, praise, friend!
Northerner knew well the literary morals of this era, it was not necessary to immediately proclaim the new literary direction - egofulurism, ahead of those who we know how to the Cubefuturists (Mayakovsky, Burluk, Khlebnikov, twisted). Northerner quickly found a common language with them; Printed in some collections, traveled with them in the south of Russia in 1914; Divided their different attitude towards the classic heritage of Russian literature. (Northerner has a well-known phrase: "Not Lermontov from a steamer, and burlyukov - on Sakhalin!").
The genuine fame of Northerorn brought a collection of "Through Cup" (1913), to which F. Sologub wrote an enthusiastic preface, and V. Bruzov responded positively in one of the reviews. Soon, no less interesting books were printed: "Zlatolir", "pineapples in champagne", "Wictoria Regia" (1915). All of them feels joyful adoption of the whole world: "I say a moment:" Wait! " The appointment of the poet Northerner sees that the tragedy of life is to turn into "Grezophares". He did not hide that he plays a role and called his stage "Arquinia", "Balagan, he had a mask of Tomny Gourmet - Meschanin, who is sweetly remembering the Bouduar of the" Toscant Nelli ", which serves" pineapples in champagne "; His hero in the "Zlatopolden" pulls into a fashionable "Women's".
At this time, the pop fiction of the poets themselves was very common, and this northerner did masterfully, he "sang" his poems on "PEEPMERTSERTS": "Call me - I will read it yourself, I will read myself how no one will read it."
The poet never suffered from the lack of modesty, he was the only Russian poets proclaimed:
I am a genius - Igor-Northerner,
His victory is ski:
I am noticeable!
I am visually approved!
The saturation of poems by neologisms, on the thought of the poet, was to reflect the crazy rhythms of life in the modern city:
Distribution of airplanes! Run cars!
Wind-frost expressions! Borole Beroes!
V. Brusov first determined the features of his manner, the alloy lyrics and irony, they created the unique style of the poet. Northerner has repeatedly tried to explain the features of his creativity. As if answering his critics, he will write:
Let the critical canonon
I do not pull in my law -
After all, I am a lyrical ironick:
Irony - here is my canon.
Northerner successfully occupied his "niche" between the philosophically saturated poetry of symbolists and a rapid, semi-abstract (during this period) of the poetry of Cubal fellow.
In 1918, life in St. Petersburg was not easy, Northerner with a sick mother went to the seaside settlement of Tula in Estonia. Soon there was formed the Estonian bourgeois republic and the poet was outside the Motherland. But he never hid his interest and sympathy for Soviet Russia, emphasized his uncomplicatedness, he belongs to the famous phrase spoken in conversation with one Estonian statesman: "First of all, I am not an emigrant and not a refugee. I'm just a dacket. Since 1918. " The poet did not support links with emigrant circles, he expressed his Credo in verses:
No, I'm not a refugee, and I am not an emigrant, -
You, parental, Russian my talent,
And my whole soul, my whole thought is true,
You, for life I have been condemned country!
I have nothing to repent, Russia, before you.
Did not betray you or the thought or soul ...
("Painted")
Mood for longing in their homeland is felt in many verses, whatever he wrote, there are always analogies with Russia. Northerner especially loved the nature of the Russian north, with his multi-water rivers ("Oh, the Court, the Blue Court! / You're a Volga Daughter ..."), forests, he always loved to portray forests and water - rivers, streams, lakes, the sea ...
High stands Moon
High stood frosts.
Far from creaking
And it seems that we are heard
Arkhangelian silence.
("Two quiet")
In Estonia, Northernik worked a lot, he managed to publish several collections of poems: "Nightingale", "Vervena", "Minestrel", "Fairy Eiole", "Adriatica", "Classic Roses", "Medallions". The last two, published in Yugoslavia, are most interesting and how to summarize the creative life of the poet. In the 20s, Northerner has developed a unique genre form of lyrical poetic memoirs: these are the poems of "Paduchina", "Rosa of Orange Another", the autobiographical novel "Bells of the Cathedral of the Sensity", Roman in the stanza "Piano Leandra". In these works, almost all the life of the poet reflected, they can be considered autobiographical; Childhood, youth, a father's trip to the Far East, return to Petersburg, the beginning of literary activities, rides in the country, etc. The poet blames himself for the fact that he threw a patient father, but he explains this act - he left,
To kiss your bare
The feet of the ancient gum
My godless Russia
Sacred my country!
In all these works, the main motive - angry of Russia, is not just nostalgia for childhood and adolescence; Northerner, unlike other emigrant poets, understands that
Russia needs to be deserved!
Born Russian - too little.
They need to be, they need to become!
The rupture with Russia is very painful for him, in his view, the return seems like a holiday that he still hopes to meet:
And will soon spring day
And we will go home to Russia ...
