Russian literature of the late XIX - early XX centuries. Literature of the late 19th century Problems of literature of the late 19th and early 20th centuries
When does the 20th century begin? Chronological boundary - from 1900 – 1901. , but it gives almost nothing in the sense of distinguishing eras. The first milestone of the new century is the revolution of 1905. The revolution passed, there was some calm - until the First World War. Akhmatova recalled this time in “Poem Without a Hero”: And along the legendary embankment the not calendar, the real twentieth century was approaching...
General characteristics of the era n At the turn of the eras, the worldview of a person who understood that the previous era was gone forever became different. The socio-economic and general cultural prospects of Russia began to be assessed completely differently. The new era was defined by contemporaries as “borderline.”
General characteristics of the era n Previous forms of life, work, and socio-political organization became history. The established, previously seemingly unchangeable, system of spiritual values was radically revised. It is not surprising that the edge of the era was symbolized by the word “Crisis”. This “fashionable” word roamed the pages of journalistic and literary-critical articles along with the similar words “revival”, “turning point”, “crossroads”, etc.
A CRISIS? ? ? If there are ideas of time, then there are also forms of time V. G. Belinsky
The end of the 19th century revealed the deepest crisis phenomena in the economy of the Russian Empire. The reform of 1861 by no means decided the fate of the peasantry, who dreamed of “land and freedom.” This situation led to the emergence in Russia of a new revolutionary teaching - Marxism, which relied on the growth of industrial production and a new progressive class - the proletariat. In politics, this meant a transition to an organized struggle of the united masses, the result of which was to be the violent overthrow of the state system and the establishment of the dictatorship of the proletariat. The former methods of populist educators and populist terrorists have finally become a thing of the past.
The First World War turned out to be a disaster for the country, pushing it towards an inevitable revolution. February 1917 and the ensuing anarchy led to the October Revolution. As a result, Russia acquired a completely different face. n Throughout the late 19th and early 20th centuries, the main background of literary development was tragic social contradictions, as well as the dual combination of difficult economic modernization and the revolutionary movement.
Changes in everything Changes in science occurred at a rapid pace, philosophical ideas about the world and man changed, and arts close to literature developed rapidly. Scientific and philosophical views at certain stages of cultural history radically influence the creators of words, who sought to reflect the paradoxes of time in their works. n
Why and how does literature change? Literary scholars answer this question from the present, analyzing the past. Writers, writing in the present, even if they describe the past, try to comprehend and show the future emerging in the present.
XVIII century New Russian literature was born in the 18th century and embodied an individual, living person on its pages. n Man becomes the central figure of social life, and literature begins a deep study of him n
19th century n n n Writers of the 19th century embodied the inner world of a person against the backdrop of real pictures of life, and historical time was a necessary basis for creating an artistic image. The works show the “history of the soul” of a person, its development over time. The main theme of the century: HERO AND TIME or MAN AND SOCIETY
A writer, unless he is a Wave and the ocean is Russia, cannot help but be outraged when the elements are outraged. A writer, if only he is the nerve of a great people, cannot help but be struck when freedom is struck. Ya. P. Polonsky
The emergence of new heroes n Historical transformations (wars, revolutions) could not but affect art. In search of ways out of the crisis, writers began to look for special people and bring them to the pages of their books. Those that can prevent the country from sliding into the abyss.
