Avant-garde in the Italian Theater. Futurists
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Futurist Theater.
Under the name "Futurist Theater" should be understood and one-only theater with such names, and those directors, artists who, in their work, tried to realize the principles of futuristic art, creating performances in different theaters after the 1917 revolution.
"The first Futurist Theater" was opened in 1913 in St. Petersburg. In the theater, only two performances were shown: the tragedy "Vladimir Mayakovsky", written by Mayakovsky himself, and the Opera "Victory over the Sun" A. Klychey. The performances were in the premises of the former theater V. F. Commissioner. Both performances were protected by anarchic character, propaganda the individualistic rebellion (no little as "victory over the sun" wanted!). Buntar Single expressed his angry protest against reality, a "twisted grimace", reality, convulsively corking faces. Actually, Mayakovsky himself was a character of his play. In the tragedy "Vladimir Mayakovsky" there was also a "rebellion of things", and not just people.
A group of creative intelligentsia, which announced by the "futurists", was actively active in 1912-1914. Igor Northgen, V. Mayakovsky, D. Burluk, O. Bric, V. Kamensky, were included in it. Their guide star was Italian futurism, in particular Marinetty manifesto. "We glorify the theater-variety,- wrote in his manifesto Marinetti, - because he reveals the dominant laws of life: the plexus of various rhythms and synthesis of speeds. We wish to improve the theater-variety, turning it into the theater of stunning and record. It is necessary to destroy all the logic in the performances and deliver domination on the stage implausible and ridiculous. Systematically destroyed classic art on stage, squeezing all Shakespeare in one act and charging the execution of "Ernani" (V. Hugo) actors, half knotted in bags. Our theater will give cinematographic speed of impressions, continuity. It will take advantage of all new things that will be entered into our lives, the kingdom of cars and electricity, and will reveals the new, which enriches the beauty of beauty - speed ".
Futurists proclaimed urbanism, unlimited art, dewogization of culture, and generally proceeded from the form of protest. They started with the slogan "Down!". An example of peacefulness for the artistic art was, for example, such a sample sensation of futurist number one Vladimir Mayakovsky: "On the rough, the sweaty sky is breaking, shuddering, sunset. Came the night; Heats Mama, as the city of the city. The street that failed as the nose of Syphilica, Sofiladed, Svza and Rry, and the gardens piled up on the banks of the river of the Sweet Thaw, glowing into the saliva ". So they felt revolutionaries in art, struggling with the "meshchansky" understanding of life. They were not by chance that they were the first, "left artists", who, after the revolution of 1917, declared themselves with "supporters of the proletariat" and the "Left Front of Art", publishing the LEF magazine, leading their propaganda through the newspaper "The Art of the Commune", on the pages of which . N. Punin, O. M. Bric, K. S. Malevich, B. Kushner, V. Mayakovsky. In the revolution, they were attracted by the breakdown of the old bourgeois-bourgeois world, admiration for her spontaneous destructive power. They declared in the "Civil War" theater, demanding "to reset Pushkin from the ship of modernity", actively speaking against the theaters of the "Old Heritage" as an exhausted and unnecessary to the new viewer. In 1918, they wrote their "Decree". "Decree Democratic Democraticization" ("Fenceless Literature and Square") announced the following: "Comrades and citizens, we, leaders of Russian futurism - the revolutionary art of youth - we declare:
1. From now on, together with the destruction of the royal system, the accommodation of art in storerooms, sheds of human genius - palaces, galleries, salons, libraries, theaters are canceled.
2. In the name of the great advent of each to the culture, the free word of creative person will be written at the intersections of house walls, fences, roofs, streets of our cities, villages and on the backs of cars, crews, trams and on the dresses of all citizens.
3. Let the pictures (paints) on the streets and squares from the house to the house, glad, enjoying the eyes (taste) of the face, rented by self-auctor rainbow.
Let the streets be a holiday for everyone! "
Culture, published on the street, and had to eliminate any forms of "inequality" of people in front of the artistic culture. But do not forget that futurists always loved public gestures and shocks. Vasily Kamensky remembered: "... in the Kuznetsky at the corner of the rough ... David Burlyuk, standing on a huge fire staircase attached to a semiconductor corner of the house, nominated several of his paintings ... The attitudes of the paintings ended with an edge of applause at the artist's address. Immediately people approached Someone posted huge posters with our verses on the walls. Soon after that, "Events" we added another one: they released a "futurist newspaper" (editors - Burluk, Kamensky, Mayakovsky) and were expressed in all the fences of Moscow ". So, futurists declared themselves with the "proletarians of the Spirit", reminded the public that futurism was born in the flour of the scandal, once again confirmed their hatred for the ordinary, "culture of the Nalushammed", permanent. Futurists built their "street theater".
In the 20s, they claimed to become the official art of a new social system, and therefore took the most active part in the politicization of art, the slogan of "democratization of arts" was thrown, held responsible posts in the authorities, in particular. Theatrical and the pictorial departments of the drug addict. "To blow up, destroy, erase the old artistic forms from the face - how not to dream about this new artist, the proletarian artist, a new person," wrote N. Punin, calling for the destruction of all cultural heritage. After the revolution, the artists of this wing safely put the sign of equality between the futuristic art and the art of the proletariat. "Only futuristic art is currently the art of proletariat", - argued all the same Punin. "The proletariat, as a class of creative, does not dare to dive into contemplation, does not dare to indulge in aesthetic experiences from the contemplation of the antiquity", Said O. BRIC in response to an article of one journal, which reported that on excursions in the Museum, the workers received a huge aesthetic pleasure from the contemplation of historical artistic monuments. Futurists actively participated in the decoration of streets and squares to the holidays of the Red Calendar, in the preparation of "mass spectacles" on the squares.
The characteristic performance, where the principles of futurism were used, was the production of Tolstoy "First Vinokur" by Jury ("As a delicacy stole"), dedicated to the topic of fighting drunkenness (1919). Annenkov put the goal "Condem Classic" for the National Spectator. "Conditioning" occurred in the spirit of theatrical ideas of futurism. Annenkov, according to futuristic ideas, turned the performance in the musical hall using the idea of \u200b\u200bspeed, moving planes and numerous tricks. Piece of thick turns literally inside out. Special accents are made on the "scenes in the hell", such characters are introduced into the play, as the "jester of the older", "vertical damn" - circus artists are invited to these roles (clown, parter acrobat, "Kauchuk"), for the role " The man is also invited to a pop actor. Annenkov will soon speak demanding the creation of "People's Russian Music Hall worthy of our amazing time." The nationality was understood as soon as the "primitive", and the "aesthetic democratism" another director S. Radlov in 1921 characterized as follows: "Express, airplanes, avalanches of people and strollers, silk and fur, concerts and variges, electric lights, and lamps, and arcs, and lights, and thousands of lights, and again silk and silk shoes ... Telegrams and radio, cylinders, cigars ... Shagreen Reps, mathematical treatises, apoplexic napes, self-satisfied smiles, shine, vortices, flights, brocade, ballet, puff and abundance - there in the West - and pedestrian desert rustic cities, harsh faces, Pompeyan skeletons of disassembled houses, and wind, and wind, and grass through stones, cars without beeps and beeps without cars, and sailor glue, and leather jacket, and fighting, struggle and will to fight until the last strength, and new cruel and bold children, and the urgent bread - all this is all waiting Evilization in your hands, artists ". Radlov will open the People's Comedy Theater in Petrograd, in which it will try to give his new art "People's Spectator", which was a half-preserved young people who came from "Papilians" and "Irisnikov" of the neighboring strong market, which pulled in the theater Grotesque entertainment, adventures and Buffonada, as well as numerous subjects like this type:
In Vienna, New York and Rome
Chew my stuffy pocket,
Chew my loud name -
I am the famous Morgan.
Today it's time for the stock exchange
There is no time to lose -
On precious stones
I will change there blacks.
But Yuri Annenkov sharply criticized the performances of Radlova, as from the point of view of the futuristic law Marinetti, in the performances of Radlov was "too much meaning", too much social radicalism. But Radlov says that "the right there were futurists who exclaimed" Long live tomorrow ", but they also shouted" cursed yesterday "- and in this illegal and dishonest refusal of traditions they were not right and not new." For S. Radlova nevertheless "The pledge of the future heyday is in the past", and by this combination of futuristic aspiration "to the eccentricism created by the Anglo-American genius" with the "faith in the past", the director is looking for a creative platform for the People's Comedy Theater.
"Equality of all before culture" Futurists have resulted in an interest in the lower cultural forms and genres: boulevard, "copeful" literature, detective, adventure, bolagan, circus. The art in the new culture was given an applied role, and the creative activity itself was thought of not as a "visit the muse", but rather as the production process: "The best poetic work will be - said Mayakovsky, - which is written on the order of the Comintern, having a target installation on the victory of the proletariat, transmitted by new words, expressive and understandable to everyone; Worked on the table, equipped with a note and delivered to the editorial office on airplane ". A decisive "shaft bullfincisions" and "maximum use of all forms of Lubka, poster, street publications, advertising, fonts, labels" was proposed. The art material may be equally "revolution" and "amazing cigarettes" - there is no longer any meaningful and semantic hierarchy. In addition, soon the question of full fusion of the left art with the needs of the "People's Spectator" becomes very problematic. At the beginning of the 20s, it is already possible to say that the conflict is planned with those for which the "revolution in the theater" was produced. Questionnaires that were heard on one revolutionary performance recorded a completely different attitude towards the futuristic left theater than the desired, creators of the performance.
Spectators say the performance - "Heavyly Balaganschina", "From respect to art, it is impossible to be in the auditorium in the upper dress and the headdress", "impression of the Balagan". The mass spectator, as it turned out, was quite conservative and traditional in his ideas about art and did not want any equalization, keeping the idea of \u200b\u200b"beauty" is also quite traditional. Spectators wrote in questionnaires: "We did not like that beautiful legs are legs ..." And the master of the theater in the ecstasy of democratization was offered to public freedom of behavior - in the programs to the spectral wrote that "you can gnaw nuts" during the presentation, enter and go out at any time.
Futuristic theater is a vivid example of aesthetic evolution that came to his defeat. Starting from the scandal and cliff, refusing art in logic, causality, psychologicalness and tradition, starting with aesthetic avant-garde, the Futurist Theater came to revolutionary art, aesthetic democratism, bordering the primitiveness and denial of the essence of the art itself. And, of course, many representatives of the spruce front "have experienced personal tragedies (suicide, emigration), associated partly and with a rejection of their revolutionary style.