Poems who mind their homeland are very simple, without high words, in them significantly the influence of the peopicoectic tradition:
About Russia sing, - what spring meet,
What is the bride to wait that comforting mother ...
About Russia to sing, - that the longing to forget,
What love to love is that the immortal to be!
Collection "Classic Roses" (he has a dedication to the Queen of Yugoslavia Mary, who helped in the publication of his books) consists of six sections that are thematically close to eternal topics: homeland, creativity, love, faith, nature, culture. It is especially necessary to pay attention to the cycle "Ninth October", which included love poems dedicated to his wife, Felis is twisted. This cycle is different from the early love lyrics of the poet, which has not created any memorable female image; She was manner, cold, there was no sincere feeling. But in this cycle, the poems of a completely different type are the hymns, the hymns of the "woman with singers", whose main dignity is that her soul is open to verse, "she is not at all like other women -" Why I became my wife " . (Feliss twisted the woman formed, well knew Russian literature, helped Northerners in his translations from Estonian, they even published in 1922 in Russian Book "Poets Estonia").
The cycle "By the sea and the lakes" recreates the wonderful landscapes of the Baltic States, where he "eight years live in beauty." The poet for many years lives "in the village of the sea", where his laws of life, where "Fockey do not dance", where "politics are driven from their homes," but where a feeling of peace comes, he is glad to choose his choice. Separate poems of the cycle are directly devoted to rivers and lakes: "Lake Liiv", "Lake Rack", "Lake Conzo", in them the anthem "water reconciling", "unearthly colors", "key and bottomless water" and the moment when " My dreams are piously quiet. "
The whole book is based on the antithesis, but especially this technique is taking in the cycle "There, you have on Earth." It is here that life in the edge of the "forests of pine forests" is most clearly opposed, against the background of quiet Estonian landscapes, life in a noisy modern city. Northerner asks the question: "What is the poet on your cruel earth?" - And it is responsible that it is almost impossible in the "eyelid and whim", in the "century,". The poet completely in its own way decides the eternal theme, "poet and muse", "poet and man", he believes in these terrible times -
You, in the end, should be silent:
After all, poetry is not for gorillas ...
On earth poetry for centuries was "pride for human chela", but now
In innumerable humanity
Frequency man.
Earth for him Planet, "where Christ was crucified", "the planet is despicable", it is the abode
Where there is no place to soul noble
deep and peaceful
Not found myself in debauchery,
nazhi, war.
In his verses, the Curse of War, which corrupted and divided people, and now weathered in people intelligence, even the concept of "culture" was deformed:
"Culture! Culture! " Nourish two-legged beasts
Dying to be called people
And in the language of world artillery
Inspire your cultural feelings your own!
This last quattern retains not just relevant today, but it seems that it has gained even greater importance and accuracy.
Another collection, which was the fame of the mature poet of Northerner - "Medallions" - a completely new word in poetry: it is a hundred sonnets about famous writers and composers (names are alphabetical).
Most of the "medallions" illuminates the creative position of the person, which he is dedicated to, allocates those features of the creativity of someone else's personality, which made the writer necessary and valuable for many. The essence of such a creative personality poet can reveal in one or two lines: Kuprin - "He" miles us simplicity of heart words ", Gogol -" We need a laughter, like a blood engine "; Mayakovsky - "In it, they deleted too much and the power ..., it is too much Russian, too our." But sometimes the "medallions" reflects the subjective attitude of Northerners to the creative personality, so not very "lucky" faith Inbert, Mirrid Lohwitsky. Sometimes the image of the "medallion" hero is created using the names of its works missing through the perception of the author. These are poems about Gumilev, where all his collections are named; And the portrait of Akhmatova is complicated from the motives of its collections. Interesting and own "medallion" - "Igor Northernik", which refutes the erroneous irony of the poet:
He is good that he is not at all
What thinks about him is empty.
No need to think that he creates portraits of only his associates and friends; He gives a brief characteristics to very many writers, as if summing up their work:
And Naddon died, he himself is not knowing
What diamonds accepted native
Country of its felting glass ...
Such a somewhat sharp, but accurate determination of the revision of Naston's creativity, which occurred in the twentieth century. His medallions about composers are particularly interesting, in them he creates a color image: Bizeta - "Trojacious color of pearls", Rossini is painted for him in a bright blue color, Chopin - air element - "That air, not whether the sigh."
Northerner sometimes went out of Estonia, he was several times in Europe, he read lectures, tried to publish his books that he was sometimes managed. In the autumn of 1922 in Berlin, he met with Mayakovsky, Pasternak, Al. Tolstoy, the poet wanted to leave Berlin in the USSR, but the wife did not agree and they returned to Estonia. At the end of the life, he began to write memories - "asleep in spring", where interesting notes about the contemporaries, for example, Mayakovsky Northerner is not a poet, but a person with his character characteristics.