“A poet in Russia is more than a poet” (E. Yevtushenko) When artists accept revolution as a way to reorganize life, a new era is born, and with it new artistic thinking, new problems n Literary manifestos appear, which are united by nihilism - the absolute denial of the past . n
Time stopped. Is it possible for man in such an era? n n We must fight, fight, create new art, reorganize life. The new “picture of the world” sacrifices details. Therefore, laconic forms arise that can reveal the deep essence of the phenomenon. A person’s personality is depicted in a dramatic collision with the entire hostile world opposing it
Man, as the center of the literary universe, gives way to the elements. The elements and evolution are incompatible n There is no longer a real person, because there is no historical time, but there is absolute (aesthetic) time n The place of the human soul is taken by a social function n The general becomes more significant than the private n
Proletarian poets Bravely, comrades, keep up! Having become stronger in spirit in the struggle, Let us pave the way for ourselves to the kingdom of freedom with our breasts! L. Radin We are blacksmiths, and our spirit is young, We forge the keys to happiness! . Rise higher, heavy hammer, Knock harder on the steel chest! F. Shkulev
Man-god in the works of modernist poets A wingless spirit, overwhelmed by the earth, A god who has forgotten himself and forgotten... Just one dream - and again, inspired, You rush upward from vain worries V. Soloviev
The fate of realism n At the origins of realistic literature of the 20th century are A.P. Chekhov and M. Gorky. They identified the problems and directions of development of realistic literature
The dilemma of “Being better” or “Better living” is the discovery of 20th century realism. “Being better” is not given by the environment or one’s own weakness, and “living better” means living with broken humanity or losing it altogether. n The psychological drama of a person losing his human qualities determines the tragedy of many works n
Realism of the 20th century There is increasing interest in the deep internal processes of human mental life, in the psychological shifts and transitions of the states and moods of the characters. n Large genre forms give way to small ones. The genre of the story comes first
Realism of the 20th century The works reflect the individual’s ability to resist the environment, and reveal the mechanisms of influence of society and time on a person. The principles of psychological analysis are being deepened and improved. n Authors: A. Chekhov, M. Gorky, V. Garshin, A. Kuprin, V. Veresaev, L. Andreev, I. Bunin n
The beginning of the 20th century is a stormy, bright, dramatic time. The heyday of poetry in the work of modernists, the discoveries of realist writers in prose, the rise of Russian realistic drama to the world level
The period in the history of Russian literature, which began in the 90s. last century and ended in October 1917, received different names from literary scholars: “the newest Russian literature”, “Russian literature of the 20th century”, “Russian literature of the late 19th - early 20th centuries”. But, no matter what the literature of this period is called, it is clear that it was not just a continuation of the literature of the 19th century, but signified a special period, even an entire era of literary development, requiring special study.
How should this literature be assessed? What are its main features, its main driving forces? These questions have received and continue to receive far from identical answers, sometimes causing heated debate. It could not be otherwise: although the period under review covers only twenty-five years, it is unusually complex and contradictory. First of all, the historical process itself, which determined the development of all forms of spiritual life, including literature, was complex and contradictory. On the one hand, Russia entered the era of imperialism at the beginning of the century, the last stage of capitalist society. Russian capitalism, having barely managed to survive in the 90s. rapid economic takeoff, almost immediately found itself in a state of decay, and the Russian bourgeoisie, showing a complete inability to play a revolutionary role, entered into a conspiracy with tsarism and all the reactionary forces. On the other hand, in the 90s. a new, proletarian stage of the liberation struggle in Russia began, where the center of the entire world revolutionary movement moved, the era of three revolutions began, and, according to the wonderful Russian poet A. A. Blok, they came closer
Unheard of changes, Unprecedented rebellions...
Literary scholars, who proceeded only from the fact of Russia’s entry into the era of imperialism, believed that the processes of decay, namely the collapse of the most advanced direction of literature of the 19th century - critical realism, became decisive in literature. It seemed to them that the main role in literature began to be played by anti-realistic movements, which some define as “decadence” (which means “decline”), others as “modernism” (which means “the latest, modern art”). Literary critics, who had a broader and deeper understanding of reality, emphasized the leading role of proletarian literature and the new, socialist realism that arose on its basis. But the victory of the new realism did not mean the death of the old, critical realism. The new realism did not discard or “explode” the old one, but helped it, as its ally, overcome the pressure of decadence and retain its importance as a spokesman for the thoughts and feelings of broad democratic strata.