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We are accustomed to the political theater and the left movement - the twins brothers. Meanwhile, the origins of this theater were people, many of whom later tied their lives with an ultra-right movement. "Theatre." Reminds what were the first steps of the footing of a futuristic movement, introduces readers with passages from their plays and tells a sad story about how Italian futurism became aesthetic newspaper of fascism.
Great Usach Marinetti
Italy of the 1910s. Normal cheap urban cabaret. On the advancement - the familiar to the cafe-concert, a nomuddy scenery: Night, Street, Lantern ... Angle of Pharmacy. The scene is tiny. In addition, only one step separates it from a noisy, smoky, the bit of the hall of the paced hall.
Presentation begins! Due to the right skeleton, a little dog is coming out. Solemnly passes on stage and leaves for the left scene. After the heavily pause, an elegant young gentleman appears with swirling mustache. Unclearly tagging on stage, he asked the public with an innocent look: "Well, what kind of dogs did not see?!" This is actually the whole performance. In the hall, sympathy Gogot is heard - it laughs in Mobile, common, working class. They are fun to overlook: here he is what, Marinetti! But today here and a whole squad of Xinor - the same, with swirling mustes. They do not laugh, on the contrary, they went out and seem to be ready without ceremonies to run into the scene and how to bloom the arrogant acterior. So far, oranges fly to it. Deftly dodgeing from them, Marinetti makes the gesture, which will be destined to enter the history of the theater: catching orange, he, without ceasing to dodge, cleans it and, smoking, cheekyly eats, sprinkling her bones right into the hall.
The meticulous student of the Theater of the Italian futurism Giovanni Sheet notes that "the first representations of futurists in the cabaret were among the medium between the Hephening and the microather ... and connecting the provocation with propaganda, often ended with the scuffle and the arrival of the police." So now the neck of Signora has shuffled and have been settled under exquisite white collars: that and look at the same time! But - about a miracle! - For the defense of Marinetti, the working people rises. Mobile purses bourgeois who came to teach the villain and defend the honor of the real Italian scene. And Marinetti grins, trying to hide satisfaction, because it is exactly what he needs: scandal, shocking.
The leader of Futurists Filippo Tommazo Marinetti at that time was not yet a unlucky theatrical provocateur. Futuristic evenings with their microckets arrived in the zucchini of many major Italian cities. And he himself became famous for the playwright and the author of the novel "Mafark-Futurist". Glory, of course, also scandalous.
The Italian Theater of those years is quite provincial. But at the same time it occurs in the processes similar to the pan-European. By the end of the XIX century, Verizism is believed. A new drama and theater enjoys success, which in late criticism will be called decadent. Ibsen, Gamsuna, Meterlinka and another young, but already famous aristocrat writer Gabriele D'Annunzio - he managed to build the Nietzsheansky cult of superhuman in the salon and heartbreaking, purely Italian bourgeois love melodrama and besides the addiction to the old folk legend, skillfully moved One of them on the scene of the classic theater, in which Eleanor Duze then shone with her sophisticated beauty and demolition. Symbolism and decades challenges are not able to hide that this theater in many ways inherit the classical theater of the last century, grew out of it and does not claim any shocking, and even more so on the political tank.
At that time, I wrote my modernist play "King Pirushka". The accelerated people of Nerundyeev besieged the castle of King Pirushka. The litter of Zhardkos calls for nonsense to the revolution. The poet idiot, reading their idiotic vershs, and the faithful servant of King Behamel (the name of the White Sauce), "Culinary of Universal Happiness," the king of the Pirushki killed the famine of the crowded subjects ... non-stormed hunger. The king is killed, but the food is still no, and they devour his corpse, all as one dying from the indentation of the stomach. But the immortal soul of the people should be revived - and now the people of nonsense is reborn in the swamp of St. Runil, surrounding the Royal Castle. Here mystically comes to life and the king himself - and thus the story completes its circle, terrible and funny, being at the same point that began. Time is cyclically. The revolutionary rush of the people is natural, but is meaningless because it does not lead to any productive change. The meaning of the play, however, is not so important as a form, and she, from the point of view of the regulars of the bourgeois theater, was really unusual. And those hot Usachi in white collars from decent blagovospitable families, that they rushed to beat Marineti well, just that were the audience of such the theater.
We admit that their conservative rage against the deferred defense officer is quite capable of meeting understanding today: a tiny sketch with a dog really makes the impression of a foolish-induluble. But, first, it is still not to tear it from the context of time, how to get ahead. And secondly, aesthetic hooliganism was an indispensable feature of early futurists. Recall at least young Vladimir Mayakovsky, who threatened to insert the sun in the eye instead of a monocle and go so on the street, leading in front of him "on a chain like a pug", Napoleon's Bonaparte.
Superman
Living room. In the depths - a large balcony. Summer evening.
Superman
Yes ... The struggle is over! The law is accepted! .. And from now on, everything that remains for me is to reap the fruits of my works.Mistress
And you devote more time to me, right? Admit to the same way that you in recent days so often neglected ...Superman
I confess! .. But what do you want! After all, we were surrounded from all sides ... It was impossible to resist! .. And then the policy is not so easy, as you think ...Mistress
It seems to me that this occupation is quite strange! ..From the street suddenly comes the deaf roar of the crowd.
Superman
What is that? What's that noise?Mistress
These are people ... (Going to the balcony.) Manifestation.Superman
Oh yeah, manifestation ...Crowd
Long live Sergo Valevski! Long live Sergo Valevski! .. Long live progressive tax! .. here! Here! Let Valevski say! Let them come to us!Mistress
They call you ... want you to spoke ...Superman
How much people! .. All the area is brazed! .. Yes, they are tens of thousands! ..Secretary.
Your Excellency! The crowd is significant: it requires you to come out ... In order to avoid incidents, you need to speak in front of them.Mistress
Yes, I will perform! .. Tell me something! ..Superman
I will tell them ... Ordered to bring candles ...Secretary.
This minute. (Goes out.)Crowd
To the window! To the window, Sergio Valevski! .. Speak! Speak! Long live progressive tax! ..Mistress
Speak, Sergo! .. Speak! ..Superman
I will spend ... I promise you ...Servants make candles.
Mistress
The crowd is the same beautiful monster! .. Avangard of all generations. And only your talent is able to lead her way to the coming. How beautiful it is! .. How beautiful! ..Superman (nervously).
Yes, go away from there, begging, well! .. (He goes to the balcony. Deafling ovation. Sergo is bowed, then makes a sign of hand: it will talk. Complete silence comes.) Thank you! How nice to contact the crowd of free people than to the Deputy Assembly! (Deafening applause.) Progressive tax is just a small chamber to justice. But he brought it closer to us! (Ovations.) I solemnly swear, which is always preducing with you! And never comes the day when I tell you: Enough, stop! We will always go just ahead! .. And from now on with us the whole nation ... This is for the sake of us she stirred up and ready to unite! .. Let the capital admire the triumph of the whole nation! ..Long ovation. Sergio bow and departs from the window. Applause and screams: "Still! Yet!". Sergio leaves, welcomes the crowd and returns to the living room.
Superman (calling servants).
Carry out the candles from here ...Mistress
How beautiful it is, the crowd! This evening I felt that the owner of our country - you! .. I felt your strength! .. They are ready to go after you as one! I am idle you, Sergio. (Squeezes it in hugs.)Superman
Yes, Elena! .. No one can resist me! .. I lead all the people in the future! ..Mistress
I have an idea, Sergo ... And whether we can go ... right now: I want to enjoy the spectacle of this churred city. I'll go dress up ... you want? ..Superman
Yes ... Let's go ... come out. (Tired, descended into the chair. Pause. Rises, goes to the balcony.)Suddenly, a powerful and rude music appears from the door, goes around the room, grabs Sergo for the throat and throws down from the balcony. Then, carefully and hastily looking around, runs away through the same door.
Piece Futurist Setimelly was written in 1915. The ridicule over denuncianism with his cult of superhuman and the political patriot here is adjacent to the exactly seized features of Italian political life - populism, flirting with a terrible and excited crowd and with anarchists or fanatics of other political forces ready to murder. Curious and excessively fixed image of the superman: the ideal of D'Annzio, the aristocrat-politician, whom the people loves, appears in this sketch of the smug balbes. A parody of fashionable literature and a bourgeois theater turns into an explicit political mockery. However, both of these pretentious ladies are the sophisticated-nationalist Muse d'Annuncio and the tricky, the evident, defining the muse of futurists - only seem to be aesthetically incompatible. Already very soon they are alive in the ecstasy of patriotic, but a little later, and in political: fascism, to which both will be stopped, both will become eustomed. And futurism will already become its aesthetic showcase. In the meantime, two planets are a decent rich world and the world of common, including the proletariat, and the declassed elements, and regulars of cabaret and cheap musical halls with all their bohemian atmosphere, are sworn enemies. Therefore, the communist Antonio Gramshi sympathically responds to the rebellious futurism, noting his proximity to simple people, reminding how in the Genoese tavern the workers defended the actors-futurists during their scuffle with a "decent public", very intactly passing about "dryness and mind and The tendency to the cynical squeezing "Italian intellectuals:" Futurism arose as a reaction to the underdevelopment of the main problems. " Today, the sympathy of grams, an unsurpassed connoisseur of European culture and generally intellectual of the highest sample, to the Buntar Futurists with their hatred of academician intellectuals and the trump slogan "Dejachening the dust of past centuries from their boots". But, in addition to uniting communists and futurists of the hot desire of public changes, they also had a common strong enemy.
Future against past
For example, such:
Benedetto Croce
Half of the number sixteen, first separated into two components from its initial unity, is equal to the derivative from the sum of two units, multiplied by the result obtained by adding four heins.Superficially thoughtful man
Do you want to say that twice two are four?
All visitors of futuristic evenings were sure to be distributed program where the names of the play were indicated. The given play was called "Minerva under a light" - a hint of legal surveys, which was also engaged in Benedetto Croce. This is a sketch of 1913. The war is still conducted at the level of exclusively aesthetic, this struggle with theatrical means. It is characterized by the sketch, which is called "futurism against Passeism". Lieutenant comes to the cabaret scene. Arriving sitting at the tables in a cafe a long and gloomy look, he says: "Enemy? .. here is the enemy? .. Machine guns are ready! The fire!" Several futurists, depicting machine gunners, are running, and grind the machine guns, and in unison machine-gun queues in the hall there and there are small aromatic splashes, filling with a cafe with sweet smells. The crowd was frightened and applauds. "Ends all the loud sound - these are thousands of noses at the same time incumbent perfume" - such a remark is completed with his stage "funny" author, clearly tuned peace-loving and vegetarian.