Estonia's accession to the USSR prompted him to try to be printed in Russia, his book was even recrunt, but he was very ill (he lived in Tallinn for the last five years), he could not go to Moscow, and then the war began, Tallinn was occupied by the fascists. The poet died in Tallinn in December 1941, buried on Alexander Nevsky Cemetery, on his grave, prophetic lines from the collection "Classical Roses":
How good, as fresh, will be roses,
My country abandoned to me in the coffin!
The poems of the Northerner of the last years are deprived of the deliberate strife, stylization, they became easier, dreaster. The main focus of his mature lyrics is the chanting of Russia, which always seemed to him by the incarnation of high ideals. Northerner's one of the poets of abroad realized that "Russia was built anew, // We are not us, other, without us" ("Without us"), he only believed in returning to his homeland, which he saw him as a holiday: "And there will be a holiday ... Big Big, // which there was perhaps ".
In the emigration there was a fall in the glory of some famous Russian poets, which can be partly explained by the fact that they did not have a reader in abroad, and they were not printed in Soviet Russia. The main theme of Russian poetry of the 20s-30s - crying in Russia, nostalgia for left birth, adolescence, atmosphere of friendly connections. Almost all of them realized that the return was impossible, since the old Russia is no longer, and they did not perceive the new one: "Is it possible to return / in the house that broke?" Is it possible to return to M.TSvetaev and after her, many abroad poets. All these poets began their creative way in line with different literary groups, they gave tribute to all sorts of "change of" in the literature - symbolism, aqmeism, futurism, reflected the extremes of literary schools in their pre-revolutionary creativity. But in emigration, especially when contacting the topic of Russia, they created beautiful, traditional, classic poems. Thematic many works of abroad poets are close to each other: this is an image of the beautiful landscapes of Russia, with its fields, meadows, rowan bushes and elderly. Sometimes their look stops in the image of Moscow or St. Petersburg, where their childhood passed, youth; They love to remember their friends, those who have surrounded them in 1913 (this year became a symbol of pre-revolutionary life, no wonder Ahmatov is counting the twentieth century since this year). Emigrant poets almost do not write about life on a foreign land (in contrast to prose), they do not know this life; Their human and poetic existence takes place in the close circle of the Russian intelligentsia. The path of almost all the poets of the older generation can be schematically indicated as care from youthfulness to the classical clarity of the language and style.
1 Codryan N. Alexey Remizov. M. 1989. P.303.
1 Codryan N. Alexey Remizov. P.96-97.
1 Berberov N. Kursive My // Questions of Literature. 1988. №10. P.264.
1 Hypius Z. Dmitry Merezhkovsky // Merezhkovsky D.S. December 14th. - Hippius Z.N. Dmitry Merezhkovsky. M. 1991. p.285.
Futurism (from the Latin word "Futurum" - the future) is an artistic avant-garde movement in the literature and art formed in Italy in 1909 and gained development in Russia in 1910-1921. Futurists who proclaimed a demonstrative gap with all traditional rules and customs were primarily interested in not the content, but the form of the renovation, for this they used professional jargon and vulgar lexical turnover, used the language of documents and posters, invented new words.
The Italian poet Filippo Tomazo Marinetti, who, in the "Manifesto of Italian Futurism," published in the Figaro Manifesto, was considered, published in the Figaro newspaper in 1909, called "destroying museums, libraries, fight with moralism" and, being a companion of Benito Musolinni, found general features in Fascism and futurism.
Futurism, like other modernist directions, denied old standards and classical traditions, but in contrast to them, he was distinguished by an extreme extremist orientation, the full nihilistic denial of the entire previous artistic experience. The world's historical task of futurism, according to Marinetti, was "to spit daily on the altar of art."
(Natalia Goncharov "Cyclist")
The Futurism Adepts ratified for the complete destruction of various forms and conventions in art and the creation of its absolutely new form, which would be organically fit into the accelerated life processes of the twentieth century. For this direction, the motives of adventure before the force and aggression, the exaltation of their own personality and the feeling of contempt for a weaker, fanatical worship of war and destruction is. As one of the directions of avant-garde art for futurism, it was very important to attract as much attention as much as possible, for this, it was impossible to use the use of pumping techniques, various extreme techniques in the behavior of the authors, creating an atmosphere of literary scandals. For example, Mayakovsky read his poems in a yellow female blouse, Kamensky spoke with a painted face and wrote poems on the scraps of wallpaper, Alex Turkey went everywhere with a sofa cushion, screwed to her neck.
The main character in the works of Futurists was depicted as a resident of a large, modern city, filled with movement, dynamics, here life takes place at high speeds, around a lot of diverse technology, life is constantly being improved and goes to new stages of development. For the lyrical "ego" of futurists, the negation of the classical norms and traditions is characterized and the presence of special thinking that does not take syntactic rules, the norms of word formation and lexical combination. Their main goal was to transfer their globilities and an understanding of the events around themselves around themselves by any understandable and convenient ways.