Reflecting on the fate of critical realism at the end of the 19th - beginning of the 20th centuries, we must remember that such great representatives as L.N. Tolstoy and A.P. Chekhov still lived and worked. Their creativity during this period experienced significant changes, reflecting a new historical era. V.I. Lenin had in mind mainly the last works of L.N. Tolstoy, especially the novel “Resurrection,” when he called Tolstoy “the mirror of the Russian revolution” - a mirror of the mood of the broad peasant masses. As for A.P. Chekhov, it was in the 90s. he made those artistic discoveries that placed him, along with Tolstoy, at the head of Russian and world literature. Older generation realist writers such as V. G. Korolenko, D. N. Mamin-Sibiryak and others continued to create new artistic values, and in the late 80s - early 90s. realistic literature has been replenished with a new generation of major literary artists - V.V. Veresaev, A.S. Serafimovich, M. Gorky, N.G. Garin-Mikhailovsky, A.I. Kuprin, I.A. Bunin, L.N. Andreev and others. All these writers played a big role in the spiritual preparation of the first Russian revolution of 1905-1907 with their truthful works full of sympathy for the oppressed. True, after the defeat of the revolution, in the dark period of reaction, some of them experienced a period of hesitation or even completely moved away from the progressive literary camp. However, in the 10s, during the period of a new revolutionary upsurge, some of them created new talented works of art. In addition, outstanding realist writers of the next generation came to literature - A. N. Tolstoy, S. N. Sergeev-Tsensky, M. M. Prishvin and others. It is not for nothing that one of the articles on literature that appeared in 1914 on the pages of the Bolshevik Pravda had a significant title: “The Revival of Realism.”
The most important feature of Russian literature of the early 20th century. was the birth of socialist realism, the founder of which was Maxim Gorky, who had a huge influence on the development of all world literature. Already in the work of the writer of the 90s, which reflected the growing protest of the young Russian proletariat, there was a lot of originality. In it, for all its deep realism, romantic notes sounded, expressing the dream of future freedom and glorifying the “madness of the brave.”
At the beginning of the 20th century. Gorky, in the plays “Philistines” and “Enemies”, in the novel “Mother” and other works, for the first time showed proletarian revolutionaries as representatives of a class not only suffering, but also struggling, realizing its purpose - the liberation of the entire people from exploitation and oppression.
Socialist realism created new opportunities for depicting all aspects of reality. Gorky in his brilliant works “At the Lower Depths”, the cycle “Across Rus'”, the autobiographical trilogy and others, as well as A. S. Serafimovich and Demyan Bedny, who followed him on the path of socialist realism, showed life with no less fearless truthfulness than their greats predecessors in the literature of the 19th century, mercilessly exposing the oppressors of the people. But at the same time, they reflected life in its revolutionary development and believed in the triumph of socialist ideals. They portrayed man not only as a victim of life, but also as a creator of history. This was expressed in Gorky’s famous sayings: “Man is the truth!”, “Man-century!.. This sounds... proud!”, “Everything in Man is everything for Man” (“At the Depths”), “Excellent position - to be a man on earth" (“The Birth of Man”). If it were necessary to briefly answer the question “What was the most important thing in the work of M. Gorky?” and to another question, “Which side of Gorky’s legacy has become especially important today, in the light of the main tasks of our days?”, then the answer to both of these questions would be the same: a hymn to Man.
Along with realism, there were modernist movements such as symbolism, acmeism, and futurism. They defended “absolute freedom” of artistic creativity, but in reality this meant a desire to escape political struggle. Among the modernists there were many talented artists who did not fit into the framework of their movements, and sometimes completely broke with them.
The complexity of the historical process, the severity of social contradictions, the alternation of periods of revolutionary upsurge with periods of reaction - all this influenced the fate of writers in different ways. Some major realist writers deviated towards decadence, as happened, for example, with L.N. Andreev. And the greatest poets of symbolism in. Y. Bryusov and A. A. Blok came to the revolution. Blok created one of the first outstanding works of the Soviet era - the poem “The Twelve”. V. V. Mayakovsky, who from the very beginning was cramped within the framework of individualistic rebellion and formal experiments of the futurists, already in the pre-October years created vivid anti-capitalist and anti-militarist works.