And the times are not vegetarian. For almost a year, a war is in Europe, but the Italian government, although connected with diplomatic obligations with Austria-Hungary, does not want to enter it. The formal reason for the refusal to fight is that Austria-Hungary was not attacked, and herself declared the war of Serbia, and therefore the obligation of Italy as a member of the three-way union on mutual defense. In fact, however, the case is completely different. Nobody wants to fight on the side of the empire - the people are still alive of the memories of the metropolis and the risorman. Government, large bourgeoisie and conservative intelligentsia - neutrals, pasteists - patibirs are configured. But a significant part of society is covered by the desire to National Revenge, that is, the current alliance of the territories once belonged to Italy. But then you will have to fight on the side of the Entente, the opponents of the triple union! The government is full of doubt. But the slogans of Dannantsians, futurists and socialists under the leadership of Mussolini here just coincide - all of them fiery patriots of Italy and want war with Austria-Hungary. Futurists are now confessing the cult of power: the victory in the war will bring Italy to Glory and the modernization breakthrough, and in the winning Italy, futurism will finally defeat Passelyism! And here is Futurist CanjiLero (by the way, it was he who came up with a room with a dog!) Creates an evil cartoon, a complete eagerness of hostility is no longer to one perico, but to the whole soft neutralistic intelligentsia, who did not want to put the country into hostilities. Scene and called poster - "pacifist":
Alley. A column with the inscription "Pedestrian only." Afternoon. About two o'clock in the afternoon.
Professor (50 years old, low, with a belly, in a coat and glasses, on the head of the cylinder; bad, grinding. On the go will burst on my nose)
Yeah ... Fu! .. FIF! .. Paf! War ... They wanted war. So we eventually destroy each other ... And they still say that everything goes like oil ... oh! Ugh! .. so in her in the end and interfere with ...The Italian is beautiful, Yun, Silen - suddenly grows in front of the professor, comes to him, hesitates the fear and hits his fist. And at that time, a disorderly shooting was heard, which immediately subsides as soon as the professor falls.
Professor (on earth, in deplorable)
And now ... let me introduce yourself ... (Stretches slightly trembling hand.) I am a neutral professor. And you?
Italian (proudly)
And I am a combat Italian Capral. Puff! (Spits him in hand and removes, singing a patriotic song). "In the mountains, in the Trentine mountains ..."
Professor (pulls out a handkerchief, erases the spit and rises, it's noticeable)
Puf! .. Paf! .. Yes, ugh. They wanted war. Well, now they will get her ... (He can't slowly escape, the curtain falls right on his head.)
If you imagine this play played on the Music Hall scene, it may seem a direct call to the rebellion. This, however, is not like this: the text dated 1916, on the contrary, it defines how quickly the moods in society have changed, as its military-state patriotism rapidly swept, from which fascism will grow. Indeed, on May 23, 1915, the dream of futurists, Mussolini and D'Annunzio came true: Italy entered the war on the side of the Entente and sent troops against the former alliance.
Italia futurista.
Italy will expel this war, which lasted three more than a year. About two million soldiers and officers she will lose - killed, injured, captured. It will experience the bitterness of heavy lesions, the first of which will be the battle of the Battle of Trentino, which the Italian Capral, beating the honorable professor-pacifist, so victory. Many of the young soldiers who went to fight, filled with patriotic feelings and desires to take old Italian territories from Austria-Hungary, returned to cripples, others will be disappointed in their government and will replenish the ranks of future fascists.
And here on the stage again Marinetti. This time is not alone, but with a companion, too, Futurist Bocchoni. According to them, Peru, the play could pass for quite a patriotic - its action takes place right on the front line, - if it didn't hurt over her elusive spirit of mocking mockery, starting from the very name - "Surki". By God, this invalid couple with something reminds of the characters of the famous film "Bluff":
Mountain landscape in winter. Night. Snow, rocks. Boulders. Tent, from the inside illuminated by a candle. Marinetti - a soldier, coated in a cloak, in a hooded head, walks around the tent as a clock; In the tent - Bocchoni, also soldiers. It is not visible.
Marinetti (almost silent)
Yes, you ...Bocchoni. (from the tent)
What more! Yes, they know perfectly well where we are. If they wanted, they would shoot in the afternoon.Marinetti
Through chores! In the bottle there was still honey. Want - Press there, she is right ...Bocchoni. (from the tent)
Yes, the whole hour will have to wait until honey stalks to the neck! No, I don't even want to get a hand from the sleeping bag. And I should not be good there! Here it is decided that they need here ... come and power the tent of the queue ... And I will not even minimize! For another five minutes, it is to warm up here in warm ...Marinetti
Quieter ... listen ... are these stones fall?Bocchoni.
And I do not hear anything ... It seems no ... Yes, it is probed. Let's listen ...At this time, the audience sees how the Austrian soldier not seen by the clocks is very slowly crawling towards the tent on the stomach on rocks and stones by holding a rifle in the teeth. Barchoni finally leaves the tent, also in the hood and with a gun in his hands.
Marinetti
Quieter ... here again ...Bocchoni.
Yes, there is nothing ... (To the viewer.) Iha, the fool's fool itself, but is looking smart, eh? Now it will say that I am a superficially thinking and in general stupid, but he knows everything, he sees everything, everything comes up. Nothing to say… (To another tone.) Yes, here they are. Nevertheless look ... whole three. Yes, what beautiful! Similar to the protein.Marinetti
Not that proteins, not the rat ... We must put our storms on the snow, there is a little bread ... They will come here, you will see ... quiet ... Listen! Nothing. (To another tone.) By the way, if we are not destined to die in the war, we will continue to fight against all these exposed academicians! And we will reclaim all the modern flammability of arc lamps.They dump soldier storms on the snow and return to the tent. At this time, Austrian continues to crawl into them, stopping all the time, very slowly. Suddenly from afar, the "tra-ta-ta-ta" is coming - this is machine-gun queues. In the depths of the scene, the officer coated in the cloak appears.
an officer
Captain's order: everyone to come. Use. Rifles for manufacture, fuses to remove.He slowly goes down to the scenes, both soldiers fleeously fleeously, leaning on the go, prepared to crawl. Austrian, still unnoticed, still lies among the stones. The light completely goes out. In the darkness - the grenade break. The light flashes again. Scene in smoke. Tent tilted. Around the still lying Austrian - piles of stones. Both soldiers are returned.
Marinetti (viewing)
There are no more tents ... demolished! And the storm is empty, well, of course ... (Notes Austrian.) Wow! Corpse ... guts out ... Austria! Looks, yes, he has a face like a professor of philosophy! .. How nice, thank you, good grenade!
Scene: the temple of the war.
War, Bronze statue.
Democracy, old megera, dressed as a young maiden; A short green skirt, under the mouse, a thick textbook with the name "Rights for cattle". In the bony hands holds a rosary of triangular bones.
Socialism, the untidy type of Piero with Turtura's head and drawn on his back a large yellow sunny disk. On the head of a stray red cap.
Clericalism, old sacred, in a sticker, on the head of black Skuffy with the inscription "Mailing of the Spirit".
Pacifism, with the face of Askta and a huge belly, which says: "I am a pofigist." Estating to Earth Redingot. Cylinder. In the hands of olive branch.
Democracy, the crankshake in front of the statue of war, Istivo prays, the point is alarmingly looking at the door.
Socialism (entering)
Are you, democracy?Democracy (hiding behind the pedestal statue)
Help!Socialism (grabbing her hand)
Why do you run from me?Democracy (released)
Leave me alone.Socialism
Give a hundred lir.Democracy
I have no penny! All lent the state.Socialism
E-gay!Democracy
Yes, leave you! I'm tired of such a dog life, enough for you to exploit me. Between us speaking, everything is the end. Or go away from me, or now the police call.Socialism Immediately bounces, loosely looking around. Democracy Enjoy this to escape into the temple door. On the threshold on a moment turns around, putting on the tiptoe, sends Socialism Aerial kiss and hiding in the temple.
Socialism
After the war, we still will understand her. (Statue.) About the war, damned, since you will not be expelled by anything, do at least someone at least something useful! Yes, the social revolution is born out of your Nutra, so that in our pockets, finally, the sun coming! (Removes his Friegian cap from his head and throws a statue in the face. Going to the door. The door rises to Cleanism, which just entered, and looks at him with obvious contempt.) Lake!Clericalism (Eline voice)
Forgive! (Socialism, grabbing him, begins to walt with him, brings straight to the pedestal of the statue and leaves with prayer-folded hands, who traveled to the door itself. Clericalism, referring to the statue, says hensya and trembling voice.) About the Sacred War, this is the need to led me here in order to lean the knee before you, do not refuse mercy! Pow to us chaste your eyes! Do not you pale yourself at the sight of all this shamelessness? Guys and girls are still running over his boyfriend, as if necessary! Sacred War, stop this shame!An fig leaf leaves out of the scene and attaches it to the intimate location of the statue. At that time Democracy, having drinked out of the door, builds dirty faces Socialism, trying to humiliate him every way. In Takta She. Clericalism Easto prays. It includes Pacifism, removing the cylinder head. All three at his passage are inclined in a respectful bow.
Pacifism
Holy war! Scrolim the same miracle from miracles that do not be able to accomplish me! Becoming war! (Puts an olive branch in the hands of a statue.)Terrifying explosion. Frigian cap, fig leaf, olive branch fly through the air. Democracy, socialism, clericalism, pacifism falls on the floor. The bronze statue suddenly ripes, first green, then it becomes completely white and, finally, bright red - on her giant breast, the searchlight is highlighted by the inscription "Futuristic Italy".
What will it be, this Italia Futurista - Italy of the future, about which such different figures dreamed differently? White, red, green (color of the Italian tricolor)?
In 1922, Benito Mussolini comes to power. A little more - and throughout the country will begin to host the blacklores. From the first speeches of futurists in cheap cafes, only ten years will blow back, and the story itself will take its place of each of these three major figures of the national culture.
Nationalist-superholesale D'Annzio will lead the national expedition, who captured the city of Rijeka, and will establish a dictatorship there with significant support for the local crowd, becoming a commandant. It will be more successful than superhumans from a futuristic play, and almost will be the competition for Mussolini himself, which rushed to unlimited power, but will deduce the princely title and other privileges from the fascist Italy.