(Gennady Golobokok "Monument")
The socio-political situation in Russia at the beginning of the twentieth century led to the fact that futurism in Russia attracted a lot of attention to young avant-garde play poets, which in 1910-1914 created several different groups of this movement at once:
- Cubobuturists who united in the "Giley" group and called themselves "Mischina": David Burluk, Velimir Khlebnikov, Vladimir Mayakovsky, Alexey Tschechy, Vasily Kamensky, Benedict Livshits. Their collections "Dusty Moon" (1913), "Zatuchka", "Rying Parnass" (1914);
- Moscow ego paturists of the moderate wing, which created the Mezonin Poetry Group - Vadim Shershnevich, I. Lotarev, R. Ivnev. Collections "Vernissage", "Crematorium of sanity";
- Petersburg egohuchurists - Igor Northernik, Ivan Ignatiev, Ivanov;
- Futuristic group "Centrifuge" - Nikolay Aseev, Sergey Bobrov, Boris Pasternak. Collections "Ruchnog", "Laine", "Second Collection of Centrifuges" (1914).
The history of Russian futurism is the complex relationship between these four groups, each of them considered himself a representative of true futurism and insisted on its dominant role in this course, which eventually led to the hostility and disunity among the ranks of Futurist poets. What however, did not bother them sometimes to close and even move from one grouping to another.
(Nikolai Dulger "rational man")
In 1912, members of the Gileia group publish the manifesto "Social Taste", in which they boldly call on "to lose Pushkin, Dostoevsky and Tolstoy from a steamer of modernity."
In his poems, the poet Alex Turkey defends the Poet's right to create his own "abundant" language, which is why his poems often represented a meaningless set of words.
Vasily Kamensky and Velimir Khlebnikov in their work (poem "and and uh" (1911-12), "Music" Prose "Zveznets" (1909), the play "Marquis DEZES", the collection "Rady!", "The elegant of poems. 1907- 1914 ") carried out various linguistic experiments, distinguished by freshness and originality, in the future who had a very fruitful influence on the development of Russian poetry of the twentieth century.
(G. SYSHIN "V. Mayakovsky")
One of the bright representatives of Futurism was the outstanding poet of the Silver Age Vladimir Mayakovsky, actively speaking not only against various "old", and also for creating something new in society. His first verses published in 1912 brought new topics into this direction, which immediately allocated it among other representatives of futurism. In his works (Pooms "Flute-Spine", "Cloud in the pants", "Man", "War and Peace"), he denied the established capitalist relations and promoted his humanistic views and faith in human opportunities. He was one of the first Russian poets who showed the whole truth of the new society.
(Severini Gino "Boulevard")
After coming to power in Russia, the Bolsheviks party in 1917, futurism as a literary direction gradually began to go to no. The fate of many of his representatives is sad and tragic, one of them was shot (Igor Terentyev), someone sent a link, some became emigrants and left the country of Soviets, Mayakovsky committed suicide, Aseev and Pasternak moved away from the ideals of futurism and developed their own Individual style. Some futurists who took revolutionary ideals tried to continue their activities and created the organization LEF (left front of art), which ceased to exist in the late 20s of the twentieth century.
Futurism as a literary direction in the Russian poetry of the Silver Century, along with symbolism and acmeism, played a very important role for its further development and brought many fruitful and innovative ideas that have become the main for the next generation poetry.
The word "futurism" occurred from the Latin word "Futurum", meaning the future. This is the name of the avant-garde direction in the European and Russian art of the 10th - 20th. XX century. In an effort to create the art of the future, Futurism rejected the traditional culture, especially its artistic and moral values, cultivating urbanism (aesthetics of the machine industry and a large city), weave documentary material and fiction; Even natural language destroyed in poetry.
Futurism received its name through the Italian poet Filippo Tommaso Marinetti, who published in 1909 "First Manifesto Futurism", proclaimed the death of old art and replacing his new, whose vocation is to save the world.
Russian futurism, of course, repelled from Italian futurism, but Russian futurists themselves came to the cult of the poetic word.
Russian Futurism: Personalia
Among the famous Russian futurists are often called Velimira Khlebnikov, although the title father of Russian futurism Wears David Burliukov. Also, Vladimir Mayakovsky, Osipa Mandelstam, Igor Lotareva, who later became Northerners, Alexey Tschechy, Boris Pasternak, Nikolai Aseeva and Vasily Kamensky.
The overwhelming majority of futurists, or, as they were called with the light hand of Khlebnikov, mobularThere were immigrants from the most cordious corners of the Russian Empire. At the dawn of his career, they had to overcome significant difficulties, including a bone provincial medium, which are hostile to any innovation. But it helped young writers to work out fighting qualities and became the traditional idea that literary peaks are taken with the fight, Nakhp.