The development of world literature today preserves the balance of forces that first emerged in Russian literature at the end of the 19th and beginning of the 20th centuries: the relationship between socialist realism, critical realism and modernism. This alone gives great value to the experience of Russian pre-October literature.
This experience is also valuable because in the pre-October years, advanced literature received a theoretical, aesthetic program in the speeches of M. Gorky and Marxist critics G.V. Plekhanov, V.V. Vorovsky, A.V. Lunacharsky and others. The speeches of V. I. Lenin were of great importance: his articles about L. N. Tolstoy and A. I. Herzen, which revealed the enduring significance of the traditions of classical literature; his assessments of M. Gorky’s work, which illuminated the birth of new, proletarian, socialist literature; article “Party Organization and Party Literature” (1905), which, in contrast to the principle of the imaginary “absolute freedom” of creativity, put forward the principle of party literature - the open connection of literature with the advanced class and advanced ideals as the only real condition for its true freedom.
Poetry at the end of the 19th century was called the “poetic renaissance” or “silver age”.
Gradually, the term “Silver Age” began to be attributed to that part of Russian artistic culture that was associated with symbolism, acmeism, “neo-peasant” and partly futuristic literature.
Literary directions:
1. Realism - continues to develop (L. Tolstoy, Chekhov, Gorky, etc.)
2.Modernism - from French. the words “newest, modern.” Modernists believed in the divine transformative creative role of art.
Symbolism is a literary artistic movement that considered the purpose of art to be an intuitive comprehension of world unity through symbols.
This is the first and largest movement of modernism. The beginning of self-determination was laid by D.S. Merezhkovsky (1892). He called mystical content, symbols and the expansion of artistic impressionability.
V. Bryusov became the leader of symbolism. BUT symbolism turned out to be a heterogeneous movement; several independent groups took shape within it. In Russian symbolism, it is customary to distinguish 2 main groups of poets: “senior” symbolists (Bryusov, Balmont, Sologub, Kuzmin, Merlikovsky, Gippius) and “younger” symbolists (Blok, Bely, Ivanov).
In the publishing life of the Symbolists, there were two groups: St. Petersburg and Moscow. This turned into a conflict.
The Moscow group (Liber Bryusov) considered the main principle of literature to be “art for art’s sake.”
Petersburgskaya (Merezhkovsky, Zippius) defended the priority of religious and philosophical searches in symbolism. They considered themselves genuine symbolists and considered their opponents decadents.
Characteristic:
polysemy
full significance of the subject plan of the image
concentration of the absolute in the individual
Music: the second most important aesthetic category of symbolism
The relationship between the poet and his audience: the poet addressed not everyone, but the reader-creator.
Acmeism is a modernist movement (from the Greek tip, pinnacle, highest degree, pronounced qualities). This movement declared specifically sensory perception of the external world, returning the word to its original non-symbolic meaning.
At the beginning of their path, the Acmeists were close to the Symbolists, then associations appeared: 1911 - the Workshop of Poets.
Russian literature of the late 19th - early 20th centuries (1890 - 1917).
The last decade of the 19th century opens a new stage in Russian and world culture. Over the course of about a quarter of a century - from the early 90s to October 1917 - literally all aspects of Russian life were radically updated - economics, politics, science, technology, culture, art. Compared to the social and relative literary stagnation of the 80s, the new stage of historical and cultural development was distinguished by rapid dynamics and acute drama. In terms of the pace and depth of changes, as well as the catastrophic nature of internal conflicts, Russia at this time is ahead of any other country.