But the "honorable professor" is the intellectual Benedetto Croce - will be a rare pearl. So having lived all my life in Italy, he will not stop doing creative work, will not be afraid to openly oppose the coming fascist era, in 1925 he will release "manifesto anti-fascist intellectuals" and will not hide his hostility towards the champion to touch him. I do not miss the opportunity to express an underlined respect for another ideological opponent - Communist Antonio Gramshi. For seven years, Croce will survive and Mussolini, and fascism. He will die in his old and beloved baroque house, bending over the manuscript.
But Marinetti, who was eagerly embarked on the scene, who was prone to the "cynical squeezing", will personally take part in the pogrom shares of the blacks, finally likening the little "combat cap" with his hatred of "Unwitted academicians." Favorite brainchild - futurism - he will promote the highest heights, making the national aesthetic doctrine of fascism, thereby displacing him and his name.
In 1929, one of the comrades of Marineti fate enters Germany, where he meets with Erwin Pischor. The communist and great director of the Political Theater expresses him of his indignation: "Marinetti created our current type of political theater. Political action by means of art - because it was the idea of \u200b\u200bMarinetti! He was the first to fulfill her, and now he betrays it! Marinetti renounced himself! " The answer is the answer to Marinetti: "I am answering the Pisitor, accused of refusing to follow the principles of our manifests of the politics of twenty years ago. In those years, futurism was the soul of interventionist and revolutionary Italy itself, then he had exactly certain tasks. Today, the winning fascism requires absolute political subordination, as well as winning futurism requires endless freedom of creativity, and these requirements are united in harmony. "
"This official motto of the entire movement in fascist mode," researcher Giovanni Sheet notes, is nothing more than the veiled recognition of powerlessness and at the same time paradoxical excuse of agreement. " In the same 1929, Marinetti, a former rebellion and hate of the bearded heads of philosophers, becomes a fascist academician, gaining official recognition and converted his early play "King Pirushka" on the cyclicality of the history and meaninglessness of revolutionary changes. It would be possible to say that, with age, turning into a recognized scientist husband, he divided the fate of all successful risks. But the story itself introduced into the image of the "fascidating academic", that explicit shade of mumble ridiculous ridicule, which was read in the roles of a soldier-groundhog role played in the young Marinetty. The fate of the eccentric writer largely determined the fate of the entire movement. "Second Futurism" will be without politics, but with the lyrics and peculiar "poetry of technology", but as official ideology, they are no longer destined to those rapid ups, what were the futurism of the early - young and Bunar.
Kazimir Malevich. Sketch of the scenery to Opera M. Matyushin and A. Kicken "Victory over the Sun". II DeMimo, 5 Picture, 1913
Paper, pencil
First futurists theater. The image is provided by the St. Petersburg State Museum of theatrical and Music Arts
As the eyewitness written by Alexander MEEBrs: "There were disputes, screams, excitement" i.. When they shouted from the hall: "The author!", The chief administrator of the theater replied: "He was already taken to the madhouse." But Alexei Kratoyny was happy! He exclaimed: "What a success"! He achieved his goal - a complete alogombma and madness of action. But what is interesting:when you shouted the "author!" - implied twisted! It seemed to anyone that the artist could be the author of the performance. The public was traditionally focused on the perception of the content, that is, dramaturgy.
When they shouted from the hall: "The author!", The chief administrator of the theater replied: "He was already taken to the crazy house"
The famous quote from the memories of Benedict Livshitsa so describes the play: "The glowing focus" Victory over the Sun "broke out at all in an unexpected place, aside from her musical text and, of course, in astronomical distance from Libretto" i.. This murderous "of course" stressed the text of "victory" for many years. But not for everyone. Slightly before Memoirov Livvitz Daniel Harms, who took from Malevich's hands and his fellow gift of the absurdist play, writes "Elizabeth Bam". The fact that Livshitsu in the "victory" seemed to "chaos, rashlyabanity, arbitrariness" i., It was the principle of new drama, who sought to express peace in its modern state. Maybe it was about this who thought Alexander Block on the play that did not look at the scene?
However, later the assessment, these Livvitz, even allowed such historians of the theater as Kovtun and Rudnitsky, just to dismiss the text of the circular, as from an annoying flies flying in the "astronomical removal" from recognized ingenious sketches. At the same time, the information was taken on the periphery that Malevich (as well as Mikhail Matyushin) was a participant in creating this unrecognized text. Rudnitsky wrote: "The play of twisted - rough in the language" (which, by the way, in the lexicon of twisted - a positive assessment, declaratively declared as a sign of new poetry). The text of Proverbs-Utopia seems "primitive". According to Rudnitsky, the characteristics of the type "sluggish" are applicable here, but with lethargy combines "crying excitement ...". He sees the imitation of emotions, "artificiality", considering that "images are rationalisticly designed" i.. In this judgment, familiar Livshitsa intonation sound.
Assessment of the quality of the play "Victory" from those researchers who spoke by 1986 (the beginning of my work on the reconstruction of the "victory"), relied on the text of the Livser, he was perceived as truth. And many told me: "How will you put it without text? Yes ... the text is bad ... But the sketches ... "And I believed, not yet reading. But then I laughed - what if I find something good there? I've read. It was the pristine element of the dramatic of the absurd, surfing on a big wave. The world in the play was completely different. So, as in fact. Livshits at that moment ceased to be a reliable expert on this issue.
What are the causes of such Livshitsov's statements? Possible reason - the time of writing a book, 1929. If we talk about the "half-and-half-chain archery" as a whole, an enthusiastic tone of entry is alarming, so much differing from the text of the memoirs themselves. Malevich is a famous mystifier. He actively created an earlier biography of the Black Square. Therefore, the genius and weight gain of the Great Casimir, flashering with their greatness of the remaining project participants, was automatically transferred in 1913, where he already had a black square. But the fact that the black square, the seduced history of art, on the legend somehow appeared in 1913, from eyewitnesses no one noticed. The square was lost among the overall geometric confusion, and the viewer did the subject aspect aspect rather, trying to reconcile with futuristic disgrace, calling it fantastic cars and steams. Here is one of the mechanisms, which automatically more rated authors in late estimates attributes a large role in creating group projects. Malevich then - a recognized Master, in 1929 it is also just beginning to persecute him. And twisted already - the Paria, urban crazy literature of social realism. Similarly, Matyushin did not become a great composer of the era, and his thoroughly had a significant part of the shares in a futuristic joint-stock project, its authorship is forgotten, in a broad sense of the word, in this artistic gesture. Circular in the assessment of Livseru lost almost all the shares and, so to speak, still remained. But it's not just a refiner from unwanted. One of the reasons was that Livshits - the poet, but he understood the word very differently. He was alien to all that was told. The author of the brilliant translations of the French "damned", Livshz was still far from the aesthetics of "Russian damned".
Kazimir Malevich. Many and one. Sketch of a suit for opera M. Matyushin and A. Kicken "Victory over the Sun". I Dehimo, 1 Picture, 1913
Paper, Pencil, Watercolor
First futurists theater. The image is provided by the St. Petersburg State Museum of theatrical and Music Arts
"Chukovsky, despite the long training his twisted to our pleasure, incredible, philistine nonsense "
Livvitz wrote: "We wrote from laughter when, by passing the proper genius of Khuknikov, Chukovsky did an unexpected revolution and declared the figure of Russian futurism ... Alexey Kratynykh" i.. But, on the memories of Matyushin, futurists laughed on another occasion: "Chukovsky, despite the long training his twisted before the dispute, and remained an "old man," not understanding the new, and spoke on the report, to our pleasure, incredible, philistine nonsense " i.. Livshitz - master of the introductory words. So having a Mayakovsky: "Mayakovsky tragedy, like, well, well, "I kept" first of all in terms of verbal ... ". Like, well, well! Mayakovsky was upset by his misunderstanding. Still a companion! According to Livvitz, "He, as if the child, kensited by sugary toys, and when I tried ironically to take a ridiculous, in my opinion, Butaforia, his face was overshadowed." i..
Livshits actively spreads the abyss between twisted and Malevich: "It was a picturesque wait that preceded the sacred freeness of the Suprematism, but as it was stray from that kind, which people were recreed and sang in the tri-fingers and shells! Here is a high organized material, voltage, will, nothing accidental, there is chaos, rash, arbitrariness, epileptic cramps ... ". Yet Livshitz moves in his work along the way of the text of the riddle, Mikhail Gasparov wrote about him. But the riddles of the incoherent, amorphous, invertebrate text "Victory" Livshits did not want to solve - perceived as weakness, progress. All this situation with the assessment of the Futuristic Theater Livvitz does not have so much tritely warns the danger of the quotation from the context and turn them into duty, how much it allows you to look at the living situation with the emergence and formation of new principles of the theater in a futuristic project of 1913.
Probably, the "victory over the Sun" can be attributed to the type of texts, which, according to Bakhtin, are saturated with objectively underwent even future. The future gives text specific "multi-dimensionalness" and determines the rich and diverse posthumous history of these works and writers. This explains their unusual, which Mikhail Bakhtin characterizes as "apparent monstrity" and explains this impression by the "inconsistency of the canons and the norms of all completed, authoritarian and dogmatic epochs" i.. The director-avangradist Igor Terentyev figuratively said that it was better to see the "victory" in a dream, because from her from in the head of any director will be dull.
"The victory over the Sun" can not read: so much there is inquisitively captivating absurdities, groaning prospects, failed events, from which it becomes dull in the head of any director. "The victory over the Sun" must be seen in a dream or at least on stage
"Victory" can not be understood by sharing the play, music and sketches. The pictorial, musical and text row in the "victory" protrude as interimathed codes, and therefore the decryption of one layer is programmed through the other. "The victory over the Sun" is a cubefuturistic play, which manifests itself in its cubistic design, seeking to freeness. As you know, I will be developed by the principles of synthetic art, which, in their opinion, should have been created by the collective method, which made it possible to make the principles of synesthesia into the birth of material at the earliest level, and thereby ensure its greater integrity.
The problem of authorship in futurists was solved very peculiar. It was possible to take the text and start thinking thoughtfully into the middle, without asking for co-authorship consent. For example, in the same 1912, Malevich illustrates the book of crash and bread "Game in hell", where all three first become co-authors. Later, in 1928, the twisted recalled: "The game in hell" was written like this: I already had a string of 40-50, who were interested in Khlebnikov and began to attribute to them, mainly in the middle, new stanza " i.. For Malevich, who, "the game in hell", work with the "handicraft book" was a natural continuation of his work in the style of non-approximation. The creation of the opera was accompanied by collective fun, unrestrained laughter during collaboration. "The victory over the sun" is full of internal self-hitch, the stories of their company - for example, the fall of Kamensky Vasily with the airplane and what he did not die is reflected in the plot with a fallen aviator. Mocking, hints, Lornets, Khlebnik Travels in all times. It seems that this was written as acting campaigns, in an inseparable connection, by type brainstorm.