The majority of public speeches of Russian futurism accompanied the atmosphere of the scandal: from the scandal, it was usually all starting and the scandal was all ended.
Russian Futurism: Literature
Almost the first futuristic swallow in Russia became the collection of "Sadok judges" in St. Petersburg in 1910, the name of which was not yet known Velimir Khlebnikov. Given the full absurdity of the name, you can only assume that I wanted to say the author. Most likely that the poets of the future are driven into the close framework of the book, but soon poems will allow them to become judges and legislators of the new poetic taste.
This book is written on the back of the wallpaper, although in the printing house this whim has caused a lot of swearing, since the bulk chalk scored the internal articulations of the typographical machine, and it had to constantly wash. She came out with a meager edition, and read it very few, most of whom later called the authors of "wallpaper poets."
Despite this, young writers in the same 1910 were published a new collection called "Impressionist Studio", where Khlebnikov's poem appeared "Running a laugh", which became a peculiar business card of Russian futurism:
Oh, reimburse, Monkhai!
Oh, whine, Monkhai!
What Laugh Menthai,
What are shifted diluted,
Oh, whine smiling!
In 1911, a young poet Benedict Livshits arrived in the village of Chernywavka, the young poet Benedict Livshits, in order to disassemble the Khlebnikov manuscript, which was located in Chernywak earlier. The ancient Greek name of this area in the mouth of the Dnieper - Gileia, that is, "Forest" was chosen by the name of the literary group, in which Burniets, Kamensky, Mayakovsky and twisted, were included in Burluki and Livser.
The next after the "skeleton of judges" by the bomb abandoned by Russian futurism to the reader, became a book with a bold title "Social taste for the public taste", published in Moscow in 1912. It opens with a declaration, full of curses in the address of the most famous Russian writers. Among the authors, Mayakovsky was most strongly distinguished, which did not constrain the most offensive formulations to opponents.
Russian Futurism: Communities
While the Cubal feasts were having fun in Moscow, Igor Northerner in St. Petersburg, who, together with his friends-poetic, was a follower of ego paturism (Ego from Latin - I).
I, genius Igor-Northerner,
His victory is ski:
I am noticeable!
I am visually approved!
In this poem entitled "Epilog", the pronoun "I" is repeated three times.
In addition to Cubo- and egofulurism, futurism in Russia existed in other trials, and representatives of each group considered others "impoverished". Sometimes, however, they still united to combat the general enemy - mesh and supporters of classical art. After entering the light "Society to public taste", Cubeturists united with their enemies from the St. Petersburg Society of Northerners, and jointly commit a grandiose tour of the cities of Russia. Speaking in the provinces, they mocked over the crowd, never had anything like that did not hear anything.
Since 1913, a new generation of futurists appeared on the literary scene. The greatest fame among them received Pasternak and Aseev, who in 1914 together with Sergey Bobrov and Bogdan Gordeva created a group of "Centrifuge".
In 1914, David Burluk's efforts came out "First Journal of Russian Futurists", which united participants in almost all futuristic clans of the Russian Empire.
Sunset of Russian futurism
Meanwhile, the country was involved in the First World War, which flowed into the October Revolution. It distracted public attention from the movement of futurists. Almost everything will be welcomed by the October coup in which they saw the embodiment of their aspirations. Russian futurism has always distinguished the desire for revolutionary transformations. Here is the passage of the poem of Mayakovsky "Cloud in the pants":
Remove, walking, hands from trousers -
Take the stone, knife and bomb,
And if anyone has no hands -
I came to and beat his forehead!
Some will be in particular Mayakovsky, openly declared their claims to lead the literary life of the Soviet Republic. After that, Lenin violently criticized the People's Commissar of Lunacharsky Enlightenment, which was allowed to print the poem of Mayakovsky "150,000,000" in a large circulation in ... 5 thousand copies. The fate of the very Mayakovsky, who died in 1930, has not yet come to a certain opinion, was still known, and if he was killed, and if yes - then by whom.
The decisive actions of the Bolsheviks led to the fact that, by the mid-30s, Russian futurism, who tried to repaint in the so-called "left front of the arts", was destroyed.
In conclusion, we will give the poem of Mayakovsky "Would you?", Which as a drop of water reflects Russian futurism:
,
Splashing paints from glass;
I showed a jelly on a saucer
Ocean's ocean cheekbones.
On cesua tin fish
I read the call of new lips.
And you
Nocturne play
We could
On the flute of drain pipes?
Danil ore - 2003
Than for you is russian futurism? What futuristic achievements are you deducting, and which lofty cause? Share your opinion in the comments!
futurism literary Russian
The time of the birth of Russian futurism is considered to be 1910, when the first futuristic collection of "Sadok judges" was published (his authors were D. Burluk, V. Khlebnikov and V. Kamensky). Together with V. Mayakovsky and A. Twisted, these poets soon accounted for the most influential in the new flow of the grouping of the Cubal feasts: "Cubo" - from the Cubizm's propaganda in painting, "Futurum" - the future. There was another name in this futuristic group - "hyiley" (so in ancient Greek, the part of the Tauride province was called, where in the 1910s the Burlukov family lived and where the poets of the new association came in 1911). Poet V. Khlebnikov gave the group another name - beland; According to V. Mayakovsky, "Willland are people who will be. We are the day before."