Therefore, the transition from the era of classical Russian literature to the new literary time was distinguished by the far from peaceful nature of general cultural and intraliterary life, a rapid - by the standards of the 19th century - change in aesthetic guidelines, and a radical renewal of literary techniques. Russian poetry was renewed especially dynamically at this time, again - after the Pushkin era - coming to the forefront of the country's general cultural life. Later, this poetry earned the name “poetic renaissance” or “silver age.” Having arisen by analogy with the concept of the “golden age”, which traditionally denoted the “Pushkin period” of Russian literature, this phrase was initially used to characterize the peak manifestations of poetic culture of the early 20th century - the work of A. Blok, A. Bely, I. Annensky, A. Akhmatova, O. Mandelstam and other brilliant masters of words. However, gradually the term “Silver Age” began to define the entire artistic culture of Russia in the late 19th and early 20th centuries. To this day, such word usage has become entrenched in literary criticism.
What was new compared to the 19th century at the turn of the two centuries was, first of all, man’s perception of the world. The understanding of the exhaustion of the previous era grew stronger, and conflicting assessments of the socio-economic and general cultural prospects of Russia began to appear. The common denominator of ideological disputes that flared up in the country towards the end of the last century was the definition of a new era as an era border: the previous forms of life, work, and political organization of society were irretrievably a thing of the past; the system of spiritual values itself was decisively revised. Crisis- the key word of the era, which wandered through magazine journalism and literary critical articles (words similar in meaning “revival”, “turning point”, “crossroads”, etc. were often used)
Fiction, which traditionally for Russia has not stood aside from public passions, quickly became involved in the discussion of current issues. Her social engagement was reflected in the titles of works characteristic of this era. “Without a Road”, “At the Turning” - V. Veresaev calls his stories; “The Decline of the Old Century” - echoes the title of the chronicle novel by A. Amphitheaters; “At the last line,” M. Artsybashev responds with his novel. Awareness of the crisis of the time, however, did not mean recognition of its futility.
On the contrary, most wordsmiths perceived their era as a time of unprecedented achievements, when the importance of literature in the life of the country increased sharply. That is why so much attention began to be paid not only to creativity itself, but also to the worldview and social position of writers, their connections with the political life of the country. In the writing community, there arose a desire to consolidate with writers, philosophers, and workers of related arts who were close to them in their worldview and aesthetics. Literary associations and circles played a much more prominent role in this historical period than in the previous few decades. As a rule, new literary movements at the turn of the century developed from the activities of small writers' circles, each of which united young writers with similar views on art.
Quantitatively, the writing environment has grown noticeably compared to the 19th century, and qualitatively - in terms of the nature of education and life experience of writers, and most importantly - in terms of the diversity of aesthetic positions and levels of skill - it has become seriously more complex. In the 19th century, literature had a high degree of ideological unity; it has developed a fairly clear hierarchy of literary talents: at one stage or another, it is not difficult to identify masters who served as reference points for an entire generation of writers (Pushkin, Gogol, Nekrasov, Tolstoy, etc.).
The legacy of the Silver Age is not limited to the work of one or two dozen significant literary artists, and the logic of the literary development of this era cannot be reduced to a single center or the simplest scheme of successive directions. This heritage is a multi-tiered artistic reality in which individual literary talents, no matter how outstanding they may be, turn out to be only part of that grandiose whole, which received such a broad and “lax” name - the Silver Age.
When starting to study the literature of the Silver Age, one cannot do without a brief overview of the social background of the turn of the century and the general cultural context of this period (“context” - the environment, the external environment in which art exists).
Socio-political features of the era.
By the end of the 19th century, the crisis in the Russian economy intensified. The roots of this crisis are in the too slow reform of economic life, which began back in 1861. A more democratic post-reform order, according to the government's plans, was supposed to intensify the economic life of the peasantry, make this largest group of the population mobile and more active. This is how it gradually happened, but the post-reform processes had a downside: from 1881, when the peasants had to finally pay off their debts to their former owners, the rapid impoverishment of the village began. The situation became especially acute during the famine years of 1891-1892. The inconsistency of the transformations became clear: having freed the peasant in relation to the landowner, the reform of 1861 did not liberate him in relation to the community. Until the Stolypin reform of 1906, the peasants were never able to separate from the community (from which they received land).