It was a trio of visionaries who descended revelation, and they looked at the dream, who gave them a new idea of \u200b\u200bthe man and the universe. The dream was an apocalypse, where the focus was on the concept of "beginning" (as actually it should be at a decent Christian who meets the end of the world as the beginning of the kingdoms of God). It was about, of course, about the temple of the new art and the futuristic gospel. Even the distance did not prevent co-authors to work. Khlebnikov, who was at the "Other Sea", participated in the work. To the "victory over the Sun" he wrote a prologue - "Black-Maker Westchuk". Already by July 20, 1913, the future "Deimo" had a name - "victory over the Sun.". "Deimo" is the word invented by the authors that serves to designate a special type of theatrical presentation. This term has no analogues in traditional theatrical terminology and addresses the viewer to Mystery, Action, etc.
Simultaneously with the "victory", Malevich, twisted and Khlebnikov work on the book "Troy". Circular wrote about the decision of the appearance of the victory character in the letter of Matyushin in October 1913: "I thought alone about the play and it seemed to me: well, maybe it was if the actors were reminded the figure on the cover in the" Three ", and spoke roughly and down, but I don't know how it all comes out, and therefore i rely on you and Malevich " i.. This figure with the cover and became a prototype of the silver, and the total installation recorded in the twisted letter, largely determined the stylistry of "victory over the Sun.". That is, twisted gives advice on creating a visual image of a performance. Moreover, the main decision implies not in the hands of Malevich, but in the joint efforts of Malevich and Matyushin. We also note that he expresses and about the manner of the behavior of the characters - "spoke rough and down", this refers to the issues of the director. Three were divided among themselves the functions of the director, Matyushin explained the artists in whom the meaning worked with singing, Malevich - with light, twisted - with a common director.
Kazimir Malevich. Attentive worker. Sketch of a suit for opera M. Matyushin and A. Kicken "Victory over the Sun". I Dehimo, 1 Picture, 1913
The image is provided by the St. Petersburg State Museum of theatrical and Music Arts
The path was really new. It was collective creativity, which Matyushin later wrote: "Circling, Malevich and I worked together. And each of us, with his creative way, raised and clarified the one started. Opera grew up the efforts of the whole team, through the word, music and spatial image of the artist. " And the authors very well imagined a certain overall idea, uniting text, music and visual images, then the "general meaning" (as Matyushin called it), which determined the meaning and form of a future performance. Matyushin recalled: "I wrote music, twisted - Text, Malevich drew scenery and costumes. We have been advised about everything. Circular reworked the text when I and Malevich pointed out to him on weaknesses. I immediately changed those places that did not answer general value i. (italics here and then mine - G. G.).
In general, all futurists, except Livser, painted, as the burllum recalled. Circular also had an art education. Holding various types of art from the authors of "Victory" created prerequisites for collective creativity by type of folklore. Nevertheless, the uniqueness of "victory" was originally in the fact that each of the three co-authors was also a theorist, and for twisted and Matyushin in two kinds, and Malevich in three arts - painting, poetry, music. The performance that they created together was an action of theoretical artists who proclaimed new principles of art and creativity in their play-declaration. In this sense, they can be compared with Benoa - theorist and artist, one of the creators of new Russian ballets, if you forget a big gap between them in a social aspect.
Malevich also manifests himself not only as the artist of the play "Victory over the Sun". The omnipresent Casimir protrudes on the literary front along with poets. But in 1913, Malevich's leadership was not allocated in the Futurist theater. They enjoyed a collective gesture, collective creativity. The components of the performance were felt like equal. It was important to make all the layers to make new, revolutionary refuting old arts. It was not the maintenance of the visual side of the play by secondary components.
There was no quarrel on the fact that in the poster, each was specified only in one hypostasis. There were no situations like the one who quarreled ivan Ivanovich and Ivan Nikiforovich Russian seasons - due to the fact that at the Shhaherazada posi, Dyagilev did not indicate Benouua co-author of the scenario. The authors of "Victory" had an additional unifying brand - they were the "theater's first futurists."
How it relates what was in the theater of futurists with a later term, the artist Theater, who started pulsing already in Dyagilev projects? In Dyagilev ballet, there was a story, but there was no text. And plastic reigned. And in the "victory" there was text. The dramaturgy itself determined static, close to fashion defile. Characters-concepts appeared, proclaimed their essence and deleted their views and were removed (though, incomprehensible). The shift of the emphasis towards their plastics and visuality was simultaneously presenting the voids instead of the causal relationships familiar in the drama. Emptiness and was an absurd territory. Visuality and alogic action were two sides of the same medal. The stressful plot with understandable replicas of heroes would shift attention from a visual image as a matter of performance. Visuality was needed emptiness, the emptiness was needed visuality, as a man-invisible needed bandages on the face and clothing to outline their existence. In this emptiness wandered characters-metaphors. They were even less clear because in the performance of 1913 the names of the characters (who were in the play and on signatures to the sketches) were not voiced for the audience, and it had to build guesses themselves regarding the character of the characters, the meanings of their actions, the system of color matters in the performance. Why is a character in a white and blue suit hacking with those in a green mask and costume with yellow and purple fragments?
In the "victory over the Sun" novelty was not in the predominance of visual, but in the predominance of non-verbal
The audience were deprived of the pleasure of learn funny nicknames of these mysterious and clumsy color creatures at the time of their appearance on stage. In the 1988 Scenario, I made additional replicas (remarks, other texts of twisted) and handed them to the reader. At the same time, I had to add to the text that I was "sounded" from other verses of twisted, because in 1988 it was almost extantly sounded by the real text of Holyov: "We shot in the past. What remains? Not a trace. Void ventures the whole city " i.. I had to increase the negative mass of the emptiness, so that the modern viewer felt her as an invisible person, brought by his hand. But what is important: in addition to authorship, as the functions and methods of creating a work, there is another side of the artist's theater. Not who Created. what created? Artist's Theater as an item. As a result. As a new theater.
Here I would prefer not the term "artist theater" (proposed by V. Berezkin), and another option (if we talk about the theater, where there is text, and not about a plastic or ballet performance). In the "victory over the Sun" novelty was not in the predominance of visual, but in the predominance of non-verbal. There, not only the visual image was approached for this role, but the alogichic text of the crooked-Khlebnikovskaya murgeing "sounded" and plastic masses of music moving with visual evidence. I would have identified the theater of non-verbal information. And if we strive to allocate distinctive signs, and looking at the Angilev's entrepreneurs, in which outstanding artists and theorists of the Association of the World of Art, who attached projects the features of extraordinary colorfulness and expressiveness, call it the artist theater, then on such logic - a good artist theater - This is the "artist theater". And the theater of a bad artist is just the theater?!Probably somehow not so.
It seems that the proportion of non-verbal in the performance is a clearer criterion. If the non-verbality prevails - this is the theater of non-verbal information, for him is often characterized by the poetics of dreams. Outwardly, it looks like a prevailing visuality, whose language is unfolded by the concept of the performance, then we usually say - the artist theater. Synesthesia - the interconnectedness of the sensations of different senses - a key concept for the emerging theater of the artist (or the theater of the composer's artist, as it was developing this concept of Scriabin, who had colored hearing). The creation of the "yellow sound" of Kandinsky is as the most important milestone.
The idea of \u200b\u200bsensual and symbolic in the theater fell into the Bermuda triangle of Stalin's times. But later he emerged and declared himself such ingenious decisions as the "live curtain" David Borovsky for the performance of Yuri Lyubimov "Hamlet" in the theater on the Taganka, and found the name - "Live Scenography". She responded at the Tadeusch Theater of the Cantor, Jozef Chaina - Is it worth listed by the famous names! The actor has gained himself on stage not as I-saspelo, requiring verbal (verbal) severity, and how I am slyman. Calcity as a sensor carrier has reached the scene space, in the world of color, light, forms, real time. Although, instead of the actor, objects or "figure skaters" may appear, like El Lisitsky in his version of "Victory". Terms - the matter is internal. And the theater about which is already almost a hundred years. But we can say that he is still very young, because not all viewers are ready to perceive him, often you can hear: "And I did not understand anything." And here, because of the curtain, the shadow of the triumphant twisted in the strait shirt is given and joyfully shouts: "What a success!".
Performances of Galina Gubanova Theater "Black Square"
Directed by Galina Gubanova and "Tolstik". Rehearsal of the play "Victory over the Sun", 1988
Two performances of the "First Futurist World of the Theater" took place on December 3 and 5, 1913 in St. Petersburg Moon Park on an officer street. Author of sketches Kazimir Malevich, Text - Alexey Kratynyh and Velimira Khlebnikov, Music - Mikhail Matyushin. The complete reconstruction of the performance was completed in Leningrad in the fall of 1988, but was prohibited by theatrical bosses. Fragments of the performance opened the exhibition Malevich in the Tretyakov Gallery in 1989, and he was fully shown in February of the same year in the Stanislavsky Theater and was played on large scenes (theater on Taganka, etc.). The author of the reconstruction and director Galina Gubanova created the concept of "revived sketches." The costumes were preparing on the original sketches, accurately reproduced the color and all other nuances. Even strokes Malevich were reproduced.
Dolls "Many and one (sun carriers)"; on the floor - "traveler"; Without mask - "readers". "Victory over the Sun." The performance of the theater "Black Square",1989
Photo from the archive of Galina Gubanova. Image provided by Galina Hubanova
Performances of the Galina Gabanova Theater "Black Square" took place on the Palace Square and at the historical site of creating a performance of 1913, ul. Decembrists (former officers). The five-meter cubolic scenery was hanging out in the halls of the Russian Museum, and over the water washing from the bridge. Silal-poet, the main character of the play, wins the sun of old art. The burner with a black square on the chest predicts the end of the world. The fat man and attentive worker do not understand the high ideas of the new world. Traveler in all times is looking for a place for life. The face without a mask was only from the character of the reader, who led the performance.
Cultural and historical context "Victory over the Sun".
§ 1. Cultural and historical situation of the 1910s. And the Russian theaterhomatic avant-garde.
§2. Creating a theatrical project. Collective creativity authors
§3. Overview of the character system (traditions, realities, prototypes).
§ 4. Sintez of light, colors and "key sounds" in the performance of 1913.
§ 5. Cultural codes in the "victory over the Sun"
Images in the "victory over the sun".
Introductory comments.