In December 1912, a collection of Cubobuturists "Social Society" was published. This collection was opened by the software case, which D. Burluk, A. Klycheykh, V. Mayakovsky, V. Khlebnikov). The position of the group was chosen destructive and scandalous. "Only we are the face of our time," they argued.
But Cubarofuturists were not the only literary futuristic group:
- · In St. Petersburg in 1911, they announced their appearance of egofulurists at the head of I. Northerners; The group included K. Olympov, I. Ignatiev, V. Godov, Ivanov.
- · The Mezonine Poetry Group in 1913-1914 amounted to V. Shershevich, R. Ivnev, S. Tretyakov, B. Lavrenev, Chrysanf.
- · During the 1914-1916, there was a futuristic group "Centrifuge", which included S. Bobrov, N. Aseev, B. Pasternak, K. Bolshakov, Bohdar.
The existence of each of the futuristic groups was short-lived: they appeared before the First World War and broke into the first war years. Each of these groups considered, as a rule, it is an expressive of the ideas of "true" futurism and led a fierce controversy with other groups.
Speaking about futurists, most often mean the most famous of them - Cubal feasts: Vladimir Mayakovsky, Velimira Khlebnikov, Alexey Tschechey, Vasily Kamensky and others. A visual idea of \u200b\u200btheir literary program gives quotes from their collections ("Sadok judges P", "Society to public taste", etc.): "Throw Pushkin, Dostoevsky, Tolstoy, and so on. And so on. With a steamer of modernity"; "The painters will love to use the parts of the bodies, cuts, and the rheathered words with swap words, half-clocks and their bizarre cunning combinations (zai tongue)"; "We loosened the syntax ... We began to give the contents of the words on their design and fondic characteristic"; "The vowels we understand how time and space (aspiration character), consonants - paint, sound, smell"; "We have crushed rhymes. Khlebnikov put forward the poetic size of a live speaking word. We stopped looking for sizes in textbooks ..."; "We consider the word Creator myth: the word, dying, gives rise to myth, and vice versa."
Futurists announced the arrival of the artist with a new look at the world, the herald of the new world, and A. Tard in the article "Declaration of the Word, as such" (1913) stated: "The artist saw the world in a new way and, like Adam, gives everything his names. Lily is beautiful, but ugly the word lily, excited and "raped". Therefore, I call Lily of Eua - the initial purity is restored. "
Aesthetic, literary principles of futurists, as well as the names of their collections ("Picture of the public taste", "Darky Moon", "Moody of exhaust toad", "Tango with cows") shocked contemporaries, caused outrage and all sorts of reproaches. Futurism as a phenomenon went beyond the framework of the literature itself: he was embodied in the behavior of the participants in the flow. A prerequisite for its existence was the atmosphere of a literary scandal. The public speeches of futurists were defiantly drawn up: the beginning and end of the speeches were celebrated by the blows of Hong, K. Malevich was with a wooden spoon in Petwee, V. Mayakovsky - in the "female", according to the criteria, yellow sweatshirt, A. Tarmed, wore a cushion on the neck etc. In fact, not everything than futurists surprised the public, it should be taken seriously. V. Mayakovsky himself soon, with the beginning of the war, acknowledged: "... We had many tricks only in order to pin the bourgeois ... Futurism for us, young poets, - Red Toreador Cloak ..."
The general basis of the movement was the spontaneous feeling of the "inevitability of the crash of the older" (V. Mayakovsky) and the desire to realize and express through the art of the coming world coup and the birth of a new person. But the goal was set not only to realize and express a change of epochs, the art itself should have become an active transformative force capable of transforming the world.
Unlike its predecessors of symbolists, futurists sought to make literary art, the literary word democratic, massive (poetry should have escaped from the dungeon of the book and spoke on the square); They sought to give modern, adequate to the new dynamic time the means of self-expression. V. Khlebnikov even tried to offer mankind a new universal language. In terms of the life of the vital appraims, futurists exceeded symbolists.