Meanwhile, the self-determination of the largest political parties that emerged at the turn of the century largely depended on one or another attitude towards the community. The leader of the liberal Cadet Party, P. Milyukov, considered the community a kind of Asian mode of production, with the despotism and over-centralization it generated in the political structure of the country. Hence the recognition of the need for Russia to follow the pan-European path of bourgeois reforms. Back in 1894, the prominent economist and political figure P. Struve, who later also became a liberal, concluded one of his works with the famous phrase: “Let’s admit our lack of culture and let’s go to school for capitalism.” It was a program for the evolutionary development of the country towards a European-style civil society. However, liberalism did not become the main program of action for the numerically expanded Russian intelligentsia.
The position that was more influential in the public consciousness went back to the so-called “legacy of the 60s” - the revolutionary democratic ideology and the revolutionary populist ideology that was successor to it. N. Chernyshevsky, and later P. Lavrov and N. Mikhailovsky considered the role of the Russian community to be positive. These supporters of a special, “Russian socialism” believed that the community with its spirit of collectivism was the real basis for the transition to a socialist form of economic management. Important in the position of the “sixties” and their spiritual heirs were a sharp opposition to autocratic “tyranny and violence”, political radicalism, and a focus on decisive changes in social institutions (little attention was paid to the real mechanisms of economic life, which is why their theories acquired a utopian overtones). For most of the Russian intelligentsia, however, political radicalism has traditionally been more attractive than a thoughtful economic program. It was the maximalist political tendencies that ultimately prevailed in Russia.
By the end of the century, the “railroads” for the development of capitalism in the country had already been laid: in the 90s, industrial production tripled, a powerful galaxy of Russian industrialists emerged, and industrial centers grew rapidly. Mass production of industrial goods was being established, and telephones and cars were part of the everyday life of the wealthy. Huge raw material resources, a constant influx of cheap labor from the countryside and free access to the capacious markets of the economically less developed countries of Asia - all this foreshadowed good prospects for Russian capitalism.
Relying on the community in this situation was historically short-sighted, as Russian Marxists tried to prove. In their struggle for socialism, they relied on industrial development and the working class. Marxism since the mid-90s. quickly wins the moral support of various groups of intellectuals. This was reflected in such psychological traits of the Russian “educated layer” as the desire to join the “progressive” worldview, distrust and even intellectual contempt for political caution and economic pragmatism. In a country with an extremely heterogeneous social structure, such as Russia at that time, the tilt of the intelligentsia towards the most radical political trends was fraught with serious upheavals, as the development of events showed.
Russian Marxism was initially a heterogeneous phenomenon: in its history, sharp divisions clearly prevailed over convergence and consolidation, and factional struggle almost always overwhelmed the framework of intellectual discussions. The so-called legal Marxists initially played a significant role in giving Marxism an attractive appearance. In the 90s, they polemicized in the open press with the populists (among the talented polemicists was the above-mentioned P. Struve). They professed Marxism as primarily an economic theory, without global claims to planning the destinies of all mankind. Believing in evolutionism, they considered it unacceptable to deliberately provoke a revolutionary explosion. That is why after the revolution of 1905 - 1907. The former legal Marxists finally separated themselves from the orthodox wing of the movement, which, despite the external anti-populist position, absorbed many of the deep-seated attitudes of revolutionary populism.