§ 1. Prologue.
§2.Mimo 1.
Molanskiy silica.
Traveler for all centuries.
Some malicious.
Bully.
Enemy.
Enemy warriors in the costumes of the Turks.
Horists in costumes athletes.
Diesels.
Splitter on the phone.
Bearing sun Many and one.
§ 3 DeMimo 2.
Tenth countries.
Motley eye. But.
New and cowardly.
House on the wheel.
Toll.
Starked.
Attentive worker.
Young man.
Aviator.
House-cube.
Mythological foundations of the organization "Victory over the Sun"
§ 1. Functioning of a series "Cube-Square Circle".
§ 2. Cultural creeping metaphor as a search for integrity.
§ 3. Semantics masks in the "victory over the Sun.".
§ 4. Historical and geographical sources of futuristic mythologies.
Introduction of the dissertation 2000, Author's abstract on art historian, Gubanova, Galina Igorevna
The subject of this study is "victory over the Sun", the performance of the Futurist Theater, which took place in December 1913 in St. Petersburg, an alogichic dream of a grandiose theater metaphor. The performance was a declaration of Russian cubal fells, proclaimed new principles of art. The subject of this study is the peculiarity of this theatrical undertaking, which has incorporated the impact on the development of the art of HC.
The subject of the study, the author chooses not only the performance itself of 1913, and the entire theatrical project: and the performance, and the author's concept (V.Hlebnikov, A. Krucheny, Kmalevich, M. Matyushin), and the material (play, sketches, music) in their unity.
Theatrical art is experiencing at the turn of the XIX-XX centuries a difficult period. There is a rethinking of the traditional system of values, both in the moral and ethical and in the religious sphere, the refusal of classical philosophy, the search for new ideological systems, accompanied by the emergence of a new one for the individual of the consciousness of its own inner fragmentation. The feeling of the loss of a person in the world, the actualization of the apocalyptic motives provoke an interest in mysticism, occult, religion, philosophy, psychology in the circle of creative intelligentsia.
Against this background, the representatives of the Russian Theater Avant-garde, who took the left-wing position relative to the traditional system of values. In the language of avant-garde, mixing various cultural layers, determining the features of the artistic work. They have different genesis, are associated with different cultural traditions. The bright representative of new creative quest was K. Malevich, one of the authors of the "Victory over the Sun" of 1913. "I changed in zero forms and caught myself from the Omut of the Dribani of Academic Art," I wrote K. Malevich in the article "From the Cubism to Suprematism" (Malevich, 1995: 35).
The victory over the sun "is not only a cheerful futuristic action, but also a reflection of the turning point, the premonition of future shocks. It is likely that this work can be attributed to the type of works, which, according to M.M. Bakhtin, are saturated objectively in concern to the future. The future gives the material specific "multi-dimensionalness" and determines the rich and diverse posthumous history of these works and writers. It is the permeability of the future that the future is explained by their unusual, which M.M. Bakhtin characterizes as "apparent monstrousness" and explains this impression "inappropriate canons and standards of all completed, authoritarian and dogmatic eras" (Bakhtin, 1965: 90).
As you know, I will be developed by the principles of synthetic art, which, in their opinion, should have been created by the collective method, which made it possible to make the principles of synesthesia into the birth of material at the earliest level, and thereby ensure its greater integrity. "Victory over the Sun" - a cubefuturistic play, which is manifested in its design, expressed in the principles of cubism, which is impregnable. Tracking, on the one hand, the relationship of various art elements and the implementation of the principle of synesthesia within each particular image, we, on the other hand, can more deeply disclose the images of this product.
Many of our predecessors acutely felt the simplicity of victory over the sun and, being captured by the external aloguery of what was happening on the stage, accurately conveyed their own sensations and experiences, arising in the process of perception of this grandiose spectacle. So, for example, Igor Terentyev wrote: "Victory over the Sun" Cannot read: So much there is acknowledged by captivating absurdities, groaning prospects, failed events, from which it becomes muddy in the head of any director. "The victory over the sun" must be seen in a dream or at least on the stage "(Cyt. Pubanova, 1989: 42). This characteristic testifies not only about the deep impact of the" victory "on the author of the statement, but also on the impossibility of plane, Simplified reading this work.
Supporter of rigid logic as part of a traditional realistic theater aesthetics This formulation may seem to the connection of senseless incoherent actions. Nevertheless, the proclamation of the abandon from the cultural past in the works of artists and figures of the theater of the Epoch of the Russian avant-garde 1910-1920s. I did not mean their absolute freedom from him, although the newspaper criticism of those years was presented to this.
For a long time, "victory" was perceived in the separation from the main channel of culture as an exotic theatrical and artistic matter. This perception was primarily facilitated by theoretical declarations of futurists, proclaimed the refusal of realism traditional for Russian culture of the XIX century.
The relevance of the chosen theme. Despite the fact that in recent decades there was a rethinking of the forefront of the avant-garde in Russian culture and the works of the theoretical, generalizing nature appeared, and the number of work is constantly increasing, where the degree and form of impact of the avant-garde on the culture of our time, "victory over the Sun" In the intersection of different cultural traditions, needs a detailed comprehensive analysis for the study of hidden semantics of images, as well as to identify the essence of the artistic declaration of Russian futurists and the originality of expressive funds.
Defining the genesis and semantics of characters, images, motifs, plot strokes;
Identifying key text codes by using data from mythology, folklore, cultural history;
Determination of the originality of expressive agents organizing the artistic integrity of the theater project.
The main goal of this work achieved by the author due to the solution of the above tasks is to create a comprehensive analysis of the theater project in a wide theater, cultural and art historical context with the involvement of the history of the theater, mythology, ethnography, and the generalization of the data on language, structure, semantics, the identity of expressive means This project.
Research methodology. In this paper, the author applies new methodological approaches for the material under study. They are determined by the identity of the material itself and are concluded in combination of different methodological techniques. These are theatersedic analysis and reconstruction, cultural analysis, a contextual approach to key concepts (concepts) of Russian culture used in the "victory over the Sun", as well as the descriptive method.
For the author, it is fundamentally important for the relationship between dramaturgy, images, musical series, costumes at every specific moment of the development of theatrical action. Revealing the features of the plot and character characters of 1913, the author not only analyzes from the standpoint of theater execution, but refers to the idea itself, traces the relationship of the elements of the production, which are declared by the creators of the Futurist theater as especially essential in the context of the desire for synthetic art.
The pictorial, musical and dramatic layers, the author reveals both mutually defining elements, and therefore applies the principle of the decryption of one through the other.
The work is practiced to appeal to later works by the authors of the "victory over the Sun" as an auxiliary material, in which the concepts presented in the performance of 1913 exist in deployed and developed form. With the same purpose, the author traces the use and development of concepts and images in works, close to the "victory over the sun" (Andrey White, V.Makovsky, S.Asenstein, etc.). Thus, the author produces a methodological approach in this study, which can be used in analyzing such material and in other cases.
The thesis was built as a gradual increase in the level of generalization, which is due to the desire to convey the gradual manifestation of mythological images, motifs that make up from individual details, references, elements of the performance, hints concluded in sketches and libretto.
Significant help in the study was the experience of reconstruction of the famous performance of 1913, implemented by us in 1988 in the theater "Black Square", St. Petersburg (the first appeal to the material was undertaken in 1986). This setting was carried out on the basis of our directorial scenario, which includes additional material. Preparation for the creation of the performance allowed us to determine the conceptual peculiarcy of "victory over the Sun", as well as the specifics of this avant-garde project as a theatrical phenomenon. Reflections on this were expressed in figurative elements of the performance (in music, scenography, plastic, rhythm, word). These additional elements, woven into the fiction-reconstruction fabric and creating another layer, sent spectators to mythology, ancient cultures, to the ritual, to theoretical parcels of the authors themselves, etc. The idea of \u200b\u200bthe "victory over the Sun" of 1988 was in the collision of the production material of 1913 (authenticated by the "Black Square" theater) and the entended cultural context. It complements the main line of images, through which the meaning was shown and the essence of the mythologist proposed by will be covered in an encrypted form.
Novelty research. For the first time, the object of study was chosen not only the performance of the "victory over the Sun" of 1913, but the entire theatrical project. Thus, access to a new level of analysis of the play itself as a part of a holistic cultural event is carried out. For the first time, dramaturgy is analyzed in detail, which has become the basis of the studied formulation. It is also for the first time simultaneous and holistic consideration of all parts of the theater project. A multi-level analysis of the system is an embossed idea concept. Traced in the link of text with mythological and folklore consciousness. Thanks to this approach, the level of generalization is manifested: character-concept.
The use of a cultural key system to analyze the material is a generally recognized achievement of semiotics, but the disclosure by the author of cultural layers based on the theater project of futurists marks a fundamentally new approach to this material, as well as the connection of the form of a futuristic project with key concepts of Russian culture.
The era of the denial of the advantages of futuristic art has long been completed, but the need to work out new approaches to this art aggravated in recent decades. As a result, the interest of scientists for the work of Russian avant-garders aggravated.
The theoretical basis of this work is the works of domestic and foreign theaters, art historians, literary croups, cultural scientists. The author uses works on iconic systems, work on mythology, religious examination, attracts information on the history of the XX century theater, comedy del Arte, avant-garde art. Particularly important can be called the works of such authors as K.S. Stanislavsky, V.I. Meyerirovich-Danchenko, V.E. Meyerhold, B.V. Alperz, V. Yapropp, V.Markov, L.A. Jadova, .M.lotman, as well as, A. F. Nekerylova, V.P.Toporov, N.V.Brhinskaya, M. B. Meilah, etc. From foreign authors, let's call G. Kraga, Levi-Strauss, M. Ealiad, P. Taddina, A. Golan, Sh.Daglas. The author of this work takes into account the fact that the researchers studied in general the history of the famous "victory over the Sun", determined her place in the creative evolution of K. Malevich as the creator of Suprematism, pointed to the problem of the relationship of the artistic creativity of this author with his journalistic justifications of new art.
It should be selected to note the methodological, theoretical and factual significance for this study of the works of G.G.Pozozodova, D.V. Sarabihanova, A.S. Shahatsky, I.P.Uvarova.
The results of the study were tested in reports and communications at conferences: Decoded to the 110th anniversary of K. Malevich (Petersburg, 1988 and Moscow, 1989); "Russian Avangard 1910-1920s and theater" (Moscow, 1997); "Avangard XX century: Fate and results" (Moscow, 1997); "Symbolism and a marionette" (St. Petersburg, 1998); "Malevich. Classic avant-garde. Vitebsk "(Vitebsk, 1998); "Russian Cubefuturism" (Moscow, 1999); "Symbolism in the forefront" (Moscow, 2000).