The word for futurists was determined, that is, it became self-concrete, self-sufficient (non-reflective, but replacing items and phenomena, itself becoming the subject); It could be crushed, to reincarnate, create new combinations of morpheme and sounds. Futurist experiments were curious (first of all V. Klebnikov, V. Mayakovsky, A. Klychey) in the field of verse, poetic word. So, at one time, scandalous fame received the "poem" of the twisted "holes - Bul - Schuly ...":
Hole - Bul - SchuL
You - CO - bu
A. Kratchey himself argued: "... In this five-hundredth more Russian national, than in the entire Pushkin poetry." Is it worth taking seriously this statement? Is there anything in this "poem", in addition to the desire to shut up the public? Since soon we cannot talk about the content side of this work (there is simply no reason for this), then the whole thing here, obviously, is the sound shell - the sound (phonosemantics) invented twisted "words". Otherwise, is the sound shell, the word is meaningful? How to treat "Zaulnya" ("Zauumi") futurists?
According to Research A.P. Zhuravleva and other scientists, information is carried not only words (their lexical meanings), but also sounds, the sound sheath of the word. For example, sounds have color compliances: [a] - bright red; [O] - bright light yellow or white; [and] - light blue; [E] - light yellow-green; [U] - Dark blue-green; [s] - dull dark brown or black. Sounds also have emotional compliances: [d] - dark, cold, sad; [p] - grungy, etc.
Based on the emotional and color characteristics of the sounds included in the "poem" of A. Klychey, it can be, possessing the famous fraction of fantasy, "interpret" as the image of a thunderstorm (possibly accompanying the change of historical formations). According to one of the proposed versions of 1 reading of this "poem" of the word "holes", "Bul", "Schul" are associated with something black, cold, sad, coarse, heavy, frightening. Perhaps they draw a prejudicous state of nature: "holes", "splash" - dark black sky; "Bul" - dark blue-green vegetation on earth; The word "repuls" is associated with dark, slow, terrible, dim, with glimpses of light yellow-green. Perhaps these are light yellow-green flashes on a dark blue-green field. The word "skum" is something cold, evil, quiet, dark, mighty and arrogant. It looks like a dark blue surface of the clouds. All this can be perceived as a preface, as the premonition of thunderstorm events, as if clouds crawl across the sky; And here is the turn - a bright flash illuminated the sky: "You - CO - BU". "You" - active, big, funny, loud and majestic; "CO" - flash; Cold, light, light and big; "BU" - rough, cold, like a blow. Perhaps this is a bright white flash on a dark blue background. "R - L - EZ" - the first sounds repeat the sounds of the first line, but only briefly and expressively, as if darkness after the outbreak, the sky was shrouded. "EZ" is something majestic, bright, fast, ringing and optimistic. It looks like a reflections of flashes of lightning on earth.
Futurism (from Lat. Futurum - Future), the avant-garde direction in European art 1910 - 20, mostly in Italy and Russia. In an effort to create "the art of the future", declared (in the manifestations and artistic practice of the Italian poet F.T. Marinetti, Russian Cubeturists from "Giley", participants of the "Association of EgoFuturists", "Mezzanine Poetry", "Centrifuges") denial of traditional culture (heritage " The past "), cultivated the aesthetics of urbanism and machine industry. For painting (in Italy - W. Bocchoni, J. Severini) are characterized by shifts, influx of forms, multiple repetitions of motives, as if summing up the impressions obtained in the process of rapid motion. For literature - interlacing documentary material and fiction, in poetry (V.V. Khlebnikov, V.V. Mayakovsky, A.E. Klychey, I. Northerner) - Language experimentation ("Words on Freedom" or "Zaomu"). (Big Encyclopedic Dictionary)
Simultaneously with acmeism in 1910-1912. There was futurism. Like other modernist flows, it was internally contradictory. The most significant of futuristic groups, which was subsequently the name of Cubal fell, united such poets of the Silver Century, like D.D. Burluk, V.V. Khlebnikov, A. Klycheykh, V.V. Kamensky, V.V. Mayakovsky, and some others. A variety of futurism was EgoFuturism I. Northernina (I.V. Lotarev, 1887-1941). In the group of futurists called "Centrifuge" began their creative path Soviet poets N.N. Aseev and B.L. Parsnip.
Futurism proclaimed the revolution of the form independent of the content, the absolute freedom of the poetic word. Futurists refused literary traditions. In his manifesto with the rapid title "Society of public taste", published in the collection with the same name in 1912, they called on to reset Pushkin, Dostoevsky, Tolstoy with a "steamer of modernity." A. Klychesed defended the right of the poet to create a "awesome", which does not have a certain value of the language. In his writings, Russian is really replaced by a meaningless set of words. However, V. Khlebnikov (1885 - 1922), V.V. Kamensky (1884 - 1961) managed in their creative practice to carry out interesting words in the field of the Word, which had a beneficial effect on Russian and Soviet poetry.
In the Environment of Futurist poets, the creative way of V.V. began Mayakovsky (1893 - 1930). In print, his first poems appeared in 1912. From the very beginning, Mayakovsky has allocated in the poetry of futurism, bringing its topic to it. He always spoke not only against the "whole older", but also for the creation of a new one in public life.