I. Early 1890s – 1905 1892 Code of laws of the Russian Empire: “the obligation of complete obedience to the tsar,” whose power was declared “autocratic and unlimited.” Industrial production is developing rapidly. The social consciousness of a new class, the proletariat, is growing. The first political strike at the Orekhovo-Zuevskaya manufactory. The court recognized the workers' demands as fair. Emperor Nicholas II. The first political parties were formed: 1898 - Social Democrats, 1905 - Constitutional Democrats, 1901 - Social Revolutionaries
Genre – story and short story. The storyline has been weakened. He is interested in the subconscious, and not in the “dialetics of the soul”, the dark, instinctive sides of the personality, spontaneous feelings that are not understood by the person himself. The author’s image comes to the fore; the task is to show one’s own, subjective perception of life. There is no direct author's position - everything goes into subtext (philosophical, ideological). The role of detail increases. Poetic techniques transform into prose. Realism (neorealism)
Modernism. Symbolism of the year. In the article by D.S. Merezhkovsky “On the causes of the decline and new trends in modern Russian literature,” modernism receives a theoretical justification. The older generation of symbolists: Merezhkovsky, Gippius, Bryusov, Balmont, Fyodor Sologub. Young Symbolists: Blok, A. Bely Magazine “World of Art” Ed. Princess M.K. Tenisheva and S.I. Mamontov, eds. S. P. Diaghilev, A. N. Benois (St. Petersburg) K. Balmont V. Bryusov Merezhkovsky D
Symbolism Focuses primarily through symbol on intuited entities and ideas, vague feelings and visions; The desire to penetrate into the secrets of existence and consciousness, to see through visible reality the supra-temporal ideal essence of the world and its Beauty. Eternal Femininity World Soul “Mirror to mirror, compare two mirror images, and place a candle between them. Two depths without a bottom, colored by the candle flame, will deepen themselves, mutually deepen each other, enrich the candle flame and unite with it into one. This is the image of the verse." (K. Balmont) Dear friend, don’t you see that everything we see is only a reflection, only shadows From what is invisible with our eyes? Dear friend, don’t you hear that the crackling noise of life is only a distorted response of triumphant harmonies (Soloviev) A pale young man with a burning gaze, Now I give you three covenants: First accept: do not live in the present, Only the future is the domain of the poet. Remember the second thing: don’t sympathize with anyone, love yourself infinitely. Keep the third: worship art, only it, undividedly, aimlessly (Bryusov)
1905 is one of the key years in the history of Russia. This year a revolution took place, which began with “Bloody Sunday” on January 9, the first tsarist manifesto was published, limiting the power of the monarchy in favor of its subjects, proclaiming the Duma to be the legislative body of power, approving civil liberties, creating a council of ministers in led by Witte, an armed uprising in Moscow, which was the peak of the revolution, an uprising in Sevastopol, etc.
Years. Russo-Japanese War
III – 1920s
Crisis of symbolism year. Article by A. Blok “On the current state of Russian symbolism” 1911. The most radical direction appears, denying all previous culture, the avant-garde - futurism. In Khlebnikov, V. Mayakovsky, I. Severyanin.
Futurism is the desire to create “the art of the future”, the denial of the heritage of the “past” - cultural traditions. language experimentation “zaum” Estate at night, Genghis Khan! Make noise, blue birches. Dawn of the night, dawn of dawn! And the sky is blue, Mozart! And, dusk of the cloud, be Goya! You at night, cloud, roops!.