The main provisions of the dissertation are set out in the author's publications with a total volume of 4.5 printed sheets.
The work consists of an introduction, three chapters, conclusion, a list of used literature, Anxals and illustrations: Sketches K. Malevich to "Victory", images of ancient signs (Western Europe, Tripoli-Kukuty, Dagestan and Dru-)
Conclusion of scientific work thesis on "Theater of Russian Futurists"
Conclusion
The process of creating a "victory" is a collective work according to the type of folklore. The uniqueness of the "victory" was initially in the fact that each of the co-authors also belonged to theoretical developments of different types of art (M. Matushin - Music and Painting, A.Krucheny-Sign and Poetry, K. Malevich-Sign, Poetry, Music). The Opera "Victory Over the Sun", which they created together was an action of the theoretical artists who proclaimed new principles of art and creativity in their play-declaration.
The author of the work sought to submit a "victory" as a holistic artistic system, to realize its place in the artistic and historical process, and thus find a clearer understanding of the artistic and historical process of the 1910s.
Fighting futurism with symbolism, sometimes understood as rejection of the symbolism along with partial borrowing, it seems to us a somewhat different process. Using the example of "victory over the Sun" you can see that this is a process, speaking by the tongue of folklore, mastering through the "devout", if we consider the ideas and actions of futurists in the system of laughing culture.
Read the whole text, i.e. All of its levels, it is possible only to remove all the seals in turn, finding all the codes that are encrypted by the images "Victory". In the "victory", the mythopoietic thinking of the authors is especially manifested: it is saturated with mythological motives.
Each figure, each character is a kind of new mythologist created by futurists based on traditional mythologies, and can be considered as a character - concept (character-mythology).
Each character-concept (character-mythology) conceptually correlates with others as part of a single artistic and philosophical declaration.
The structure of the declaration that is implemented as a series of semantically saturated visions combines the characters-concepts (characters-mythologies) and organizes the text "Victory" along with the plot, which develops as a description of events related to the struggle and victory over the Sun, and then creating a utopian world .
The dream poetics of "Victory", which first pointed to Igor Terentyev, is definitely connected with the poetics of revelation and reminds a series of visions that brought the gaze of St. John.
The motives of the ancient myths are felt as a primary source, many of them enter the "victory" through the story of the apocalypse, as its components. Therefore, one of the encryption texts to the plot "Victory" is the plot of the apocalypse.
Similar poetics could be perceived by the authors of "Victory" not only through revelation directly, but also indirectly - i.e. Shooting in other forms - mysteries, puppet performances, built as a series of individual phenomena-visions, cosmorama and other bolagated spectacular ideas, from where they drew inspiration like Goethe, who saw Faust in the puppet theater, and then created his "Faust". But in the light of the ideas of the new theater, based on the myth and ritual, on the idea of \u200b\u200blife, similar to sleep, the experience of shamanism, naturally, that the action was a series of dreams.
As in Revelation, in the "victory", the essence of the phenomenon is expressed allegorically, in visual and sound metaphors.
The play is built as the "Theater in the theater." That is, against the background of the real theater (for example, the Hall on the officer) is played by the presentation of the theater "Willlarin", where the readers call us.
Our approach to the text allows you to clearly imagine the functions and characteristics of the heroes. Mollyanskie silica - builders of the new world, new art, prophets of the new time. Everything is accomplished by their will. They themselves begin the battle with the Sun and discover the sky.
N E to and th, from the will of which all events in the apocalypse depend on - this is Jesus Christ. In the "victory" he is abolished and replaced by a number of futuristic characters, which themselves build the world of new art. Functional signs of some are distributed between characters. They recognize themselves with themselves - artists, poets, musicians.
The appeal against the first person is not only a fegated reception, but also the key position of the authors-willow, which presented deeply autobiographical material as a statement made for the general public.
The basis of all the curtains on the sketches of Malevich - the square, inscribed in the square, the projection of the cube, the imaginary cube. The square shape is both an ancient symbol of "Babylon", and the form of Scythia, and the view of the horoscope, and the plan of the zikkurata tower, an ancient observatory. " Symbols of square, abstract space limit, plane and there is a form in a philosophical sense.
It is not surprising that the tree of life is an image that also binds distant (as it may seem) the work of Malevich: After all, the center of the Cubic Christian Temple of the Future - the Tree of Life.
The idea of \u200b\u200ba world tree having a triple membership - the middle and top - leads us from the "victory" even deeper into the past, in the Paleolithic era, to the ancient images of "chonic animals" - snakes, hoofs and birds. In the art of the world of the world tree, as noted by V.Toporov, there is already a clear three-stroke system: snakes - bottom, underground kingdom; Birds - top, sky; Unlock - middle part, land (ax, 1972: 93). This ancient model, being a mythopoetic basis, shines in the plot "Victory" as a combination of the following motives:
The motive of the Smerebor region (as we consider it later, the function of the monster - the apocalyptic beast, correlated with the underworld, performs the character "Nero and Caligula in one person");
Motive horse (iron horse with hot hooves - steam locomotive); Motive of birds (iron birds-airplanes, anthropomorphic birds-characters and bird language).
The house on the wheel "is also the theater - the contemporary will beland. This is a theater wagon-ark, saving the actors themselves from boredom of official life, because the theatrical wagon of stray actors usually "spreads a festive carnival atmosphere around them, which reigns in the life itself, in the very most actors" (Bakhtin, 1965: 118). In this carnival-utopian charm of the theater world. And the action in the theater "Willlarin" continues in two directions - as the development of the plot and as a game of the theater.
The path is one of the essential "Victory" mythologies.
We note here an idea of \u200b\u200bthe path as a movement directed by vertical. This is a special mythological movement leading to the Upper and Lower Worlds, in a word, in a different world. Such an idea of \u200b\u200bthe path is characteristic of shaman travel: the path called "Shaman vertical". Naturally, the "wild crowd" in 2 action worries.
The path will be the movement in time. The path does not lead anywhere in space. Therefore, this is a vicious place, the "Ghost Kingdom". "The victory over the Sun" is the myth of the death of the enchanted place - the city - the world.
Postssimvism of the tenths in its own way decides the St. Petersburg theme. In the variants of controversy, correlation with tradition, attempts to move to an even higher level - "metametatext" describing the symbolist meta-text. " The creation of a futuristic me-tamir is also carried out along the close model.
Y.Lotman noted that every significant cultural object, "as a rule, performs in two evils: in its own way, serving a certain circle of specific social needs, and in metaphorical, when signs are transferred to a wide range of social facts, the model of which he becomes . It would be possible to allocate a number of such concepts: "House", "Road". "Threshold", "scene", etc. The more significant in the system of this culture, the direct role of this concept, the more actively its metaphorical importance, which may not be exclusively aggressively, sometimes becoming the way of all things "(Lotman, 1992: 51).
We reviewed a number of concepts whose metaphorical significance for the beginning of the century and for the model of the universe, that "the image of all the existing", which was declared will be. These mythologies are built in the "victory" as a system of binary opposition: light-darkness, black and white, old new, etc.
In the mythological system of St. George the Victorious to whom the bird-like Will and Bird, who defeats the snake, and the Sun - St. George - Yuri - Yarilo, with whom they are struggling. The heroes of the future new, the winners of the Turks themselves in the Turkish costume of the old style. Opposition is the East-East? Some malicious pulls with himself.
What does it mean?
The initiation rite includes infection of the body into parts. What does a person know at this moment, after which he becomes a prophet?
In African rites associated with the twin myth and the cult of twins, the coloring of each side of the face and the body in different colors is common. Often black is associated with one twin, and white with another.
In the African myth of Nyoro, the twin mpuga has been white on the one hand, and with another black. The very name of the hero MPUGO can designate its multicolored. So called animals in black and white suit. Double color correlates with dark symbols - Light: day and night. Demiurges Mav and Lisa, embody one - day, sun, the other - Night, the moon. One of the twins can be zoomorphic. In dualistic twin myths, one brother can kill the other. Peoples whose mythology is built on a binary symbolic classification, the twins serve the embodiments of these rows of characters.
Demonically - the comic dubler of the cultural character is endowed with the features of the mischievous Pluto - Trikerster.
When the cultural character has no brother, comic traits are attributed to him, the implementation of the trial, the parody of their own exploits. In Greek mythology, the trikester is close to the deified Hermes.
The universal comic of the trikester is akin to carnival elements - it spreads to everything. The compound of the divine cultural hero and the divine jester refers to the time of the appearance of a person as a social being. Jung sees the trikers as an opinion I, abandoned in the distant past of a collective consciousness, as a reflection of undifferentiated, barely-tired of the animal world of human consciousness. K. Law-Strauss writes about his media function, the functions of overcoming oppositions, contradictions. The moon, like a trickster, sends its part - shadow, essay the sun. The shadow turns it into the Black Sun. Eclipse is a substitution of one other.
The mechanism of comprehending the supernatural in different cultures, religions, beliefs is almost the same, and its elements can be collected from different fields. And on the contrary, some cultural spaces can be involved in our imagination, because They are associated with this mechanism. But this is specific precisely for mythological thinking.
Our study allows us to also conclude about specific techniques for organizing integrity in the material being studied.
As Jung wrote, "the descent to the mothers allowed the Future to restore a whole sinful man who was forgotten by a modern man who was bonding unilaterally. This is exactly who during the lift forced the heavens to tremble, and it will always be repeated. Opening of the bipolarity of the human nature and the need for couples of opposites or contradictions. The motive of the association of opposites is clearly manifested in their direct opposition "(Jung, 1998: 424-425), but there is another way of reconciling contradictions - finding a compromise by the type of mediator.
We can show this table as reacing the contradictions in the option "Victory over the Sun"
This is one of the levels of achieving the integrity of the artistic work "victory over the Sun", creating a holistic idea of \u200b\u200bthe model of the new, albeit of the utopian, peace.
Traditional clutch and mythological opposition option will be, reconciling this controversy through opposition union.
Sun-Moon Eclipse (Black Sun is the shadow of the moon).
West-east position between East and West. Choosing the East, looks to the west - "half-eyed Sagittarius."