In the years preceded by 1917, Mayakovsky was a passionate revolutionary romantic, an accuser of the kingdom of "fatty", and the premonition of the revolutionary thunderstorm. Pafos denial of the entire system of capitalist relations, humanistic faith in a person with a huge force sounded in his poems "Cloud in the pants", "Flute-Spine", "War and Peace", "Man". The theme of the poem "Cloud in the pants", published in 1915 in a trimmed censorship form, Mayakovsky subsequently determined as four screams "Down with": "Down with your love!", "One of your art!", "Loop your order!", " Down with your religion! " He was the first poets who showed the truth in his works of the new society.
In the Russian poetry of pre-revolutionary years there were bright individuality, which are difficult to attribute to a certain literary flow. These are MA Voloshin (1877 - 1932) and M.I. Tsvetaeva (1892 - 1941). After 1910, another direction arises - futurism, sharply opposing himself not only the literature of the past, but also the literature of the present, which was in the world with the desire to unsubscribe everything and everything. This nihilism was also manifested in the external design of futuristic collections, which were printed on wrapping paper or the reverse side of the wallpaper, and in the names - "milk of mare", "Darky Moon", etc.
In the first collection, the "Society of Public Taste" (1912) a declaration was published, signed by D. Burlukuk, A. Klycheykh, V. Klebnikov, V. Mayakovsky. In it, futurists argued themselves and only themselves the only expressives of their era. They demanded "throw Pushkin, Dostoevsky, Tolstoy, and so on. and so on. From the vapor of modernity, "they denied at the same time" Perfumeric Balmont Balmont ", told about the" dirty mucus of books written by endless Leonidami Andreevy, "the okul was discharged from Gorky, Kurpra, Blok, etc.
All rejecting, they claimed "Zarnitsa of the new coming beauty of self-reliable (selfless) word." Unlike Mayakovsky, they did not try to leave the existing system, but they just sought to update the forms of reproduction of modern life. The basis of Italian futurism with his slogan "War - the only hygiene of the world" in the Russian version was weakened, but, as V. Bryusov notes in the article "The meaning of modern poetry", this ideology "... appeared between the lines, and the masses of readers instinctively awaited this poetry. "
"Futurists first raised the form for the proper height," says V. Shernevich, "giving it the meaning of the self-esteem, the main element of the poetic work. They completely rejected the poems that are written for the idea. " This explains the emergence of a huge number of declared formal principles, it seems: "In the name of the personal case, we depends the spelling" or "we destroyed the signs of punctuation - the role of the verbal mass - the first and realized" ("Sadok judges") was put forward.
The theorist of futurism V. Khlebnikov proclaims that the language of the world-coming "will be a tongue" Zai ". The word is deprived of the semantic value, acquiring subjective color: "vowels we understand how time and space (aspiration character), consonants - paint, sound, smell." V. Khlebnikov, seeking to expand the boundaries of the language and its capabilities, offers the creation of new words on the root sign, for example: (roots: Chur ... and spell ...)
We are enchanting and barely. There, changing, here is caraching, then the chirachor, then the choroque, here Churil, there Charille. From Chiryni's gaze of Charyni. There is an abstract, there is a charavel. Charari! Churari! Chukel! Charnel! Chares and Cenes. And even quiet and get enough.
The emphasized aesthetism of the poetry of symbolists and especially the Futurists are opposed to intentional deasthetization. So, D. Burluka "Poetry - the incented girl", "Soul - Kabak, and the sky - Rvan", V. Shershevich "in the opened square" a naked woman wants "from the pepper squeeze breasts". In the review "Year of Russian Poetry" (1914) V. Bryusov, noting the deliberate rudeness of the poems of Futurists, rightly notes: "It is very not enough to disappear all that was all that is outside of your mug to find something new." It indicates that all their innovations are imaginary, for we met with the poets of the XVIII century, with others from Pushkin and Vergil, that the theory of sounds - paints was developed by T. Gauthier.
It is curious that with all the denials of other directions in art, futurists feel their continuity from symbolism. It is curious that A. Block, who was interested in the work of Northerners, says with concern: "He has no topic," and V. Bryusov in Article 1915, dedicated to Northergyn, indicates: "The lack of knowledge and inability to think indifferent to the poetry of Igor Northerner and The horizon is extremely narrowing. " He reproaches the poet in a mudlessness, vulgarity, and especially sharply criticizes his military poems that produce a "painful impression", "breaking up cheap applause of the public." A. Blok back in 1912 doubted: "On modernists I am afraid that they have no rod, but only - talented curls around the emptiness."
Russian Culture of the Oktyabrskaya Revolution of 1917 was a result of a complex and tremendous path. Distinctive features there were always democratism, high humanism and genuine peoples, despite periods of a cruel government reaction, when progressive thought, an advanced culture was in every way suppressed.
The richest cultural heritage of the pre-revolutionary time, the centuries created cultural values \u200b\u200bconstitute the Golden Fund of our domestic culture.
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