A slap in the face to public taste Reading our New First Unexpected. Only we are the face of our Time. The horn of time blows for us in the art of words. The past is tight. The Academy and Pushkin are more incomprehensible than hieroglyphs. Abandon Pushkin, Dostoevsky, Tolstoy, etc. from the Steamship of Modernity. Whoever does not forget his first love will not know his last. Who, gullible, will turn his last Love to Balmont's perfume fornication? Is it a reflection of the courageous soul of today? Who, the coward, would be afraid to steal the paper armor from the black coat of the warrior Bryusov? Or are they the dawns of unknown beauties? Wash your hands that have touched the dirty slime of the books written by these countless Leonid Andreevs. To all these Maxim Gorkys, Kuprins, Bloks, Sollogubs, Remizovs, Averchenks, Chernys, Kuzmins, Bunins and so on. and so on. All you need is a dacha on the river. This is the reward that fate gives to tailors. From the heights of skyscrapers we look at their insignificance!... We order to honor the rights of poets: 1. To increase the vocabulary in its volume with arbitrary and derivative words (Word-innovation). 2. An insurmountable hatred of the language that existed before them. 3. With horror, remove from your proud brow the wreath of penny glory you made from the bath brooms. 4. Stand on the rock of the word “we” amid a sea of whistles and indignation. And if the dirty stigmas of your “common sense” and “good taste” still remain in our lines, then for the first time the Lightnings of the New Coming Beauty of the Self-Valuable (Self-Valuable) Word are already fluttering on them. D. Burliuk, Alexander Kruchenykh, V. Mayakovsky, Viktor Khlebnikov Moscow December
Features of the “Silver Age” 1. Elitism of literature, designed for a narrow circle of readers. Reminiscences and allusions. 2. The development of literature is connected with other types of art: 1. Theatre: its own direction in the world theater - Stanislavsky, Meyerhold, Vakhtangov, M. Chekhov, Tairov 2. Painting: futurism (Malevich), symbolism (Vrubel), realism (Serov), acmeism (“World of Art”) 3. The enormous influence of philosophy, many new world trends: N. Berdyaev, P. Florensky, S. Bulgakov, V. Solovyov; Nietzsche, Schopenhauer. 4. Discovery in psychology - Freud's theory of the subconscious. 5.Primary development of poetry. Discovery in the field of verse. -Musical sound of the verse. – Revival of genres – sonnet, madrigal, ballad, etc. 6. Innovation in prose: novel-symphony (A. Bely), modernist novel (F. Sollogub) 7. Isoteric teachings (spiritism, occultism) – elements of mysticism in literature.
Konstantin Sergeevich Stanislavsky Key concepts of his famous system: the stages of an artist’s work on a role, the method of transformation into a character, playing by an “ensemble” under the direction of a director who plays a “role” similar to a conductor in an orchestra, a troupe as a living organism going through different stages of development; and most importantly, the theory of cause-and-effect relationships of character. An actor, going on stage, performs a certain task within the framework of the logic of his character. But at the same time, each character exists in the general logic of the work laid down by the author. The author created the work in accordance with some purpose, having some main idea. And the actor, in addition to performing a specific task related to the character, must strive to convey the main idea to the viewer, try to achieve the main goal. The main idea of the work or its main goal is the super task. Acting is divided into three technologies: - craft (based on the use of ready-made cliches, by which the viewer can clearly understand what emotions the actor has in mind), - performance (in the process of long rehearsals, the actor experiences genuine experiences, which automatically create a form of manifestation of these experiences , but during the performance itself the actor does not experience these feelings, but only reproduces the form, the ready-made external drawing of the role). -experience (the actor experiences genuine experiences during the play, and this gives birth to the life of the image on stage).
Alexander Yakovlevich Tairov The idea of a Free Theater, which was supposed to combine tragedy and operetta, drama and farce, opera and pantomime. The actor had to be a true creator, not constrained by other people's thoughts or other people's words. The principle of “emotional gesture” instead of figurative or everyday authentic gesture. The performance should not follow the play in everything, because the performance itself is a “valuable work of art.” The main task of the director is to give the performer the opportunity to liberate himself, to free the actor from everyday life. An eternal holiday should reign in the theater, it doesn’t matter whether it’s a holiday of tragedy or comedy, just so as not to let everyday life into the theater - “theatricalization of the theater”
Vsevolod Emilievich Meyerhold Craving for line, pattern, for a kind of visualization of music, turning the acting into a phantasmogorical symphony of lines and colors. “Biomechanics strives to experimentally establish the laws of movement of an actor on the stage, working out training exercises for acting on the basis of the norms of human behavior.” (the psychological concept of W. James (about the primacy of the physical reaction in relation to the emotional reaction), on the reflexology of V. M. Bekhterev and the experiments of I. P. Pavlov.
Evgeniy Bagrationovich Vakhtangov, the search for “modern ways to resolve a performance in a form that would sound theatrical”, the idea of the inextricable unity of the ethical and aesthetic purpose of the theater, the unity of the artist and the people, a keen sense of modernity, corresponding to the content of the dramatic work, its artistic features, defining the unique stage form