The sky, the top, the upper world of the house, the bottom, the lower world is changed in places, and even abolish
Bird, (the creature of the upper world) - a man of bird-like people
Light - darkness, shadow, night, wins light inside heroes
Hero - Jester Hero-Jester in one person
White - black double
Women's - men's andfinity of heroes
Sea - land "Lakes fighter iron"
Triscuits - feast holiday, judovo funeral sun, devouring of the world
Old - Young Immorter Like Eternal Youth
Nature - technical progress horse-steam locomotive. Bird-aeroplane
Belobog (good share) -Chernobogogo (underfloor) Black gods as positive heroes
False - close distant tenth countries turned into their home.
New Times The end of the story agreed with her
Alien - new character - "ours" with the appearance of "Aliens"
Life - Death Temporary Death (death and revival)
Vision (sun-eye, light gives vision) - blindness (no sunlight). Inner vision (eye-eye, vision-all, Zorved)
Face (sun - eye, face, daylight, mind, individuality) - body (unconscious, collective, transpersonal) mask
Weakness (in a certain context Lack of physical force - a sign of spirituality) - Silay-poet strength
Static - Movement House on the wheel
Cultural hero, Demiurg -Tritter comic hero (archaic combination of cultural hero and trikers in one person)
Before the right ass like reverse (backward wall) eyes behind
As the material studies research, we can allocate another level of its structure, organizing it as integrity. These are the views of the "victory" authors about space.
In the first action "Victory over the Sun" there is a visual image, similar to the archaic model of the world: vertically there are upper heaven, where the sun and the moon are adjacent in the confrontation; The middle of the sky, where the iron bird flying flies; The Middle Peace (Earth), where it is worth (and at the same time jumps, moves, swims) Iron horse-steam ship-house; And finally, the Lower World - "Lakes" (P. 61).
In the second action after the victory, the world can not be submitted as a visual image. It can only be seen in the inner vision, since the concepts of top and bottom disappear, the centrifugal vector is equal to the centripetal (wherever go - come back), the external equal to internal, etc.
Fragments of mythological images, realities of 1913, biographies of authors, elements of the performance, fragments of the concept - all this in the process of flowing and building in the ranks (and in this case it is more likely to the ball) of the identity in the end in a single live and movable matter - a metaphor that is quite It would be simplified so.
Chonic Animal Horse, the Carrier of the Dead in the other world
Sacred Horse, sun carrier across the sky - a horse as a means of a break in everyday life - a battle chariot, hiding a horse - Iron horse steam locomotive with hoofs - Wheel steamer - Wheel as a symbol of speed - Sun-Wheel, which rolls on the sky boat carrying the sun The sky in the lower world is the funeral rook, carrying people by the sea in the other world - the coffin box, which was put in the boat - the coffin (domina euphemism) - the idea of \u200b\u200bresurrection - the resurrected Dead Fedorov - Ark as a means of rescue of the righteous - the cubic form of the ark - Cube as a geometric base of squearies Malevich - a cube and house as astronomical and astrological concepts - a house as a place of action in the "victory over the sun" - a mobile home of the future on the wheel - a horse as a moving construction on the wheel - Iron horse steam locomotive - Copper rider - death under the hoof - Leside under the hoof - trample as a terrible court - an iron-bird-plane, carrying death - a horse-bird - a locust with iron wings - the language of birds as a symbol of the wisdom And - Piecegole ancestors - bird-like heroes-monster - Snake Heroes - Smeaker - Georgy Victorious, Yuri, Yarhiro, Sun - Sunset and Sunrise - The Problem of the West and East - Black Sun - the Eclipse of the Sun - Madness as the Eclipse of the mind - Zaomum - Higher Knowledge - New Vision - Character Motley Eyes - Sun As Eyes - Sun Like Flower on Ancient Graft - Sun As part of the World Drev - Sun with greasy roots, Drew the characters "Victory" - the sun as horse - Herodot: "Future from the gods (Sun) The fastest animal has fun "(horse) - speed as the basic concept of futurism - the wheel as a speed image - the sun as the wheel - the wheels of airplanes 13 years -" Wheels of the aircraft "as a means of movement of the Character" Victory "- Iron Bird Airplane - Flying Mythological Boat - Folk Drama "Boat" about robber - Robbers, Cossacks, Cossacks - War with Turks - Order of George-Victorious - Smeaking - Lerneyskaya Hydra - Gilea - Movland-Robbers - Robbery and Bakery O at the time of initiation - the men's home of primitive society - a house in "Victory"
The center of the world is the sacred mountain Zigarat, the place of observation of the starry sky in antiquity - the square in the square - sketches to the "victory over the sun", etc.
We see that the transformation into a different quality, the other form - the topic is diversely worn by everything. We can make the following conclusion that the central topic of the project "Victory over the Sun" is metamorphosis, turning the world to a new world, a person in a new person, etc.
The ability of the material to transmit a similar process later Mandelshtam called the "reaise of poetic matter."
Outside in our work Basic codes, highlighting the main elements of the deployed metaphor, which is called the authors of the "victory over the Sun", we were able to see and feel how the process of flowing, transformation, metamorphosis becomes a new level on which a new integrity arises.
Thus, we see that in this theater project, in the center of which the philosophers of the part and the whole, the specific techniques of creating integrity, to which we can attribute are used:
1. The presence of a limited number of metaphors (although they vary repeatedly and are presented in a rigorous form, approaching the tissue of the product to the poetics of the riddles).
2. The use of the same theoretical and aesthetic parcels when creating different parts of the project - a verbal series, a visual series, music, etc.
3. Structuring the work through the creation of an option transforming and developing a rigid structure of traditional binary oppositions in its creation.
4. Single visual image of the world, a kind of model of the universe, a peculiar reflecting rigid scheme of the archaic model of the universe.
5. Metamorphosis as a process repeated and developed at different levels of the project, combines disparate elements as part of a single process, creating a "liquid phase" of artistic material, if you use the futurist expression.
It is like such characteristics of the theater project of Russian futurists as internal structure, integrity, mythopoietic latitude of generalization, the originality of expressive tools, concentrated in the "victory over the Sun" a powerful bunch of artistic energy and determined its attractiveness and significance.
The practical importance of this study is that the author was managed through a detailed description and analysis of the actual material to detect the cultural layers hidden in the studied object and determining its features of cultural layers, and thereby identify the holistic embodiment of philosophical views, aesthetic addictions and artistic creed of the creators of the avant-garde theater.
Specific information about one of the significant theater projects, detailed development of semantics of images, identifying the identity of expressive agents and the generalization of the results obtained enrich the overall concept of the development of the art of the beginning of the 20th century, help further promotion into the world of Russian avant-garde.
List of scientific literature Gubanova, Galina Igorevna, thesis on the topic "Theater art"
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Futurism in Russia identified a new artistic elite. Among them were such famous poets as Khlebnikov, Akhmatov, Mayakovsky, Burluk and editors of Satirikon magazine. In St. Petersburg, the place of their meetings and speeches was the cafe "Stray Dog".
All of them performed with manifestos, throwing ulcer comments in the direction of old art forms. Victor Shklovsky performed with a report "Place of futurism in the history of language", acquaintance with the new direction of everyone.
Signing to public taste
They thoroughly carried their futurism into the masses, walking along the streets in causing clothes, in cylinders and with painted persons. In the pettice, a beam of radishes or a spoon was often concerned. Burluk usually wore a dumbbell with him, Mayakovsky flashed in "Schmelin", with a black velvet suit and a yellow shirt.
In Manifesto, who came out in the St. Petersburg journal "Argus", they explained their appearance like this: "Art is not only a monarch, but also a newspaper, and a decorator. We appreciate and font, and news. Synthesis of decorativeness and illustrations - the basis of our coloring. We decorate life and preach - so we are painted. "
Cinema
"The drama of futurists in Kabare №13" became the first film, lifting them. He talked about the daily routine of adherents of the new direction. The second film was "I want to be a futurist." Mayakovsky played the main role in it, the Circus Clown and Acrobat Vitaly Lazarenko turned out to be the second role.
These films have become a bold statement of denial of conventions, showing that futurism ideas can be attached to absolutely any field of art.
Theater and opera
Over time, Russian futurism switched from street performances directly to the theater. The Petersburg "Luna Park" became their refuge. The first opera should be "victory over the Sun" on the Mayakovsky tragedy. The newspaper posted an ad about the set of students to participate in the presentation.
Konstantin Tomashev, one of these students, wrote: "For a successful" Angezhent ", it is unlikely that one of us seriously expected ... It was not only to see futurists, but also to meet them, so to speak, in their creative setting."
Piece of Mayakovsky "Vladimir Mayakovsky" Pedilled by his name. It was a hymn of his genius and talent. Among his heroes there were a man without a head, manwavek without ear, a man without eyes and legs, a woman with a tear, a huge woman and others. For her fulfillment, he first chose several actors.
Less strictly and pickily treated the actors of twisted. In his opera, almost all those whom Mayakovsky did not take to play their tragedy. On listening, he forced candidates to sing in the syllables of the "Ver-Blue-Blue Fab-Rick in the same Ust," Tomashevsky noted that the twisted always visited new ideas with which he took all others.
"The victory over the Sun" talks about "the" Miswan strongy ", who decided to defeat the sun. Young futurists flew up at the rehearsal in Moon Park. Music wrote Matyushin, Pavel Filonov was engaged in designing a backdrop.
Malevich was engaged in costumes and decorations that presented a cubic painting. Tomashevsky wrote: "It was a typical cubist, unlinimped painting: backs in the form of cones and spirals, about the same curtain (the one that burst" will be "mill"). Costumes for the opera were made of cardboard and several resembled lats packed in a cubist style. "
All the actors wore huge heads on the head, made from Papier-Masha, their gestures resembled puppet, and they played on a very narrow scene.
Company reaction
And the tragedy of Mayakovsky, and the opera cleaned produced an unprecedented furor. Before the theater put out the ranks of the police, and the crowds of viewers were collected at the lectures and debates after the ideas. However, the press did not know how to react to them.
Matyushin complained: "Is it really the studity so all of them tied that he didn't even make it possible to look at, study, think about what is currently manifested in the literature, in music and painting."
Such changes to the public was difficult to accept immediately. The breaking of stereotypes and the usual images, the introduction of new concepts about ease and gravity, put forward ideas that concerned the color, harmony, melodies, unconventional use of words - everything was new, alien and not always clear.
Already in later performances began to appear mechanical figures, which were the result of technical progress. The same ideals of mechanization appeared in the rays and futuristic paintings. The figures were visually cut by light rays, they were deprived of hands, legs, torso, and sometimes even completely dissolved. These geometric shapes and spatial representation significantly affected the later creativity Malevich.
This complete gap with traditional art was not able to determine the new genre in the theater and the opera. But he became a transitional moment that has noticed a new artistic direction.